Fearless: Max Johnson Sextet in Amherst

Many of the musicians Jazz Shares presents not only excel on their chosen instruments, they possess impressive intellects and a wide range of interests. That much was clear after spending  quality time with members of Max Johnson’s Sextet. Their June 4th concert at the Drake, featuring Johnson (bass), Nate Wooley (trumpet), Anna Webber (tenor sax/flute), Yuma Uesaka (clarinet/soprano sax), Lester St. Louis (cello), and Jeff Davis (drums/vibes), was our penultimate event of season 14. The hang after the concert and the following day included extensive conversations about movies, books, the state of our democracy and higher education, and of course, music.

Thursday’s concert was the public debut of Johnson’s evening-length composition, “Without Fear”, which he wrote in partial fulfillment of his PhD at the University of Pennsylvania. Now that he has his degree, his bandmates threatened to start calling him Dr. J. The piece was a convincing blend of written and improvised music, equal parts head and heart. Taking full advantage of the instrumental colors provided by reeds and vibes, the music was full of delicate atmospherics, juxtaposed with full throated sections of deep swing. Overall, the piece had the richness of Charles Mingus’ best work. In fact, Johnson was first introduced to jazz was via the 1959 classic, Mingus Ah Um.  

In the middle of their four-date tour, the Sextet planned to record the work at Firehouse 12 in New Haven. However, the recording will have to wait to see the light of day. Johnson told me he has a few finished products in the queue, and he had 14 different titles for sale in Amherst. Pretty prolific for a musician just about to turn 36.

Johnson’s output is not only plentiful, its scope is exceedingly wide. He has experience composing and recording through-composed pieces for chamber ensemble and string trio, and has an extensive history performing with some of the leading lights in bluegrass music. Since his childhood friend, Sean Trischka, took him to see his father’s band, Johnson has toured and recorded with David Grisman, Sam Bush, Chris Thile and the Travelin’ McCourys.

But it is Johnson’s work in the creative music world that first drew my attention. I first met him in 2020, when he performed with James Brandon Lewis in a live streamed, pandemic-era concert at Amherst Media, and again in 2023, when his trio with Anna Webber and Michael Sarin performed at CitySpace in Easthampton. He studied with Henry Grimes (we both have the same Margaret Davis pin of the late bassist), and he has worked with veterans like Karl Berger, Perry Robinson and Simon Nabatov.

Nate Wooley, whose lip issues forced him to miss Jon Irabagon’s concert in November, seems to have made a full recovery and was in full command. Anna Webber, who was making her third Jazz Shares appearance this season, sounded her usual confident self. And Yuma Uesaka, who has two recent duo records with Marilyn Crispell and David Leon, confirmed my first impression when I saw him with Webber’s Nonet at the Iron Horse in January: this dude is formidable. Together they provided a nuanced and responsive horn section that easily handled Johnson’s intricate score.

I was glad to finally get an opportunity to meet and hear Jeff Davis. He is entering his third decade ensconced in Brooklyn’s creative cauldron with a talented cohort of improvisers who have included Tony Malaby, Jon Irabagon, Kirk Knuffke, Kris Davis and Russ Lossing. His long relationship with bassist Eivind Opsvik cuts across much of his career. Davis provided the music exactly what it needed, while making no demand for undue attention. I wish he had more of a chance to stretch out on vibes (considering he lugged it from New York), but the diamond shimmer of vibes and flute during some of the quieter sections, made the effort it worthile.

I love spending time with Lester St. Louis. The 33 year-old cellist stayed with us in 2018, when he performed with Jaimie Branch and Fly or Die, and again last December, when he worked in Holyoke as one-third of sinonó. St. Louis can play anything on his instrument in a variety of styles. I have fond memories of his meaty interactions with Henry Fraser (bass) and Isabel Crespo Pardo (voice) at Holyoke Media. We talked about his work with the experimental electronic rap band, Wrens. He’s composed for, and performed with, the JACK Quartet, International Contemporary Ensemble and the Wet Ink Ensemble, as well as Irreversible Entanglements and Yo La Tengo. His electroacoustic duo with Chris Williams, HxH, creates expansive, sculptural soundscapes. Priscilla Page and I saw him eight years ago playing cello onstage in an Off-Broadway production of An Octoroon at Soho Rep. Perhaps this diversity of experience has turned him into the open and curious person he is.

That this collection of musicians - deep into comic books, distance running, the afterlife and countless other things – was able to come together with clear minds and open hearts to realize Max Johnson’s musical vision was amazing to witness.