Tom Tallitsch: Ride

Tom Tallitsch (sax)
Ride (Posi-Tone; 2014)
Art Hirahara (piano)
Michael Dease (trombone)
Rudy Royston (drums)
Peter Brendler (bass)
(live photo: courtesy my iPhone)

I just recently saw Tom Tallitsch perform in New York and was completely blow away. In addition, I was kicking myself as to why I never saw him perform before, as I have been a big fan for the last couple of years. But no matter, his live performance was just as stellar as his studio work. And his newest release, Ride is solid and well composed second effort worth every note.

One of the great things I've always enjoyed about Tom Tallitsch is his versatility. He can shift gears from a bold Ben Webster, Gerry Mulligan style to softer more emotional Sonny Rollins with each piece. Ride features that diversity early on with the opener, "Ride" is hard hitting and ferocious number that showcases Tallitsch big approach with this composition.

While the very interesting cover of David Bowie's "Life On Mars" and "Rain" are a great examples of Tallitsch moving in a more reserved and mid-tempo territory. Dease, Royston and Tallitsch give the rock classic and definitive spiritual feeling that complements the Bowie masterpiece warmly. "Rain," meanwhile feels both gospel influenced yet encompassing a soulfulness that shines above as one of my favourite tracks on the album.

"Knuckle Dragger" is another beautiful moment which Tallitsch highlights both great songwriting and leadership. A funky number that allows Dease, Hirahara and Brendler to stretch and provide some muscular flavour to session. It's a nice extend number that blossoms towards the end of this session.

Tom Tallitsch is now a veteran of the New York scene that really deserves wider recognition. Ride is another bright and confident addition to his cannon and well worth any jazz fans attention. And if he's playing in your city, don't be arse like me and wait forever to see him.

Steve Davis: For Real

Steve Davis (trombone)
For Real (Posi-Tone; 2014)
Abraham Burton (sax)
Larry Willis (piano)
Nat Reeves (bass)
Billy Williams (drums)

Steve Davis is in superb form on his new album, For Real. This is probably the best I heard in a couple albums now. While the bandmates remained the same for this album, with the inclusion of Abraham Burton, their tone and Davis' writing feels stronger and more confident.

"For Real" takes a calm but groovy approach, with some additional homage to the Blue Note legacy (you'll know what this means when you hear it). While keeping the hard bop tradition, Davis still manages to make his compositions stand above some of his contemporaries. The lovely ballad "Days Gone By," excels thanks to the raw but lush notes from Burton and the always steady hand of Willis. Davis' playing is understated and warm reflecting a soft elder statesmen quality.

"Daylight" closes out the album on a wonderful Brazilian swing. While having the infectious flavour, Davis crafts the tune with a number changes that allows for some adventurous movements throughout the piece. Not your typical number. And not you typical Brazilian influence tune. Well done.

With For Real, Steve Davis show that he has a lot more to write about and he continues to go from strength to strength. For Real is probably his best record to date for the Posi-Tone label. And its well worth seeking out. Right now!

Nick Hempton: Odd Man Out

Nick Hempton (sax)

Odd Man Out (Posi-Tone; 2013)

Art Hirahara (piano)

Marco Panascia (bass)

Dan Aran (drums)

Michael Dease (trombone)

I f-n'! loved this record! Sometimes you're just blown away by the basics and the attention to tradition. That's what Nick Hempton has done on his third album, Odd Man Out. Deploying the same group as his previous excellent outing, The Business, with Michael Dease replacing Yotam Silberstein, Hempton's quintet execute a smooth and stylish return.

While there's nothing that will break new ground here--it's the way its performed and constructed that I loved the most. Hempton's prerogative is to groove, all the while showing a real strong sense of leadership and maturity in this new set. "The Step Up" and "Nights And Mornings" both show a steadfast commitment to hard bop and heartwarming balladry. Hemptons' interplay with Hirahara and Panascia is superb.

Hempton's sound continues to grow and become more well rounded. While the tunes on Odd Man Out have that hard bop feel to them, you can feel from "A Bicycle Accident" that Hempton's writing is starting to move many new directions. Here Hempton applies multiple layers and patterns that allows the rest of the group to move freely and shape new ideas over the course of the piece.

Nick Hempton's quick growth over the last few years has been exciting to watch and listen. Odd Man Out is another step forward in that progress. And it's a great record with grooves and rich structures. Worth every note rooted in tradition but vibrant for now.

Ken Fowser & Behn Gillece: Top Shelf

Ken Fowser (sax)

Behn Gillece (vibes)

Top Shelf (Posi-Tone; 2013)

Michael Dease (trombone)

Dezron Douglas (bass)

Rodney Green (drums)

Steve Einerson (piano)

A Ken Fowser & Behn Gillece outing is always going to be top-notch and smooth; like good old fashion club date. With their fourth album, Top Shelf, they keep the relaxed bebop aesthetics of their previous albums while assembling yet another stellar array of musicians to assist in molding their material.

A steady, straight forth "Slick" leads the way, with some terrific bold notes from Fowser and triple toned patterns from Green and Gillece. A strong opening with Dease as a great counterfoil for Fowser.

