Within the expanse of the jazz landscape, a limited handful of stunning newcomers emerged as exciting harbingers of the growing edge of jazz. The album at hand does, indeed, bring a bounty of warm sounds and emotional glow to the listening experience. Everything flows with unusual fluency and makes you feel rewarded. The aesthetic catalyst is tenor saxophonist Dayna Stephens, and intensely organic player whose genuine passion for the music is expressed in harmonies and emotions. His conversational approach with elements of Wayne Shorter and Joe Henderson (his inspirational heroes) utilizes solid exclamation points and other punctuation marks when needed. What he plays is not aim to impress or to verify something; his glorious warm tone simply elicits the best of his persona, playing one inspired solo after another.

Taylor Eigsti - the very talented, young pianist on this album declares with candor “This record had a different purpose from the norm; it's about time a saxophonist who if he stays on his pathway he will help redefine things about playing the jazz saxophone. Dayna is one of the people who will move music to a new place. He drives the band as he drive drives himself. He puts us all to a different level."

A communal oneness of respect and interplay is perceptible on this recording, a nature not prevalent in many recordings. There is clearly a feel-goodness permeating the music Dayna plays: strong treads of power and of confidence and happy satisfaction characterize his depth of emotional heat. Dayna's informed goal via this album is aimed at saying something harmonically fresh and original coming from each players intuitive wherewithal. Amidst freshness, Dayna elaborates, "there still must be a foot in the tradition of the roots and filling were Jazz came from-that is swing”.

Dayna's blue ribbon band members show their heartfelt cohesive support in fertile interrelationships-guitarist John Scofield, pianist Taylor Eigsti, bassist Ben Street and drummer Eric Harland coalesce musically and in the meaningfulness of Dayna's mission. "They all have something fresh to say" emphasizes Dayna. “It's not out of a book it's really from their personal way of interpreting the same 12 notes"

Guitarist Scofield brings out loads of surprises and has been a large influence on Dayna's and improvisations and compositions. Dayna describes: “Sco is one of the few guitars that can bring out the freshness I'm looking for, I've always been knocked out by what he comes up with and where he places it.”

As for bassist Ben Street, Dayna pinpoints several attributes-"I love Ben’s solos. It's rhythmic! It's Melodic! His sound is warm and woody and full of feeling. He's consistently pushing and swinging-he's got that gate."

Drummer Eric Harland must have sensitive antenna. It's stimulating how he consolidate separate threads of influence into a stylistic direction that impacts each piece. Dayna recalls vividly on Taylor’s solo on Smoking Gun how Eric plays the exact same thing as Taylor at the exact same time! It can only happen if you're super aware. His feel and sound are always fresh.” Dig the way Ben and Eric propel the beat together swinging”.

Like others, Taylor is a phenom. Yours truly has witnessed his astounding development since Taylor was 10 years old, and Dayna discovered him as an 11-year-old piano wunderkind. Now as a Grammy-Nominated artist, his playing is indeed fresh on this album's journey. Dayna says "Taylor has created his own style and way of playing Harmony. I put him up there with Brad, Chick, and Herbie without a doubt."

A sketch of Dayna Stephens’ backdrop is in order. Born in Brooklyn on August 1, 1978, he grew up in the San Francisco Bay area. His initial spark in music was via his grandfathers broad range of musical interest, mostly jazz and blues. Likewise his father deep in music, made tapes featuring Illinois jacket, Benny Goodman, Roy Ayres et al. Dayna's eclectic early taste embraced the likes of Sam Cooke, The Platters, The Spinners, Luther Vandross and from Bach to Coltrane et al. He points out: they all spoke to me with their soul." Getting into the tenor saxophone at age 13, he turned on to Grover Washington Jr, Sonny Rollins, John Coltrane and Charlie Rouse as particular models.

