Category: Reviews

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A new review for Sean Nowell “Firewerks”…

www.criticaljazz.com

If you follow the basic premise that ECM records invented the piano trio then Posi-Tone is not terribly far behind when it comes to churning out releases from some of the brightest tenor stars of this generation. Ralph Bowen, Tom Tallitsch, Brandon Wright are but a few of the tenor giants of Posi -Tone and now we have Sean Nowell from this classic 2007 release Firewerks.
The musical question here is can a hard charging tenor player from Alabama find peace and artistic fulfillment in New York?
Yes!
While Nowell can hold his own and then some on any bandstand, his compositional skills are equally as impressive as are the inventive arrangements on this release where Nowell is responsible for six of the eight compositions. Nowell is the real deal and this is meat and potatoes post bop. A groove you can sink your teeth into and always leaves you satisfied. “Resolution of Self” is a Nowell tune where pianist Art Hirahara seems to take the lyrical reins for a slightly zen like less is more approach until suddenly the ensemble begins a controlled harmonic free fall with dual horn lines and dynamics that are literally shifted on the fly but done so in such a cohesive fashion as to give the listener that this is merely improvisational chops taken to the next level as the quintet seems to relish working without a harmonic net. “Inner Universe” is a reharmonization of a tune by Anime composer Yoko Kanno. While an inner pulse is developed with the drum and bass reinvention of “Inner Universe” this tune is somehow brought together in a more contemporary style that revolutionary for 2007 is far more common place in 2012. Bjork has always been an artist that left me somewhat cold and musically unfulfilled yet every cover of her music set in a more straight ahead fashion seems to work with amazing ease of translation and the tune “Isobel” is no exception.
Firewerks is Sean Nowell’s first release on the Posi-Tone label and each subsequent release is in turn critically acclaimed as soon as review copies are made available. While Nowell’s command of rhythmic inventiveness is paired perfectly with his lyrical command, finding a tenor saxophonist that is also as skilled in the art of composition is a daunting task indeed. Firewerks is somewhat reminiscent of the classic small ensemble works coming out of Blue Note and Impulse back in the mid 1960’s but with a contemporary riff on the glory days of two labels ( Blue Note and Verve ) who have long since turned their back on the music that built their labels. Meanwhile both Nowell and Posi-Tone continue to fill their void with first call musicians and swing of the very highest artistic caliber. It would be unfair not to mention that Wayne Shorter has recently signed a deal with Blue Note however at this point in Shorter’s career I am not sure this is as exciting as it may sound. Posi-Tone is committed to bringing the listener the very finest in jazz for the long haul and not simply in an effort for a quick and easy payday.
Sean Nowell latest release Stockholm Swingin’ is living proof as to the investment made and the subsequent payoff in “staying the course.”
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Brent Black reviews Sarah Manning “Dandelion Clock”…

