Derby born Dave O’Higgins has matured into one of Britain’s finest tenor saxophonists. Always busy but generally underrated O’Higgins has pursued a varied career and is at home in a number of contexts. He has led his own small groups, a ten piece “big band” and has recorded in various styles with the best UK musicians plus Americans of the calibre of Joe Locke, Joey Calderazzo,James Genus and Adam Nussbaum.  A prolific sideman and session musician plus a respected educator his is a major talent. I’ve been lucky enough to see O’Higgins in a live context on several occasions and have always found him to be an able and amiable musician who always delivers the goods.

O’Higgins playing has always been rooted in the bebop tradition but with an agreeably contemporary edge. “Sketchbook” is arguably his most “old fashioned” album to date being an old style two tenor blowing session in the company of American saxophonist Eric Alexander.

Alexander has emerged as one of America’s leading straight ahead tenor players. Born in Washington State his career took off when he moved to Chicago in the early 90’s. He has since relocated to New York where he is an in demand freelance musician.

The idea for this album came from Danish drummer Kristian Leth who had worked with both horn men. O’Higgins was working with the Ronnie Scott’s House Band at the time and organised a three night stint at the club for a band featuring himself, Alexander and Leth plus pianist James Pearson and bassist Arnie Somogyi. The results were so successful that the quintet immediately went into Derek Nash’s Clown’s Pocket Studio recording this album in a single afternoon in a “live in the studio” setting.

The result is a breezy, good natured album that features some great playing from all five musicians.

As O’Higgins’ informative liner notes explain the programme consists of a mixture of standards, items associated with other tenor giants such as Sonny Rollins and Johnny Griffin, plus a couple of excellent O’Higgins originals that fit superbly into the mood of the album. 

The quintet start as they mean to go on with Sonny Rollins’ fifties classic “Why Don’t I"with the two tenors soloing either side of the excellent Pearson.

Alexander brought McCoy Tyner’s masterly composition “Inner Glimpse” to the band and features as the principal tenor soloist. Pearson shines again as he does throughout the whole album with Somogyi and Leth providing a rhythmic pulse that acts as a fine springboard for the soloists. O’Higgins gets to trade eights with the drummer in the tune’s closing stages. Great stuff.

Equally fine is O’Higgins’ “Frith Street Blues”. With it’s memorable theme and propulsive groove this number would sit comfortably on any of the classic Blue Note hard bop recordings of the 50’s and 60’s. Interestingly it’s the track that’s been chosen to represent the album on the BBC’s specialist jazz programmes. The two tenor men trade choruses, Pearson continues to impress and the rhythm team swings prodigiously. A joy from start to finish.

Alexander drops out for “Estate”,a bossa flavoured ballad that acts as a feature for the gentler side of O’Higgins’ playing. His smokily seductive tenor is sympathetically supported by the trio. Somogyi contributes a fluently lyrical solo on the bass.

The quintet’s take on Dizzy Gillespie’s “Ow!” was inspired by a version recorded by Johnny Griffin and Gene Ammons.  Gillespie’s tricky bebop theme is the vehicle for some full on tenor blowing as the group raise the energy levels again. And that man Pearson is rather good again too.

“I Can’t Give you Anything But Love” features the two horns operating in tandem as well as soloing individually. Somogyi’s wondrously springy playing is again featured in a solo context.

O’Higgins’ title track is a twelve bar blues that switches to ? in it’s closing stages plus in the composer’s words “somewhere on the way it gained a bridge”. In any event it’s a vigorous workout and at a little over nine minutes is the lengthiest track on the album. Another strong theme gives the saxophonists the chance to play in tandem, in counterpoint and as soloists. The rhythm section lays down another terrific groove and the magnificent Pearson holds it all together. Like O’Higgins’ other credit here this is another tune in the mighty Blue Note tradition.

“I’m Gonna Laugh You Right Out Of My Life” is Alexander’s solo ballad feature as O’Higgins takes his turn to drop out. It’s a gorgeous piece of controlled tenor playing, full of emotion, sympathetically supported by a top quality rhythm section. Pearson’s thoughtful and lyrical contribution adds greatly to the success of the piece. 

A good natured take on Frank Wess’ “Water Jug” closes the album on a high note. O’Higgins comments that this has become the band’s signature tune and it’s certainly a great way to finish.

By it’s own admission there’s nothing particularly profound about “Sketchbook” but it’s one of those albums you just can’t help enjoying. A well chosen programme (in which the originals stand up particularly well) houses infectious grooves and some great soloing not only from both tenor players but also from the impressive Pearson. 

The quintet’s obvious enthusiasm quickly communicates itself to the listener. This is jazz played with great technical facility but which also has a smile on it’s face. Good quality, unpretentious “serious fun”.

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