After graduating from Berkeley High School's nominated jazz program, Dayna spent four years at the Berklee College of Music on a full scholarship and studied with faculty stalwarts Gorge Garzone, Billy Pierce and Andy McGee among others. Next he was chosen for the Thelonious Monk Institute of Jazz program (now Herbie Hancock Institute of Jazz) at USC by Herbie Hancock, Terence Blanchard and Wayne Shorter. Dayna's two years with the Monk student combo included studies & performances with the above three icons plus a host of prominent musicians which include Kenny Barron, Mark Turner, John Scofield, Lewis Nash and Christian McBride.

Dayna has maintained a busy bi-coastal performance/teaching regimen since graduating from the Monk Institute in year 2003. He has played with a lengthy, heavy roster of notable figures such as Roy Hargrove, Tom Harrell, Salvador Santana, Freddie Hubbard and Oliver lake.

The CDs slate of nine ingratiating selections takes the listener on a rich harmonic trip with emotional resonance. The opener “The Beginning of an Endless Happy Monday" illuminates Dayna's creative process in nurturing his tunes in developmental terms. His "space of stillness" comes into play as vital, requisite condition. Harmonically faithful to this tune’s original identity, he has infused a merger of influences.

An intriguing manner of expressing the concept of time is explicit on “Smoking Gun" – a medium swing tune based on Monk’s “Evidence” wherein Dayna keeps the first two courses of the original “Just You, Just Me/Evidence" solo changes – Monk’s version with Charlie Rouse on tenor. While there isn't certitude of time per se, you can definitely feel the pulse. It effectively introduces the quintet representing the full texture of what lies ahead in the roster of tunes. By the way dig Scofield opening the door for fresh vibes to enter.

On the favored track of the album, "Teeth”, Dayna's wonderful warm tone generates a wide fan of emotions. Taylor plays Fender Rhodes and relates his playing: "I took a solo first in a linear approach because that's what I was hearing/feeling. Then Dayna's powerful solo involved just holding notes until the breaking point. I can listen to his placement of notes within the solo and all the subtleties again and again. He’s an amazing saxophonist.”

"Lost and found" begins with a bass and sax playing a bass line together. Ben, Eric and Taylor interact behind Dayna with a kind of testament to what Dayna is doing: his solo is contoured in such a way the band feels like a spirited part of Dayna's storyline.

Dayna indicates "Contagious" has been morphed over the years. Acknowledging the incisive influence of Mark Turner, the zestful tune and interpretation reflect this contagious effect.

"There's That Smile" was originally written for a trio. More than just a sub text, Dayna wanted the bass line to have as much of a melodic value as the melody per se: "I preferred it to be more like counterpoint."I love classical music and the two voices is all you need to hear".

Dayna enjoys the blend of brass. "I needed another horn for the melody on “Once Upon a Timeless Now”. After musing over potential candidates, he chose valve trombonist Nick Vayenas who was Dayna's roommate at the Monk Institute. We played many melodies together and we graduated three years ago. I really miss our union so this was a fine opportunity to reunite." The balladic ambient shading is gorgeous.

Scofield's statement is so silky and smooth on the tune “On the Trail”, he surely sets things up. "I love the tune" explains Dayna with airborne enthusiasm. "It has stuck in my mind since I first heard Joe Henderson's version (1968) with the Wynton Kelly Trio. It says just what it needs to say. The quartet instrumentation reminds me of Sonny Rollins " the Bridge" 1962 with Jim Hall, Bob Crenshaw and Ben Riley."

The album closes smartly with the lovely “But Beautiful”. And there is some measure of freshness to its apropos beautiful interpretation with just reharmonization and a few highlights of its melody.

In sum, Dayna seeks a freedom borne of his command of the idiom and a compulsion to create something fresh and compelling in his musical language. With the evidential innate moment to moment synthesis articulated in this album, it is plain that Dayna Stephens unfolded dramatically at the threshold of serious recognition and a virile jazz artist of deep commitment.


Dr. Herb Wong
Past President, IAJE Alumnus,
KJAZ Radio San Francisco, California


This project is dedicated to the memory of Michael & Ella Mae Washington, Janice Waters, & Alfred Stephens