www.criticaljazz.com

Far more than a pretty face finds alto saxophonist Sarah Manning walking the musical tightrope between the more free form and the more accessible with the result a perfect balance of artistic flavor and texture without ever pushing the listener over the edge with self indulgence. One key element of Dandelion Clock that seems to leap out and ironically a stated goal of Manning’s is the more working band approach of a jazz day long since gone. Today we have individual stars fronting quartets with even most fans hard pressed to name all participants. Manning has the prolific talents of Art Hirahara on piano along with a seasoned bassist in Linda Oh and drummer Kyle Struve who is far more than a human metronome here as he owns the pocket.
Having often used the term sonic exploratory to describe a musician that is attempting to reach deep. Sarah Manning performs far more than a sonic exploratory she digs deep and goes well past the heart and shares a piece of her musical soul, her sonic DNA and we are the better for it. Manning’s sonic is edgy, Sonny Stitt meets David Sanborn for that unique hybrid that seems to be sneaking into the straight ahead scene for a more throwback lyrical sound yet somehow accessible from a more contemporary perspective. “The Peacocks” opens the release and is a perfect example of a controlled lyrical sonic fury. This Jimmy Rowles classic has never sounded more alive than in Manning’s most capable hands. The only other cover on this release which ironically closes Dandelion Clock is the Michele LeGrand tune “Windmills Of Your Mind.” Manning is fearless on the LeGrand tune placing her own indelible stamp on a classic. The remaining tunes are all Manning compositions which should have a great many heads turning. “Marble” is an odd metered gem punctuated with shifting harmonics and a solo from Hirahara that seems to bring all participants back to the slightly more abstract sense of melody that permeates this release. There are a great many young players that hang out in odd meter or subscribe to the speed is king philosophy as there seems to be that concern of becoming the next big thing as opposed to developing an artistic voice. Manning is an edgy and hard charging post bop player. There is also a keen sense of melody and Manning is clearly hearing lyrical lines differently than most players. “Crossing Waiting” is another incredibly original tune staring off like something out of the Charlie Parker songbook only to be magically transformed into a tune with plenty of gas in the tank as pianist Hirahara turns in a performance reminiscent of Herbie Hancock on steroids. The subtle finesse of bassist Oh and drummer Struve give up something new with each subsequent spin of the disc.
Dandelion Clock does more than push the sonic envelope, it goes out registered mail. Far more of a sonic adventure than any Posi-Tune release I have heard thus far it is as engaging and captivating a release as you will find in their catalog. Accessible yet slightly more free form than most releases there is an intoxicating organic presentation that allows the freedom and sonic pulse to develop naturally thus making this one of the finer discs you may have missed over the past two years.
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Orrin Evans “Flip the Script” gets a mention on the i dig jazz blog…

idigjazz.blogspot.com

Jazz piano player Orrin Evans has never received the press his peers Jason Moran and Cyrus Chestnut have. Evans, a swing savvy musician, deserves the same attention. To support that opinion, I point to Evans’ new trio album “Flip the Script,” which Posi-Tone Records will release the 12th of June. Evans plays mostly originals, and he tosses in “Someday My Prince Will Come” and Luther Vandross’ “A Brand New Day”. On fast tempo numbers such as “Clean House” and “Flip The Script,” Evans sounds like bop icon Bud Powell, zooming through the changes. Throughout his career, Evans has consistently put out stellar jazz albums.
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i dig jazz reviews Brandon Wright “Journeyman”…

idigjazz.blogspot.com

I promised Jordy Freed of DL Media I’d comment on your new disc “Journeyman”. He gave me an advance copy in April. I liked the disc the first time I played it. I planned to comment on it with three other new discs I received from jazz saxophone players, but I got sidetracked. Jordy, compared your style to the late sax player Michael Brecker, one of the best sax stylists around.

Saturday, I played “Journeyman” again. My feelings about it haven’t changed. It’s hard to find a pure jazz album devoid of circus gimmicks and a bunch of special guests .
Instead of hiring big named special guests, you gave drummer Donald Edwards. piano player David Kikoski and bass player Boris Kozlov top billing, and worked them like subcontractors.  I dig that you’re a clean-cut jazz sax player. You don’t have a lot of frequent flier miles as a bandleader yet, but throughout “Journeyman” you behaved like a dignified veteran.
Many jazz sax players of your generation play as if they have bottled up hostility. I won’t name them. Some are probably your friends. I was surprised “Journeyman” is only your second disc. My favorite cuts are “Walk of Shame”  and “Illusion of Light”.

I had three helpings of “Walk of Shame”. It’s played at a rump shaking tempo. You didn’t get carried  away  improvising. You kept it clean. I replayed the ballad “Illusion of Light” five times. I disliked it initially. I figured you hadn’t endured enough heartache to play a ballad like your sax forefathers Ben Webster, Jimmy Forrest, and Dexter Gordon. They were balladeers who could make a motivational speaker weep.

