I have written before that I have been a huge fan of Ralph Bowen’s since first hearing him play with the 80s jazz group OTB (Out of the Blue). I have followed his impressive career as a sideman and leader and briefly elected to study with him at one point. Hearing Ralph Bowen again on his newest release rekindles my longtime admiration for his musicianship and ability as a saxophonist.

Bowen composes eight of the nine cuts here on Power Play. (Street date Feb. 8, 2011) He opens with the energetic K.D.’s Blues. Bowen’s sound and solo phrases never disappoint the listener. As he stretches out deep into the choruses, you can hear his ever-present stellar technique. At times he seemingly pays homage to Coltrane and the “sheets of sound” approach.

As a long time fan of Ralph Bowen’s playing, many of us have heard his brilliant tenor sound as well as pristine solo flute playing. (I believe he received a master’s degree in flute performance as well). What I was not prepared for was Mr. Bowen to be playing alto saxophone on Drumheller Valley.  Wow. Listen for yourself. He has a whole other voice on the alto, equally as compelling as his tenor playing – and the alto players thought they were safe…

The brisk-paced Two-Line Pass and similar The Good Sheppard find Ralph Bowen back at home on tenor. Evans, Davis and Edwards drive hard and swing harder behind Bowen on Two-Line Pass. His stream of eighth notes, glissandos and brief excursions into the altissimo once again show off his plentiful talents. The tenor and piano trade with Edward’s drums, ever increasing the intensity until the final short melodic statement. Bowen demonstrates more surgical precision with his initial choruses on The Good Sheppard and gradual explores the outer limits via extended techniques such as multiphonics and growls.

My One and Only Love, the only standard recorded on Power Play, shows off the sensitivity of the trio behind Bowen’s captivating playing. His tenor sound has changed slightly, yet noticeably over the years. It seems a tad darker and has mellowed like a fine wine. Despite his proficiency on the instrument, he demonstrates great restraint on the final cadenza and his simple, implied D/C harmonic consideration.

Bella Firenze possesses a bit of a jazz/waltz feel, despite its 4/4 meter. They are light and nimble here where elsewhere on the recording the playing has been more intense. The contrast is attractive and makes for nice programming on the cd. Evans plays a lovely solo on piano followed by Bowen’s initially waning and then well-developed tenor solo. The fade out at the end features some particularly inspired playing that somewhat deviates from the lighter feeling at the onset of Bella Firenze.

Ralph Bowen’s soprano saxophone playing is another unexpected treat on Jessica. As on alto and tenor, Bowen’s sounds completely at home in this instrument. He weaves and winds his way through the instrument, creating a sonic. It is notable that Kenny Davis gets a chance to stretch out a bit on acoustic bass here as well.

Walleye Jigging, likely named for Bowen’s love of the outdoors, showcases another side of the ensemble. Donald Edwards wonderful drumming and particularly his use of cymbals should not be overlooked on this recording and especially on this tune.

Sweet and tender is A Solar Romance, which is also Power Play’s final cut. Bowen returns to his voice on soprano sax. The group demonstrates the use of space a key points throughout the tune, proving they can play tempos, take it out and lay back all at the same time.  

Did I mention I’m a fan of Ralph Bowen? Run; do not walk to buy this Cd on Feb. 8, 2011.

You can find out more about Ralph Bowen at ralphbowen.com

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Drazen who is a native of New York, studied at the prestigious New England Conservatory and returned to NYC in 1995.  In more recent years he has been playing around New York City with the likes of Rashied Ali, George Garzone, Gene Jackson, Steve Tyrell, Ron McClure, Lew Soloff, Santi Debriano, Marvin "Bugalu" Smith, and Ron Affif.

The opening cut on Inner Flights quickly reveals Benjamin Drazen to be a fine alto saxophonist with a sound and sense of time many will envy. His self-proclaimed cluster of influences include a predictable lot – that of Charlie Parker, Cannonball Adderley, John Coltrane and Sonny Rollins. Although one can hear shades of each of these players coming out of Benjamin Drazen’s saxophone, Drazen is his own player.

The up-tempo Mr. Twilight and more jovial Monkish squarely establish the rhythm section’s ability to swing behind Drazen’s definitive alto sound. The third cut entitled Prayer for Brothers Gone seems a conglomeration of influences – whether by coincidence or design. The influence of Trane on Drazen’s sound and approach is obvious, however the alto is sweet and the vibrato fast at times, almost classical in nature. Here Drazen sounds like no singular saxophonist except himself.

Jazz Heaven reveals a grittier side of Benjamin Drazen’s saxophone sound. His occasional growling is followed by Jon Davis’ energetic piano solo. The energy is carried over into the title track’s opening statement. Inner Flight showcases De Rosa’s percolating bass line along with McPherson’s cymbal work behind Drazen on soprano. It is easy to make comparisons to other great soprano saxophonists such as Dave Liebman – I trust this is not a comparison to which Drazen objects.

