Producer Marc Free and Chief Mixer-Master Nick O'Toole continue to issue high-quality music on the Posi-Tone Records, mixing newer artists with great rhythm section and giving established artists the opportunity to continue to stretch their creative wings. Here are three exciting new albums.
 |
| Photo: Anna Yatskevich |
Vibraphonist and composer
Behn Gillece has, over the past decade-and-a-half, taken part in dozens of sessions for Posi-Tone. He first came to critical attention as part of duo with saxophonist
Ken Fowser – they released four albums from 2009 to 2013. Gillece released his debut album as a leader in 2015 and since then has recorded five more but also has been part of several ensembles created by Producer Free. Groups such as
New Faces,
Out to Dinner, and
Idle Hands have released albums combining his vibes and some of his compositions with artists such as saxophonists Roxy Coss, Donny McCaslin, and Tim Green plus trombonist Ryan Keberle, drummer Donald Edwards, guitarist Will Bernard, and others.
Since the beginning of the Pandemic in 2020, Free has employed the "regular" rhythm section of pianist Art Hirahara, bassist Boris Kozlov, and either Rudy Royston or Donald Edwards on drums for his recording sessions in New York City. They have done impressive work on numerous occasions adapting to different styles, harmonic ideas, and rhythms. Gillece's seventh solo album, "Stick Together", features Messrs. Hirahara, Kozlov, and Royston in a 10-song, 56-minute, program that stands out for the excellent musicianship and intelligent compositions. On top of all that, this music really swings. "Almost There" opens the album on a slow pace; then the groove kicks in and the quartet dances forward. One of the joys of listening to these four musicians is that when they are playing, they are "playing". Royston is disruptive, noisy, but always on the beat.
Listen below to "Four Of a Kind" and you'll see why that's the exact right title. After a quick run-through of the theme, they hit the floor running powered by Kozlov's mighty bass and Royston's wonderful attack. The vibes solo is infectious which gives Hirahara the jolt for a flying fingers solo. This is the kind of performance that makes an audience rise from their seats and cheer.
The group slows down the pace several times including the lovely "
Changing My Day" (the drummer sits out) and the medium-tempo "
Dreamscape." The latter track picks up the pace for a far-ranging vibes solo. "
Cascades Merging" has a similar feel with a slower opening and then a bump in the tempo for the solos.
One of the delightful surprises is the quartet's take on Sam Rivers' "Cyclic Episodes". The tune, which first appears on Rivers' 1962 Blue Note classic "Fuschia Swing Song", really does swing atop the excellent cymbal work and the melodic "walking" bass lines.
"Stick Together" closes with "Lazy September", a duet for vibraphone and piano. Not only does the song have a handsome melody but also Hirahara's emotional, rhapsodic, piano support. It's a gentle ending to a pleasing musical experience. Behn Gillece has created an album that one can return to time and again, enjoying the music on many levels.
For more information, go to
www.behngillece.com. To hear more and to purchase the album, go to
https://behngillece.bandcamp.com/album/stick-together.
Swing along with the quartet on "
Four of a Kind":
 |
| Photo: Ola Baldych |
For many of us, our introduction to trumpeter and composer
Josh Lawrence was 2017's "
Color Theory", his debut recording on Posi-Tone. He certainly has done a lot in the last decade as member of the Fresh Cut Orchestra, working and recording with TARBABY, Posi-Tone's New Faces, Erykah Badu (among many others), and is now
Director of Jazz Studies at Interlochen Center for the Arts and conductor of Interlochen Jazz Orchestra. His recorded output for Marc Free's label shows a musician who has created his own voice, who's not afraid of showing vulnerability in his musical and sonic choices and who has developed into an excellent composer.
His sixth Posi-Tone release, "
Measured Response", is a thoughtful, intelligent, and, at times, quite playful collection of songs. Eight of the 10 pieces in the 57-minute program are Lawrence originals plus one song each by John Coltrane ("
Wise One") and Charlie Haden ("
Song For the Whales"). Unlike many of the label's releases which usually open with "barnburners", "
Where Do We Go?" is a slower blues based on a Pandemic vacation trip. There are excellent solos from the leader and tenor saxophonist
Diego Rivera atop the gentle swing created by pianist
Art Hirahara, bassist
Luques Curtis, and drummer
Rudy Royston. "
A Tragic Tango Comedy" follows – reminiscent of tangos composed the late Carla Bley, it's fun to hear Royston and Curtis play with the rhythms and Hirahara's ornamental yet rhythmical piano accompaniment. The solos are concise and never overtly technical.
 |
| Photo: Ola Baldych |
Lawrence's choice of "cover" songs is inspired and inspiring. Charlie Haden's "
Song For the Whales" (which the late bassist recorded with the Liberation Music Orchestra on 2016's "
Time/Life") is an elegiac piece that utilizes Curtis's bowed bass as "whale song", Hirahara's rippling piano lines like waves over the prayer-like melody played by sax and trumpet, and pounding drums. That melody is actually lovely, moving slowly over the rhythm section. John Coltrane's "
Wise One" (from 1964's "
Crescent" Lp) has a similar rubato feel in the opening 80 seconds before the bass and drums kick in for the powerful piano solo. Lawrence is next, caressing the melodic variations as the thundering rhythm section attempts to push him; instead, he leads them back to the opening, taking the piece out on a bluesier note.
