Tag: Steve Davis

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Bruce Lindsay chimes in on Steve Davis “Gettin’ It Done”…

http://www.allaboutjazz.com/php/article.php?id=42443

Calling trombonist Steve Davis a veteran is probably inappropriate—after all, he was a mere 44 year-old when he recorded Gettin’ It Done in October, 2011. However, he has such a wealth of experience, such a command of his instrument and such a rich back catalog of recordings that based on his body of work rather than his birthday such a soubriquet is not so out of place. Gettin’ It Done is a worthy addition to the Davis discography: a swinging, beautifully performed and exceptionally well-recorded sextet outing.

The album contains two covers, both classic tunes, given a fresh and vibrant sound by the sextet. John Coltrane‘s “Village Blues” opens the album as the band sets the scene with a passionate and coolly swinging performance that ups the tempo compared to the Coltrane Jazz (Atlantic, 1961) original—which, coincidentally, features bassist Steve Davis. There’s also a take on Bobby Hebb’s “Sunny” that showcases both Davis’ warm, rich tone and Josh Bruneau’s bright, brassy sound.

Davis’ own compositions range from the smooth swing of “Steppin’ Easy” to the punchy and up-tempo “Gettin’ It Done.” As might be expected from a player who was mentored by the great Curtis Fuller and who’s collaborated with Jackie McLean and Art Blakey, among many others, Davis writes a mean hard bop number. As the gentle, late-night groove of “Alike” shows, he can also write a romantic ballad, and his performance on the tune also demonstrates the more romantic and considered side of his playing.

Alto saxophonist and fellow Posi-Tone artist Mike DiRubbo is the only sextet member to have joined Davis on his previous album, Images—The Hartford Suite (Posi-Tone, 2010), although pianist Larry Willis and bassist Nat Reeves have a long history of collaborations with Davis. The sextet impresses on every track, a dynamic and intuitive ensemble that offers sympathetic support to the solos and proves itself eminently capable of laying down whatever Davis asks of it—a tight, funky, groove (“The Beacon”), a sultry swing (“Wishes”) or straight-ahead mid-tempo drive (“Longview”) are all delivered with style.

The music on Gettin’ It Done is the creation of a band that does much more than simply getting things done. Davis and his fellow musicians play with flair and an enthusiasm for the music that bursts out of the speakers. This is one of Davis’ most impressive albums—and one of the most enjoyable straight-ahead albums of 2012.

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Brent Black reviews the new Steve Davis CD “Gettin’ It Done”…

www.criticaljazz.com

 The latest and most appropriately titled release from trombone wizard Steve Davis proves that both Davis and his label Posi-Tone are if nothing but consistent in releasing some of the finest in straight ahead jazz. Variety, texture and some out of sight cover art make Gettin’ It Done a most impressive release with producer Marc Free getting that classic Rudy Van Gelder sound down but with his own unique touch. This sextet swings hard and at times sounds dangerously close to a small orchestra of perhaps double the size. Davis is what I refer to as a stealth musician, widely respected but never getting as much attention as he may deserve – until now!
Kicking things off with more of a mid tempo number the classic John Coltrane “Village Blues” is a nice  adventure is shifting harmonics and the horn section which is rounded out with Josh Bruneau on trumpet and Mike DiRubbo are on point with every note. The syncopated pop of the title track “Getting It Done” is a hard charging blast. The one tune I thought that may be a musical landmine is the cover of “Sunny.” The arrangement of “Sunny” takes the adult contemporary radio standard and flips it to a deceptively subtle swing which is a stroke of genius. One of the best tunes on this spotless release. Toss in a gorgeous ballad such as “Alike” and you have that nice all most forgotten working band sound that allows each member to shine. No bumps in the road here.
Arguably the best recording of Steve Davis to date. The rhythm section is worked out with Billy Williams on drums, Nat Reeves on bass and Larry Willis on piano and these guys sound like they have worked together for twenty years. I have long maintained you need to learn a little about a record label when it comes to making a purchase and Posi-Tone is simply classic swing brought up to date with some of the finest talent on the scene and Steve Davis is a perfect example.
From rock star cover art to inventive covers and great originals this disc swings. Period.
An easy 5 stars.
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SomethingElse reviews the new Steve Davis CD…

http://somethingelsereviews.com/2012/07/07/half-notes-steve-davis-gettin-it-done-2012/

Former Jazz Messenger Steve Davis might not have the name recognition of his Blakey forbear Curtis Fuller, but he’s no less a talented trombone player. We last examined his handiwork on Images: The Hartford Suite from a couple of years ago and now he’s set to release his second album since then, Gettin’ It Done. It’s another set of suave but poppin’ organic soul jazz. Davis again brings in Mike DiRubbo as his sax foil, but this time has Josh Bruneau on trumpet, Larry Willis on piano, Billy Williams on drums, and the ever-steady Nat Reeves on bass.

