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Critical Jazz coverage for Orrin Evans “Freedom”…

http://www.criticaljazz.com/2012/03/orrin-evans-freedom-posi-tone-2011.html

Jazz without passion is kind of like lite beer. Why bother?

 

A former editor once advised the necessity to separate the individual from their art in matters of critical review. There are cases however when an artist makes his or her outspoken notoriety as much of their career making the process increasingly difficult. Truth be told the same applies to some critics as well leaving us with a musical push…
Suffice it say to Orrin Evans is an individual of great passion and even greater talent on the the piano bench and Freedom may well be his finest release to date. Displaying a keen sense of history and the sincerity of honoring those that blazed the trail for himself as well as other Philadelphia artists, the aptly title Freedom is not the typical piano trio. Freedom finds Evans paying his musical respects to some Philly greats including Shirley Scott and Mickey Roker and in a slightly more accessible while still adventurous fashion. There is a decidedly more straight ahead swing toFreedom with stunning ballads placed well within the mix to allow for a wonderful ebb and flow to this somewhat personal release. “Dita” is rhythmically punctuated piece reminiscent of some early McCoy Tyner, an engaging work of great depth and harmonic development. Evans solo piano work on the Herbie Hancock classic “Just Enough” begs the question is there a solo piano project on the back burner and if not then why not? The African-rhythms featured on “Oasis” highlight Evans syncopated musical DNA and his affection for dynamic tension with a lyrical sense of purpose. “Hodge Podge” may best highlight the synergy this ensemble can forge while maintaining an incredibly tight cohesion and overall swing.
Freedom is as musically diverse a release as Evans has produced while remaining surprisingly accessible in the face of the more intense work of The Captain Black Big Band which was still garnering critical acclaim whenFreedom was released. While I seldom read other critics, Jazz Times Michael West referred to the overall aesthetic of Freedom as wobbly with nothing to back up his claim. Taste is of course subjective. Aesthetics is a branch of philosophy dealing with the critical reflection of art, culture and nature. If West was expecting a more cohesive straight ahead trio churning out a dozen of the same standards as every other piano trio then he simply does not understand the recording or never read the press release. The aesthetics make Freedom work. A variety of arrangements and musical subtleties symbolizing the varying influences of individuals that contributed so much in the development of the artist that is Orrin Evans.Freedom  is far from wobbly but instead a wonderful sonic mosaic held together by a gifted artist.

Freedom is as solid and engaging a piano ensemble as you will find. A tremendous addition to any library.

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JazzTimes review for Orrin Evans “Freedom”…

jazztimes.com

Freedom contains a curious patchwork of styles—none of them, ironically, free. Pianist Orrin Evans and his trio (Dwayne Burno on bass, Byron Landham or Anwar Marshall on drums), plus tenor saxophonist Larry McKenna on two songs, tackle various aspects of mainstream jazz. For example, the complex postbop “One for Honor” precedes the riffy, Golson-esque “Gray’s Ferry,” which in turn leads to the darkly modal “Shades of Green.” The programming can be jarring. Nevertheless, each tune is beautifully executed, with great ensemble chemistry and a keen ear for nuance.

If they’re straight-ahead pieces, though, Evans isn’t content to leave them that way. Often these are subtle tweaks, like the dissonant descending vamp in his solo on “Time After Time” or the juxtaposition of European keyboard mannerisms against interlocking African rhythms (featuring both drummers) on “Oasis.” Sometimes it’s more overt; on “Time,” Evans discovers a cross-rhythmic syncopation that he likes enough to reuse on “Hodge Podge” and “As Is.” But he never loses sight of his bandmates, or the mood: While Burno and Marshall double down on the rhythmic tension of “Hodge Podge,” Evans creates abstractions that spiral like an ever-tightening spring, and then emits quick flares of release before pressing even further in his next phrase. It’s a masterstroke of precision and interplay.

Burno and the drummers are crucial to the music’s success—especially Burno, whose bass has a zesty wood sound that he manipulates with joy. McKenna is weaker, playing stock hard-bop lines (on what are, not coincidentally, the basic hard-bop tunes); still, he has chops and a beefy presence. If Freedom’s overall aesthetic is wobbly, its quality is not.

