West Coast based producer Marc Free, heads up one of the best little labels in jazz today, Posi-Tone Records. They consistently release high quality jazz, featuring respected vets, such as guitarist Ed Cherry and trumpeter Joe Magnarelli and also some of the finest up and coming names on the scene today. Here’s our review of the latest from a couple of those new(er) faces.
New York native Bruce Harris makes an impressive debut as a leader, with this album. The trumpeter is a graduate of SUNY Purchase and a protégé of the great Jon Faddis. He has paid his dues over the last few years, playing with Barry Harris, T.S. Monk and Jimmy Cobb, among many others. On this joyous album, he has gone with a nice mix of jazz standards and a few originals that demonstrate his solid compositional skills.
Harris utilizes an accomplished rhythm section of Michael Weiss on piano, Clovis Nicolas on bass and drummer Pete Van Nostrand; along with a talented group of rotating saxophonists, including three of my personal favorites, Dmitry Baevsky, Jerry Weldon and Grant Stewart. Mr. Harris’ tone is what immediately draws you in; it is positively ebullient and clear as a bell, reminiscent of a young Clark Terry. “Ask Questions” a jubilant Harris original kicks off the proceedings, with strong solos from the leader, Baevsky and baritone saxophonist Frank Basile. Prince’s “Do U Lie” is reborn as a fabulous, up-tempo, 4/4 feature for Harris, who drops one his best solos on the record. I’d never heard such a lively take on “Ill Wind” before now. I liked it, a lot, with Harris and Weldon playing musical tag over the rhythm section’s insistent beat. Harris’ “The Step” is a finger-snapping joyride, which lets Weiss and Nicholas in on the solo fun, in addition to the horns.
Rating: 4 out of 5 Stars – Beginnings is a fine start for Bruce Harris. I enjoyed every minute and I look forward to what’s next.
Vibraphonist Behn Gillece has been a Posi-Tone mainstay for the past couple of years, co-leading a group with saxophonist Ken Fowser, guesting on the albums of label mates, such as Walt Weiskopf and Michael Dease and leading his own group, which released impressive projects in 2015 (Mindset) and 2016 (Dare to Be). Keeping up that album per year pace, Mr. Gillece has released Walk of Fire, which is his most mature and fully realized project to date.
For this album, Mr. Gillece was inspired by the instrumentation on Joe Henderson’s Blue Note classic, Mode for Joe, on which Henderson used a septet of three horns, plus vibes and a traditional piano, bass, drums rhythm section. Walk of Fire replicates that sound on most of its tracks, with Dease on trombone, Weiskopf on tenor and another label mate, the brilliant Bruce Harris on trumpet. The rhythm section is Adam Birnbaum on piano, bassist Clovis Nicolas and drummer Jason Tiemann.
The ten compositions are all by Gillece and there’s not a bad one in the bunch. Things get started with the title cut, which sounds like a Mode for Joe, lost track with Gillece contributing a driving solo over the hard-swinging theme. This cat has grown exponentially over the last few years, to the point where I would now place him in the upper echelon of vibraphonists working today. Gillece then gives way to strong, brief statements by Weiskopf and Dease. “Fantasia Brasileira” is a beautiful bossa, with an infectious head and tasty ‘bone from Dease. “Bag’s Mood”, is, as you would suspect, a tribute to that soulful master of the vibes, Milt Jackson. Gillece swings hard in the pocket and this time Harris joins in on the fun with some high-flying trumpet work. It’s a feel good track that I had on repeat for about 30 minutes. On “Celestial Tidings”, the horns lay out and you get to hear Gillece very much in a Bobby Hutcherson bag, with shifting rhythms and terrific solos that will keep you engaged.
When I first heard Behn Gillece a few years back, I was immediately impressed by his potential. Now, on Walk of Fire, he has arrived.
Rating: 4 ½ out of 5 Stars: Highly recommended straight ahead jazz. One of the best albums that I’ve heard this year.
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