Tag: Ralph Bowen

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Richard Kamin’s reviews “Due Reverence” for Step Tempest…

steptempest.blogspot.com

Due Reverence – Ralph Bowen (Posi-Tone Records) – Tenor saxophonist Bowen first came to critical attention in the 1980’s as co-leader of Out of the Blue, a Blue Note-sponsored group that also featured alto saxophonist Kenny Garrett, bassist Robert Hurst, trumpeter Michael Phillip Mossman and drummer Ralph Peterson (all leaders since those days.)
For this, his 2nd for the hot young label out of Los Angeles, California, Bowen has re-assembled the impressive group of veterans who appeared on his previous “Dedications” CD,  including Adam Rogers (guitar), John Patitucci (bass) and Antonio Sanchez(drums), with young trumpeter Sean Jones appearing on 1 track. First thing one notices is how spacious this music is.  While there is plenty of “fire” in the playing, the sound has no clutter.  Opening with a ballad, “Less is More” (dedicated to guitarist/teacher Ted Dunbar), Bowen displays a full-throated sound that meshes well with Roger’s sparkling guitar chords, the wonderful counterpoint from the bass and the quiet yet insistent drum and cymbal work. “One for Bob” (for fellow saxophonist Bob Mintzer) finds Bowen and Sanchez setting a frantic pace while the bass and guitar play intense yet quieter counterpoint.  Patitucci is so inventive, melodic yet rhythmically forceful.
Other highlights include the fascinating “Points Encountered” (dedicated to flutist/composer Robert Dick) –  the piece has a strong melody line and Bowen’s solo rises easily from the chordal patterns. Rogers offers a spirited solo above Sanchez’s skitterish drums while Patitucci, on electric bass for this track, displays a fine melodic touch. Bowen’s dedication to fellow Canadian Phil Nimmons, “Phil-osophy“, is a boppish romp with walking bass and several blazing solos (most notably, Rogers really lets loose again.)  Jones joins the band for “Mr. Scott” (like Robert Dick, one of Bowen’s teacher at Rutgers, where the saxophonist is now on the faculty.)  His fiery trumpet solo adds a pleasing dimension to the disk yet again it’s the rhythm section that really drives this piece.  Sanchez’s support underneath the solos is quite impressive, especially his work behind Rogers.
While this is definitely Ralph Bowen’s show, his choice of musical comrades makes this music positively shine.  Like Tom Harrell, Bowen started with “real” melodies, not riffs, and the music has great flow.  To find out more, go to www.posi-tone.com orwww.ralphbowen.com. The CD Release Party for “Due Reverence” will take place Friday April 30 at the Jazz Gallery in New York City – go to www.jazzgallery.org for more information.

Click on the link to hear “Less is More“, the opening track on “Due Reverence.” Thanks to Posi-Tone Records and IODA Promonet for the track.

Less Is More (mp3)

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Music and More: Ralph Bowen “Due Reverence”…

jazzandblues.blogspot.com

TUESDAY, MARCH 16, 2010

 

Ralph Bowen – Due Reverence (Posi-Tone, 2010)

This is a nice confident jazz album filled with compelling solos and well versed ensemble playing. Ralph Bowen plays tenor saxophone and leads the ensemble with Adam Rogers on guitar, John Patitucci on bass, Antonio Sanchez on drums and Sean Jones sitting in on trumpet for one track. “Less is More” opens the album with a mellow and patient groove and Bowen building a well constructed and thought out solo. Rogers guitar keeps the music moving nicely with well developed mid-tempo swing. “This One’s For Bob” has a burning tenor saxophone solo along with some fleet and nimble guitar buoyed by a tenacious bass and drums groove. “Phil-osophy” slows things back down to a medium simmer and Rogers turning in a nice, nimble feature and Patitucci contributing a fine bass solo. Jones enters the fray for “Mr. Scott,” adding his bright and burnished sound to prominent solos from saxophone and guitar. The album ends on an interesting note, with Bowen playing the title track unaccompanied. He has a patient and reverent sound on tenor making for a very impressive performance. Fans of straight up mainstream jazz will enjoy this quite a bit, Bowen has an excellent pedigree as a leader and a sideman with the like of Horace Silver and many others, and this is another fine addition to his discography.

 

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SomethingElse! review for “Due Reverence”….

somethingelsereviews.com

— March 14, 2010 6:00 am

Ralph Bowen – Due Reverence (2010)

Posted by S. Victor Aaron

by S. Victor AAaron

The master tenor sax player Ralph Bowen has been around for quite a while, releasing his first album back in 1992. But plum sideman opportunities and a teaching gig at Rutgers has kept him plenty busy; it only been the last three or so years that his own solo recording has picked up the pace, despite having appeared in more than sixty recordings over the years. On the other hand, the time spent working and recording with the likes of Horace Silver, Orrin Evans and Michel Camilo has apparently done nothing but sharpen the leadership and composing acumen of this Canadian-born jazzman.

