Category: Reviews

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Another strong review for Ken Fowser “Standing Tall”…

http://ginalovesjazz.com/ken-fowser-standing-tall/

Ken Fowser – Standing Tall

Ken Fowser "Standing Tall"

 

The twelve original compositions on saxophonist Ken Fowser‘s first album as a leader, “Standing Tall”, show his true mastership in swing, style, and structure. “Head Start” is a perfect album opener with an ebullient, and yet relaxing harmonic overtone that reminds me of some of the finest Impulse releases from the 60s.

The cool and grooving nature of the album continues with “Lucid Dreaming”, where Rick Germansonhas a nicely flowing solo on piano. Ken doubles with trumpeter Josh Bruneaumostly and really transports us into Smoke, New York’s Uptown Jazz mecca, where the intimacy of his playing is probably best represented. Things turn bluesy on “Filling In The Blanks” where Ken’s pretty fat and sonorous tenor sound really comes to the fore.

And with “Off The Path”, another engaging tune, Ken delivers a bouncy showcase for his full band, with Paul Gill on bass and Jason Tiemann on drums. Ken has worked with Jimmy Cobb, David Hazeltine, Ray Drummond, Mickey Roker, to name a few and his sophisticated style in pieces like “The Fade Away” can certainly be attributed to his partners in crime – it has a modern-day Jazz Messengers feel to it. Highly enjoyable and masterfully executed. It’s a thrilling journey, really.

Ken continunes on the flowing, straight-ahead path with another aesthetically timeless piece, “Patience And Optimism”, the latter of which seems to be the continuing thread or motif for his strong playing and the cute compositional skills. My personal favorite for the moment is the title track with its effervescent playing and the deep immersion into some joyful musicianship. And then there is the somewhat brooding style of “Hanging On”, a more introspective kind of tune with a beautiful solo by Rick Germanson. He plays some Barry Harris /Tommy Flanagan-stlye, elegant yet bluesy and thick piano on “Brick’s Tune”, another delightful piece.

 

This is a very promising start into the new year. Ken is playing a couple of shows in New York: He is going to play at The Grange on January 10th (Trio), at Fat Cat on January 14th (Quintet), and the record release party will be at the 9th Note in Stamford, CT, on January 23rd.

–Matthias Kirsch

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Another AAJ review for Jon Davis “Changes Over Time”…

www.allaboutjazz.com

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Jon Davis plays with a richness of soul, exhibiting a well versed jazz character that can go from Jaco (whom he worked with for several years), New Orleans swamp, and freedom jazz dance, to Stevie Wonder, and back. Although he doesn’t try to sound like Bill Evans, he did pen a tune called Waltz for U, named for the trio’s bassist Ugonna Okegwo who was perhaps tiring of the challenges of playing in so many of Davis’ multiple time signatures and took to this groove right away. Evans named his “Waltz for Debby” after his niece. Davis named his after one of the most beloved upright bassists on the scene, having worked with jazz greats too numerous to mention. (I wonder if “Waltz for Scott” was even in the running?)

Okegwo does provide that second leg necessary in any great jazz trio. His sound is rich and earthy, and well suited to Davis. Jochen Rueckert rounds off the group on drums, providing a complement to Davis’ genius- level musings on piano. Rueckert is a character who can go from a Jerry Granelli sounding trio drummer, to the authorship of the long running “Read the Rueckert,” to a music programming alias named Wolff Parkinson White.

Davis was able to add a fresh spin to the standard, “Soul Eyes” that opens the set. I don’t recall any other version of this song with a 7/4 swamp vibe, but that’s how we start the album, which fittingly “resolves” to a sharp 4 over 5 sound. And that’s all just to whet our appetite for how Davis can apply his incredible jazz vocabulary across a spectrum of sounds.

For example “Just For Fun” started off as “Confirmation” but ended up in the relative minor, with “a cool descending chromatic harmony for the A sections.” It became a favorite oft-requested song of his band, who are just guys who like to have fun, right? 

“Las Olas” speaks to the richness of Davis’ knowledge and experience in jazz, since it exquisitely pays tribute to the great Jaco Pastorius, his former band mate. According to Davis “This is one of the lesser known Jaco Pastorius masterpieces. I think he was probably thinking a little bit of the Herbie Hancock tune with a similar feel, “Speak Like A Child,” which Jaco recorded on his debut record. This is another one named for a location in Jaco’s home state of Florida.”

