Steve Davis, We See Review

Seeing Jazz Unfold: Steve Davis’ We See

By Nolan DeBuke

Steve Davis’s latest release, We See, recorded live at Smoke Jazz & Supper Club, captures the seasoned trombonist’s creative element on the bandstand. As part of the Smoke Sessions series celebrating the 25th anniversary of the club and the tenth anniversary of the label, this album brings together a formidable lineup that echoes Davis’s career-long affinity for cultivating three-horn frontlines. Featuring Eddie Henderson on trumpet, Ralph Moore on tenor saxophone, Renee Rosnes on piano, Essiet Essiet on bass, and Lewis Nash on drums, We See is a celebration of long-time collaborations and today’s forward-looking spirit of hard-bop and post-bop jazz.

Steve Davis has been a key voice in modern jazz for decades, with a pedigree that includes mentorship from Jackie McLean and a brief tenure with Art Blakey’s Jazz Messengers. From his early days at the 880 Club in Hartford to his more recent work with One For All, Davis has consistently carved a name for himself with his rich tone and inventive harmonic sensibilities. In We See, he revisits classic material alongside some of the finest players in contemporary jazz, including Eddie Henderson—whose connection to Davis stretches back nearly four decades. The result is an album that honors tradition and builds upon it with a freshness and spontaneity that could only be captured in a live setting.

The album’s title, borrowed from the Thelonious Monk tune featured here, symbolizes the ensemble’s collective insight and shared vision for jazz. It also serves as an homage to this group’s interconnectedness—musicians who have shared the stage countless times yet still find new depths and possibilities in their playing together.

The album opens with Miles Davis’s classic “Milestones,” delivered with a cool and post-bop sensibility. Steve Davis’s trombone solo is notable for its warmth and fluidity, his phrasing gracefully walking the line between lyrical expression and complex harmonic ideas. Ralph Moore’s tenor saxophone brings a hard-swinging yet lyrical touch, adding a distinctive voice that complements Davis. Eddie Henderson is a commanding presence on trumpet, his lines soaring above the ensemble and shifting effortlessly between half-time and swing feels. This track sets the tone for the album—both reverent of its roots and unafraid to push forward.

Larry Willis’s composition, “To Wisdom, The Prize,” has a straight-eight groove perfect for the emotional resonance of this ensemble. Rosnes establishes a rhythmic foundation alongside Essiet and Nash, and the chemistry between them is palpable. Davis’ssolo on this track leans into his hard-bop influences, punctuating his lines with bluesy motifs and a conversational style. Rosnes’s solo is a highlight—her motifs are colorful, and her rhythmic inventiveness keeps the listener fully engaged, as Essiet and Nash move into a double-time feel, enhancing the sense of interplay within the trio. This piece also serves as a fitting tribute to Willis, whose musical influence on Davis was profound.

The title track, a medium-tempo rendition of the Thelonious Monk classic, showcases the dynamic interplay of the entire sextet. Lewis Nash opens the track with a melodic drum solo, setting a rhythmic tone that is both commanding and inviting. The horn section—Davis, Henderson, and Moore—explores Monk’s changes with a sense of familiarity, yet with fresh ideas that make the track shine. Moore’s solo is rooted in the hard-bop tradition, brimming with rich ideas and impeccable timing, while Henderson’s trumpet lines are fluid and expressive. Davis’s trombone solo is playful, buoyant, and full of interaction, especially as Nash shifts from brushes to sticks, prompting Davis to intensify his phrasing and explore new registers.

Freddie Hubbard’s “Up Jumped Spring” begins with a stirring introduction by Rosnes, her reharmonization of the melody adding a touch of freshness to this classic tune. The ensemble brings an up-tempo waltz feel, with each horn contributing to the counterpoint, weaving lines that build beautifully together. Davis, Moore, and Henderson each deliver solos that showcase their mastery of modern post-bop language, with inventive phrasing and a rich interplay that keeps the energy buoyant and flowing.

The instrumentation and arrangement choices on We See captures Davis’ experience as a performer and bandleader. The three-horn frontline—Davis on trombone, Henderson on trumpet, and Moore on tenor saxophone—allows for imaginative harmonic textures, intricate interplay, and a dynamic balance of voices. Davis has always had a gift for choosing collaborators who complement his style, and that’s particularly evident here.

The rhythm section—Rosnes, Essiet, and Nash—creates an agile and responsive foundation, providing both drive and flexibility. Rosnes’s playing is particularly striking for its harmonic ingenuity, while Essiet’s bass lines are solid and melodic, always grounding while moving the harmony and time forward. Nash’s drumming is masterful, moving effortlessly between brushes and sticks, responding to the soloists, and creating textures that enhance the overall drive of each track.

Davis’ trombone solos are based in the bebop language, yet always leaning toward post-bop’s melodic shapes and hard-bop’s accessibility. His improvisational approach blends the influences of J.J. Johnson and Slide Hampton, with a modern twist that keeps the music fresh. His solos across the album beautifully mix technical skill imbued with a sense of storytelling.

We See resonates as a celebration of friendship and shared musical history. The musicians’ years of experience playing together are evident in the ease and joy with which they communicate. Rosnes aptly described the experience as “filled with excitement, discovery, and good vibes,” and this sentiment shines through in every note. Jazz fans will enjoy the fact that the album sits firmly within the hard-bop and post-bop traditions, yet it doesn’t feel trapped by them. The choice of material—from Monk to Miles Davis to Larry Willis—speaks to Davis’s deep reverence for the jazz canon, while the spontaneous, live nature of the recording brings a freshness and immediacy that feels distinctly modern. The tribute to Larry Willis is particularly poignant, adding a layer of emotional depth that honors the past while pushing forward.

We See is an album that is highly enjoyable because of the cohesion of the ensemble, the quality of the material, and the spontaneity of the live performance. The interplay between the musicians is a reminder of the vitality of straight-ahead jazz, particularly when approached by players of this caliber. It’s a celebration of tradition and an exploration of what can still be discovered within that tradition. The live setting adds an extra spark, making it clear that this is music made in the moment, for the moment—filled with energy, nuance, and a sense of joy that is truly infectious.