Walt Weiskopf wrote the book on jazz harmonics and improvisation…actually about ten of so books on those topics. But the best demonstration of his firm grasp on the building blocks for good jazz rests in his records, and his fifteenth one, The Way You Say It (April 8, 2016, Posi-Tone Records), is the latest chapter of his recorded book of work.
No matter how much Walt Weiskopf mixes things up for The Way You Say It, the craftsmanship shines through.
S. Victor Aaron – Something Else Reviews
Having co-led three sessions with vibraphonist Behn Gillece on Posi-Tone Records, saxophonist and composer Ken Fowser is a staple of the imprint. However, he’s just now releasing his first album for Posi-Tone under his name alone. The aptly titled Standing Tall proves an auspicious debut, as Fowser displays his lush and heady tenor sound on a set of bluesy original compositions. Leading a like-minded quintet, the New York-based saxophonist evinces the classic hard-bop era, finding simpatico tones and phrases in frontline partner Josh Bruneau’s trumpet and Rick Germanson’s piano. Bassist Paul Gill and drummer Jason Tiemann provide sensitivity and propulsion in equal measures, and the ensemble should hit the sweet spot for fans of Blue Note’s golden age. In fact, “Head Start,” included here, opens the album with a riff-rich tune that wouldn’t have sounded out of place on an Art Blakey and the Jazz Messenger’s album. Fowser, Bruneau and Germanson take turns on soulful solos, while Tiemann’s stick work drives the team.
JAZZIZ Magazine
We find with pleasure the New York pianist Spike Wilner four years after “The Tenderness” previous album which borrowed its title (and the jacket picture) to a work of his grandmother, the artist Marie Wilner (born in 1910). Koan with his reference to the Buddhist concept of spiritual awakening and his picture in the Zen spirit, we find it very touching feature of a musician lucid style that remains completely faithful to the soul of jazz by an accomplished master of harmonies and loosely ternary rhythms (I’ll See You Again …), meaning subtle melodic lines, the freedom left to the imagination in a formal setting respectful of teaching elders. Formed in the school of ragtime, stride piano and faithful to swing but fully engaged in his time, Spike Wilner knows how to take the listener on a seemingly light path which gradually drift towards the more daring harmonic development of his own compositions or interpretation he gives of themes borrowed from Duke Ellington (Warm Valley, Gypsy Without a Song), Tadd Dameron (Hot House) or Ornette Coleman (a Lonely Woman flipping …). Totally away from modes of gender (the piano-bass-drums trio in 2000 and his photographs) and not out of phase so far, the pianist and his accomplices discrete surely advancing on a path altogether rather classical but never outdated. The art of jazz piano in all its nobility and sensitivity used by a musician who is also a linchpin of the New York club Smalls.
Jazz, good, beautiful!
Thierry Giard – CultureJazz France
Saxophonist and composer Walt Weiskopf has been a major contributor in the New York (which is to say, world-wide) jazz scene since the early 1980s. After completing studies at the prestigious Eastman School of Music, Weiskopf joined the Buddy Rich Big Band followed by a fourteen-year tenure with the Toshiko Akiyoshi big band. During his time with Akiyoshi and beyond, Weiskopf began recording his own albums playing almost exclusively original music with a variety of groups. Weiskkopf also began his long-running and current association with Steely Dan.
In addition, Weiskopf has become one of the most respected authors in jazz pedagogy starting with his first two books, Coltrane: A Players Guide to His Harmony and The Augmented Scale in Jazz (both co-authored with Ramon Ricker). Other books that followed include Intervalic Improvisation (1994), Around the Horn (2001), Beyond the Horn (co-authored with Ed Rosenberg)(2010) and Understanding the Diminished Scale (2012). Weiskopf has been on the faculty of the Eastman School of Music, Temple University and is currently Coordinator of Jazz Studies at New Jersey City University.
The Way marks Weiskopfs third CD as leader for Posi¬tone, besides at least another dozen for other labels, and represents a change in format, in that Weiskopf uses a modified organ trio as his vehicle of choice. The music, as is his custom, is almost all original, with the exception of three tunes.
To say that Weiskpopf is a master saxophonist is to overstate the obvious. Weiskopf has a clear, clean, centered sound, lickitey-split technique and personality to spare. That covers the “How To Play” side. On the “What to play” side, Weiskopfs melodic, harmonic and rhythmic acumen are massive. All of these attributes are eminently clear in the opening track, a medium-up-tempo blues, Coffee and Scones.
