Saxophonist Ralph Bowen steps into the limelight for the second time on Posi-Tone Records with his newest release Due Reverence. The quartet features Adam Rogers on guitar, John Patitucci on bass and Antonio Sanchez on drums. The quartet transforms into a quintet for one song with Sean Jones on trumpet and of course, Bowen on tenor saxophone.

First I must say 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.

Due Reverence features Bowen on five cuts, each of which are dedicated to different mentors in his musical life. From the opening Less Is More to the final Points Encountered, the ensemble works as a cohesive, malleable unit, never overplaying for the sake of pyrotechnics. The use of guitar, rather than piano allows Bowen and the rest of group more space and room to breathe throughout each song. Roger’s playing is strong but never overbearing – a perfect compliment to the world-class ensemble.

The deceptively understated guitar intro quickly transcends into Bowen’s delicious tenor sound on the simple melody statement. Less Is More is an apt title at the onset however Bowen’s saxophone quickly picks up the pace adventuring further and pushing the rhythm section to new heights during his first solo. Things calm at the solo guitar interlude and yet build again through Adam Roger’s solo. Just as things started, the tune finishes out with Ralph Bowen’s gorgeous tenor sound on the melody.

As with all of the tunes on Due Reverence, each is dedicated to a particular influence in Ralph Bowen’s musical life. This One’s for Bob (for Bob Mintzer) hit’s its mark with a blistering melody and solo offered by Bowen.  Rogers solos on guitar and Antonio Sanchez displays great skills on the drums over Patitucci’s percolating bass lines.

It is easy to recognize the homage paid to post-Trane New York tenor saxophonists. Interestingly enough, Bowen’s playing seems a balanced mix of Michael Brecker’s influence as much as that of Bob Mintzer. Whatever the case, Ralph Bowen carries on the tradition of many great post-bop players.

The first opportunity for the band to swing comes on the third track, Phil-Osophy. Bowen’s tenor lines and execution are flawless, yet ever melodic. His solo demonstrates his mastery of the tenor saxophone throughout the range of the instrument, even playing the altissimo as an extension of the horn. As a long time fan of Ralph Bowen, I have been acquainted with his many abilities, particularly his command of the altissimo. Here, he uses the 3^rd register more as an extension of the instrument, rather than for punctuation as he and many others did early in their careers. This is presumably a reaction to the similar exploration of this register by players like Chris Potter, Eric Alexander and Seamus Blake – who Ralph Bowen certainly predates as a regular on the New York scene and beyond.

Mr. Scott begins with an infectious Afro-Cuban influence groove certainly familiar to Bowen from his longtime association with Horace Silver. The Latin groove is underlying throughout, yet the quartet swings intermittently. It’s a great feel for Bowen and guest trumpeter Sean Jones to work above. Patitucci and Sanchez finish out the solo section with a wonderful interplay here as elsewhere on Due Reverence. Mr. Bowen blows a bit more for his fans, sandwiched between the final trumpet and tenor duo.

The final track – and yes, I wish there were more – is the playful Points Encountered. Bowen and Rogers solo between the two statements of the melody. The cd ends just as unassuming as it began with a simple fade in the ensemble.

Due Reverence by Ralph Bowen is truly a great addition to any jazz enthusiast’s cd collection. Beyond that, it is a shining example of one of the most gifted tenor saxophonists in our presence today.

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

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Alto saxophonist Jim Snidero recently released his newest recording Crossfire on Savant Records. For those not familiar with Snidero's playing, he has traveled the well-worn path from the University of North Texas (North Texas State) to New York City. He has played big band lead alto with a who’s who of today’s jazz big bands as well as recording and performing with a formidable list of today’s jazz greats. He is also active in jazz education and the author of a series of very popular Jazz Conception books by Advance Music.

Crossfire  features Snidero on alto saxophone as well as Paul Bollenback on guitar, Paul Gill on bass and Billy Drummond on drums. There are nine tracks, several of which are  heavily weighted in the bop tradition – a perfect vehicle for Snidero’s clear sound and blistering lines.

The opening song and title track soon feature Snidero, Gill and Drummond sans guitar. The space leaves lots of room to appreciate Snidero’s sound and time. The ensemble completes itself with Bollenback rejoining the group for some comping and an energetic solo of his own. Following the final melodic statement, Snidero lets it rip on the out chorus and fade.

Although it is clear that Jim Snidero enjoys playing “tempos,” he demonstrates initial restraint and subtlety on the playful Tranquility. Later, he launches into some well-executed and tasteful double-time lines.

Vortex, with its blistering tempo allows Snidero to travel back closer to his bop roots. His bop tonguing, time and feel further demonstrate his capabilities in this challenging style pioneered by greats such as Charlie Parker and later Cannonball Adderley. The ensemble figure in fourths leads to an angular melody excecuted perfectly by the group. Drummond also gets a chance to stretch on drums following the guitar solo by Bollenback.

The initially pensive Lost follows with a feel change and some interesting melodic interplay between Boolenback and Snidero. Bollenback’s clear, sweet tone morphs into a more gritty, distorted offering following the melody. Snidero’s aggressive solo plays with the time, weaving between double time and the occasional altissimo notes used sparingly by Snidero. Lost is definitely among the more eclectic tunes programmed on Crossfire.

As if sensing it were time to play something closer to the center, the ensemble then beautifully plays the standard Time After Time. Snidero navigates the changes and remains true to the melody at the same time. This is one of my favorite moments on this recording.

Big “T” gives Snidero the opportunity to explore more contemporary sounding lines while still maintaining a brisk tempo. He may be a bopper at heart but he clearly demonstrates the ability to adapt to each setting the ensemble provides.

Jim Snidero lays back a bit on the melody to his composition One For You. He manages to alternate between a true bossa nova feel and his more fiery bop lines. It’s an interesting combination that somehow works, likely due to Snidero’s wonderful musicianship. Bollenback’s guitar solo and chording is particularly charming here and perfectly suited for One For You – another high point on Crossfire.

The programming and pacing is notable on Jim Snidero’s Crossfire. Each successive song shows off a slightly different tempo, feel and/or harmonic concept within the group. This is apparent with the transition into the hard-swinging Somewhere In The Night into the final One Finger Snap. Bass lovers out there finally get a chance to hear the very capable Paul Gill on both of the final cuts.

In the end, Jim Snidero has taken the listener on an enjoyable musical journey on Crossfire. He shows his ability as composer, saxophonist and producer on an enjoyable mix of bop, modern jazz and Latin stylings.

You can find out more about Jim Snidero at jimsnidero.com

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