JUSTIN PIERCE, Sway

There’s an immediate sense of occasion when Justin Pierce’s tenor saxophone enters Sway, but the real surprise is how effortlessly his Dallas-Fort Worth-based jazz quartet turns a collection of familiar standards into an unexpectedly vibrant, thoroughly alive contemporary set. Recorded in Dallas with vocalist Ashley Pierce—Justin’s wife and musical partner—alongside pianist Sean Michael Giddings, bassist Young Heo and drummer Matt Young, the ten-track set is steeped in classic swing while happily wandering into Latin, samba, New Orleans and smooth-jazz territory. A celebrated saxophonist, educator and former lead alto player with the University of North Texas One O’Clock Lab Band, Pierce brings impressive technique to the date, but never allows virtuosity to overpower his expressive, uniquely modulated melodies.

The title track gets things moving with a lively Latin piano vamp beneath Justin’s silky tenor and Ashley’s clear, expressive vocals. Her extended notes and playful phrasing give the standard a sensual sparkle before Justin launches into a colorful improvisation, followed by a buoyant piano solo. That sax-to-piano handoff becomes one of the album’s signatures. On “Honeysuckle Rose,” Ashley emerges from a sparse bass-and-voice opening with sassy, affectionate phrasing before the trio settles into traditional swing. Justin then answers with a jaunty solo that grows increasingly adventurous, while Giddings follows with equally inventivesoulf piano work.

“The Jody Grind” pays tribute to Horace Silver with stop-and-start sax lines, funky bass, shifting tempos and increasingly wild exploratory flights, while Henry Mancini’s “Meglio Stasera” gets a perky Brazilian makeover, with Ashley singing in Portuguese over a brisk bossa nova pulse. Miles Davis’ “All Blues” may be the biggest stylistic left turn, transformed into a bustling New Orleans second-line romp where Pierce’s tenor darts through booming drums, punchy piano and a rambunctious rhythmic engine.

The Pierces’ creative chemistry is especially effective on “Alone Together,” where Ashley’s bright, romantic vibe leads naturally into Justin’s smoky saxophone and another freewheeling piano excursion. “Moon River” provides an elegant change of pace, with Ashley’s lovely, restrained delivery floating over brushed drums and piano before Justin offers a smooth, subtly crafty solo. “In a Sentimental Mood” goes even deeper, opening with Giddings’ exploratory piano before Pierce settles into a breathy lower-register sax melody of remarkable intimacy. Then comes a joyful reimagining of “Just the Two of Us,” followed by a feisty New Orleans-styled “L-O-V-E” that brings the album home with Ashley’s playful exuberance, Justin’s punchy tenor and a triumphant rhythmic finish.

Sway is ultimately a celebration of standards as living music—not museum pieces, but songs flexible enough to absorb new grooves, fresh personalities and spirited improv, Pierce and his exceptional ensemble understand that honoring the tradition sometimes means giving it a good shake.