 Sometimes I distrust my first impression of things, so I listened to “Illusion of Light” again. “Illusion of Light,“ I realized, is the perfect baby making ballad. As you neared the last chorus, I pictured your horn melting in your hands. “ Jordy was right “Journeyman” is a worthwhile disc, and I recommend my reader’s buy it.
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An international review for Ralph Bowen “Total Eclipse”…

saxsoundsmagazine.com

Come from the distant mountains Canada, like most level players, he also got into this at an early age. At just 13 years already had his quartet in Toronto. As a teenager, he received a scholarship to study at the Canada Council For The Arts. He studied with drummer LaBarbera and Kieth Blackley. In addition, he performed and recorded with Canadian fusion group, “Manteca.” And in 1983 and 1984, was awarded two more scholarships to continue their studies at the Jazz Department at the University of Indiana, where he honed his skills in the Artist Diploma program under the tutelage of David Baker. In 1985, he and Cecil Taylor were elected “Jazz Main Men of the Year” by Canada’s Toronto Globe. Bowen also won an audition at the Blue Note, being co-leader in what is known in the contemporary jazz band Out of the Blue (OTB). He moved to New York and recorded four albums for Blue Note. After recording a series of albums for the Dutch label Criss Cross Jazz. And more recently, working for the Posi-Tone label.
In 1986, Bowen began to travel across five continents, acclaimed pianist Michel Camilo, who eventually recorded a few jobs for soundtracks and movies. In addition, between 1986 and 1991, Bowen completed three world tours with pianists Horace Silver and Jim Beard.
The swing set is the rhythmic feel of music pora interaction and chemistry between the musicians. Swing or groove, is manifested as a visceral response in which you feel like your hips and your feet move independently, outside of your own will.
Ralph Bowen, with his new album “Total Eclipse” calls into question any theory of voluntary movement of the feet and hips.
There are a lot of tenoristas with great ability to play notes and more notes. Bowen is a master of the technique to blow with the precision of a watchmaker, while drawing intense lyrical swing from the inside. But on this trip to the proximity to the public, accompanying four musicazos tightly coupled to the concept of Ralph. Jared Gold the organ, is the perfect visionary. Mike Moreno’s guitar adds texture and arrogance to the group, to become much more than a mere sideman. Rudy Royston is perhaps one of the batteries today that more understated work. If Royston is one of danger, which is responsible for the rhythm section. No bass or bass, but he stands firm with its battery casing.
While there is no doubt that Ralph Bowen may sound like a beast, perhaps the most fascinating aspect of “Total Eclipse” is its variety and texture. Looking on any page of the agenda of musicians with ECM sound, there is an ebb and flow, allowing the jazz version offer something new at every turn that gives the disc. Any release for jazzmans faint of heart, the perfect example of controlled sonic fury. A swing that may be hard, but honest and with a great sense of poetry. There is no swing jazz!

Artists: Ralph Bowen, sax | Jared Gold, organ | Mike Moreno, guitar | Rudy Royston on drums.

Topics: 1 “Total Eclipse”, 2 “Behind The Curtain”, 3 “Into the City”, 4 “The Dowsing Rod”, 5 “On Green”, 6 “Arrows Of The Light”, 7 “Exosphere”, 8 ” Hip Check “, 9” In My Dreams “.

Edit: Posi-Tone (2012)

By Arion Molina | May 12, 2012


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Step Tempest reviews Orrin Evans “Flip the Script”…

steptempest.blogspot.com

Pianist-composer Orrin Evans makes music that can be confrontational, hard-edged, and vigorous yet has a melodic side that, like Charles Mingus, allows his pieces to go in many and varied directions.  Evans has released a series of CDs on Posi-Tone Records that displays his many talents, from the forceful Captain Black Big Band to the trenchant sounds of Tar Baby (with the dynamic rhythm section of bassist Eric Revis and drummer Nasheet Waits) to his celebration of Philadelphia on “Freedom” to his tribute to saxophonist Bobby Watson on “Faith in Action.”  His new CD, “Flip The Script“, leans more towards the aggressive (in a good sense) nature of Tar Baby, thanks (in part) to the work of bassist Ben Wolfe and drummer Donald Edwards.  Evans, to me, is a 21st Century Jaki Byard, someone who knows his history, understands the roots of  jazz and is not a slave to tradition.  At times, I hear the influence of Bud Powell in the forward motion of his solos (especially on the faster songs.)  And, on ballads, such as “Someday My Prince Will Come“, there is a “painterly” touch to his delicate phrases, a sensitivity that embraces the quiet side.