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The Jazz Word: Orrin Evans “Freedom”…

thejazzword.blogspot.com

Hot on the heels of his Captain Black Big Band release, pianist Orrin Evans delivers a swinging piano-trio tribute to his hometown of Philadelphia with Freedom. The disc has a contemplative feel with the occasional burst of frenetic energy. The direction is refreshing and telling of the maturity of Evans, who seems more concerned with artistic expression than technical posturing. With a style steeped in tradition, yet pushing forward ever-so-gently, Evans is able to show restraint while building layers of intensity, especially on the ballad “Dita”—Evans’ only compositional contribution to the date—and an imaginative solo piano rendering of Herbie Hancock’s “Just Enough,” which serves as a fitting wrap-up. The pianist takes more of a thrill-seeking approach on up-tempo numbers such as “Hodge Podge” and “As Is.”

Evans is supported by bassist Dwayne Burno and drummers Anwar Marshall and, long-time associate, Byron Landham, all Philly-bred musicians. The great tenor saxophonist and Philadelphia legend Larry McKenna adds insatiable swinging lines to a couple of tracks, including a straightforward rendition of “Time After Time.”

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Interview with Orrin Evans: On Big Band and Taking Bigger Stands

alternatetakesblog.wordpress.com

Orrin Evans: On Big Band and Taking Bigger Stands

Posted on  by Angelika Beener

Last week, I caught up with Orrin Evans for an interview forAlternate Takes.  The pianist, composer and band leader was in town for a gig at the Zinc Bar in Greenwich Village with his much-buzzed-about big band.  A couple of songs into the second set, Evans turns his famously hospitable energy toward the audience, as he introduces the band.  “Welcome to Captain Black Big Band.  For those of you who have read my recent Facebook rants, Captain Black is the tobacco my Dad used to smoke,” Evans defends.  “…but I am wearing a dashiki, so it can mean whatever you want it to!”

He proceeds to introduce the tune the band just played – “Captain Black.”  He then jokes encouragingly to his predominately White audience. “Come on guys, you can take it,” speaking of all of the “Black” references being tossed in their laps at lightning speed.  It is classic Orrin Evans fashion to make his audience laugh, think and cringe, all at the same time.  His honesty, though sometimes tough to hear (depending on where you’re coming from) is distinctively wrapped in warmth and convincingly well-intentioned.

Evans’ recent “Facebook rants” about Blacks mobilizing in the jazz industry in terms of an increased level of participation and ownership on the business side, among some other topics, have received some heated backlash from a few, and even apprehension to concede from some of his Black contemporaries.  For Evans, his philosophies are ingrained; the result of a household filled with robust cultural awareness and exposure, education, and a fierce intention to raise a child who was keenly aware, and secure with his identity.  “My father was Professor of African American Studies for 30 years at Trenton State College, and Professor of English at Princeton University, and I grew up in the Black arts movement because he was also a playwright.  Then I grew up with my mom who was an opera singer who came through Opera Ebony and Opera North which was the Black opera company, so in my house it was constantly ‘hold you head high.’”  When it came to the cruel names his dark-complexioned sister was taunted by, Evans reflects on his parents’ response, citing just one of the countless teachable moments that they would take advantage of throughout his upbringing.  “My father would grab all the kids in the neighborhood, and sit them on the steps and say ‘Check this out.  This is Africa and this is why there are different complexions…’  So that’s how I grew up.  So I can’t do anything different.”

Orrin Evans grew up in Philadelphia, PA, and emerged on the New York City jazz scene in the mid-90s after attending the Mason Gross School of the Arts at Rutgers University. A flourishing time for young jazz musicians, he was quickly recognized as an exceptional talent, and released his first album as a leader in 1994, and has at least ten more albums under his belt, to date.  He has dozens of recording credits, and has played with an array of jazz and popular artists like Bobby Watson, Pharoah Sanders, Antonio Hart, Roy Hargrove,Mos Def, Common, Dave Douglas, Brandford Marsalis, Sean Jones, Ravi Coltrane, and The Mingus Big Band.  He is a label executive, producer, arranger, educator and most recently, a big band director.

