Tag: Steve Fidyk

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New York City Jazz Record checks out “Once & Future” by Brian Charette

mindset2Brian Charette has rapidly become a rising star on the Hammond B3 organ for the past few years and his latest CD is a salute to his fellow players, ranging from greats of the Swing Era to current players. Well accompanied by guitarist Will Bernard and drummer Steve Fidyk, Charette is interested in modernizing vintage tunes while putting his stamp on them. Starting with Fats Waller’s “Jitterbug Waltz”, Charette swings but the peppy rhythm section gives this jazz favorite a new flavor. His funky take of Larry Young’s blues “Tyrone” downplays John Coltrane’s influence on its composer and turns it into a percolating number for partying. The band engages in shout-outs of the title to Jack McDuff’s engaging funky blues “Hot Barbecue”, though Charette’s keyboard fireworks merit the real attention. Bud Powell’s “Dance of the Infidels” isn’t commonly heard on organ, but this imaginative treatment may open the door for others to conduct further explorations. Charette wraps the session with his hip “Blues For 96”. The future of Hammond B3 is in great hands

New York City Jazz Record

 

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Midwest Record feels the groove on Brian Charette’s “Once & Future”

mindset2The guy that literally, actually and factually wrote the book about B3 will blow your mind right out of the box on the first track with the way he cascades notes on “Jitterbug Waltz”.  Whether you know anything about B3 or are a long time fan of organ trios, that track is all it’s going to take to make you a believer and join the fun.  A dead, solid killer of a set, this is gold standard after hours jazz that’ll separate the hipsters from the real groove daddys.  Smoking stuff throughout that never wears out it’s welcome.   – Midwest Record

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Dusted In Exile reviews the new one from Walt Weiskopf

mindset2Calling Coltrane an influence is an exercise in stating the obvious for most saxophonists under the age of sixty. The undisputed Heavyweight Champion of the horn still exerts a seismic impact so vast as to be nearly indelible. Tenorist Walt Weiskopf is one of the multitude who came under the Coltrane thrall early in his artistic inquiry, but like the best of that number he’s been able to wrestle inspiration into submission in the service of a sound he can accurately call his own. The Way You Say It registers as his sixteenth effort as a leader and it’s the first to feature him with the singular instrumentation of organ, vibraphone and drums.

Nine out of the dozen tunes originate from Weiskopf’s imagination with three carefully chosen covers covering the diverse stylistic bases of Forties Pop (“Candy”), Bird (“Segment”) and Weather Report (“Scarlet Woman”). The originals are as eclectic as they are numerous, making the most of Weiskopf’s sideman choices particularly in the pick of organist Brian Charette who applies a modernist sensibility to the instrument right in line with past greats like John Patton and Larry Young. Vibraphonist Behn Gillece draws from a comparable lineage in echoing the advancements of Bobby Hutcherson and Khan Jamal. Drummer Steve Fidyk takes readily to the demands of sustaining a rhythmic fulcrum for Weiskopf’s shifting frameworks.

“Coffee and Scones” acts as fortifying opener for the foursome with first leader and then Gillece and Charette riffing on a bustling soul bop motif. The organist’s pedal bass line is especially effective in advancing a groove alongside Fidyk’s steady snare accents. “Separation” slows the action down to a smoldering ballad tempo with both organ and vibes opening up tonally in response as the leader raises sail on the theme and later turns in a flexing, propulsive solo for contrast.  “Innotene” and “Blues Combustion” table contrast for straight up incandescence igniting on fleet tempi and tight, dime-turning contours. Weiskopf keeps all but one of the cuts in the under-five-minute range ensuring that none wear out welcome through overelaboration. Points earned for originality in both design and execution, Weiskopf and crew have come up with vibrant and viable alternative to the all-too-common organ combo longueurs.

Derek Taylor

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Thanks to All About Jazz for the great review of “The Way You Say It” by Walt Weiskopf

mindset2Do jazz jukeboxes exist? I’m not referring to an online streaming service that tells you what to like. I’m talking about a mechanical box in a roadhouse you put money in, and everyone in the joint listens to your selections. If there are such establishments with said jukeboxes, I’m certain customers would select WW1, WW2, WW3, et cetera, for most of the tracks on Walt Weiskopf‘s The Way You Say It.

