The spiritual nature of saxophonist Khari Allen Lee’s musical and philosophical state of mind is immediately revealed on the album’s opening, title track, “Our Great Awakening.” Pianist Michael Pellera begins the tune, a Lee original, with quiet elegance as its emotional impact intensifies with drummer Geoff Clapp’s tasteful use of mallets. Lee takes it further as he pleads, cries, prays and rejoices tonally on his alto. A rush of notes emanate from his sax while Pellera’s piano becomes the river that runs through it.

Our Great Awakening was recorded live last year at Snug Harbor, and though it might seem odd to say, it sounds like it. That element goes beyond the onstage introductions and song descriptions, which, though heartfelt and informative, are fortunately separate “Interlude” tracks so can be avoided when downloading. It’s the warmth of the room and audience, the compatibility of the musicians, and even the mix of the tune selection—new compositions from Lee and bassist David Pulphus, creative endeavors, lovely ballads and a touch of funk—that would have a familiar flavor to regulars at the Frenchmen Street jazz mecca.

Lee celebrates both the “divine feminine” and the “divine masculine” as he describes aspects of our world in two tunes. First comes the soothing ballet-feel of “Song for the Goddess.” Naturally, it is energized by Pellera’s brilliant, demanding piano and brought home by Lee’s lovely saxophone. Pulphus contributes the other gender-oriented cut, “Will I Ever See My Father Again?” He gets the opening solo on a tune that rhythmically gets a funkier treatment. Allen even does some honkin’.

Khari Allen Lee, a member of Irvin Mayfield’s New Orleans Jazz Orchestra and trombonist Delfeayo Marsalis’ Uptown Jazz Orchestra, is a dynamic blower and compelling figure on this city’s jazz scene. Our Great Awakening lives to rouse the soul.