Other highlights include “Klutz,” that starts off with an angled piano intro, mixes in hints of Monk, and explores disjunct elements between two piano hands. “Jazz Vampire” came after listening to modern classical and 12 tone music, and takes some giant steps towards a new type of composition. Or perhaps due to his frequent late night gigging, it speaks to caffeine abuse, but I’m speculating.

There’s much more to discuss, such as a Stevie Wonder “reharm,” something that’s “swampy-light funky” called “The Peacocks” and even a tune for Posi-tone producer Marc Free.

Track Listing: Soul Eyes; Just For Fun; Las Olas; Changes Over Time; Yesterday; Klutz; Jazz Vampire; The Peacocks; It’s For Free; My Cherie Amour; Slowly But Surely; Waltz For U.

Personnel: Jon Davis: piano; Ugonna Okegwo: bass; Jochen Rueckert: drums.

 

 

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Dan Bilawsky reviews Jon Davis “Changes Over Time”…

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www.allaboutjazz.com

While there are no liner notes to accompany pianist Jon Davis’ third date for the Posi-Tone imprint, there’s a quote inside the package, attributed to author Anne Rice, that gets to the heart of the matter: “None of us really changes over time. We only become more fully what we are.” So is personal evolution and growth an illusion? Is development a figment of the individual’s imagination? Yes and no would be the correct answer(s). It really just comes down to perspective. Plenty of people would say that deepening one’s very being is change. Others would argue that change and self-actualization are two very different things. This writer’s take? It’s a semantics-based argument that’s not worth having in this particular instance. Better to focus on the music than wax philosophical.

Changes Over Time is a piano trio date that splits focus almost evenly between familiar covers and originals. That’s not such a novel concept for Davis, given the fact that the same exact thing can be said for One Up Front (Posi-Tone, 2013) and Moving Right Along(Posi-Tone, 2015). But who gives a damn about novel concepts if the music sounds this good?! There’s a level of comfort and sophistication in these performances that eludes most trios, and Davis, who already had it all together when he started his trio run with Posi-Tone, seems to be getting better and better with each date.

Here, Davis breaks in a new threesome on record, teaming up with bassistUgonna Okegwo, who many may remember as the backbone in pianist Jacky Terrasson‘s breakout trio, and drummer Jochen Rueckert, a fluid and swinging presence who’s worked with pianist Marc Copland, guitarist Kurt Rosenwinkel, saxophonist Melissa Aldana, and plenty of other notables. It proves to be the best lineup that Davis has used to date. These three were made for each other, and that’s obvious from the first notes of the first song on this album—a thoroughly enjoyable, laid-back version of “Soul Eyes” in seven. Davis sounds relaxed and confident while Rueckert and Okegwo set up a million dollar feel. The same can be said for any number of songs on this album—the angular, bluesy, odd-metered title track; The Beatles’ “Yesterday,” reharmonized to suit Davis’ liking; the probing “It’s For Free,” a piece that finds the trio in drive-and-search mode; and a mellow, flowing take onStevie Wonder‘s “My Cherie Amour” included. The list of strong performances goes on and on. Jon Davis’ formula may not be changing from album to album, but his artistry is certainly ripening with each release.

Track Listing: Soul Eyes; Just For Fun; Las Olas; Changes Over Time; Yesterday; Klutz; Jazz Vampire; The Peacocks; It’s For Free; My Cherie Amour; Slowly But Surely; Waltz For U.

 

 

 

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Jon Davis – “Changes Over Time” reviewed by Midwest Record

JON DAVIS/Changes Over Time: A swinging, jazz piano trio date with a such a classic feel that you might think this was Ramsey Lewis or Gene Harris if you heard it bleeding through a neighbor’s wall or someone’s headphones. Right on the money throughout, Davis knows how to mix swing with class and sass making this a thoroughbred of sitting down, listening music. Helmed by an unassailable pro, this is the real deal for all piano trio fans obsessed with great playing over everything else.  -Midwest Record

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Midwest Record on the new one from Ken Fowser

KEN FOWSER/Standing Tall: 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.  -Midwest Record

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Amazing review for Ken Fowser “Standing Tall”…..

jazzdagama.com

 