The saxophonist a veteran of the big bands of Buddy Rich and Toshiko Akiyoshi, plus a requested sideman with Steely Dan, has produced a dozen outings as a leader, first for Criss Cross, and three now for Positone Records. The latest follows Open Road (2015), a quartet and the sextet Overdrive (2014) both with pianist Peter Zak. With The Way You Say It, he swaps piano for the organ of Brian Charette, an instrument we haven’t heard with the saxophonist since A World Away (Criss Cross, 1995).

Charette, the de facto house organist for Positone, comports himself quite well here, supporting Weisskopf and vibraphonist Behn Gillece, who we heard on Overdrive. With drummer Steve Fidyk, the quartet can negotiate a speedy burner like “Inntoene” and “Blues Combination” with jaw-dropping ease. Weiskopf has all the tools, a broad and deep sound with a very well balanced attack. In other words, a beautiful tone. That richness is showcased on the flavor-rich ballad “Candy” and “Invisible Sun.” Weiskopf penned ten of the twelve pieces here. “Envisioned” allows for each musician to stretch out a bit as it burns with a hot blue flame.

The quartet picks through two contrasting covers, Charlie Parker‘s “Segment” and the Weather Report classic “Scarlet Woman.” The quartet turns Joe Zawinul‘s fusion into a stormy blues romp with Bird’s music sailing with a nonchalance befitting such a sprezzatura artist as Weiskopf.

All About Jazz – Marc Corrotto

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Dusted in Exile reviews the new Walt Weiskopf CD….

http://dustedmagazine.tumblr.com

Walt Weiskopf - Open Road cover

 

 

 

 

Times have long been tough for the Coltrane and Rollins-smitten tenorist. First there exists the sheer volume of peers to contend with, each jockeying for a share of a dwindling listenership that can easily eschew their facsimile sounds for the source. Then there’s the challenge of adapting the masters’ vocabularies in a manner that doesn’t come off slavish or overly-derivative. With the deck stacked in such a way, it’s a wonder more don’t hang up their horns and opt for more uniformly lucrative or laudatory endeavors. In Walt Weiskopf’s case, as with a select few others, there’s really no alternative at all. It’s a calling that can’t be denied or subsumed, best dealt with by keeping as busy as possible in forwarding one’s art no matter what criticisms arrive in opposition.

Open Road works as a clever visual analogy for the sort of mind set needed to consistently circumvent the strictures of the circumstances described. Weiskopf’s been at it professionally for well over three decades, composing, gigging relentlessly as a sideman and leader, cutting records, teaching, publishing and accruing accolades and awards along the way. Seventeen albums later and Weiskopf’s staying power is beyond reproach. Facets of Coltrane and Rollins reside audibly within an instrumental argot that is clearly indebted to the giants, but never fawningly rote.

The twelve pieces here combine to just shy of an hour and the relative brevity of each ensures that the band regularly breaks a sweat via variety and tempo variation. Premonition” starts off as a textbook postbop obstacle course, but pianist Peter Zak and bassist Mike Karn drop out two thirds into the piece leaving the leader and drummer Steve Fidyk to plow ahead at a propulsive clip. “Let’s Spend the Day Together” has something of a Horace Silver cast about it in the dancing Latin rhythm undergirding Weiskopf’s lead and the effervescent comping of Zak. The title track presses the collective accelerator, prompting Weiskopf to cruise expressively through a set of resilient changes with Zak’s space-savvy attack leaving him plenty of room to move.

A rare departure from the Weiskopf pen, “Nancy (with the Laughing Face)” evinces the same playful bait and switch as the opener with tenor and piano relating the wistful theme, before the latter drops out and Karn steps up to offer the leader elastic support in his stead for a fleeting exchange. The driving “Gates of Madrid” carries the poignant urgency of a Sixties Joe Henderson or Booker Ervin number as Weiskopf invests his tone with a keening cry and Zak comps darkly at his side. Karn is more felt than heard, working with Fidyk to dial up the tension as Weiskopf ranges emotively to a tumult-stamped close. “Chronology” and “Electroshock” each contain a brisk assembly of sharp-edged, puzzle piece structures steeped in constructive colloquy. In pacing, placement and summary outcome the album works in the best episodic sense.

