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Tradition is a minefield topic in the context of modern jazz. Its tractor beam pull on contemporary players invites the expenditure of ink and pixel pro and con like scarce others. Tenorist Ken Fowser appears to recognize that the best way to contend with the figurative elephant of precedence is feed it personalized peanuts, however thin the shells. Audition Standing Tall for jazz neophytes alongside Herbie Hancock’s Maiden Voyage, Wayne Shorter’s Speak No Evil or any of another dozen vintage postbop albums and the listeners would likely end up erroneous in placing it as contemporaneous.

Some among the cognoscenti would find this subjective interchangeability of artistic outcomes opprobrious. Fowser and his compatriots seem rightly unperturbed, preferring instead to content themselves with the satisfying industry of creative expression regardless of whether the angel of innovation alights on their activities or not. Twelve pieces, all from Fowser’s pen, traffic in mellifluous small group jazz of the sort that came to popular prominence over a half century ago. Sharply spun heads as springboards for concise solos are the menu items on offer. If they all exude the enticing if familiar aromas of conventional counter fare so be it.

Trumpeter Josh Bruneau divides front line privileges with the leader and adopts a crisp, nimble attack parallel to purview of past heroes who answered to the surnames Hubbard and Morgan. Pianist Rick Germanson fronts the rhythm section with bassist Paul Gill and drummer Jason Tiemann. All five bring life to Fowser’s charts with enthusiasm and aplomb and the tunes are uniformly oriented to an egalitarian parity between individual and ensemble expression. “Filling in the Blanks” harkens directly to the assertive vamp-based vernacular of classic Billy Harper sans the spiritual heat while “Mode for Red” beats a bustling beeline for collective sweat-breaking catharsis.

Later pieces like “Patience and Optimism” and “Hanging On” emphasize the clean and cooperative fit between Fowser and Bruneau both in unison and apart alongside Germason’s easy talent for tasteful comping. Bruneau also seizes a couple opportunities to affix mute and blow with a pleasingly dampened tone. Due to the economy of compositions Gill and Tiemann don’t earn comparable time in the spotlight, but their group-minded contributions are equally essential to the results. An inverse of the “old bottles, new wine” adage, the music here is still worth knocking back at a leisurely pace.

Derek Taylor

Ken Fowser – Standing Tall – Posi-Tone PR 8145, 58:55 ****:

(Ken Fowser – tenor sax; Josh Bruneau – trumpet; Rick Germanson – piano; Paul Gill – bass; Jason Tiemann – drums)

While tenor saxophonist Ken Fowser has recorded four CDs for the Posi-Tone label going back to 2009, they have all been as a co-leader with vibraphonist Behn Gillece. With his new release, Standing Tall, Fowser easily claims he was more than ready to take the solo spotlight. Having written all twelve solid compositions, it’s a wonder that it has taken this long to make his leader debut.

From the opening track, “Head Start,” all the way to the closer, “Somebody Got to Do It”, there is an up-front hard bop swagger that is deeply contagious. It brings to mind Eric Alexander’s work with Jim Rotondi on One For All, as Fowser effortlessly tears into the melody along with front line mate, trumpeter Josh Bruneau. Pianist Rick Germanson is fully involved laying down sparkling piano accompaniment, both comping and taking lead. The ensemble blend is a modern version of a Blakey and the Jazz Messengers, both soulful and sophisticated.

It’s music that you will find regularly at both Smoke and Smalls in New York City where Fowser has found a home. “Filling in the Blanks” has some righteous tenor blues credentials, and Germanson contributes mightily. Some serious “head-nodding” ensues. “Mode for Red” is an up tempo burner showing Ken and Josh in high gear. The title track is a sweet ballad showing off a silky smooth gentle side.

Producer Marc Free, working with engineering partner Nick O’Toole gets the sound mix just right. They’ve got a winning combo with this septet. Let’s hope they return to the recording studio soon. The title of this CD says it all…

TrackList: Head Start, Lucid Dreaming, Filling in the Blanks, Off the Path, Mode for Red, The Fade Away, Patience and Optimism, Standing Tall, Hanging On, Brick’s Tune, Timeless, Somebody Got to Do It

—Jeff Krow

Ken Fowser – Standing Tall – Something Else!

After making four solid, post-bop jazz records with vibes specialist Behn Gillece, tenor sax man Ken Fowser has stepped out on his own to make a solid, post-bop jazz record. Standing Tall, released on January 15, 2016 (Posi-Tone Records), puts Fowser in another small combo setting,…Fowser wrote all of the tunes, and they are faithfully in the style of classic Blue Note. That, combined with the usual Posi-Tone warm, unblemished production puts Standing Tall in a space shared by Wayne Shorter’s The Soothsayer or Horace Silver’s The Jody Grind. The old school chops are there, too.

midwest record

If you’re any kind of a jazzbo, you know Fowser’s name but you’ll probably be surprised this is his first date as a leader. Swinging that sax like he was born holding it, Fowser isn’t letting grass grow under his feet as he delivers a pure, classic New York sound that can easily take you back to days you weren’t around for in the first place on a set of originals that aren’t filler. Engaging because he’s playing without affectation, he’s the real deal that knows from whence modern sax came from with Four Brothers as his starting point merging lessons learned with vision clear. Muscular, solid playing that makes this a winner throughout.
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