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Dan Bilawsky’s AAJ review for Travis Sullivan “New Directions”…

www.allaboutjazz.com

Saxophonist Travis Sullivan has received lots of coverage for the music he creates with his Björkestra, but the success of that band is a double-edged sword. While following the musical pathways set forth by his Icelandic muse has helped the saxophonist expand his audience, it also temporarily suppressed his own musical personality. With New Directions, Sullivan steps out of the shadow of Björk and back into the light of his own creations.

For this ten-song program, Sullivan supplies eight originals that showcase his gleaming tone and melodic sensibilities, while also testifying to his varied musical interests. He paints bright melodies against the contrast of dark bass lines (“Jamia’s Dance”) and powers through funky, odd-metered workouts with ease (“Hidden Agenda”), but he also shows comfort soloing over rhythmic terrain that shifts from aggressive, driving swing to Latin-leaning grooves (“Tuneology”). While the majority of Sullivan’s pieces are grounded by a firm sense of rhythm, “Autumn In N.H” is a notable exception. This piece opens with Mike Eckroth’s wistful piano work, but the band eventually arrives in a gauzy musical atmosphere that allows for some interesting interplay and dynamic development.

While Sullivan only tackles two covers, his choices reflect the eclecticism found within his own work. He performs “Spring Is Here”—written by Richard Rodgers and Lorenz Hart—and fills it with noir-ish notions. The rhythm section provides some appropriately malleable accompaniment and Sullivan caps off the performance with a confident cadenza. A standard of a different sort, a popular ’80s pop confection in this case, is reworked to suit Sullivan’s own vision. On “Everybody Wants To Rule The World,” bassist Marco Panascia’s frisky bass work provides direction early on, but Sullivan’s soloing eventually becomes the focal point. While drummer Brian Fishler powers the quartet through various styles of music, his solo star turn is saved for the final number. The title track finds Fishler soloing over a funky vamp and dissecting the time like a skilled surgeon with sticks, helping to end this enjoyable album on an energetic note.

Track Listing: Jamia’s Dance; Autumn In N.H.; Tuneology; Hidden Agenda; Spring Is Here; Georgie; Everybody Wants To Rule The World; Leap Of Faith; Magic Monday; New Directions.

Personnel: Travis Sullivan: alto saxophone; Mike Eckroth: piano; Marco Panascia: bass; Brian Fishler: drums.

Record Label: Posi-Tone Records | Style: Modern Jazz

 

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The first review is in for Travis Sullivan “New Directions”…

jazzandblues.blogspot.com

FRIDAY, MAY 13, 2011

Travis Sullivan – New Directions (Posi-Tone, 2011)

Saxophonist, composer and educator Travis Sullivan has an appealing sound and develops strong melodic mainstream jazz here, with an intelligently mixed program cookers, mid-tempo numbers and ballads anchored by his strong playing on saxophone. He is accompanied by Mike Eckroth on piano, Marco Panascia bass, and Brian Fishler on drums. While “Jamia’s Dance” is a medium tempo opener with a fine flowing saxophone solo, “Autumn in New Hampshire” is a particularly poignant ballad, more dark toned and elegiac, reflecting the autumn of leaf less trees and melancholic moonlight than that of colorful foliage. “Spring is Here” carries on the seasonal theme, also a ballad featuring lush and patient saxophone. “Hidden Agenda” ups the ante to a swinging fast tempo and their exploration of the light-speed realms concludes with “Tuneology,” a performance that recalls Atlantic-period John Coltrane in its speed and texture, both on the cascading saxophone solo and the rippling piano interlude. “Georgie” and the pop cover “Everybody Wants to Rule the World” slow things back down to a medium boil with the former developing quartet dynamics, with Sullivan picking up the pace to a boppish feel, building to a peak of emotion before relinquishing the spotlight to the piano, bass and drums rhythm section. The Tears for Fears cover uses bass as the pivot point around which the music revolves. The saxophone teases at the melody before the bass and drums shift into a funk feel with light saxophone improvising across them. Sullivan develops his performances thoughtfully and thematically, and examples can be found on the album ending tracks, “Magic Monday” and “New Directions” where he builds his solos sounding fast and confident over a strong backbeat.