After more than twenty years performing together, saxophonist Justin Pierce and vocalist Ashley Pierce finally transfer their musical partnership from the bandstand to the recording studio with their debut album, “Sway.” This record is a collection of ten familiar standards adapted for dance floors and late-night conversations.
Recorded during a single session in Dallas, Sway brings the Pierces together with pianist Sean Michael Giddings, bassist Young Heo and Grammy-nominated drummer Matt Young. Rather than surrounding the standards with elaborate orchestration, Pierce uses a compact piano-bass-drums setting that leaves plenty of room for Ashley’s voice and his own saxophone.
https://justinpierce.bandcamp.com/album/sway
The title track establishes the album’s intentions clearly as Ashley sings over a relaxed Latin groove. It is a natural opening statement for musicians who have spent much of their careers performing for galas and private events. “Sway” does not appear embarrassed by jazz’s ability to create atmosphere, and treats that quality as one of the music’s strengths.
The track selection moves comfortably across several corners of the jazz tradition. “Honeysuckle Rose” provides the familiar swing material, while “Alone Together” and “In a Sentimental Mood” bring a more nocturnal, reflective quality. “Meglio Stasera” is given a samba-driven treatment and sung in Italian, adding some international color without disrupting the album’s elegant lounge atmosphere.
Two arrangements seem particularly important to the project’s identity. “Moon River” is recast with less fragility than the Audrey Hepburn original, and presented as a more dignified reflection on loneliness. More adventurous is Miles Davis’s “All Blues,” which is transformed into a New Orleans-style second line. That decision moves the piece away from the cool, floating character of the original and toward something more rhythmically animated.
The production team reinforces the emphasis the Pierces place on natural performance. Justin produced the album himself, with Rosana Eckert overseeing vocal production, Kent Stump mixing and James Driscoll mastering. The absence of a record label behind the release further makes Sway feel like a deliberately personal project rather than an attempt to follow a commercial jazz formula.
Ultimately, Sway seems designed to invite rather than challenge. Its warmth should not be mistaken for a lack of substance: creating music that feels relaxed requires considerable discipline, especially when dealing with repertoire listeners already know intimately. This is a polished and inviting debut, strengthened by the Pierces’ genuine musical chemistry and a more than capable rhythm section.