Carmel Alright, jazz seekers, gather 'round your proverbial digital campfire! Let's embark on a sonic journey through the modern jazz soundscape of Pete McCann's latest offering, “Without Question.”

First, a peek into Pete McCann's world: This Wisconsin native has been laying down grooves in the NYC jazz scene for three solid decades. Sure, he hails from cheese territory, but Pete’s been dishing out gourmet musical slices for years. This album, his seventh as the lead artist, is a testament to his legacy as a jazz luminary.

Now, diving into “Without Question,” it's McCann's bold assertion of his musical identity. This album is a mosaic of emotions, tipping its hat to jazz legends, painting an auditory image of a silent NYC during the pandemic, and showing his innovative compositional style. Think of it as an auditory indie film, painting images through sonic waves.

Before we dive deep into some of the tracks, let’s pause and consider the maestros behind this masterpiece. McCann, with his electric and acoustic guitar skills, is the centerpiece. Steve Wilson's alto and soprano sax melodies dance alongside, while Henry Hey, handling both the piano and the mixing board, ensures each note strikes a chord. Bass duties fall on Matt Pavolka, delivering both acoustic and electric textures, and drummer Mark Ferber crafts intricate rhythmic patterns that drive the collective forward. All these elements came together at Big Orange Sheep Studios in Brooklyn in March 2022, with the finishing touch masterfully provided by Sangwook ‘Sunny’ Nam.

The title track, "Without Question," explodes straight from the get-go, McCann employing intricate polyrhythms and modal explorations. The track oscillates between a shimmering head arrangement and solos exemplifying post-bop improvisational structures. McCann’s lines exude familiarity and innovation as they groove through the changes with elegance and rhythm drive. Also, notice his subtle use of bends for added expression.

"I Can Remember" is McCann’s tribute to guitarist John Abercrombie. Wilson’s gentle performance of the melody is supported by McCann’s harmonic structures, laden with rich harmonic suspensions and chordal inversions. McCann’s solo demonstrates his precise phrasing, employing chromatic enclosures and voice-leading, which captures the essence of Abercrombie's ethereal touch. And shout out to Hey on the keys - his delicate navigation through the form exudes class. The cherry on top? Pavolka’s bass solo. Gentle yet profound, it's like the soft murmurs of a contemplative poet.

"Trifecta" shows that McCann’s compositional style is just as adventurous as his improvisations. This piece is rhythmically audacious. McCann superimposes a dotted 8th-note motif over a standard time feel, creating an intriguing hemiola effect. Harmonically, the shift between key centers of C, Ab, and E is seamless, with extended and altered chords creating a bridge between these tonalities.

"Lost City" is brought to life by McCann’s warm acoustic guitar, evoking the desolation of a silenced city; McCann utilizes the Lydian dominant scale to create an air of uncertainty and eeriness. The spacious arrangement, with its sporadic staccato punctuations, mirrors NYC's empty streets and echoing alleys during its unprecedented silence. Let’s chat about McCann’s solo. This ain't just playing; it’s storytelling. It’s built on the holy trinity of jazz: lyricism, rhythm, and undeniable technical chops. And the techniques – graceful picking, hammer-ons, pull-offs, and slides aren't just for show; they add texture, depth, and dimension.

"Lovely Thing" is a swinging contrafact on "What Is This Thing Called Love" that is a delightful nod to Lee Konitz's legacy. Employing intricate bebop lines, diminished runs, and quoting snippets of "Subconscious-Lee," McCann marries traditional bebop phrasing with a contemporary harmonic palette. The subtle use of tritone substitutions and quartal harmonies is a treat for the discerning ear. Ferber’s drumming is dynamically interactive, syncing seamlessly with Pavolka’s pulsating rhythm. Together, they're like an unstoppable freight train, powerfully driving a hefty load of swing.

Now, let’s speak to Wilson’s performance on “Lovely Thing.” His big round alto saxophone is the perfect sonic match to McCann’s guitar tones. His solo on this song is rich in sonority, rhythm, and sheer expressive depth. The real genius, though? The way he dialogues with the ensemble. It sets the stage, the context, if you will, for his subsequent melodic explorations. And for those with keen ears, you'll pick up on the clever nods to the original theme. By using melodic fragments as a springboard, Wilson crafts an improvisation that's both rooted in the song's core and is refreshingly inventive.

For aficionados seeking a rich tapestry of modern jazz rooted in its storied past, “Without Question” is a masterclass in musical exploration. Every track is a lesson in the limitless boundaries of jazz expression. Plug in, tune in, and let Pete McCann guide you through a contemporary jazz odyssey.