Derek Taylor

 

 

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Steve Fidyk “Heads Up!” gets a review in August 2014 Issue of Modern Drummer…

Steve Fidyk Heads Up! Swing, swing, and more swing is the name of the game on the MD contributor’s latest collection of expertly played straight-ahead jazz. Steve Fidyk brings everything from understated pianissimo brush solos (“Make Someone Happy”) to up-tempo burners (“Untimely”) on Heads Up!, with brilliant articulation and a lovely cymbal sound. Fidyk can drive his four musicians like a big band, though he never overplays and keeps the dynamic volume managed at all times. On “The Flip Flopper,” the drummer throws down a loose and funky groove, and “Love for Sale” contains a 7/4 solo vamp that allows him to work out on his snare with pristine technical agility. Fidyk has the rare ability to lead from the drummer’s chair while also playing the supportive sideman role, resulting in a sound where the drummer gives himself some, anytime he wants. Fidyk happens to not be so greedy. (posi-tone.com)

–Ilya Stemkovsky

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Step Tempest goes positively Posi-Tone again…

steptempest.blogspot.com

Positively Posi-Tone (Part 2)

Bassist Peter Brendler, a native of Baltimore, Maryland, graduated from the Berklee School of Music and then went on to the Master’s Program at the Manhattan School of Music. He’s worked with pianist Frank Kimbrough, drummer Barry Altshul, and saxophonist Jon Irabagon (who recorded his “Foxy” CD with Altshul and Brendler) and his debut as a co-leader was a 2013 date with guitarist John Abercrombie.

“Outside The Line” is the first CD under his name only and is a “smoker” from the get-go.  Featuring Rich Perry (tenor saxophone),Peter Evans (trumpet, piccolo trumpet) and Vinnie Sperrazza(drums), the quartet rambles, rumbles, “splats”, sputters, wails, struts and strolls through a 12-song program that features 9 originals and 3 inspired covers.

On the “covers” side, the program starts with the band speeding through Chet Baker’s “Freeway“, a hard-bop romp that features Sperrazza’s “dazzle-dazzle” brushwork, Evans’ inspired piccolo trumpet work and Perry’s bluesy sax work.  There’s a funky recreation of Lou Reed’s “Walk On the Wild Side“, complete with Perry and Evans taking the part of the “doot-da-doot-da-doot” chorus. Sperrazza’s inspired brush work and the leader’s full-toned bass notes give the soloists plenty of support.  The final cover is an inspired reading of Ornette Coleman’s “Una Muy Bonita” which opens with a fine bass solo that slowly eases into the recognizable melody (the foursome does an excellent job of shifting the tempo throughout).

 

Several of Brendler’s originals hew close to the Coleman Atlantic Records Quartet sound, such as the hard-driving “Lawn Darts” (it’s a treat listening to how the bass and drums work together and independently to move this music forward).  In another direction, “Pharmacology” is a bopping blues track with a melody line that could have been played by the Clifford Brown-Max Roach Quintet.  Evans and Sperrazza goose each other along during the trumpet solo and then the drummer trades “4’s” with the bassist. There’s a noisy quality to the rapid give-and-take of Perry and Evans on “Openhanded” while “The Darkness” mines the blues in the musicians’ veins.  The trumpet solo pushes against the medium-tempo stroll the bass create while the tenor saxophone joins in on the stroll.  The drone created by the bowed bass, trumpet and saxophone to one “Indelible Mark” induces shivers but also displays Brendler’s splendid technique. He’s the “lead” voice for the opening 1/3rd of the track.  Evans and Perry, though they come from different musical genres (the saxophonist has worked with the Maria Schneider Orchestra while the trumpeter is a mainstay in Mostly Other People Do The Killing), work extremely well together. The CD closes with “The Golden Ring“, a series of ferocious interactions among the quartet. Sperrazza’s drumming is inspired throughout, he and Brendler often function like lead instruments with their own thematic material.

One could call “Outside The Line” “free jazz” but the music is so much more.  The musicians provoke, challenge and complement each other, giving the listener much to chew on.  Peter Brendler has created quite the gem of a CD – I’d put his release right alongside Eric Revis’s smashing new CD “In Memory of Things Yet Seen” as 2 of the best recordings by a bassist of the past several years.  To find out more, go towww.peterbrendler.com.

Drummer Steve Fidyk, the son of a drummer, is, perhaps, best known for his work with big bands (although he has also recorded contemporary Jewish music with Robyn Helzner and played with numerous Symphony orchestras). Meeting drummer/educator Joe Morello (Dave Brubeck Quartet) changed Fidyk’s life as his mentor helped not only how to play but also how to be a better teacher.

