The pairing is a first for both Oxman and Morelli, and perhaps for jazz itself (if not, it’s beyond doubt a true rarity). The Ox-Mo Incident marks Morelli’s initial venture as a soloist into the world of jazz, a step he takes with swinging grace and agility. It proved challenging for Oxman in different ways, who had to darken his sound to share the frontline with such an unfamiliar partner. The two are expertly accompanied by three of Oxman’s Denver compatriots – pianist Jeff Jenkins, bassist Ken Walker and drummer Todd Reid, who also joined the saxophonist for his 2018 album Glimpses with sax legend Dave Liebman.
The album’s title makes a playful reference to Walter Van Tilburg Clark’s 1940 western novel The Ox-Bow Incident and its cinematic adaptation starring Henry Fonda. But where that dark story finds a pair of drifters meeting a lynch mob in pursuit of suspected cattle rustlers, this chance encounter ends with decidedly happier results.
While their warm, casual rapport makes Oxman and Morelli seem like old friends, they in fact barely knew each other prior to the 2019 session that yielded The Ox-Mo Incident. The saxophonist’s wife, visual artist Susan Oxman (who provides the album’s liner notes) had studied bassoon with Morelli at the Hartt School and Manhattan School of Music. The two, whose birthdays fall just one week apart, would call each other each year during their respective celebrations. It was during one of these phone conversations that Morelli cracked a half-joking remark about the possibility of recording with her husband.
“Frank is just an unbelievable musician,” Oxman enthuses. “So I was really excited when he suggested this. Even though jazz might not be his musical field, good musicians are good musicians. And when somebody's as good as Frank, there's got to be something there.”
In choosing material for the session, the duo devised a clever way to find middle ground between their respective comfort zones. Many of the tunes selected were penned by songwriters familiar from the jazz repertory – Rodgers and Hammerstein, Lerner and Loewe – but the particular pieces represented here were, in many cases, derived from classical compositions.
For instance: an old favorite, “Baubles, Bangles and Beads,” written by Robert Wright and George Forrest for the 1953 musical Kismet and performed by everyone from Frank Sinatra and Antonio Carlos Jobim to Sarah Vaughan to Gerry Mulligan, is based on a theme from Alexander Borodin’s String Quartet No. 2. The sultry version here borrows the bossa feel from the Sinatra-Jobim rendition. The same source yields the classic “Stranger in Paradise,” its enticing melody essayed by Morelli with stunning charm and dexterity.
“Full Moon and Empty Arms,” best known for Sinatra’s 1945 version but also explored by countless artists from Erroll Garner to Freddie Hubbard to Bob Dylan, is similarly based on a classical composition, Rachmaninoff’s Piano Concerto No. 2, and is given a swooning, romantic treatment by Oxman and Morelli. “Three for Five” is a take on Brahms’ Third Symphony that eloquently showcases Morelli’s expressive suppleness on his instrument as well as Oxman’s emotional range, while “Poor Butterfly” takes flight from Puccini’s opera into smoky noir balladry. Gabriel Fauré’s well-known “Pavane” shines another spotlight on Morelli’s mesmerizing virtuosity, as he flawlessly renders the melancholy melody before yielding to Oxman’s soulful interpretation.
“I think we both had to endure each other's teaching a bit,” says Oxman with a laugh. “I'm not a classical player and Frank didn't see himself as a heavy jazz guy, so between the two of us we were like the blind leading the blind in some ways. But we were both thrilled with the results.”
For the remainder of the non-original material, the pair delved more into the jazz songbook. The album opens with Rodgers and Hammerstein’s “Happy Talk,” a spirited jaunt that sets the upbeat tone for the project as a whole. The same songwriting team contributes “Surrey with the Fringe on Top,” echoing the classic Miles Davis version. The album closes with the wistful “I Could Have Danced All Night,” which seems to look excitedly forward to another meeting.
Oxman also contributes two original tunes to the setlist. The title track was written for the occasion and makes ideal use of the singular tonal pairing, while “A Wasp in Search of a Hart and Lung” sticks to the jazz-meets-classical theme, albeit in a more tongue-in-cheek fashion. The eyebrow-raising title pays homage to Oxman’s one-time violin teacher, Sarah Hart, and her husband, Eric Lung. “I wasn't a very good violin player, but I practiced every single day,” Oxman explains. “My family endured it, but you can't pick that instrument up in your 50s and do much.” During one lesson, a wasp flew into the studio; Hart called out to her husband for help, who simply responded, “Just tell Keith to start playing – it'll leave!”
With all of the challenges that Oxman and Morelli faced in recording The Ox-Mo Incident, the major factor in their favor was the warm chemistry that they forged together, one that they hope to revisit soon. “The friendship that developed was so special,” Oxman concludes. “I've suddenly got this friend who I feel like I've known my whole life. We worked really hard, but in the end I was just excited to be working with somebody who I admired that much.”
Keith Oxman’s burnished tenor sound is born of a love of classic players like Sonny Stitt and Charles McPherson, with both of whom he’s played, along with greats like Art Blakey, Buddy Rich, Jack McDuff, Phil Woods and Dave Brubeck. Having learned directly from these masters, Oxman passes that torch along to his students at Denver’s East High School. In recent years he’s collaborated with the likes of Curtis Fuller, David Liebman and Houston Person and reunited with his iconic Denver band the Jazz Worms to release the quintet’s first new album in nearly three decades.
Bassoon soloist, chamber musician and teacher Frank Morelli studied at the Manhattan and Juilliard Schools of Music and was the first bassoonist awarded a doctorate by the Juilliard School. A member of the Orpheus Chamber Orchestra and the woodwind quintet Windscape, he has also made nine appearances as a soloist in Carnegie Hall. He serves on the faculties of The Juilliard School, Yale School of Music, Manhattan School of Music, SUNY Stony Brook and was recently named Distinguished Lecturer in Woodwinds at the Aaron Copland School of Music, Queens College, CUNY.
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