That’s the impression one gets from soaking in his laid-back but crackerjack release Due Reverence, which dropped last February 23. Even if you come to this knowing nothing about Ralph Bowen, the credit list should grab your attention: Adam Rogers on guitar, John Patitucci on bass and Antonio Sanchez on drums. A top drawer band, indeed.

For his second Posi-Tone release (and second in as many years), Bowen themed Due Reverence around five songs he composed where each of them is a salute to a different jazz musician cutting across different styles, eras and instruments, with their relative undeserved obscurity being the only common thread among them. Ted Dunbar was a guitarist more noted as an instructor and recorded only a handful of records before passing away a dozen years ago. Bob Mintzer is a fellow tenor saxman, bass clarinetist and a contemporary of Bowen’s. Phil Nimmons was a vastly overlooked clarinet giant from Bowen’s Canadian homeland. Professor James Scott is currently the Dean of the School of Music at the University of North Texas but as chair of the music department at Rutgers University, he was Bowen’s flute professor during Bowen’s studies there. Robert Dick is a flautist who often delves into the avant garde side of things.

Ultimately, though, these tributes bring attention back to Bowen himself, whose songs all possess depth, soul and a dash of swing. The Dunbar paean “Less Is More” gets thing going on a tapered groove, and Bowen wastes little time showing off his signature tenor style, which like Mintzer’s has more than a passing resemblance to the substantial, passionate style of the late Michael Brecker.

With such a powerhouse backing band, Bowen prudently allows these guys to be themselves, and they in turn assume their identities without obscuring the leader’s. Adam Rogers in particular shines on these sessions. His warm tones are largely responsible for the plushness that permeates “Less Is More” and a superb combination of Django Reinhardt and Jim Hall comes to fore on “This One’s For Bob (Mintzer),” a cut where Sanchez’s work on the tom-toms behind Bowen’s rapid lines are also a highlight. A lyrical Patittucci acoustic bass solo headlines the Nimmons eulogy “Phil-osophy,” while he takes a tasteful electric bass solo on the Robert Dick homage “Points Encountered.” Sean Jones drops in for “Mr. Scott” and combines with Bowen to deliver a hard-bop unison theme line and later improvises with the tone of Clifford Brown and the flair of Freddie Hubbard. Sanchez gets rewarded for all his hard work with a brief but effective Latin-flavored solo.

Through it all, Bowen seems in command. The songs he contributes are fine examples of the post-bop styles that are tailored well for the contributions of his bandmates, and Bowen himself delivers perfectly modulated sax lines that prove he more than belongs in such highly regarded company. You’re left with the distinct impression that the only reason Ralph Bowen isn’t mentioned as often as his rhythm section is because he simply hadn’t recorded as a leader much. But he’s remedying that situation, now.

To the benefit of all jazz lovers, I might add.

You can visit Ralph Bowen’s website here.

 

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Audiophile Audition reviews Ralph Bowen “Due Reverence”…

www.audaud.com

Ralph Bowen – Due Reverence – Posi-Tone PR8061, 42:18 ****:

(Ralph Bowen, tenor sax; Sean Jones, trumpet; Adam Rogers, guitar; John Patitucci, bass; Antonio Sanchez, drums)

Following on the heels of last summer’s Dedicated, Ralph Bowen is back with another CD honoring more of his musical influences. Bowen was a member, along with Kenny Garrett and Ralph Peterson, of the young lion Blue Note 1980s group,Out of the Blue. Bowen has gone on to record four Criss Cross label CDs and this is his second Posi-Tone issue. Like last year’s Dedicated CD, Ralph honors both well known and lesser known talents. Where last year it was Pat La Barbera and Eugene Rousseau, Due Reverence this time introduces influences, Canadian jazz educator and clarinetist, Phil Nimmons; high energy flautist, Robert Dick (who has earned the moniker “Hendrix of the flute”); and James Scott, head of the North Texas State music department. Other honors are given to better known musicians, Bob Mintzer, the talented saxophonist, and guitarist and educator, Ted Dunbar.