“Heads Up!” is his debut as a leader and it’s a solid effort. Engineer Michael Marciano (of Systems Two in Brooklyn, NY) does a great job of capturing Fidyk’s excellent brush work.  The quintet for this date features Terell Stafford (trumpet, flugelhorn) Tim Warfield (tenor sax) and rhythm section from the Armed Services, bassist Regan Brough (from the U.S. Army Blues) and guitarist Shawn Purcell (the United States Naval Academy Band).  The 9 cuts include original songs by the leader, such as the energetic opening track “Untimely“, the extremely funky “The Flip Flopper” and the sweet ballad feature for Stafford’s flugelhorn “T.T.J“.  Purcell is an excellent foil for the front line, never intrusive, always supportive.  His work is often subtle, playing quiet chordal patterns behind the soloists; yet, he can cut loose as well, shredding his way through “The Flip Flopper.” His piece for trio, “Might This Be-Bop“, features strong solos from him, bassist Brough and Fidyk.   Stafford is such a great player, whether soaring over the changes as he does on Fidyk’s “The Bender” or playing muted and mellow on the rearrangement of Jules Styne’s “Make Someone Happy.”  He returns to flugelhorn on the slow take on Johnny Nash’s reggae hit “I Can See Clearly Now“, helping to create a big city, late night vibe.  Warfield’s bluesy tenor is heard to great effect on several tracks, including Hank Mobley-like turns on Purcell’s “Last Nerve” and the hard bop cum disco take on Cole Porter’s “Love For Sale.”

Steve Fidyk sounds like he’s having a great time on “Heads Up!”  He keeps the tunes motoring along without intruding while pushing the soloists to greater heights on several occasions.  Posi-Tone Records, like Criss Cross Records, is a label that is often billed as a home for mainstream jazz. In actuality, both labels and their respective producers (Marc Free and Gerry Teekens), like to mix things up.  Yet, “Heads Up!” (which features Criss Cross artist Tim Warfield – he has 7 releases on the Netherlands-based label) is “straight-ahead” and gloriously so.  For more information, go to www.stevefidyk.com.

 

For his 5th Posi-Tone release, tenor saxophonist Doug Webbhas organized a new group of East Coast musicians (3 of his previous 4 previous CDs featured the rhythm section of drummer Gerry Gibbs and bassist Stanley Clarke) – recorded in February 2013, “Another Scene” features the late bassistDwayne Burno (who passed in late December of last year), pianist Peter Zak and the most impressive Rudy Royston (drums).  The change of scenery has energized Webb who picks up on the power of Royston’s drumming and Burno’s muscular bass lines and delivers a strong performance.  That’s not to say this is all fire and no sweetness. There are several fine ballads including Dave Brubeck’s “Southern Scene“, Vernon Duke’s “What Is There to Say” and Benny Carter’s “Only Trust Your Heart” (a duo for saxophone and piano).

However, chances are good you’ll remember the fiery saxophone and drums exchange that makes up “Rhythm With Rudy” and the hard-driving opening 2 tracks, “Mr. Milo” and “One for Art” (dedicated to Webb’s former bassist, the late Dr. Art Davis).   “Another Step” is Webb’s take on John Coltrane’s “Giant Steps“, with the saxophonist lying over the powerful piano chords and hard-charging rhythm section. Later in the program, Webb’s “Verdi Variations” also has a Coltrane feel in the piano chords, the rubato work of Burno and Royston plus the feverish tenor of the leader. In a clever programming turn, the following track is Thad Jones’ “Bird Song”  which features a sweet solo from the leader and a rocking bass statement from Burno.

“Another Scene” is, in my opinion, most complete recording I have heard from Doug Webb. His earlier CDs all had their moments but this one has many more.  Could be the great rhythm section, could be that Webb liked the change of scene, could just be his continuing maturity as a performer.  Whatever was in the air on the February day worked its magic on this session.  For more information, go towww.dougwebb.us. 

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Dan Bilawsky reviews several new Posi-Tone Releases for AAJ…

http://www.allaboutjazz.com

Some labels release a few records a year; some put out a record every month or two; and then there are those, like the Los Angeles-based Posi-Tone Records, that prefer to push even more music through the pipeline.

As 2014 came into being, Posi-Tone began an ambitious release schedule, putting out a new album every few weeks. Those who cover jazz and follow the scene intently can’t seem to turn around these days without bumping into one of their discs. Everything from groove dates to post-bop parties to beyond-the-norm entries fly under the banner of this small-but-thriving label. Here’s a look at four from the ever-growing Posi-Tone pile.

