Saxophonist and composer Dave Anderson returns with a deeply reflective new release, In Lieu of Flowers, a ten-track album that blends musical homage, personal storytelling, and rich ensemble interplay. The album, out May 20 via LABEL 1 Records, serves as both a tribute and a meditation — honoring jazz luminaries, mentors, lost friends, and family members who have left a lasting imprint on Anderson’s life and artistry.
Rooted in Anderson’s long-standing immersion in the New York jazz scene, In Lieu of Flowers channels the emotional resonance of memory into a set of original compositions spanning modern swingers, ballads, and introspective duets. The album’s title alludes to the tradition of commemorating loved ones through gestures of remembrance — in this case, through music that gives voice to both loss and legacy.
“As a composer, I’ve tried to capture some essence of each inspiring subject,” says Anderson, a veteran of Memo Acevedo’s Manhattan Bridges Orchestra and Pat Petrillo’s Big Rhythm Band. “The music is meant to communicate something essential — both about the person being honored, and about the way we remember and express gratitude, especially when someone is no longer here.”
Anderson performs on both tenor and soprano saxophones throughout the album, supported by a dynamic quartet featuring pianist Grant Richards (recipient of a Chamber Music America New Jazz Works grant), versatile bassist Lorin Cohen (on acoustic and electric), and sought-after drummer Jimmy Macbride. The group’s cohesion allows for expressive freedom within sophisticated compositions, resulting in a modern jazz sound that’s emotionally direct while steeped in tradition.
A Track-by-Track Reflection of Tribute and Influence
The album opens with “Outer Circle,” a cool-toned modern swinger that sets the tone for the record’s fluid ensemble interaction. Each player takes an early spotlight, offering a preview of the album’s balance between structure and improvisation.
“One for Wayne” pays homage to the late, great Wayne Shorter, a formative influence on Anderson’s approach to both saxophone and composition. The track features quicksilver tenor lines, a reflective piano solo by Richards, and a mysterious coda that nods to Shorter’s oblique sensibility.
“Thilmany” is a deeply personal piece written for a family close to Anderson’s own, particularly a childhood peer who passed away young. Anchored by peaceful piano phrases, the tune unfolds with a floating melody and turbulent improvisations, portraying both serenity and sorrow.
In the duet “Sanctuary,” Anderson and Richards capture a quiet intimacy in tribute to Anderson’s late mother. Composed after spending time in a makeshift space for grief and reflection, the piece is spare yet emotionally resonant — a conversation between soprano saxophone and piano that speaks volumes.
“Upwind” offers an energetic lift, its title symbolizing resilience in the face of adversity. Anderson explains the metaphor: “Sometimes, the only option is to sail directly into the wind.” The band charges ahead with bright solos, including Cohen’s first featured statement on the album.
“Lost City” reflects on a visit to Leningrad (now St. Petersburg), a city Anderson found both architecturally beautiful and emotionally heavy, still carrying scars from decades of authoritarian rule. Cohen’s bass work — both as counterpoint and solo voice — enriches the track’s mood of elegiac elegance.
The exuberant “Arms of Maria” honors jazz icon Maria Schneider, with whom Anderson shares an alma mater (University of Minnesota). The tune evokes the grace and depth of Schneider’s compositional voice, as well as her fluid, dance-like conducting style.
“Stell” is a witty yet reverent nod to James Stellmaker, a beloved jazz educator whose students affectionately referred to him by this nickname. Musically, the piece riffs on “Stella by Starlight,” blending homage with playfulness, all while acknowledging Stellmaker’s profound musical and personal influence.
“Ghost Bikes” memorializes James Gregg, a cyclist who died in a tragic accident near Anderson’s Brooklyn home. The title references the ghost bike tradition — white-painted bikes placed at crash sites as public memorials. The piece is a haunting lament, serving as a broader tribute to lives quietly commemorated across city corners.
The album closes with “Sandy’s Ladies,” originally written on guitar and later adapted for quartet. Dedicated to Sandy Carter — a pandemic-era teacher, guitarist, and doting grandfather — the tune captures the warmth and wisdom of a life lived fully across generations and identities.
Looking Backward, Moving Forward
Though its themes often revolve around remembrance, In Lieu of Flowers is forward-looking in spirit. Its compositions embrace a modern harmonic palette, while the performances highlight a quartet deeply attuned to each other’s voices.
Anderson’s playing — lyrical, probing, and steeped in tradition — guides the listener through emotional landscapes that feel both personal and universal. The result is an album that invites reflection, not only on those we’ve lost, but on the continuing influence they have in shaping who we are.
In Lieu of Flowers is available May 20 on LABEL 1 Records via all major streaming platforms and select physical retailers.
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