Like Byard, all music is fair game to Evans.  There is an elegiac solo piano reading of “TSOP (The Sound of Philadelphia)”, the theme of “Soul Train” composed by the hit-making machine of Gamble & Huff.  Although there is nothing in the notes, this bluesy and touching piece has to be a dedication to the late Don Cornelius.  The Trio dances through a hard-bop adaptation of Luther Vandross’s “A Brand New Day“, with Wolfe’s furious “walking” bass and Edward’s percussive barrage driving the pianist forward.  The title track barrels forward with Evans matching the intensity level of the rhythm section while creating memorable melodic lines.  “Big Small” is an original blues tune, thick piano chords and short melodic phrases over the rock-solid bass lines and Edward’s fine drum work (he sounds as if he’s talking back to the piano during Evans’ solo.)

“Flip The Script” might just refer to a concept in which a person gives equal weight to the good and bad things in his life and chooses to take a positive attitude.  Not easy for a musician to make his or her way through the world yet there is so much creativity to be found, not only in the world of jazz but also in classical, hip hop and folk.  Orrin Evans creates music that can make you dance, make you sit back and get lost in the quiet melodies; it should make you see that there are so many possibilities if you allow your creativity to flow.

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SomethingElse reviews Ralph Bowen “Total Eclipse”…

somethingelsereviews.com
The cover for Ralph Bowen’s newest release Total Eclipse is a picture of a “ring of fire” solar exclipse, much like the one that provided a spectacular show for residents of the U.S. Southwest on Monday. Putting on a saxophone show is what Ralph is about, though, and for the forth time in three years, he’s putting for a new album deploying a different type of ensemble. This time, Bowen is leading a organ/guitar quartet making good use of the services of B-3 boss Jared Gold and guitarist Mike Moreno; Rudy Royston mans the drums. Bowen was a key player on Gold’s breakthrough All Wrapped Up from last year and while Total Eclipse isn’t the angular, studious affair of that record, he’s not channeling Stanley Turrentine, either. Eclipse splits the difference, an album full of soul but not predictable soul riffs and licks (“On Green,” heard on the YouTube below, is a highlight). Occasionally, there’s a surprise or two to prevent any monotony from settling in, like the rock-out combustible jam “Hip Check,” and the soprano sax delight “The Dowsing Rod.”

Ralph Bowen might change up the personnel and the configuration from album to album, but the results remain solid. Total Eclipse continues his winning streak.

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Ralph Bowen “Total Eclipse” get reviewed on Outside Inside Out…

outsideinsideout.wordpress.com

Marc Free’s Posi-tone Records is one of a handful of labels that churns out a significant number of quality albums on a regular basis.  In the past couple of months the label has sent numerous new releases my way, so today I’m hitting you with a multi-part rundown of some of my favorites.

I reviewed tenor saxophonist Ralph Bowen’s last album, Power Play, in Downbeat.  In that review I compared Bowen’s sick chops and certain stylistic elements to Brecker, and thought his soprano approach was slightly reminiscent of Branford – comparisons which earned me a reaming out in a letter to the editor, even though it was a positive review.  Bowen’s followup to that album is Total Eclipse, which features Posi-tone mainstay Jared Gold on organ, guitarist Mike Moreno, and drummer Rudy Royston.  While I stand by my review of Power Play, I find Bowen’s playing on Total Eclipse(whether on tenor or soprano) to be extremely focused, sharp, swinging and reminding me of only one player: Ralph Bowen.

