Jeff Lederer – There’s a Yearnin’: Music for Winds and Voice (2026)

Saxophonist and composer Jeff Lederer continues to explore the intersection of jazz and classical music in his latest project, There’s a Yearnin’: Music for Winds and Voice, scheduled for release in 2026. Building on his reputation for boundary-crossing works, Lederer reimagines compositions by celebrated jazz alto saxophonists Eric Dolphy, Ornette Coleman, and Oliver Nelson through a chamber music lens, blending wind instruments and vocal artistry.

Following the experimental jazz/classical fusion of his 2023 release Schoenberg on the Beach, which drew inspiration from the Second Viennese School, Lederer reverses the approach in There’s a Yearnin’. Here, the source material originates from jazz but is arranged for a classical ensemble augmented by improvisation. The album features Lederer himself on clarinet and alto saxophone, his longtime collaborator vocalist Mary LaRose, and the Brooklyn-based Wildebeest Wind Quintet, comprising flute, oboe, clarinet, bassoon, and French horn.

Recorded in Vermont at Guilford Sound, the album’s arrangements respect the tradition of written notation while allowing room for improvisational expression, reflecting the hybrid nature of the project. Significantly, the recording includes the first documented performance of a woodwind sextet composition by Eric Dolphy, a fresh reinterpretation of Ornette Coleman’s Forms and Sounds, and new arrangements of Oliver Nelson’s works incorporating both winds and voice.

The selected repertoire unevenly represents the three jazz figures: Dolphy’s contribution is a single track, Coleman’s compositions span three movements—though a misattribution on the album packaging confuses the authorship of one movement—and Nelson’s pieces make up the bulk of the collection, with five tracks alongside an original Lederer composition completing the program. According to exystence.net, the chosen composers share a history of engaging with notated composition alongside improvisation, making them apt subjects for Lederer’s chamber-jazz reinterpretations.

Dolphy’s Woodwind Sextet, which had remained largely unperformed during his lifetime, was obtained by Lederer from the Library of Congress. Only the second movement of this piece appears on the album, leaving listeners curious about the full scope of the composition. This movement reveals a maturity and sophistication in Dolphy’s writing that is underscored by the featured flute solo from Michel Gentile.

Ornette Coleman’s Forms and Sounds, commissioned in the late 1960s but neglected for decades, receives renewed attention through Lederer’s arrangements. The three movements are dispersed across the album rather than presented consecutively, a structural choice that draws focus to distinct textures and solos within the dense woodwind interplay. Notable performances include solos by bassoonist Sara Schoenbeck and clarinetist Mike McGuiness, as well as Lederer’s alto saxophone improvisations that evoke Coleman’s distinctive voice.

Oliver Nelson’s compositions benefit from the vocal contributions of Mary LaRose, who brings lyrical interpretations inspired by Nelson’s music. The tracks range from blues-inflected swing numbers to more introspective pieces, showcasing the ensemble’s versatility. Highlights include "Images," where LaRose’s vocals align with the flute, supported by Schoenbeck’s rhythmic foundation, and the title track, a folk-gospel lament marked by poignant vocal and woodwind interplay.

In addition to the reinterpretations, the album features Lederer’s original composition Cruxifiction, arranged for winds and electronics. This nine-minute piece reflects on themes of silenced dissent, moving through phases of chamber-like dirge, abstraction, and chaotic passages. Lederer and oboist Katie Scheele lead the charge with clarinet and oboe, respectively, further enhancing the album’s thematic depth.

There’s a Yearnin’ is released on Lederer’s Brooklyn-based label Little (i) Music, aligning with his history of imaginative projects that defy genre conventions. Past endeavors include a salsa-infused take on Vivaldi’s Four Seasons and brass ensembles dedicated to Albert Ayler’s work, demonstrating Lederer’s commitment to pushing creative boundaries.

By situating the music of Dolphy, Coleman, and Nelson in a chamber setting enriched by voice and wind instruments, Lederer not only preserves their legacies but also offers fresh perspectives on jazz composition and arrangement. The album’s blend of notation and improvisation underscores the fluidity between classical discipline and jazz spontaneity, reinforcing Lederer’s role as a vital figure in contemporary music innovation.

While there remain limited details about the full content and reception of There’s a Yearnin’, the project marks a noteworthy chapter in Lederer’s career and contributes to ongoing dialogues about the convergence of jazz and classical traditions.