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Tight harmonies on the frontline between co-leaders Ken Fowser on tenor sax and Behn Gillece on vibraphone set the tone for this solid offering. Backed by the reliably swinging rhythm section of pianist Donald Vega, bassist David Wong and drummer Willie Jones III, Fowser and Gillece exhibit their straight-ahead chemistry on urgent swingers like “Overcooked” and “Back to Back,” the sly stroll “Attachment” and the quirky blues “One for G.” The soothing “Bongo” and luminous “In the Twilight” are standout tracks, along with the intimate duet number “Come Around Again,” which resonates with the peacefulness and deep lyricism of Trane’s “Naima.”

www.allaboutjazz.com

The tenor and vibes partnership of Ken Fowser and Behn Gillece has already established its credentials as an imaginative and innovative creator of cool-swinging straight-ahead jazz. Duotone, the duo’s third album, reinforces those credentials with a fresh set of original tunes.

As with their previous Posi-Tone releases—Full View (2009) and Little Echo (2010)—Duotone is a quintet recording. Each albums features a different rhythm section, and whether this is a deliberate strategy or not, it gives them variation in flavor, even though the sax and vibes frontline stays unchanged. It’s also still the case that Gillece takes the lion’s share of writing credits, composing eight tunes to Fowser’s two.

Gillece is a skilful creator of tunes, harkening back to the original hard bop days and beyond, without sounding like mere imitations of that era’s classics. Bassist David Wong and drummerWillie Jones III underpin “Back to Back” and “In The Twilight” with tough, forceful, rhythm, encouraging Fowser and Gillece into fast but swinging solos. “Low Ball” has a slinky, late night groove, with superb comping from pianist Donald Vega and another pair of warmly engaging solos from Fowser and Gillece, adding up to a truly classy tune.

Fowser might only get two writing credits, but he gets them for two top tunes. “Bongo” has a jaunty rhythm, with Gillece’s vibe solo adding a Latin edge. “One for G” is also instantly appealing, Wong and Jones’ brightly skipping rhythm ensuring a feel-good mood over which Fowser, reminiscent of Scott Hamilton, Gillece and Vega build short but attractive solos.

Track Listing: Overcooked; Spontaneity; Attachment; Back To Back; Come Around Again; In The Twilight; Low Ball; Bongo; Offset; One for G.

Personnel: Ken Fowser: tenor saxophone; Behn Gillece: vibraphone; Donald Vega; piano; David Wong: bass; Willie Jones III: drums.

http://lucidculture.wordpress.com/2011/10/21/ken-3/

Ken Fowser and Behn Gillece Chase Two in a Row

Saxophonist Ken Fowser and vibraphonist Behn Gillece’s previous album Little Echo was one of the best of 2010; how does their new one Duotone measure up? Where Little Echo was all gorgeous, often lurid Mad Men era ambience, this one’s got a more stripped-down, late night juke-joint flavor. The teamwork between the co-bandleaders is familiar yet fresh: it isn’t always this way, but often it’s Gillece introducing an element of menace or suspense, playing bad cop to Fowser’s warmly tuneful, blues-tinged lines. Likewise, the tunes – most of them supplied by Gillece – have a comfortably familiar swing and the kind of knowing ability to pick a spot and hit a high note that comes from hosting innumerable late-night jams, as these guys have both done.

The opening track, Overcooked, a briskly shuffling two-chord vamp with latin allusions, sets the mood. Gillece’s fast, sostenuto lines have a literally hypnotic effect, pianist Donald Vega bringing it up with a rippling intensity. Spontaneity begins dramatically: they rubato it and swell on a single chord, then the hook comes in and drummer Willie Jones III has them off swinging, Fowser soulful and sailing over Gillece’s insistence.

The chromatically-fueled Attachment features a neat handoff from Fowser to Gilllece, who does the same to Vega, whose climactic intensity is characteristic of everything he does here. Likewise, Back to Back swings slowly and then goes up the ladder again. Then they flip the script with Come Around Again, a somewhat skeletal, cozy ballad, just vibes/sax evoking the ambience of Little Echo.