Due Reverence opens with a gorgeous statement by guitarist Adam Rogers in the tribute to Ted Dunbar, Less is More. Bowen’s saxophone playing here is both sensuous and assured with a mature big-toned timbre. Drummer Sanchez is upfront in the mix and Rogers assists in bridging a classical/ jazz mood. Engineer Nick O’Toole has done a super job on this CD as the acoustics are first rate with audiophile-quality warm sound. This One’s for Bob is a hard blowing tribute to Mintzer, where Bowen is center stage. Again Sanchez pushes Bowen along driving the beat.

Phil-osophy again showcases Bowen and Adam Rogers, but Patitucci shows his prodigious bass chops near the middle of the track. Mr. Scott is the longest track at 11:15, and it welcomes young and upcoming trumpeter Sean Jones, and Sean’s blend with Bowen is welcome. When Jones gets his solo near four minutes into the track, it highlights his hard bop credentials as he is both lyrical, but has a brassy snap that shows he is a force to be reckoned with. Rogers follows with an introspective solo ably comped by Patitucci. This was my favorite track on Due Reverence.

The CD closes Bowen’s dedications with Points Encountered, dedicated to Robert Dick. It is relatively restrained and Adam Rogers gets extensive exposure. Rogers’ superlative work on this CD makes me want to check out his Criss Cross issues.

Bowen’s sophomore effort for Posi-Tone matches his debut with the label. It’s a classy issue with first rate sidemen. I’ll be looking forward to future issues to find out who Bowen might honor next. His influences are wide spread, and indicate his musical background and active interest in various jazz genres.

TrackList: Less is More, This One’s for Bob, Phil-osophy, Mr. Scott, Points Encountered

– Jeff Krow

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Zan Stewart has this to say about “Due Reverence”…

www.nj.com

Due Reverence

Ralph Bowen

(Posi-Tone)

The tenor saxophone dynamo Ralph Bowen builds his solid new CD around compositions written for core musical mentors. A top crew assists him: trumpeter Sean Jones, guitarist Adam Rogers, bassist John Patitucci and drummer Antonio Sanchez. The lyrical “Less is More,” for guitarist Ted Dunbar, moves from solemn bass-tenor tones to a simple, endearing theme. Here, Bowen winningly employs his warm, penetrating sound and moving improv style deeply influenced by John Coltrane. Rogers also shines with gleaming tones over the fluid Patitucci-Sanchez beat. The rapid “This One’s for Bob,” for tenorman Bob Mintzer, is vibrant and exciting, but also a bit note-heavy. “Mr. Scott,” for flutist James Scott, is in 3/4, with a punchy-then-flowing theme. Jones is a winsome soloist.

— Zan Stewart

 

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Mark F. Turner’s AAJ review for Ralph Bowen “Due Reverence”…

www.allaboutjazz.com

Thanks to an American Idol culture and any number of other circumstances, the jazz universe is filled with extremely bright, if lesser known stars, who are just as talented as their more noted constellations. Such is the case with saxophonist Ralph Bowen, a truly bad-ass player who has appeared on over 60 recordings as a sideman and leader. Due Reverence, his second release on Posi-Tone, is prime example of his continued voice as a musician and leader.

The company that Bowen keeps is indicative of his band members here, all of whom recorded on his 2009 Posi-Tone release, Dedicated. GuitaristAdam Rogers, bassist John Patitucci), drummer Antonio Sanchez and trumpeter Sean Jones are all remarkable and respected leaders with recordings and résumés at the vanguard of the current music scene.

Following the sentiments of his previous release, Due Reverence continues the saxophonist’s dedications to other musicians who have been mentors and influential throughout his career. Dedicated to guitarist Ted Dunbar, “Less Is More” begins the set with Rogers’ austere classical guitar intro, before tentatively rising into a steady tempo as the group settles into the flow, with Bowen’s tenor singing like John Coltrane and Charlie Parker in a strong modal rhythm.

“This One’s For Bob” (for saxophonist Bob Mintzer), soars into the stratosphere, with Patitucci and Sanchez’s percolating rhythm catapulting circuitous lines from Bowen that exhibit his remarkable control and endurance, while Rogers answers with fluidity of depth and tone, echoingWes Montgomery but forging new frontiers in the vein of Kurt Rosenwinkel.

Bowen and the band show that swing is still an idiom of beauty and precision on tunes such as “Phil-osophy,” where Sanchez trades fire-for-fire with the other soloists. Jones makes an appearance on the spicy “Mr. Scott,” delivering his singular bright tone and cutting soulfulness. The band cools it on “Points Encountered,” but the heat still simmers due to everyone’s contributions, including Patitucci’s incisive electric bass playing.

It can be debated until the “Saints Come Marching In” whether certain musicians deserve more or less recognition. But when it’s all said and done—as well as performed and listened to—it’s about the music. Due Reverence stands on its own merits; a fine example of Bowen and his band’s clear abilities.