Listen below to "Every Choices Comes With An Invoice" (Lawrence borrowed the title from Busta Rhymes) – it's an antithesis to the ballads as the piece explodes out of the gates on rapid-fire bass lines and frenetic drums. Lawrence digs into his solo displaying his own fire and versatility. Riviera also rises to the challenge the rhythm section lays down. The pianist initially tamps down the fire before he too is inspired by Curtis's flying fingers.
 |
| Photo: Ola Baldych |
There are moments when the music feels like Miles Davis circa 1960-62 when one listens to songs such as "
Flip On A Drip" (a "smoking" piece that really highlights what a good accompanist Hirahara can be) and other pieces ("
Between the Lakes") that move towards the sound of the classic Davis Quintet in 1966 and '67. The muted trumpet and solemn melody on "
Prelude To a Farewell (For Barry Harris)" pay tribute to one of Lawrence's most important teachers and mentors. The simple beauty of the lines played by trumpet and saxophone give way to a rhapsodic piano solo that also features excellent bass work and soft cymbals. Riviera's tenor spot has a gentle power that speaks to the heart as does Lawrence's short yet poignant turn in the spotlight.
The album closes with "Texas Tenor", a bluesy ballad that gives Riviera a chance to take center stage. His solid solo hints at Coleman Hawkins and David "Fathead" Newman. Lawrence follows with a romp over the bouncing rhythms. Because the leader is all about sharing, Hirahara creates a playful, "in your face", solo that brings the quintet back to the bridge and a quick close.
With "Measured Response", Josh Lawrence and company have created a compelling artistic triumph that also is great fun to play loud. Lawrence's material brims with creativity which his fellow musicians much to work with. He does not worry about playing "quiet" or giving other soloists more room to shine. This album is well worth diving into often!
For more information, go to
www.joshlawrencejazz.com/. To hear more and purchase the album, go to
https://joshlawrence.bandcamp.com/album/measured-response.
Listen to Josh and the band tear it up on "Every Choice Comes With an Invoice":
 |
| Photo: Anna Yatskevich |
Pianist, drummer, and composer Luther Allison made his recording debut at the age of 19 when he appeared (as the drummer) on trombonist Michael Dease's 2016 Posi-Tone recording "Father Figure". Since then, he's appeared on several Dease albums plus releases by Diego Rivera (as pianist), Markus Howell (drummer) and on Samara Joy's GRAMMY-winning 2023 "Tight". The Charlotte, NC, native now lives in New York City where he has performed with bassist Rodney Whittaker, vocalist Jazzmeia Horn, saxophonist Gregory Tardy, drummer Ulysses Horn, and so many others. Allison also teaches at Jazz Summer camps and as a clinican touring all the globe.
To his credit, Allison waited several years and had a plethora of musical and life experiences before recording his debut as a leader. "I Owe It All To You" is a trio featuring bassist Boris Kozlov and drummer Zach Adelman. The 10-song, 53-minute, program is a blend of four originals with four songs composed by piano greats James Williams, Mulgrew Miller, Harold Mabern, and Donald Brown plus a song each from Stevie Wonder and Richard Rodgers. The album opens with the title track which, within the first few moments, one can hear the influences that underlay Allison's style – there's blues, gospel, hard-bop, a touch of Hip Hop, and a quest to create his own voice. The young man is an excellent soloist and the rhythm section makes sure he's a solid foundation to go off on his solo flights. Just when you think the song is over, there's a slower, sly, gospel coda.
 |
| Photo: Roby Davidson Media |
Click on the link below and listen to Allison's "
Until I See You Again"; the tune has such a lovely melody but to how the tempo changes subtly throughout the solo as well as the fine bass work of Kozlov.
It's fun to hear where the trio takes the material. The pianist's take on Rodgers's "
I Didn't Know What Time It Was" starts out with a funky piano riff and goes through a couple of changes before settling into a swinging groove for the piano solo. Allison's two-handed approach may remind some of the late Harold Mabern, a musician whose blues roots ran deep through his music. It's interesting how the Mabern tune, "
There But For the Grace of..." starts so regally before dropping into a delightful fast-paced groove. The trio caresses the melody of the late Mulgrew Miller's "
From Day To Day", the longest track in the program at just over seven minutes. That's plenty of time for all three musicians to sparkle.
The album closes with "
Lu's Blues", a high-powered blues introduced by a thundering two-handed piano attack before the rhythm section creates a break-neck pace. No problem for Allison who challenges the bassist and drummer to keep up with him. Yes, it'a technically impressive but also impressive how melodic the pianist can be at faster-than-light speed.
No doubt about it, Luther Allison is a talent to be watched. His choice of material, his own songs have weight and show his influences without being slavish to any one in particular. It's going to be a joy listening to him grow. Put on track one, sit back, and enjoy this 53-minute ride. I promise it'll make your day better!
Listen to the lovely "Until I See You Again":
Posts
You can hear the influence of Keberle's immersion into Brazilian music on "Edu" – the music rolls forward on the power of the drums and the deep baritone sounds. The expansive melody is shared by the reeds and brass before Norris steps out for a handsome solo. "Despite the Dream", which the trombonist composed for Catharsis's 2020 "The Hope I Hold". This powerful ballad opens up in the middle as the tempo speeds up and short solos lines are created by Cornelius (alto sax) and Norris. Later, Cornelius and Dease (whose bari work is mighty impressive) take longer solos. "Sisters of Mine" was originally recorded by Reverso. Here, the tribute to the composer's two sibs serves as a vehicle for a lovely tenor solo from Rivera. To get there, the melody is presented by Cornelius (soprano sax), Norris, and Keberle (such a lovely tone). Melody sharing abounds on this album. The bass clarinet (Cornelius), trumpet, and flutes (Rivera and Cornelius) each introduce the melody on "All Ears", which is repeated twice without a solo. Yet, the piece is so satisfying because of how all the voices are utilized to make the piece so successful.