Brian Charette
Square One
Posi-Tone
2014

Organist Brian Charette has appeared as a sideman on several albums for this imprint, but Square One is his leader debut for Posi-Tone. He works with the tried-and-true organ trio format here and it suits him well.

Guitarist Yotam Silberstein and drummer Mark Ferber join Charette for what starts out solid and turns into a hell of a ride. The first few tracks on this one almost almost seem like a warm-up, as the band finds its footing with funk-to-swing fun (“Aaight!”), pays respect to Larry Young(saxophonist Joe Henderson’s “If”), and pleasantly waltzes on by (“Three Martina”). All of this material comes together well, but sparks don’t always fly. That all changes when the band finds its stride with The Meters’ “Ease Back.” That track, which comes at the midpoint of the album, starts the winning streak. Everything that follows is superb. Ferber’s snare drum groove on “A Fantasy” makes the song, Silberstein pulls out some Lionel Loueke-esque sounds on “Things You Don’t Mean,” and the whole band becomes strikingly unhinged during “Ten Bars For Eddie Harris.”

Charette’s ability to hunker down into a groove, look to the outer limits, or switch between the two at a moment’s notice helps to keep listeners on their toes during this delightful and occasionally daring date.

Jared Gold
JG3+3
Posi-Tone
2014

Jared Gold, like Charette, has never subscribed to old school organ orthodoxy. He’ll give the past its due, but he works in the present. This is his seventh album in seven years—all released on Posi-Tone—and it finds him fronting an augmented organ trio, with three horns added to the mix. These other voices don’t dominate the program, but they do get to step out on occasion, round out the sound of the group, create some harmonic heft, and add some secondary colors to these pieces.

The album opens on Gold’s slow swinging “Pendulum,” guitarist Dave Stryker’s crackling “Spirits,” and Julian “Cannonball” Adderley’s gospel-inflected “Sermonette,” complete with some baritone saxophone preaching from Jason W. Marshall. The attention then shifts to the core trio during a take on James Taylor’s “Shower The People” that shifts focus from nuanced texture painting to slick-and-slippery funk. Drummer Sylvia Cuenca steals the show on a burning “No Moon At All,” trumpeter Tatum Greenblatt steps up to the plate on “I Just Can’t Stop Loving You,” and alto saxophonist Patrick Cornelius gets to shine on Gold’s lively-and-bouncy “Fantified.” This mostly-covers set finishes with two more, as a smoking “Cubano Chant” and comfortable “Charcoal Blues” finish things off in style.
Steve Fidyk
Heads Up!
Posi-Tone
2014

Drummer Steve Fidyk is best known for his sideman and studio contributions, writing for Modern Drummer magazine, and work with the Taylor/Fidyk Big Band. Here, he makes his bones with the Posi-Tone gang by fronting a quintet that features a pair of heavy-hitters—trumpeterTerell Stafford and saxophonist Tim Warfield. The program contains four Fidyk originals, two numbers from guitarist Shawn Purcell, and three covers.

Heads Up!, like the aforementioned Charette album, doesn’t start out with the most distinctive music on the disc. It’s the first cover—”Make Someone Happy”—that, strangely enough, gives Fidyk’s music its own identity. A muted Stafford draws focus as Fidyk’s brushes glide along below. From that point on, most everything makes its mark. Purcell’s guitar and Regan Brough’s bass join together for the Charlie Parker-ish “Might This Be-Bop,” which is also bolstered by Fidyk’s brushes, and Stafford picks up his flugelhorn for an uncommonly slow and beautiful take on “I Can See Clearly Now.”

Fidyk’s most notable originals—”The Flip Flopper,” a funky tune with some memorable guitar work from Purcell, and the warm-hearted “T.T.J.”—come later in the album, but it’s Cole Porterthat has the final word; Fidyk and company finish with a metrically-altered “Love For Sale” that’s pure fun.

Tom Tallitsch
Ride
Posi-Tone
2014

Saxophonist Tom Tallitsch focuses on his own music on his second release on Posi-Tone and fifth date as a leader. He throws in David Bowie’s “Life On Mars” and Led Zeppelin’s “Ten Years Gone” for good measure, but the other nine tracks are all of his making.

Tallitsch proves to be a commanding player throughout Ride, but it’s the sidemen that help to bring out the best in the music. Rock solid players like pianist Art Hirahara and bassistPeter Brendler help to keep things running smoothly, guest trombonist Michael Dease brings the heat, and Rudy Royston, the seemingly ubiquitous super drummer, adds some wattage to Tallitsch’s tunes. Royston’s in high spirits on the title track and he drives the hell out of a few other numbers.