"Ginger Swing" brings Einerson up in front alongside Fowser nicely. Gillece comes in and rips a set of notes midway through that are balanced perfectly from Green. But Gillece's agility really shines here as he begins some nice improvising before things swing back to Einerson and sextet move towards the closing notes.

"Top Shelf" is a killer piece with a slight Latin tinge. The rhythm is a scorcher and the beat laid down by Douglas, Gillece and Einerson is infectious. "Proximity" while dreamy also features Dease in a nice comfortable roll (almost Fuller-esque). I really love the way each member gets their opportunity to shine on this closing number.

One of the great things I've loved about Ken Fowser and Behn Gillece is their tight arrangements and dedication to tradition. Their writing gets stronger with each record. And their ability to find the right members is extraordinary. Top Shelf is yet again, another will delivered document from a duo that is continually growing and finding an exquisite voice.

Orrin Evans: Freedom

Orrin Evans (piano) 

Freedom (Posi-Tone Records; 2011)

Byron Landham (drums)

Anwar Marshall (drums)

Larry Mckenna (sax)

Dwayne Burno (bass)

This has been a revealing or may even an extremely eye-opening year for me when it comes to Orrin Evans. I have always liked his music but never fully focused my attention on it in such detail as I have this year. With the release of Captain Black earlier this year, and a number of constructive arguments with fellow fans I have finally decided to pay attention. So when his latest release, Freedom, came out I have to say I was more eager to listen and I concentrated on every note.  I also have to say it is all worth it.

Freedom is one of the tightest and most well focused sessions from Evans in years. It's a tribute to a few of his influences and members he has performed with in the past.  This is essentially a trio record with McKenna adding some full-bodied and blues-like emotion to two tracks ("Gray's Ferry" and "Time After Time"). His playing feels like a young fearless Ben Webster. He packs a punch, especially on "Time After Time" in which Evans gives him rolling freedom throughout the opening few minutes before rising into the forefront with a potent dexterity that keeps the tune jumpin'. Both Burno and Landham (drums on this number), adds a lot of rich and fast paced texture to the number to really give it a timeless quality.

"One For Honour" rips along softly but with an uptempo theme. Evan's allows Burno and Marshall (drums) to lead the way. And they really craft this Charles Fambrough number into their own. Evans' performance is fierce, fluid and bright. "Oasis", written by Shirley Scott, contains an infectious rumba applied by Landham. Evans gives a steady hand to guide the melody. Burno pumps in some really nice patterns along the bassline.


While the album has its modern bebop sensibilities, Evans manages to round things off with calming effects on Herbie Hancock's "Just Enough." This soulful ballad pulls Evans in both classical (by technique) and jazz (by emotion and theme) directions and he gently guides the listener out from what has been a vibrant and fun journey.

Freedom is a strong statement and return to a small group format that helps Evans compositional skills shine as well as the talents of his band members. This year has really turned me around on the work of Orrin Evans and I hope everyone else too. Solid stuff indeed.


The first video is a great, interesting and fun look at the who, what and where of Evans' history.

Sean Nowell: Stockholm Swingin'

Sean Nowell (sax)

Stockholm Swingin' (Posi-Tone Records; 2011)

Fredrik Olsson (guitar)

Joe Abba (drums)

Lars Ekman (bass)

Leo Lindberg (piano)

Well, swingin' is definitely the best way to describe Sean Nowell's third album on Posi-Tone, Stockholm Swingin'. It's a well balanced and straight-ahead killer set from the Alabama native now New Yorker.


Establishing himself as a solid performer and laying in a steady stream of clean accessible rhythms in this live setting, makes Stockholm Swingin' an enjoyable listen and enticing venture for every music fan.

Stretching and flexing notes like Dexter Gordon or Sonny Rollins, Nowell sets a fire in a live session. More scintillating than his previous two releases only in the sense that in the live setting you really get a better feel for the band, the arrangements and Nowell as a performer. "Ack Varmeland, Du Skona" (more known loosely as "Dear Old Stockholm" for the rest of us) is smokin'. With the usual infectious top-tapping notes delivered beautifully from Lindberg and Nowell, this classic number takes on rich lively tone. Juxtaposed with the great performance from Fredrik Olsson it feels like a Kenny Burrell/John Coltrane session or a flavourful early George Benson album.

Nowell's own "NY Vibe" is cool and bluesy at times. It really does spell out New York for those of us who have experienced the scene for years. A great little number that even my kid was flipping out over. Nowell pulls a lot of punches with these original compositions. His playing is bold and has a lot of strength. "NY Vibe" has a lot more in common with his previous record The Seeker. It's a burst out of speakers and spell a presence of an real entertainer.

The entire quintet set a real pace and impact on "Sweet Night", written by Lingberg and Olsson. Nowell allows the guitarist to take to the fore but the rest of the group are in unison adding stylistic touches that standout in their own way along the path. Nowell rejoins the group just in time to tear into the mid section; adding a buoyancy and vitality that blisters with life.

With Stockholm Swingin' you get the feeling if you've been listening to Sean Nowell for awhile and that he really let the wheels off the wagon and just went for it this time. This is a live session that works on many levels. It's perfect for many traditionalists and a nice opening for new fans. This is the sound of modern standard jazz. It is good for all. Enjoy...