The sweet sound of Drazen’s alto is never more evident than in the tender introduction of Neeney’s Waltz.  It is clear he has studied the saxophone seriously, yet his jazz playing maintains a flexible sense of pitch, time and tone color, which never sounds rigid. His use of bend and portamento is particularly apparent on the final standard Polkadots and Moonbeams.

This Is New and Kickin’ Up Dirt round out the selections for Benjamin Drazen’s inaugural cd as a leader on Posi-tone records. Jazz saxophone lovers looking for something traditional and new at the same time will likely enjoy checking out Benjamin Drazen live in New York or here on Inner Flight.

Inner Flights will be available on Cd as of March 1, 2011.

You can find out more about Benjamin Drazen at benjamindrazen.com

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The good folks at Michael Bloom Media Relations were kind enough to send cd recordings from each of the above mentioned groups and artists. Although a thorough review of each recording is not possible, I will attempt to hit on the high points and encourage readers to check them out for themselves.

The Dave Liebman Group- Turnaround

The widely recorded Dave Liebman and his group have teamed together to record the music of saxophonist and experimentalist Ornette Coleman. Dave Liebman explains this recording best. “In Ornette’s music there is a joyful spirit which permeates throughout and explains why people love his art as they do. His music expresses an irrepressible joi de vivre, uplifting and mournful at the same time, playful and deadly serious-a full view of the human condition. With deep respect to a true individualist and master of his art, I hope you enjoy our Ornette Coleman voyage.”

The first few bars of the opening cut Enfant immediately pull in the listener. Liebman’s tenor sound is sparkling here as well as on Turnaround and Una Muy Bonita. Most of us have become accustomed to his soprano saxophone playing it is quite refreshing to hear him on tenor. Liebman has been a long time friend and collaborator with other tenor saxophone notables on the New York jazz scene. It is clear his sound and concept are a kindred spirit to that of Michael Brecker, Bob Berg, Steve Gross and a host of others dare I forget to mention. The group consists of Liebman on tenor, soprano and wooden flute, Vic Juris on guitar, Tony Marino on bass and Marko Marcinko on drums.

In true Liebman style the group pushes and pulls against traditional notions of western harmony. They clearly like to lay it down and then “take it out” as only The Dave Liebman Group can. This is never more evident than within the final cut The Sky where Liebman’s primal screams permeate his free improvisation.

“In” and “Out” whatever you like - this is a great recording. Do yourself a favor and buy it.

The Ullmann/Swell 4 – News? No News!

The opening dissonances of tenor and trombone playing a whole step apart will definitely get your attention. Now that I’ve got yours, let me tell you of The Ullmann/Swell 4 and News? No News!. The quartet features Gebhard Ullmann on tenor sax and bass clarinet, Steve Swell on trombone, Hilliard Greene on bass and Barry Altshul in this chordless ensemble. Each member of the ensemble comes with their own accolades as either player, teacher or both. They are clearly, highly trained, thoughtful and experimental musicians and artists. That being said, this music is not for everyone. If you are looking for something different, avante garde, out of the ordinary, brooding, thought-provoking or experimental – you have found it in News? No News! by The Ullmann/Swell 4.

Chris Dahlgren & Lexicon – Mystic Maze

Mystic Maze by Chris Dahlgren & Lexicon is both clever and comical. In addition to showcasing some very talented musicians, Mystic Maze finds its swagger in exposing the harsh criticisms originally aimed at the music of Bela Bartok. Chris Dahlgren writes, “The music of “Mystic Maze” is based upon a selection of  written critiques against the music of the great composer Bela Bartok, who lived from 1881-1945. I wanted, in my won way, to vilify some of the very critics who judged Bartok’s incredible music so harshly by turning their own words against them – in other words, to turn their words into music.”

Although quite dissonant in classic Bartok fashion, the opening cut Mystic Maze is a clever piece weaving the spoken text within the driving, broken swing of the ensemble. Antonis Anissegos delivers the text as well as keyboards throughout the recording. Chris Dahlgren can be heard on bass, Eric Schaefer on drums and Gebhard Ullmann and Christian Weidner on saxophones.

Mystic Maze is a well-recorded and executed recording, demonstrating some of the more experimental offerings from this group. The textures are quite interesting and the sense of humor quite enjoyable. I particularly like the text and ensemble tutti of Great Desires of the Modernists.

One of the bright moments for saxophonist Christian Weidner can be heard on Painless Dentistry No. 2. Weidner has a wonderful sound and command of the alto saxophone.

If you have a love of fine musicianship paired with some intellectually stimulating humor, you may very well enjoy Mystic Maze.

World Saxophone Quartet – Yes We Can

The World Saxophone Quartet features saxophonists Hamiet Bluiett, Kidd Jordan, James Carter and David Murray. Kid Jordan is the sole alto saxophonist on Yes We Can while the others play a combination of baritone saxophone, clarinet, tenor saxophone, bass clarinet and soprano saxophone. The energetic and percussive ensemble allows plenty of room for each other to blow throughout the live recording. David Murray and Hamiet Bluiett are credited with the bulk of the compositions while Kidd Jordan penned The River Niger.

