Wide Open Window is pianist Deanna Witkowski‘s second album to date. I hesitate to apply the jazz genre sticker to her music too firmly at this early stage because, after listening to this, it’s not entirely clear where she’s coming from nor which direction she’s headed in. This is the main problem with this album, because Witkowski gives you so much to chew on that there’s no time to digest a piece before another is put on your plate. Granted, after a quick read of her biography you realize that this album is a composite of her diverse influences and is, in fact, a “wide-open window” looking into her life. Witkowski is an impressive musician, displaying the ability to communicate multiple styles fluently with formidable skills as an arranger and composer. Sadly, none of this meshes too well on the album and it’s unfortunate that you’re left with a hodge-podge of tracks, because some are singularly spectacular.
For the most part, jazz dominates the album. Witkowski creates a sound that is clear and simple, with only saxophones, upright bass and drums to support her at the piano. If that were all, this would have made a fine jazz album since there is enough bite and originality to hold your attention. There are several Afro-Cuban flavored tracks that are worthy of a second listen despite seeming a little out of place, but the rogue spiritual track to round out the album is unforgivable. While it was obviously inspired during Witkowski’s tenure as music director for the All Angels’ Episcopal Church in Manhattan, it’s appallingly bad.
Despite the mix of different styles, the overall standard of the music is relatively consistent, and there are an equal number of hits as there are misses. The album kicks off with the first of three Cole Porter tracks arranged by Witkowski. “All Through the Night” is a free-flowing trio rendition, with Witkowski’s piano at the helm, Jonathan Paul’s bass at the stern, and Tom Hipskind’s drums filling in as the sails pushing everything along. The track is stylized as a light samba and takes just enough melodic liberties to grant it a fresh face without losing the original contours, with some interesting harmonic variations to give a dark tint. Witkowski pushes on relentlessly to finish with some innovative tempo changes on piano over static drums.
The second Cole Porter track, “From This Moment On”, is a little sickly, to say the least, made worse by Witkowski blowing out wordless vocals alongside the nasally soprano sax. It lasts for over 10 minutes and my advice is to skip it. Fortunately, the third Cole Porter track is as equally impressive as the first. “Just One of Those Things”, another trio arrangement, is fast-paced, fueled on by the incessant pizzicato bass and interspersed with dynamic improvisation by Witkowski. There is some tight interplay between the piano and drums and, again, some funky rhythmic displacements that build and release tension.
The final track is awful, and frighteningly so. Witkowski sings her way through this mocked-up spiritual number with a propensity that’s disturbing. Not only is her voice thin in sound and weak in projection, frankly there is no need for her to sing. And while we’re on the subject of things needless, the “Holy Holy” flavor of this track is right up with there with the singing. However, despite this piece, there are thankfully four other tracks that redeem Witkowski as a composer. There is a double hit here. She not only shows her ability to crank out music in straight jazz style, but on tracks such as “Speak My Name” she shows the result of her training in the Afro-Cuban traditions with Chucho Valdés and Hilario Duran. The piano takes a back seat on the Latin-flavored track, “New August Tune”, submitting to the sweet saxophone lead played by Donny McCaslin. “A Rare Appearance” is built up out of repetitive motifs inspired by her studies with Brazilian percussionist Vanderlei Pereira. The sections where Witkowski’s irritating vocals prevail spoil the track, but, stylistically, it’s one of the best on the album.
In conclusion, there’s some good stuff going on, but you have to work pretty hard to weed out the bad. Witkowski is talented, but without clearer vision and direction, the talent won’t take her much further. This album comes half-heartedly recommended, but if you don’t have patience, you’ll struggle to get through it.