 

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Woodrow Wilkins AAJ review for Ralph Bowen “Dedicated”…

www.allaboutjazz.com

Many new releases seem to follow one stringent formula or another—whether to deliver cookie-cutter music to the masses, in hopes of getting noticed by commercial radio, or to adopt a certain trend, be it the traditional piano-led trio or covering standards. With that in mind, it’s rarely, if ever, a bad thing when an artist or group just plays. That’s the approached used by saxophonist Ralph Bowen for Dedicated.

Bowen was co-leader of the sextet, OTB—Out of the Blue—a sextet based in New York. During that time, he associated with Kenny Garrett, Steve Wilson, Rene Rosnes and others. A performer in clubs, concert halls and at festivals, Bowen is joined on this date by guitarist Adam Rogers, bassistJohn Patitucci and drummer Antonio Sanchez.

“Canary Drums” features Bowen’s sunny lead, subtly aided by the rhythm section. Rogers, Patitucci and Sanchez are in a groove, expressing themselves both as a unit and individually. Meanwhile, the tenor explores upper and lower reaches of its range, at times at a fiery pace, with Rogers also contributing a solo.

Trumpeter Sean Jones joins the ensemble for “Mr. Bebop,” playing the melody in unison with Bowen. Bowen then takes off on a solo, at times punching into high squeaks, elsewhere shifting to low-end, high-speed riffs. Jones follows with a spirited solo of his own, as does Rogers. After a repeat of the melody, Bowen and Jones split into freestyle play as the song slowly winds down.

Pattitucci starts “Prof. 9:23,” setting up a duet between Bowen and Rogers. During his solo, Bowen puts the tenor through a series of high-speed rolls, powerfully emotive throughout. Rogers, however, tones it down a little during his solo; still expressive, but mellower than Bowen. The tenorist returns at a slower pace but with more power, followed by a guitar solo even subtler than the previous one; accompanied only by bass and drums, it’s an effective way to bring the song to a close.

Though Bowen is out front most of the way during Dedicated, the music never loses its group sense. Patitucci and Sanchez don’t offer any solos, but their accompaniment is top notch. All six songs were written by Bowen and are dedicated to his mentors, including Keith Blackley, David Baker and William Fielder.

 

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Posi-Tone Records: More Home Runs with Mike DiRubbo, Ralph Bowen, Sean Nowell

www.allaboutjazz.com

If Posi-Tone Records was a major league baseball team, it would be at the top of its division. So far in 2009, the label has had big wins with Sam Yahel‘s piano trio debut Hometown and guitarist Yotam Silberstein‘s overall debut Next Page, not to mention former Ray Charles sideman, trumpeter Jim Rotondi‘s heartfelt tribute to his former leader, Blues for Brother Ray.

Now Posi-Tone sends three sax players—two tenors, one alto—to the plate, and the result is back-to-back-to-back home runs.
Mike DiRubbo
Repercussion
Posi-Tone Records
2009

Choosing vibraphonist Steve Nelson for a primary foil may not be exactly traditional, but Mike DiRubbo (the aforementioned alto player) most certainly is. That’s not surprising, given that his mentor and instructor was Jackie McLean. There’s never a sense of struggle or angst in DiRubbo’s approach, even though lively originals like “Lunar” and the title track offer opportunities for such expressions. Instead, DiRubbo projects a marvelous sense of self-assurance as he happily shares space with Nelson. In turn, Nelson practically glows with lyricism on Dave Brubeck‘s “The Duke” and takes a well-deserved spotlight on the soaring “Nelsonian.”

Repercussion was the last session Tony Reedus worked before his untimely death in 2008, and the drummer couldn’t have left a better impression. His foundation work and interplay with bassist Dwayne Burno is flawless, and Reedus’ out-solo on the title track rolls and thunders over Nelson and Burno’s relentless vamp. DiRubbo’s been playing and recording for over 15 years, so he’s no rookie. That said, there’s a youthful exuberance underlying DiRubbo’s classic approach, and that’s the kind of spark jazz needs to keep moving in the 21st century. Repercussion has no frills—that is, there is no wasted motion or unnecessary histrionics. It’s just good clean jazz, and the 21st century needs that, too.