In the Twilight takes the idea of the opening track to the next level, Vega punching in incisively and memorably, Fowser maintaining a sense of cool. The best track here, Low Ball, evokes a slightly more ornate, Johnny Mandel-esque California noir swing. Bongo, by Fowser, is a casually cheery bossa tune lit up by Gillece’s bright neon malletwork. The album wraps up with the thoughtfully swaying, crescendoing, catchily early 70s bluesy Offset and then One for G, another Fowser tune to end it on a genially swinging note. As melodic jazz goes, Fowser and Gillece are really onto something. It’s out now on Posi-Tone.

somethingelsereviews.com

Last year we investigated a strong post-bop excursion by the potent, up-and-coming partnership of tenor saxophonist Ken Fowser and vibraphonist Bean Gillece. Little Echo (2010) swung like mad and put into sharp focus the tight rapport of Fowser and Gillece that is at the center of their post-bop achievements. Continuing what seems to becoming tradition for the duo, the rhythm section is entirely swapped out from the prior record, yet the momentum is maintained. For this outing, Donald Vega mans the piano, David Wong mans the bass and Willie Jones III sits behind the kit.

With a synergy that’s been developing since their high school days and solid chops by both, there isn’t a whole lot they can do to build on Little Echo, but they managed to with tighter, fresher melodies, most penned by Gillece but with a couple of contributions by Fowser. “Overcooked,” “Attachment” and “In The Twilight” all feature that impenetrable sense of swing that has become their calling card, but this time with more deeply soulful harmonies than before, and each possessing their own personalities; the record lacks that sameness feel that do in many a well performed mainstream jazz record.

“Spontaneity” is on another level harmonically with its varying tempos and spiritual feel, it’s downright Coltranian at times and suggests another path the pair could pursue with success if they were so inclined. “Come Around Again” is just the two in a gorgeous ballad setting, carrying on some simply stated, quiet musical conversation. They can bring the big guns, too, as they do on burners like “Back To Back,” and mid tempo elegance on numbers like “Low Ball” or the Brazilian inspired “Bongo.”

The Fowser/Gillece partnership continues to thrive on brisk grooves, Fowser’s big, ingratiating tone and Gillece’s colorful vibes. And now, with even better original tunes. DuoTone is a small but steady step in the progression of an already well developed team of jazz practitioners.

DuoTone released last August 23, on Posi-Tone Records.

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Saxophonist Ken Fowser and vibraphonist Behn Gillece have recently released “Duotone” on Posi-Tone Records.

Every once in a while, I will be presented with a recording for review where my relationship with the artist(s) is more personal. This is the case with “Duotone” by Ken Fowser and Behn Gillece. Perhaps a bit of explanation is necessary. Several years ago as a young teacher I had the pleasure of being around an even younger Ken Fowser. He and his father of the same name were students at a conservatory where I served on the faculty. Both Ken and his father participated in the saxophone quartets I coached. They were mentored by my longtime friend (and my own mentor) Tony Salicandro. Over the years I have heard of Ken’s successes in the music business and only by happenstance found this recording.

Fowser’s sweet and lyrical tenor saxophone sound is perfectly paired with Gillece’s vibes. The first two cuts Overcooked and Spontaneity both swing hard and get “Duotone” off to the quick start. In addition to sax and vibes, the group is rounded out by Donald Vega, piano; David Wong, bass and Willie Jones III on drums.

The third cut, Attachment features Fowser and Gillece on a clever melody riddled with leaping triplet figures. The result is a swinging tune which had a head that sounds much more complex than the triplets may suggest. Gillece plays a wonderful couple of choruses to start out on this minor blues. Fowser solos second followed by Vega on piano and Wong on bass. The solos by all are relatively short, to the point and well constructed.