A first listen to the young tenor saxophonist, Ken Fowser’s performance on Standing Tallleft me enormously impressed. A second and indeed a third hearing prompts, once more, enthusiasm for his shot-from-guns virtuosity, his leaping into the fray like one fearlessly possessed. No reservations arise when studying his compositions, which are youthful and ebullient, yet erudite and featuring wonderful twists and turns that far belie youthful bluster and experimentation. Mr. Fowser is much to my surprise, a serious composer with a serious knowledge of jazz and its pantheon of gods and other celestial beings. He has, therefore an exacting sense of history and although he sometimes forms a straight line from Benny Golson to the present he is quite his own man, with a singular voice and a surprisingly individual writer as well.

mindset2I am the first to celebrate such individuality for its extra edge and audacity and take no issue with his occasional impetuosity under studio conditions. His producer Marc Free does not seem to mind and seems to encourage these forays into youthfulness. So while you are left to wonder at his blaze of youthful power and aplomb in the inchoate whirl of compositions that stretch from Head Start to Somebody’s Got To Do it from this same set where the compositions break out into frequent moments of light and jazzy boperation, you are also left dumbstruck by a great maturity of imagination about this virtuosity of dreaming; a player with a classic poise that illuminates the work here rather than take away from the composer’s high-octane rhetoric and fervour.

Of course, none of this would matter if it were not for his doppelganger, Josh Bruneau on trumpet, Rick Germanson on piano, John Tiemann on drums and Paul Gill on bass. Their powerful contributions beg instant acknowledgement. Happier in forte and fortissimo than in pianissimo and piano Mr. Fowser is also hardly without his gentle tremulous end to long and loping lines. He is also relentless in the magical trellis of his melodic invention and the generation of harmony that he leads Mr. Bruneau, Mr. Germanson and Messer’s. Gill and Tiemann too. The result is a performance of great import as you may expect with Marc Free’s legendary touch on all of his (the producer’s) recordings.

More generally, heard as part of Mr. Fowser’s audience, many of these performances would carry you all the way. In the more relaxed all-acoustic circumstances of this recording no reservations about sound and content can occur. At his best Ken Fowser reminds us of the power and moist tone colours of his instrument fired to fame by any of the songs on this album. In the turbulent rhythms advancing us to the climax of this recording you can only marvel at Ken Fowser’s early achievement while looking forward to hearing him in similar circumstances again. Recorded sound is good, but that may be a function of listening to the music in mp3 format. I wonder what the full range of a recording’s fidelity would sound like coming from studio monitors.

Track List: 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.

Personnel: Ken Fowser: tenor saxophone; Josh Bruneau: trumpet; Rick Germanson: piano; Paul Gill: bass; John Tiemann: drums; Marc Free: producer.

 

 

 

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“Decisions” by Michael Dease gets reviewed by All About Jazz

When it comes to decision-making, not everything is black and white or right and wrong. On occasion there are multiple paths that can be seen as the correct choice, and trombonist Michael Dease truly understands that. Dease came to a significant fork in life’s road when he found himself in a position to decide whether to remain a first-call New York-based player or move to Michigan. He ultimately chose the latter option and it hasn’t hurt him one bit, as his career as an educator at Michigan State University has blossomed and he still makes his presence felt on record and in the jazz community at large. But in truth, either choice probably would’ve worked out just fine for Dease, as some life decisions can potentially offer multiple outcomes that all prove to be positive in the long run.

That experience can be seen as a parallel to making this album. Dease could’ve gone in multiple directions here, as there was no prescribed track. In the end, he put together a small group, paved a path that’s basically straight down the middle, and split the program between originals and covers, showcasing the lyrical qualities in his playing in various settings. Those happen to have been excellent choices, though the same thing probably could’ve been said had he gone in any number of other directions. Such is jazz, the art of album-making, and life in general.

Dease kicks off this program with three numbers that basically sum up what he’s about: his penchant for swinging scenarios comes through on trombonist Steve Davis‘ Jazz Messengers-worthy “Grove’s Groove,” his appreciation for earthier sounds is apparent on the funky “Jason’s Gonna Get Ya,” and his ability to put his heart into the music surfaces during “Trayvon.” Everything that follows can somehow be tied back to those three preferences or properties, but it’s not just Dease who’s working those lines. The other musicians take cues from Dease, amplifying his personality in the process. Drummer Ulysses Owens Jr. and bassist Rodney Whitaker deliver swing foundations in various shapes, forms, and gears; pianist Glenn Zaleski covers a wide range of emotions in his work, delivering bluesy banter, Ellington-esque swaths of color, comforting chordal gestures, and guidepost comping; and saxophonist Tim Green adds another layer of complexity to the mix when he appears, giving his two cents as a soloist, bringing greater energy to the music, and joining forces with Dease to add weight to the heads.