Ralph Bowen
Dedicated
Posi-Tone Records
2009

Ralph Bowen‘s best quality as a tenor player is said to be his “casual perfectionism.” Maybe that’s true, but there’s nothing casual about Dedicated, a collection of musical shout-outs to the mentors that helped shape Bowen’s sound and career—a roster that includes Eugene Rousseau (one of Bowen’s instructors at the University of Indiana) and legendary saxman (and fellow Canadian) Pat LaBarbera. Rousseau’s tribute, “E.R.,” features Bowen in the clear, playing mournfully longing saxophone guaranteed to break hearts, while “Pat” has bassist John Patitucci flying acrobatics as drummer Antonio Sanchez serves up a juicy counter to Bowen’s cascading solo. That this music is about people that matter to Bowen can’t be disputed; “casual” doesn’t enter into the equation.

Bowen’s foil—guitarist Adam Rogers—evokes Charles Lloyd‘s partnership with John Abercrombie in the late 1990s. Rogers eschews laser-guided effects in favor of a traditional approach that buoys the session. His passion on “Canary Drums” accentuates Bowen’s estimable presence; and Rogers jumps and shouts on “Qaiyam” while Patitucci thoroughly crushes the hard-bop bass line. Bowen teams with trumpeter Sean Jones on the appropriately titled “Mr. Bebop” to bring sparkling colors to the best track on the disc. Unfortunately, while all the music on Dedicated is terrific, Jones’ cameo on “Bebop” begs the question whether he could have made the other tracks sound even better.

Sean Nowell
The Seeker
Posi-Tone Records
2009

Instead of The Seeker, Sean Nowell could have used “New York Vibe” as the title for his second Posi-Tone disc. The blistering opening track oozes Big Apple attitude, though not from the current century. The feeling is closer to a mid-20th century Apple, with Checker cabs flying across the Brooklyn Bridge and candle-lit supper clubs thick with cigarette smoke. Nowell’s bold, snarling tenor could have easily come from that era, and Art Hirahara’s percussive piano is just as muscular. Together they bring an uncompromising East Coast mindset to flame-throwing Nowell originals and timeless standards.

It’s not all strolls down the sidewalks of Noo Yawk. Cellist Dave Eggar sends the East Coast vibe into a Middle Eastern direction with a mystical version of the Yiddish traditional “Oy Matze Matze.” Eggar also brings out the loss in a melancholy opening section of Lennon & McCartney’s “I Will,” and contributes exquisite harmony to to Nowell’s own “Jamie’s Decision.” (Nowell takes the harmony a step further by double-tracking himself on flute.)The Seeker is like a Mariano Rivera fastball: it flies right down Broadway, daring anyone to try and lay a bat on it. That won’t happen, because there’s nothing to do but nod in admiration as the ball flies by, straight and true.

Tracks and Personnel

Repercussion

Tracks: Repercussion; The Duke; Lunar; Highbridge Lullaby; Nightfall; Deja Vu; Too Late Now; Nelsonian; Pisces Rising.

Personnel: Mike DiRubbo: alto sax; Steve Nelson: vibes; Dwayne Burno: bass; Tony Reedus: drums.

Dedicated

Tracks: Canary Drums; Pat; Qaiyam; Mr. Bebop; Prof; E.R.

Personnel: Ralph Bowen: tenor sax; Adam Rogers: guitar; John Patitucci: bass; Antonio Sanchez: drums; Sean Jones: trumpet (4).

The Seeker

Tracks: New York Vibe; You Don’t Know What Love Is; Oy Matze Matze; Dunavski Park; Jamie’s Decision; For All Intensive Purposes; I Will; I Remember You.

Personnel: Sean Nowell: tenor sax, clarinet, flute; Art Hirahara: piano; Thomas Kneeland: bass; Joe Abbantantuono: drums; Dave Eggar: cello (3, 5, 7); Nir Felder: guitar (6).

 

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Ken Franckling review for “Dedicated”….

kenfrancklingjazznotes.blogspot.com

Ralph Bowen, Dedicated (Posi-Tone)
Tenor saxophonist Ralph Bowen recorded this forceful CD of original material as a musical thank you to six mentors who played key roles in his musical and career development. The Canadian first emerged on the New York scene in the 1980s as co-leader of Blue Note Records’ sextet Out of the Blue. This new CD teams him with guitarist Adam Rogers, bassist John Patitucci, drummer Antonio Sanchez and trumpeter Sean Jones, who guests on one track.

Everything here is a gem, showcasing Bowen’s muscular tenor and strong credentials as a composer and improviser. Favorites: Rogers’ soloing and comping on the opener “Canary Drums,” the spirited Bowen-Jones interplay and unison on “Mr. Bebop” and the beautiful ensemble work on “Prof.” (The six tracks are dedicated to the late Keith Blackley, Pat LaBarbera, Jim Blackley, David Baker, William Fielder and Eugene Rousseau.)