Back To Back begins with a polyrhythmic melody, which initially disguises this up-tempo swing tune. The pace is furious, yet Fowser navigates the changes beautifully as does Gillece behind him. Playing over this tune is not for the faint of heart and demonstrates what wonderful musicianship this group possesses. Not to be overlooked, Donald Vega plays a particularly technical and spirited solo on piano. His left hand comping under his own solo is equally as compelling as his right hand. Jones is also rewarded some deserved time to shine on the drums prior to the final melodic statement.

The sound of the lesser-used vibraphone is refreshing on “Duotone” and never more apparent than onCome Around Again. The duet between Ken Fowser and Behn Gillece shows a tenderness not otherwise found on this recording. They are patient and stingy with their notes to perfection.

The straight eighth notes of In The Twilight are a refreshing variation at the midpoint of  “Duotone.” It is difficult not to make comparisons to one of the few, well-known contemporary vibraphonists. That being said,  Gillece does have his own unique approach to the vibes, as does Fowser on tenor.

The cute and swinging Low Ball again is well suited to the sound of vibes and Fowser’s smooth tenor sound. There are no rough edges here, just a pleasant journey set to familiar changes not unlike the standard Satin Doll. David Wong gets a chance to take a chorus on bass here as well.

The bossa nova Bongo seems a tune stuck in time – reminiscent of the wonderful “Bossa Nova Craze” of the 1960s.

Offset is not unlike the earlier Attachment features a melody, which utilizes triplet figures at the onset. The tune unfolds to reveal a medium swing romp with Vega soloing first on piano. Fowser and Gillece also solo before the head finishes the tune.

My personal favorite cut comes at the end with One for G. The quirky, blues with a bridge retains a quality similar to the blues classic Twisted. Fowser’s tone is clean, clear and never ugly. He stays within the traditional register of the tenor here and elsewhere, never feeling the need to explore the outer limits of the altissimo or sometimes barking low register. Gillece and Vega solo, although the none of the soloists feel the need to blow chorus after chorus. They say what they have to say. They get in and they get out.

Ken Fowser has entered a world of jazz riddled with well-trained, technically proficient and creative tenor saxophonists. Somehow his sweet sound is his own, never sounding like anyone but himself.  He and Behn Gillece have surrounded themselves with a cohesive ensemble of like-minded musicians who can make their case within only a few, well constructed choruses.

You can find out more about “Duotone” and other innovative recordings at www.posi-tone.com

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superfan2011.com

steptempest.blogspot.com

Like Nowell, this is the third release on Posi-Tone for the duo of Ken Fowser (tenor saxophone) and Behn Gillece(vibraphone).  Aptly titled “Duotone“, this is also their third release that features a different rhythm section. For this collection of 10 originals (all but 2 by Gillece), bassistDavid Wong, drummer Willie Jones III and pianist Donald Vega get to lay down the grooves.  In many ways, this music reminds of the Harold Land-Bobby Hutcherson group from the late 1960s into the 70s.  Nothing is forced, nothing phony, just smart melodies and chord patterns for the various soloists to play with.  Peruvian-born pianist Vega is solid throughout offering up excellent background and several fine solos, especially on “Attachment” when he starts way down on the left side and rambles up the keys. His rubato opening to “Spontaneity” with harp-like glissandos, sets the tone for the handsome piece.  The blend of piano and vibes do not always work but Vega and Gillece complement each other in so many ways.  Fowser’s tenor is quite musical; his solos tend to be built off the melody lines and he never forces the pace. “One for G” is a perfect example of his bluesy style, reminiscent at times of Hank Mobley.   That does not mean the music is tame. The fire created by Wong and Jones III on the hardbop opener “Overcooked” and the hard-edged “Back to Back” is impressive; Gillece and Vega really dig deep and let loose on the latter track.

“Duotone” is pleasantly unpretentious music, truly joyous bop at its best.  Fowser and Gillece, as well as their excellent rhythm section, are always in sync – no one attempts to steal the spotlight.