There’s a good deal of stability and uniformity in the direction(s) that Dease takes, but said consistency never has a negative impact on the way this album is received. While certain rhythmic and stylistic traits are endemic to many of his songs, Dease doesn’t compose or arrange from a mold. Each song speaks with a different voice and nary a bad decision can be observed here.

Track Listing: Grove’s Groove; Jason’s Gonna Get Ya; Trayvon; Gorgeous Gwen; Decisions; Right Place Wrong Time; Everything Must Change; Three And One; You’re My Everything; The Big D.

-Dan Bilawsky – All About Jazz

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Dusty Groove has something to say about “Back East” by Doug Webb

doug-webb-smDOUG WEBB – BACK EAST

Tenorist Doug Webb jumps into the fray right from the very first note on this excellent set – a further continuation of his recent development as both a soloist and writer! Webb’s got a style that’s deeply classic, yet very personal too – not just a rehash of older tenor modes, but a way of drawing on their depth, and refocusing it into these surprisingly nimble lines – beautifully rhythmic passages that have the tonal colors really lighting up along the way – as Doug’s horn resonates strongly with the piano lines from Peter Zak, over the more than able rhythms from Ben Wolfe on bass and Rudy Royston on drums! The whole record’s got a simple, understated power that comes across very well on first listen – and only seems to delight more and more upon repeated spins – and titles include the Webb originals “Back East”, “Sally’s Song”, “RDW Esq”, “Stanley”, “Mr Green”, and “Snicker’s Lament”.

~ Dusty Groove

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Midwest Record chimes in on “Back East” by Doug Webb

DOUG WEBB/Back East

Is the saxophonic bad boy simply playing with raging intensity or is he bringing the daddio in unabashed fine style? No matter, when you’ve been a pro for over 30 years and other pros have always called on you because they know you will not misfire with tape rolling, to maintain this kind of energy and drive gives you the right to call it whatever you want. With a crew that’s right in step behind him, this is sure to be one of those smoking jazzbo dates that gets handed down from generation to generation as an example of killer playing on the loose. Fine stuff throughout.

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“Back East” by Doug Webb gets Dusted

mindset2Doug Webb – Back East (Positone)

A germane quote from Herman Hesse graces the tray card of Back East, tenorist Doug Webb’s fourth album for the Positone imprint. The words codify the compass point not just as something concrete, but also as an intangible concept better suited to the province of the mind. Tenorist Doug Webb is steeped in the East Coast jazz vernacular of his instrument from Coltrane on down. That abiding and encyclopedic knowledge informs the date while also raising some provoking questions about the tenacity of tradition and how best to reconcile it with continued efforts at fresh artistic expression.

Webb’s crackerjack rhythm section is right in tune with his no-nonsense designs. Pianist Peter Zak practices a less-is-more economy, switching from sparse, but supportive, comping to porous, but brief, solos that rarely fail in cutting to the melodic quick. Bassist Ben Wolfe and drummer Rudy Royston lock regularly on a breathing groove, the former extracting elastic snaps on his down strokes while the latter stokes the beat with smoothly synched cymbal and snare activity and choicely situated fills. With these foundational bases covered Webb is free to fire off ripe tenor salvos at will as on the effusive title opener, an up-tempo sprint that gets the job done beautifully in three-minutes and change.

Next, the band downshifts to an ambrosial ballad “Sally’s Song” and it’s here where the album’s arguable predictability begins to take purchase. Webb’s waltzing improvisation dances across Zak’s gilded chords while Wolfe and Royston add embellishments from their respective stereo channels. Mid-tempo and lightly bluesy, “Spiral” shifts the mood again in expected fashion leading into “RDW Esq.” (a Webb relation?) which practically proclaims an Atlantic-era Coltrane influence in the leader’s burnished phrasing. Familiar features ensue, a Jobim tune, one from Mancini and tribute to another tenor titan answering to the surname Turrentine in “Stanley”. Mileage will vary as to what degree these familiar signposts and ingredients erode the album’s singularity, but the superlative playing by all four musicians largely resists and subverts comparable reproach.

Derek Taylor