I started playing jazz standards on vibes when I was a teenager. I spent many years transcribing tunes and solos from the masters, transposing them through all 12 keys, studying all the possible chord extensions, and improvising on them daily. I played in combos and big bands through school, but when I started my career I moved more into the "new music" and experimental realms and my engagement with jazz standards went dormant.

These days I'm fortunate enough to have the legendary Bill Charlap as a colleague at William Paterson University and he has inspired me to give them a fresh look. His office is literally across the hall from mine and casual conversations about jazz often slip into inspiring lessons in the myriad possibilities that standards offer a creative soul.

Of course, I make no claims to possess the kind of mastery that Bill has over the American Songbook. His knowledge of that repertoire is very deep, thorough, and heartfelt. I'm in awe of his musicianship and technical command, and also of his humility and generosity. If I'm a pebble, he's Mount Everest.

Nonetheless, Bill inspired me to take another look at the standards. But I see no reason to play them in a straight-ahead fashion. There are already scores of wonderful players doing that. What could I possibly add?

What I bring to the table is my extensive engagement with experimental music, modernism, open improvisation, and Hindustani music. It is through those lens that I've tackled one of the most seminal tunes: Jerome Kern and Oscar Hammerstein II's "All the Things You Are," originally part of the 1939 film "Very Warm for May."

I did my homework again. I listened to many recordings, including Ella Fitzgerald, Frank Sinatra, Charlie Parker, and many others, worked it through several keys, checked over the harmonies, and spent weeks mulling it over and exploring. When I was finally ready to record, I was in a fever for several days, the tune running through my head at all hours of the day. The result is nine tracks that explore various approaches to the tune, an extended theme and variations. (I also revisited Beethoven's "Diabelli Variations," for obvious reasons.)

Is it jazz? I think so, but I'm not entirely sure, but I'm also not too worried about that. My job is to create music that feels important to me, that resonates in my spirit. I'll let other people decide what to call it. Whatever it is, I hope you enjoy it.

--Payton MacDonald