A very sharp set of performances, Davis and his crew produce enjoyable coves of John Coltrane’s “Village Blues” and Bobby Hebb’s “Sunny” (YouTube above), both recognizable but also fresh renditions. The rest of the fare are Davis’ own tunes, a great mixture of toe-tappin shuffles (“Steppin’ Easy”), hot blues (“Gettin’ It Done) and smooth, melancholy ballads (“Alike”). Like Images, Gettin’ It Done is another flawless exhibition of triple horn, 60′s style jazz.

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StepTempest reviews the new Steve Davis CD…

steptempest.blogspot.com

Trombonist-composer-educatorSteve Davis teaches at Hartt School of Music’s Jackie McLean Institute and The Artist Collective.  Mentored by saxophonist McLean, Davis (born in Binghampton, NY and raised in Worcester, MA) stayed in Hartford but has traveled around the world.  He was in the final edition of Art Blakey’s Jazz Messengers, toured and recorded with Chick Corea’s Origins band and is an original member of One For All.  “Gettin’ It Done” is his 3rd CD for PosiTone and does not stray far from the hard-bop swing that animates much of the trombonist’s recordings.  It marks the 9th time Davis has led or co-led a session with alto saxophonist Mike DiRubbo.  Also featured on the recording is several other long-time associates, pianist Larry Willisand bassist Nat Reeves.  Rounding out the crew is 24-year old drummer Billy Williams and recent Hartt School alum Josh Bruneau on trumpet and flugelhorn.

The title tell its all – the band “hits” from the first note and never loses its focus.  Opening with John Coltrane’s “Village Blues” (from the 1960 “Coltrane Jazz” Lp), the music is blessed by the leader’s warm tones and willingness to share the spotlight.  Willis’s rich chords lead the piece in, Reeves and Williams lock into the grooves and the front line presents the sweet melody (which would have sounded out of place on “Kind of Blue.”) The leader takes the first solo; his winning combination of his sweet tone and smart improvisations lead to DiRubbo’s mellow-with-an-edge alto solo. But the surprise here is the dynamic work of young Mr. Bruneau.  Throughout this program, his clear, clean, sound and feisty attack is a treat.  His funky approach on Davis’s “The Beacon” shows the influence of Freddie Hubbard while the “groove” should remind listeners of The Crusaders.  Williams does not settle into the groove; instead, he pushes the piece forward while Reeves’ strong bass support along with Willis’s bright chords gives the piece its shape.

Other highlights include the sprightly “Sunny” (yes, the tune by Bobby Hebb) with its joyful interplay of trombone and trumpet as well as the lovely and lyrical “Wishes” that closes the program. The latter opens with the leader and DiRubbo playing the handsome theme leading into a long piano excursion from Willis.  The pianist is a masterful accompanist while every one of his solos seems to dance atop the beat with glee (he puts the dance steps into “Steppin’ Easy” and the fire into “Longview.”)

Steve Davis is one of the people who makes music that reflects his true being;  to wit, the music on “Gettin’ It Done” is bright, highly rhythmical and melodic, never pushy or condescending.  The band is sharp and attentive, the solos almost always impressive and one feels quite satisfied after spending tine with this music.

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The JazzWord of Steve Davis “Gettin’ It Done”

thejazzword.blogspot.com

Gettin’ it Done is a strong sextet outing with solid three-horn arrangements and inspired soloing. The ring leader of the ensemble is veteran trombonist Steve Davis whose straight-ahead, swinging original tunes are both ear-catching and memorable. Tunes such as the up-tempo title track, a minor blues with blistering solo turns from alto saxophonist Mike DiRubbo, Davis and trumpeter Josh Bruneau, and “Longview,” a spirited hard bop piece, stand out as disc highlights.
Davis’ lyrical waltz “Wishes” finds pianist Larry Willis in strong form, backed by the solid pulse of Nat Reeves on bass and Billy Williams on drums.
From start to finish the disc is predictably hip.

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Another review for Steve Davis “Images”…

www.criticaljazz.com

Images is a somewhat personal rather conceptualized musical love letter if you will to the hometown of trombonist Steve Davis. Hardly a jazz mecca I guess the old saying is true that home is where the heart is but happiness if where your friends are. Either way i roll a doughnut living in the cultural black hole that is Louisville Kentucky. This Hartford suite while occasionally predictable is so strong from a compositional standpoint that the vibrant swing and lyrical sense of purpose and direction is only occasionally taken outside the norm for the sake of creativity. Jazz that reflects the organic pulse of a city.
Opening with “Nato” which is a tune dedicated to bassist Nat Reeves, this mid temp swing has a plethora of soloist take a lyrical crack at the sonic direction Davis intended with this straight ahead swing tunes marches by with a certain air of predictability but not without a sense of adventure and improvisational variety to keep things fresh and moving. “The Modernist” moves towards the odd meter arena but without an air of self indulgence or time wasted. There is a deceptively subtle straight ahead under pinning that requires close attention but as this is picked up on suddenly the tune takes on a new texture and sonic depth of field that could have been originally missed on the initial first pass. There is a nice even pass, a lyrical sense of purpose without undue urgency. “Park Street” is a favorite as a Latin groove is built around a blues like progression which is another of the many subtle nuances built into this stellar work.
With all most as many dedications as their are tunes there is a great deal of information here to digest. Davis is as strong a composer as he is an instrumentalist and a master of the subtle nuance of having a disc give up something new of itself with each subsequent spin. At time this formidable septet border on a more small orchestra feel with a 4 man horn section on the front line but the arrangements are spot on and the end result is highly entertaining! Musical images created from a rich and deep sonic color pallet, imagery that is as energetic as the ensemble. A fine addition to any collection and certainly West Hartford Ct. should consider itself fortunate indeed to have an instrumentalist/composer place their lovely city in such a magnificent light.
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Raul D’Gama’s AAJ review for Steve Davis “Images”…

