Multi GRAMMY® nominated, Brooklyn-based saxophonist Ben Wendel was born in Vancouver, Canada and grew up in Santa Monica, California. His band in high school, a quintet called Tres Gatos, included Terrace Martin (the saxophonist and producer who as part of the Brainfeeder collective has worked with artists such as Kendrick Lamar and whose recent effort Gray Area involves Wendel) and Alfred Darlington (the electronic artist and producer known as Daedelus).

Both remain close associates, part of Wendel’s impressively-diverse circle. Throughout his career, the saxophonist has pursued a genre-neutral Yes-To-All approach to music. He’s recorded or performed with legendary hitmakers (Prince, Snoop Dogg) and jazz firebrands (Terence Blachard, Bill Frisell, Cécile McLorin Salvant, Tigran Hamasyan, Aaron Parks, Ignacio Berroa, Taylor Eigsti, Linda May Han Oh, Antonio Sanchez, Gerald Clayton) and people whose work resists classification entirely (Louis Cole, Daedelus, Julia Holter, Moonchild, José James).

As a composer, he has received an ASCAP Jazz Composer Award, the 2008, 2011 and 2017 Chamber Music America “New Works Grant” and was awarded the Victor Lynch-Staunton award by the Canada Council For The Arts. He also co-wrote the score for John Krasinski’s adaptation of David Foster Wallace’s “Brief Interviews With Hideous Men.” He has logged six separate weeks as the headliner at the Village Vanguard. Wendel is aware that this diverse range of activity makes him hard to pin down – a challenge that will only increase with the sweeping invention of Understory: Live at the Village Vanguard

Ben was honored to work with conductor Kent Nagano in producing a series of concerts for the Festspiel Plus in Munich, Germany. From 2008 to 2015, he produced a multi-genre performance series at the Broad Stage in Santa Monica, California. During that time he was appointed the head of their Jazz and Blues initiative, which included producing and expanding performance opportunities for these genres in Los Angeles. As part of this appointment, Ben helped to create an artistic council which included such luminaries as Quincy Jones, Herb Alpert and Luciana Souza. Ben’s producer work includes the GRAMMY® nominated album “Life Forum” for pianist Gerald Clayton on Concord Records.

Ben has recorded for Edition Records, Sunnyside Records, Motéma Music, Concord Records and Brainfeeder, with six solo albums under his belt, Simple Song (2009), Frame (2012), What We Bring (2016) The Seasons (2018), High Heart (2020), All One (2023) a duo project with French-American pianist Dan Tepfer entitled Small Constructions (2013) and multiple Kneebody albums. His critically acclaimed music video project The Seasons, inspired by Tchaikovsky’s works of the same name, was released throughout 2015 and included guests such as Joshua Redman, Jeff Ballard, Mark Turner, Julian Lage, Ambrose Akinmusire and more. It was listed as one of the best releases of 2015 by the NY Times.

Ben is a former teacher of jazz studies at USC in Los Angeles and the New School in NYC. Educational outreach has been a constant in his career with over 350 masterclasses at various colleges, universities, high-schools and also previous work with the LA Philharmonic Artist Program.

Understory: Live at the Village Vanguard

Edition Records is thrilled to announce the October 4 release of GRAMMY® nominated saxophonist Ben Wendel’s highly anticipated live album, Understory: Live at the Village Vanguard. Recorded during a series of intimate performances at the storied venue in November 2022, Understory captures the quintessential essence of Wendel’s artistry and the iconic atmosphere of the Village Vanguard, one of jazz’s most hallowed stages. Accompanying Wendel is a superstar ensemble featuring pianist Gerald Clayton, bassist Linda May Han Oh, and drummer Obed Calvaire.

The album begins with an arresting solo performance by Wendel on tenor saxophone. In the opening track, “Lu,” he sets the stage with a meticulously rendered broken arpeggio, its crisp staccato resonating through the uniquely shaped basement of the Village Vanguard. This moment of solitary sound is not merely an introduction but an invocation—a nod to the storied history of the club and its legendary past performers.