The quirky melody is played by unison tenor and vibes with Weiskopf taking the first solo. As mentioned before, Weiskopf has lots of personality in his playing, beginning with the fact that he plays with no vibrato at all and ends long pitches by just stopping the air, no taper at all. Both of these conditions contribute to his unique voice, but there’s more. Yet another factor are the notes and harmonies that Weiskopf uses. Each chorus that he plays finds him going down a different harmonic path, allowing him to keep the listener interested and on the edge of their seat all at once. Good solos by Gillece and Charette as well.
Inntoene, a barnburner taken at warp speed, is an example of good straight-a-head blowing. Tenor and vibes play the intricate melody once again, with Weiskopf taking the first solo, barreling down the highway, dropping one cleanly executed line after another like some many bombs over his shoulder.
The first of the tunes not written by Weiskopf is the now obscure Candy, by Alex Kramer (lyrics by Mack David & Joan Whitney). Performed as a ballad, for me, this is the money tune of the recording. Weiskopf plays the melody and goes right into his solo chorus paying homage to John Coltrane, with a touch of Jerry Bergonzi. His reading of the melody is just beautiful, and his solo is a study in “this is what a jazz player should be able to do with a tune,” playing it from every angle while still keeping all the music intact.
Segment, by Charlie Parker is another up-tempo gem, with Weiskopf and company just gliding through the changes and the changes of key with ease. Again, Weiskopf displays a complete understanding of harmony and the post-bebop language.Never at a loss for an idea, his lines just flow from one to the other. After a brief two-chorus romp from Weiskopf, Gillece plays his own well executed solo. Tenor and vibes trade eights, then fours for a chorus each before a shout chorus and the final reading of the melody.
The title tune, a prety ballad by the leader closes the CD. The melody is shared by tenor and vibes followed by short solos by Charette and Weiskopf. The mellow feel of the tune lets you down easy after the action packed recording.
Walt Weiskopf is a power with which to be reckoned; if you are not familiar with his playing, this recording is a great place to start to get to know him.
Billy Kerr – Saxophone Today
Man, those guys at Posi-Tone are on a roll! Spike Wilner’s Koan is as engaging a piano trio CD as you’ll hope to hear. I thought I was done with basic piano trios but Wilner is so inventive, his originals so, uh, original, his covers so well-picked and performed, that if you have to hear yet another piano trio, let it be he. Of course, bassist Tyler Mitchell and drummer Anthony Pinciotti are both lynchpins to the over-all ambiance. Impeccable and entertaining, this Koan (an ancient Zen Buddhist enigma wrapped in a riddle) is as enlightening as a koan can be.
Ellingtonia, it seems, will never go out of style: “Warm Valley” and “Gypsy Without A Song” go down smooth. The master’s melodies seem to have had an effect on Wilner’s own style of composition. “Iceberg Slim” starts the party. Not sure how this relates to the novelist of the same name as Slim [1918-1992] was a pimp who went on to become a literary icon of street thuggery, so much so that Ice-T and Ice Cube named themselves after him.
Sir Noel Coward [1899-1973] wrote “I’ll See You Again” in 1929 and it’s been covered by Bryan Ferry, Frank Sinatra and dozens of other singers. Divested of lyrical content, Wilner digs down deep into what was once a waltz to unearth its inherent melodic sweetness fit to swoon over.
Put Koan on at your next party and watch the compliments fly
Mike Greenblatt – Classicalite.com
This is a direct descendant of the kind of jazz record that took jazz from smoky, late night New York clubs to the rec rooms of then nascent suburban sprawl. With a crew of leaders backing up the first call sax man, this is a perfect example of where jazz meets commercial vibes and coming out none the worse for wear. Pure jazz for pure jazzbos, listening dates don’t come any Better than this. Well done.
Midwest Record
In every jazz lover’s mind there exists the perfect Hammond B-3 organ player. Whether that ultimate B-3 technician is Jimmy Smith, Charles Earland, Larry Young or Shirley Scott, certain defining parameters exist, regardless of the individual player.
But when it comes to Hammond B-3 mastery, Brian Charette wrote the book. Literally. His 101 Hammond B3 Tips (Hal Leonard) covers, among other topics, “funky scales and modes,” “creative chord voicings” and “cool drawbar settings.” Even more proof of his proficiency is heard on Once & Future, where Charette gives a master class in the many styles of B-3 playing, joined by guitarist Will Bernard and drummer Steve Fidyk.
Performing covers and original material, Charette’s B-3 touch is decidedly light, buoyant and playful. He brings his style to bear on hardcore grits ‘n’ gravy groovers by the acknowledged masters of the genre, as well as fare that puts me in mind of a cocktail party circa 1963. In that way, Once & Future acts as a calling card of sorts, a sampler of the many styles Charette and trio can bring to your next social function. Thankfully, there’s plenty of steam and smoke to balance the lighter punch bowl offerings.