www.allaboutjazz.com

It is easy to mistake trombonist Steve Davis for an aesthete—which he is, possessing an undying sense of lyricism to show for it. But he is a deeper musician than one who merely subscribes to the aesthetical philosophy. Each of Images‘ ten compositions far transcends warmth and lyrical beauty, standing out as astute forms of modal music that recall the finest of their kind. Davis’ ability to enrich the tonal palette of the trombone is commendable. He may not bend and twist the voice of perhaps the most human vocal-like instrument, as Roswell Rudd does. He may not reach into the thin upper registers of the instrument, as Bill Watrous does. Even though he stays fair and square within a comfortable zone— relying, if anything, on an innate bias for the bass register—Davis adorns the sound of the instrument with a husky sensuousness. He caresses, rather than simply playing, the notes. He constructs his solos with breathtaking curvilinear phrases that melt into one another, sometimes holding a note like a spinning top, before letting a cascade of others in a new idea fall on the B side of a solo.

Images has something else to offer. This fine album is played as a loosely connected suite of music dedicated to some fine aspects of Hartford, Connecticut, the trombonist’s home and a place which offers him a slew of memories from which to draw. The interesting aspect of drawing on them for a musical tribute is that the narrative in each pays close attention to the characters that drive each story. As a result, there is a distinctly individual flavor to each part of this suite.

“Nato” is breathless and fluid, “The Modernist” is almost a clinical expression derived, no doubt, from the academic character of the Museum Curator, Chick Austin, of whom the music sings. “Twain’s World” is by turns, impish and provocative. Similarly, “J Mac’s Way” is blasé and harder hitting in parts, aptly describing both character and music of the late alto saxophonist/composer Jackie McLean. “Mode for Miantonomoh” is the high point of the work, a work of exceedingly beautiful melody and harmony. And so on, until “Kenney’s” and “Club 880,” which, like the best final movements in suites classic and modern, sound like a breathtaking climax and, written in their so-called jazz idiom, are fine jams that pulsate with excitement, closing this fine piece of work.

With Images, Davis builds upon his fine legacy of thought-provoking lyricism, as one of the finest trombonists playing today.

 

 

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Brief review of Steve Davis “Images” from London’s Financial times writer Mike Hobart….

by Mike Hobart

The second track starts with an ominous opening pedal that yields to an awkwardly pulsating harmonic sequence, which Davis’s band of rising stars negotiate with ease.

Called “The Modernist”, it sets the agenda for a tightly-argued set of small-group jazz originals. Trombonist Davis was the last musician to be hired by drummer Art Blakey, and his warm dry tone, articulate arrangements and the three-horn front line sit firmly in the Messenger’s tradition.

“J Mac’s Way”, references the late alto saxophonist Jackie McLean and there is a lovely ballad, “Rose Garden”.

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Unbelievably amazing coverage for the label and some of our latest releases Jacam Manricks, Steve Davis, and Wayne Escoffery coming to us courtesy of the Something Else! musicblog…

Tuesday, July 6, 2010
Some positively solid releases from Posi-Tone Records (2009, 2010)
by Pico

One of the newer jazz labels that’s been on a roll lately is Marc Free’s outfit, Posi-Tone Records. Started up in 1994, Posi-Tone is a rare independent label that’s done a remarkable job in balancing its roster with top shelf veterans and some of the more promising young talent, specializing in mainstream, soul and even a little bit of whack jazz. What’s more, the production quality of their releases are on par with some of the larger labels like Concord and even ECM.

Already, five P-T releases have been picked apart in this space since the beginning of the year; just click on the “Posi-Tone Records” tag to see what we’ve covered already . Lately, though, these guys have been churning out records at a faster pace than what I can keep up with, which probably wouldn’t be an issue if they were crappy records. Instead, this is an issue where both quality and quantity are both plentiful. And that’s when it’s time for a Quickies.

The three releases presented here are just a sample of what I’ve been digging from the label lately, but are representative of the level of new talent who flock to this label. If you hadn’t heard of these cats before, well, it’s time you did…