Carmel
Imagine a late-night set at a smoky jazz club, surrounded by old friends, the air filled with the sound of clinking glasses and laughter. That’s the energy that Steve Davis captures with his latest live album, “We See.” It’s the kind of hard-bop jazz record that plays effortlessly as a reminder of what’s possible when brilliant musicians gather to make magic in the moment in front of an encouraging live audience.
Davis has always been a torchbearer for the trombone, but “We See” is not just about his talents. This is an album that’s as much about connection as it is about individual expression. Davis teams up with a group of heavy hitters: Eddie Henderson on trumpet, Ralph Moore on tenor sax, Renee Rosnes on piano, Essiet Essiet on bass, and Lewis Nash on drums. Together, they make the kind of hard-bop jazz that feels timeless and of the moment, full of warmth, spontaneity, and those unexpected sparks that come from live jazz.
The album kicks off with “Milestones,” and right away, the players show they’re here to play—no charts cluttering the music stands, just pure instinct and joy. Davis’ solo flows with his signature warmth, his tone gliding through the harmony with an effortless cool that’s firmly rooted in the tradition of his heroes. Henderson and Moore stretch out, their solos bursting with lyrical jargon and hard-swinging riffs that leave you nodding along, caught up in their groove.
“To Wisdom, The Prize” is a standout with its beautiful hard-bop style and the way the way the group’s chemistry can be felt by the listener. Davis’ solo starts with a thoughtful touch, each note deliberate and full of color before propelling into a bright, expressive, hard-bop expression. Nash’s drumming is the fuel to the fire, and his interactions during Davis’ and Rosnes’ solos are all about joyful discovery. You can practically hear the smiles as Nash and Essiet lock in behind the soloists, creating a foundation that’s loose yet unshakably solid.
Then there’s the title track, Monk’s “We See.” It starts with Nash laying down a melodic drum solo—each accent ringing clear, his kit resonating like an extension of his voice. When the horns enter, they do so with an exuberant swagger, the three horn lines harmonizing to add interest and color. Moore’s solo here is buoyant and playful, matching Rosnes’ subtle shifts in harmonic colors. Henderson’s trumpet solo is a joyful reminder of why he has become such a beloved figure in jazz: he knows how to blend sophistication with a sense of fun.
“Up Jumped Spring” has a bold post-bop flavor. Rosnes’ gorgeous reharmonization of Freddie Hubbard’s melody during the intro is stunning, as is her solo. The up-tempo waltz time keeps things dancing. By the time we reach “Star Eyes,” the band continues to impress with a groove that’s all about the collective—the rhythm section moves together like a single entity, building lush harmonies and rhythmic settings for each soloist to shine.
The set closes out with “All Blues,” a nod to one of jazz’s most beloved classics. Here, the band pays homage to Miles Davis’ original. It’s the perfect cap to an album that’s all about respecting tradition while finding your own voice within it. You can hear the history that binds these players together, but more importantly, you can hear the pure joy they find in making music together—in sharing their stories and their sounds with all of us.
“We See” is a recorded experience of the feeling of being in a room with old friends, sharing memories, and making new ones as an ensemble of outstanding musician create music in real-time. And isn’t that what jazz is all about?