The album kicks off with Fats Waller’s “Jitterbug Waltz,” delivered in groove-a-licious waltz-time goodness. Bubbly, swinging and steaming are apt descriptions here. The pace continues with Larry Young’s “Tyrone” (from 1965’s Into Somethin’), Bernard and Fidyk ramping up the temperature with able solos and fatback groove.
Charette’s sparkling “Latin From Manhattan” brings to mind Walter Wanderley as easily as it does Donald Fagen’s “Walk Between The Raindrops.” The trio knocks back Freddie Roach’s “Da Bug,” paints a dutiful rendition of “At Last” and stomps hard on Jack McDuff’s “Hot Barbeque.”
Other highlights include a beautiful, if jocular, version of Bud Powell’s “Dance Of The Infidels,” a note-perfect “Zoltan” as it appeared on Young’s 1966 masterpiece, Unity, and a cover of Wes Montgomery’s “Road Song.”
Both B-3 stylist and student, serious jazz scholar and glitzy entertainer, Charette is a burning soloist who understands the tradition of the Hammond B-3 as well its future—just as cerainly as he understands his place in that lineage.
Ken Micallef – Downbeat
Mel Minter – Musically Speaking blog
When trombonist David Gibson put out “Boom” last year, one listen and you knew this guy likes working with no net. Told me the feeling was exhilarating to make music this way. It’s also quite fulfilling to listen to and see live, something I made sure happened with David Gibson.
With “Inner Agent”, Gibson’s upcoming release from Posi-tone Records, the trombonist says, “This recording is a natural continuation of what we began with “Boom”. There are more risks taken and more trust present in the performances.”
Returning are pianist Theo Hill, bassist Alexander Claffey and drummer Kush Abadey. We hear Freddie Hendrix this time on trumpet, and the additional artistry of tenor saxophonist Doug Webb and Caleb Curtis on alto sax.
With a backstory that includes time spent on the bandstands of Slide Hampton, Jimmy Heath, Jon Faddis and James Moody, Gibson and group can go gorgeous, then slide into something fun & funky, or big, bad and bold.
The leader talked selection of a tune like Dr. Billy Taylor’s “I Wish I Knew” by explaining, “I first heard this song sung by Nina Simone in the documentary What Happened, Miss Simone? In the documentary she is asked what freedom was to her. She responded, “Freedom is… NO FEAR.”
The group’s sanctified feel is full of that trust that fills this entire record.
As you might expect, there are a couple of nods to trombone master Curtis Fuller with “The Court”, which gives all a chance to get out on the open road, and “Sweetness”, with the warmth of the group’s swing and sway given a nice feature.
George Harrison’s “Here Comes The Sun” is a grand closer for the nine tunes on David Gibson’s “Inner Agent”. The release is a compelling “come together” of some pretty serious talent, who trust each other well enough for us to have a great time listening.
– Gary Walker, Morning Jazz – WBGO WBGO radar
An irrepressibly swinging guitarist who is also given to blues-soaked phrasing, Ed Cherry is in that lineage of classic organ group six-stringers that includes Pat Martino, George Benson, Grant Green and Wes Montgomery. One can even hear strains of Charlie Christian in his soulful solo on a swinging rendition of Kool & The Gang’s “Let The Music Take Your Mind,” which kicks off this winning trio outing featuring underrated organist Kyle Koehler and the wonderfully interactive drummer Anwar Marshall.
The musicians stroll through Jimmy Heath’s “A New Blue” in relaxed fashion, then apply a Latin tinge to Cherry’s buoyant boogaloo, “Rachel’s Step,” both of which showcase Koehler’s brilliant solo contributions.
The Latin flavor returns on an interpretation of Mal Waldron’s “Soul Eyes,” then the trio goes for the all-out burn on an uptempo rendition of Freddie Hubbard’s “Little Sunflower,” which has Cherry dipping into his Wes bag for some excellent octaves playing.
Highlights abound on this hand-in-glove organ trio outing. Cherry’s breezy “Little Girl Big Girl” has Koehler manipulating tones at the peak of his exhilarating solo in show-stopping fashion, while the guitarist opens his gently swinging rendition of Horace Silver’s gorgeous “Peace” with a beautiful unaccompanied intro before Marshall underscores with brushes and Koehler supplies velvety comping underneath.
Additionally, the trio delivers a whimsical take on John Coltrane’s “Central Park West” and a swinging rendition of Dave Brubeck’s “In Your Own Sweet Way” that gives everyone a solo and surprisingly morphs into a funky, Meters-inspired throwdown near the end. This Soul Tree yields some very tasty fruit indeed.
4 stars ★ ★ ★ ★
Bill Milkowski – Downbeat Magazine