Bowen penned all nine of the hour long album’s tracks.  The title track opens the album in an easy, swinging fashion, with Bowen mixing up phrase lengths, rhythms and articulation and accent patterns – slinking, sliding, and winding his way through his solo.  On his brief solo Gold mixes a slightly percussive phrases based on short note values with  longer and more held out phrases, building upon Bowen’s statement nicely.  “The Dowsing Rod” features Bowen on soprano and is one metrically tricky trip, having sections in 10, in 3 and in 4.  Moreno sounds particularly good on this track, letting his slightly reverby sound and relaxed phrasing glide over Gold and Roysten.  The penultimate cut, “Hip Check,” is a rowdy and rocking showcase for Bowen’s aggressive tenor.  Royston holds things down with a slight backbeat and forward driving cymbals and Gold backs up Bowen’s solo by mixing up long sustained chords with quick jabs.  Moreno’s solo, supported by a very active Royston, is for the most part quite understated, providing a nice contrast to Bowen’s fire.

Overall Total Eclipse is an excellent outing that displays tight group playing, swinging charts containing a ton of craft and subtle hipness, and soloists who bring a firey intensity and creativity.  If you dig other releases on Posi-tone, or are a Ralph Bowen fan, then definitely check this CD out.  And if you’re not familiar with either, this album would be a great place to start.

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Ralph Bowen “Total Eclipse” get a nice review…

www.soundsoftimelessjazz.com
With Total Eclipse, saxophonist Ralph Bowen offers his fans a program that covers a broad spectrum of styles and sounds. Bowen wrote nine songs for the recording which features accompanists Jared Gold on organ, Mike Moreno on guitar and Rudy Royston on drums. Bowen masters the complexity of sustaining his listeners’ interest with his top-to-bottom command of the tenor saxophone, important improvisations and great soloing from his bandmates. So that you can fully enjoy his version of jazz, Ralph Bowen mixes things up with several fascinating styles – from straight ahead to bebop to swing.  The title track opens the set and from beginning to end, listeners are in for a real treat. The band supports Bowen’s dramatic composition and burnished sound with technical precision that only comes from years of experience and the study of their craft.  Jared Gold’s organ solo is well-placed and as funky as he wants to be! This song is a winner. On “Into The City” you’ll hear him at his best with solid hard, blowing that shows the depths of his artistry. On “The Dowsing Rod,” his soprano saxophone depicts the title’s subject before Mike Moreno adds his guitar visions via a beautiful solo. Overall, the entire recording meets the standards set by Ralph Bowen’s previous releases and he has definitely reached new heights with Total Eclipse. Buy the CD today.
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Travis Sullivan’s “New Directions” gets another look…

www.criticaljazz.com

The Posi-Tone debut is a delightful and slightly eclectic mix of well grounded original compositions and some covers you may expect. Sullivan tends to opt for the more stylistic approach as opposed to coming from the speed is king and odd meter school which does little more than make the artist the newest member of the flavor of the month club.
Sullivan’s original work is intriguing with no imposed self limitations there are variations in tempo, mood and lyrical direction that while still firmly planted within the modern jazz genre allow for a more multi-directional approach to his compositions. As a 4tet Sullivan has struck gold in terms of forming a cohesive unit. The hard bop oriented “Tuneology” walks dangerously close to the more free jazz cliff but never pushes the listener over the edge as there is always an air of accessibility to these tunes. “Autumn In NH” is a bit more wistful if not slightly melancholy but adds a nice touch of depth and character to an incredibly well paced and evenly developed recording. Ebb and flow. The cover of the Rodgers and Hart “Spring Is Here” borders on gorgeous. The most unlikely surprise of the release would be the cover of the Tears For Fear’s 1980’s pop smash, “Everybody Wants To Rule The World.” What the tune lacks in the transference of jazz sensibilities it more than makes up for with the whimsical swing of Sullivan and and pianist Mike Eckroth.
Walking the musical tightrope between instrumentalist and composer has allowed Sullivan the opportunity to create one of the more surprising releases of 2011. The one they may have gotten away! If you missed this release initially it is well worth the time to check it out now!