Adam Pieronczyk Quintet – Komeda

Saxophonist Adam Pieronczyk has released Komeda – The Innocent Sorcerer on jazzwerstatt. He is accompanied by tenor saxophonist Gary Thomas, Nelson Veras on guitar, Anthony Cox on bass and Lukasz Zyta drums, percussion and even typewriter!

Of the many recent offerings from jazzwerstatt, The Innocent Sorcerer seems to be the most calming at the onset. Both Adam Pieronczyk and Gary Thomas play delightful solos over a haunting and pulsating rhythm section on Wicker Basket. It is noteworthy that all the music here is that of Polish composer and pianist Krzysztof Komeda. Pieronczyk’s group features Nelson Veras on guitar, rather than the obvious choice of piano.

The slightly more edgy Kattorna again begins with Pieronczyk and Thomas on saxophones. They develop the angular octave unison, spilling out into Thomas’ solo on tenor, then Pieronczyk on soprano and finally a very musical solo from percussionist Lukasz Zyta.

It is obvious great care has gone into representing the music of Komeda. It is particularly apparent in the eerie soundscape of Sleep Safe and Warm. Even the typewriter sounds good!

Crazy Girl begins with a lovely soprano saxophone and guitar octave unison then passed to the tenor of Gary Thomas. The writing just flows as does the playing. Veras solos on guitar first followed by soprano, tenor and for the first time Anthony Cox on bass.

After the Catastrophe, Roman II and Kattorna Reprise round out the tracks on The Innocent Sorcerer. One of my favorite tunes is blues Roman II. Although it is a blues, the feel seems somewhat Afro-Cuban in nature. Whatever it should be called, it provides a great opportunity to soar for both Pieronczyk and Thomas on dueling tenors. Lastly, Veras and Peironczyk perform the duo Kattorna Reprise.

Although some experimental and highly improvisational music can be rough on the casual listener’s ears, that is not the case with The Innocent Sorcerer by Adam Pieronczyk. I found the music to be well-executed and the ensemble sensitive, musical and never abrasive. Peironczyk and the ensemble have put together a fine sampling of Komeda’s music and then given it their own twist. If you love straight ahead jazz as well as something more adventurous, all executed to the highest degree – buy this cd!

UPDATE:
Bloom Media Relations also sent in Jamaaladeen Tacuma’s newest release For the Love of Ornette for review with the recordings above. Initially legal issues prevented the official release, however it is now available. It features Jamaaladeen Tacuma on bass guitar and a cast of highly creative musicians including Wolfgang Puschnig, David “Fingers” Haynes, Justin Faulkner, Yoichi Uzeke and Wadud Ahmad.

You can find out more about Jazzwerkstatt and at jazzwerkstatt.eu or Naxos

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Multi-instrumentalist and master of self-promotion, Frank Macchia has been very busy. Since moving to L.A. 16 years ago, Macchia has been weaving his way into the inner fabric of the Los Angeles music scene. The San Francisco native and Berklee graduate has been busy in the studios, writing and arranging for feature films such as Superman Returns, The Fantastic Four, Austin Powers:Goldmember, Santa Clause 2, and television shows Nickelodeon's Oh Yeah Cartoons, Disney's Oliver Twist, and the Tonight Show.

An adept composer and instrumentalist, Frank Macchia has penned compositions on at least 3 stellar releases. Animals, Mo Animals, and Emotions all feature Macchia alongside some of the biggest names in the business. Guitarist Grant Geissman, Drummer Vinnie Colaiuta and trumpet phenom Wayne Bergeron all add significant contributions to Macchia’s compositions. The writing is dense and intellectual at times but always accessible.

Animals begins with the soothing Dolphins followed by the funky Kangaroos. This is a great feature for trombone master Bruce Fowler. The Cd features soundscapes conjuring up images of Tigers, Gorillas, Jaguars, Camels Hippos, Snakes, Alligators and Vultures. This Cd is full of thought-provoking music that simply grooves!

The final track, Lone Wolf,  features Franck Macchia on tenor sax however his real voice is in the writing and playing behind the tenor. Macchia accompanies himself on Piccolo, Flute, Wood Flute, Alto Flute, Bass Flute, Clarinet, Alto Clarinet, Bass Clarinet, Contra Bass Clarinet, Soprano Sax, Baritone Sax and Ethnic Flutes – that’s a mouthful!

Mo’ Animals features many of the same very capable instrumentalists as Animals. The opening tune, Hummingbirds is a playful yet aggressive samba featuring Billy Childs on piano, Howard Levy on harmonica and Frank on saxophone. The background writing behind Childs’ piano adds the perfect compliment to the lively solo.