Saxophonist and composer Dennis Mitcheltree returns with Seeing Red, his eighth recording as a leader and an emotionally charged collection that transforms tension, reflection and human experience into deeply expressive jazz.
In a world where anger, division and confrontation seem to dominate the cultural landscape, Mitcheltree uses the color red as a starting point for something much larger. For him, red can represent destruction and conflict, but also the possibility of transformation. Seeing Red ultimately reaches beyond a single color or emotion, embracing the full spectrum of sound as a metaphor for collaboration, understanding, empathy and connection.
“Music is not monochromatic,” Mitcheltree explains, describing music as a palette capable of expressing the infinite colors of both the visible and invisible worlds. That philosophy is at the heart of the album, where sophisticated compositions and adventurous improvisation create space for four musicians to communicate on an almost instinctive level.
Mitcheltree is joined by pianist Johannes Wallmann, bassist Jesse Crawford and drummer Bill McClellan, musicians who have shared decades of musical experiences and performances. Their long history together is evident in the quartet’s chemistry, with each player bringing a distinctive voice while responding naturally to the others. The result is music that feels spontaneous yet deeply connected, driven by mutual trust, freedom and respect.
The album’s eight compositions explore an unusually broad emotional and conceptual landscape. “Far Left” turns a political phrase into a slow blues built around the needs of a tenor saxophone melody, while “Lapis Lazuli” moves between 3/4 and 4/4 with unconventional harmony beneath a deceptively familiar surface. “Undocumented Language” examines music itself as a form of communication—something that can be understood emotionally even when it cannot be written down in words.
“911,” composed from Mitcheltree’s personal experience of living in New York City on September 11, 2001, emerged spontaneously in the aftermath of that life-changing day. “Mortal Coil” draws on Shakespearean imagery surrounding mortality and the shedding of the physical body, while “Maitri” takes its name from a Sanskrit concept associated with loving-kindness, compassion and equanimity.
The deeply personal “Tai Time” was written for Mitcheltree’s teenage son Tai, himself a saxophonist, and delivers a hard-driving, fast and slightly quirky energy. Closing the collection is “Brooklyn,” a piece rooted in one of the most profound experiences of Mitcheltree’s life, with the music emerging organically during that period.
At the center of it all is Mitcheltree’s tenor saxophone, a voice critics have repeatedly praised for its warmth, adventurous spirit and sophistication. JazzTimes has described his playing as “aggressively adventurous and most expressive,” while AllMusic’s Michael G. Nastos called his tenor “soulful, swinging and street smart.” His playing on Seeing Red lives up to those descriptions, balancing powerful melodic statements with harmonic imagination and emotional directness.
Recorded at Samurai Hotel Recording Studio in New York City on December 15, 2025, Seeing Red was engineered and mixed by David Stoller and mastered by Mike Marciano at Systems Two. All eight compositions were written by Mitcheltree.
The album is also an invitation to experience jazz as something larger than entertainment: a language capable of connecting individual voices into something greater than the sum of its parts. On Seeing Red, Mitcheltree and his quartet turn personal history, social tension, spirituality and human connection into a compelling musical conversation.
Mitcheltree and his quartet will bring the music to the stage throughout the year, with upcoming performances including Silvana and Smalls in New York City, The Five Spot and other New York-area venues, followed by West Coast dates at Bird and Beckett, Soundroom, Mr. Tipples and Meyhouse Jazz. The tour concludes with a December 20 performance at The G Spot in Los Angeles.
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