“There’s a power to hearing just one individual playing an instrument,” Wendel explains. “During the Vanguard run, I often started sets alone to highlight the sensory experience of the space. The acoustics at the Vanguard are so intimate that it feels as if the sound is physically embracing you.”

Wendel’s solo introduction is an homage to the jazz greats who have graced this stage, from Sonny Rollins to John Coltrane. It reflects his deep connection to the club’s spirit, which he likens to a benevolent force enveloping musicians with a sense of acceptance and encouragement. “The Vanguard has absorbed all the joy and musical electricity over the decades,” Wendel muses. “Stepping onto that stage felt like a warm embrace from the spirits of of this music.”

Recording live at the Village Vanguard is a significant milestone in any jazz musician’s career. For Wendel, it prompted a moment of reflection and a chance to evaluate his journey as both a composer and instrumentalist. Known for his expansive approach to jazz, Wendel’s work often extends beyond traditional boundaries, incorporating diverse influences and experimental elements. A noted example is his previous album All One, released around the time of the Vanguard date captured on Understory. All One offered lush, sprawling orchestral backdrops designed to surround various soloists, including vocalist Cecile McLorin Salvant and others, and went on to produce Wendel’s first-ever GRAMMY® nomination as a leader.

“I’ve always had a broad curiosity about music,” Wendel says, acknowledging his mother’s influence as a successful opera singer. “I love exploring sounds from different genres and cultures. My work isn’t confined to any one style or tradition.”

Wendel’s diverse discography highlights his range, from his role as a founding member of the genre-defying collective Kneebody to collaborations with artists like Tigran Hamasyan, Bill Frisell, and Snoop Dogg. His commitment to exploration is further exemplified by his work with Japanese shamisen masters and Afro-Cuban musicians, as well as his innovative project with audio-reactive lighting and dance at BIMHUIS in Amsterdam.

Understory is a testament to Wendel’s collaborative spirit. The album features his quartet, comprising long-standing associates in Clayton, Oh, and Calvaire. Their shared history and mutual understanding allow for a dynamic and nuanced interplay that enhances the compositional depth of Wendel’s music.

The album includes original compositions crafted specifically for this engagement, such as “Lu,” which challenges the musicians with its complex metric structures. Other tracks, like “Tao,” delve into contemplative moods, reflecting Wendel’s ability to push boundaries while maintaining a connection to jazz’s core traditions.

Wendel also pays homage to jazz history with tracks like “Proof,” a contrafact of Thelonious Monk’s “Evidence,” and a rendition of “On the Trail,” famously recorded by Jimmy Heath and Wynton Kelly. These pieces showcase Wendel’s technical prowess and his deep appreciation for jazz’s rich heritage.

The creative process behind Understory involved not only the exploration of new musical territories but also a commitment to authenticity. Wendel’s approach emphasizes allowing the musicians to be themselves within the framework of his compositions. “If I did my job right,” he explains, “the musicians don’t have to go against their nature. They play as themselves within the structure of the music, and that’s beautiful.”

Quotes

“Innovator Ben Wendel Redefines the Musical Encounter…a naturally inquisitive musician whose credentials branch out beyond jazz”  NY Times

“A composer with a restless sonic ear.”  LA Times

“Wendel is giving the listener insight into some of today’s sharpest musicians.”  NPR – All Things Considered

“He has a keen ability to balance intellectual curiosity with emotional and melodic impact.”  Downbeat

“Those who wish to be called creative musicians should actually create music, and hardly no one has done that better recently than Ben Wendel. . .”  LA Weekly

Quotes from Ben

“I grew up in the ‘80s, during the birth of hiphop and EDM. And I grew up w/ Radiohead, and Nirvana. It’s inevitable that those influences are going to speak through my music. That’s healthy. We’re in such an interesting time, because people who have training in jazz in many ways are some of the most advanced kinds of musicians out there, harmonically and technically. And they get to use those special powers to channel music that’s a reflection of the times we’re living in. And obviously that time is different than 50 years ago. Or ten years ago.”

“As artists, our job is to understand how the landscape has changed,” Wendel continues. “And then to interact and improvise with it. There’s always positive potential and possibilities.”