While the faster material always carries excitement with it, Talitsch’s strongest pieces aren’t the burners. “Rain,” which Tallitsch accurately frames as “gospel country,” the Brazilian-tinged “El Luchador,” which gives Dease a chance to shine, and the bluesy “Knuckle Dragger” all leave more of a lasting impression on the ear.

Tracks and Personnel

Square One

Tracks: Aaight!; If; Three For Martina; People On Trains; True Love; Ease Back; Time Changes; A Fantasy; Yei Fei; Things You Don’t Mean; Ten Bars For Eddie Harris.

Personnel: Brian Charette: organ; Yotam Silberstein: guitar; Mark Ferber: drums.

JG3+3

Tracks: Pendulum; Spirits; Sermonette; Shower The People; No Moon At All; I Just Can’t Stop Loving You; Fantified; Cubano Chant; Charcoal Blues.

Personnel: Jared Gold: organ; Dave Stryker: guitar; Sylvia Cuenca: drums; Patrick Cornelius: alto saxophone; Jason Marshall: baritone saxophone; Tatum Greenblatt: trumpet.

Heads Up!

Tracks: Untimely; Last Nerve; Make Someone Happy; Might This Be-Bop; I Can See Clearly Now; The Flip Flopper; The Bender; T.T.J.; Love For Sale.

Personnel: Steve Fidyk: drums; Terell Stafford: trumpet, flugelhorn; Tim Warfield: tenor saxophone; Shawn Purcell: guitar; Regan Brough: bass.

Ride

Tracks: Ride; Life On Mars; Rubbernecker; Rain; The Giving Tree; Ten Years Gone; El Luchador; The Myth; Knuckle Dragger; The Path; Turtle.

Personnel: Tom Tallitsch: tenor saxophone; Michael Dease; trombone; Art Hirahara: piano; Peter Brendler: bass; Rudy Royston.

 
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Midwest Record reviews Steve Fidyk “Heads Up!”…

http://midwestrecord.com/MWR759.html

 

STEVE FIDYK/Heads Up:  As much as we really love a real original that knows
how to work an original, we have a soft spot for leaders that can take a chestnut
and put a whole new spin on it, much like Fidyk, Stafford, Warfield and company do
here on “I Can See Clearly Now” as well as several others.  Original, creative and
somewhat visionary, Fidyk has loads of live and recorded flying time to bring to
this session making a seamless set from start to finish of pure, contemporary jazz
that’s sure to open your ears.  Whether speeding it up and swinging or slowing it
down to give every one a breather, Fidyk never gets complacent.  Just when you think
this is going to be a set of TV show big band, whoomp, there it isn’t.  A really
solid set for the jazzbo looking for a good time.8119
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Brent Black reviews Steve Fidyk “Heads Up!”

http://www.criticaljazz.com

Steve Fidyk hits the ground running with one of the finest Posi-Tone releases yet!
Heads up drummers, Steve Fidyk is gaining on you! While certainly not a newbie in the strictest sense, Steve Fidyk’s debut release for Posi-Tone is that of a  highly respected artist, author and columnist that is writing his own story in the upper echelon of improvisational music. The cast of musical co-conspirators here are first rate including perhaps the two finest horn players in Terell Stafford and Tim Warfield. Shawn Purcell is an incredibly under appreciated guitarist and bassist Regan Brough swings deep and hard.
The achilles heel for most straight ahead recordings can be all too predictable covers with arrangements that border on happy hour riffs heard at the local Marriott. Not here, fresh original arrangements join forces with some unexpected covers for a vibrant swing that floats effortlessly throughout this stellar work. Guitarist Shawn Purcell contributes two notable composition including the captivating “Might This Be-Bop.” Everyone seems to be covering a Cole Porter tune and Heads Up! includes an infectious reharm of the classic “Love For Sale” while the re-work of the Johnny Nash “I Can See Clearly Now” actually gives this shop worn tune a second chance at some harmonic life.
“The Flip Flopper” and “The Bender” are two of Fidyk’s finest numbers pulled from the deceptively subtle hard bop showcase. An impressive array of instrumental prowess, fresh arrangements and the uncanny ability to rework a melody with mangling the original finds Steve Fidyk a name to remember and Heads UP! a straight ahead fans dream!