Captain Black Big Band is comprised of a combination of local and renowned jazz musicians from the Philadelphia and New York area and has included Ralph Bowen,Wayne Escoffery, Tia Fuller, Jaleel Shaw, Tatum Greenblatt, Brian Kilpatrick, Tim Warfield, Stafford Hunter, Frank Lacy, Brent White,Todd Marcus, Luques Curtis, Anwar Marshall, Gene Jackson, andDonald Edwards – – to name some.  The album, which bears the same name as the band, is comprised of original tunes by Evans, Ralph Peterson, Gianluca Renzi and Todd Marcus.  It is a joyous and meaningful assemblage of music, life and love, captured via live recording dates in both NYC and Philly.  I was caught off guard when Evans explained the genesis of such an ambitious project.  “The idea behind it was just boredom,” says Evans.  “That’s the truth.  Sometimes living in Philly, and that two hour commute to New York…I just wanted to do something.  And I had just gotten back from Portugal where I led this big band of college students, and I thought, wow, that was kind of fun, and I said well maybe I’ll do this during my down time in Philly. Nothing more.  But then when it started, I said this is really coming together.  And I have to admit, I married the right partner.  My wife was like alright, you’re bullshitting, we’re gonna do a record; gotta do the record.  I just did this to be doing it, and it kinda grew into something.  I called on other friends to fill in where some of the college students who were in Philly couldn’t handle.  I called Gene Jackson and Donald Edwards, and a lot of other people.  And I’ve never arranged for a big band.  And the thing is, people think that I did all these arrangements.  Charles Mingus didn’t do a lot of arrangements for his big band.  I wrote the tunes and then I was blessed to have Todd Bashore do a pile of arrangements and so the band started coming together.  And my thing is, what I’ve realized was like, New York…actually the industry…they want something to talk about.  So, here it is; Orrin Evans’ next thing.”

If you’re trying to keeping up with Evans — good luck.  High on energy and ideas, he’s already working on the next big band album, as well as a new release from his group Tar Baby; a trio that includes bassist Eric Revis and drummer Nasheet Waits.  Based on a concept from African-American folklore, Tar Baby represents a powerful message.  “I grew up with Uncle Remus.  My father, like I said, was a playwright and used to read Uncle Remus stories.  The story of the tar baby is pretty much that Br’er Rabbit wanted to trick everybody and you can grab the tar baby and you’re stuck on what is real.  So we all got into a thing that tar baby is jazz. These other musicians — black, white, purple, green — don’t wanna grab onto.  They don’t wanna get stuck on the concept that this is Black music.  So there it is, and Tar Baby was born.”

Last year, Evans also released Faith In Action, which received critical acclaim.  The album is a tribute to one of his most important mentors, Bobby Watson.  A bold and inspiring homage, Faith In Action is a strong argument for playing the music of the living; a seemingly lost tradition in jazz today.  “I’ve recorded Duane Eubanks tunes, a Chris Beck (a 20-something year old drummer from Philly) tune on my last record.  A big part of it is that I have never forgotten where I came from.  Everybody came through Bobby Watson, I don’t care who you are.  If you’re in the same age range as me — between 32 and 55 – you came up through Bobby Watson.  Frank Lacy came through Bobby Watson, Chris McBride.  Roy Hargrove; his first recording date was with Bobby Watson.  Benny Green.  I mean, I can go down the list.  Regardless of what people may think.  People may say ‘Bobby’s cool…’ and Bobby is cool.  Bobby may not be John Coltrane.  Bobby may not be Kenny Garrett; I don’t really care.  The point is, how did I get in the door?  The problem is a lot of us forget where we came from.  I remember being in the Metronome, and I was playing with Rodney Whitaker and Ralph Bowen.  And remember seeing Bilal, Robert Glasper…all of them were there checking out the music.  They’ve always been checking out the music.  They will always talk about that time.  That time meant something to them.  The problem now is a lot of younger musicians are like ‘I’m just here,’ like they’re in Star Trek and they pressed a button and they morphed here.  I cannot deny that I got in the door through Bobby Watson. He opened the door and let me in. That’s all that record was about.  Let me play his music.”

Like so many before him, Evans has kept with the tradition of not just paying homage to those pivotal figures in his life, but utilizing jazz music’s vital role as a means of social commentary with his stirring composition, “Jena 6.”  Songs like Ambrose Akinmusire’s “My Name is Oscar” and “Jena 6″ are unfortunate reminders of the world we live in.  I asked about the importance of telling these stories in jazz.   “Now it’s important to tell the story through the music and dot-dot-dot…whatever medium that is.  And when you get the microphone and on Facebook and on Twitter, ‘cuz others need to hear that story.  You never know.  Like today is my mother’s birthday.  But that’s important for me to tell tonight because I’m 36 years old and don’t have either one of my parents.  But I still feel empowered.  So, I tell that story because someone in that audience that I’m gonna play for tonight might have lost their mother, or may have lost their father.   So it’s important for me to play “Jena 6,” because I’m telling a story just like Mingus’ “Fables of Faubus.”  Just like Max, or Miles, but I can’t let it stop with playing a song.  Because sometimes you play the song and nobody knows who Orval Faubes was.  Nobody knows that he’s the dude who prevented desegregation in schools, so you have to say it, too.

It is perhaps the “saying” that many of today’s musicians are struggling with, especially in the shrinking music industry climate.  “There’s tons of people that come to mind that are really willing to speak up.  But there’s also a lot of people that are scared.  They’re really scared because they’re all grabbing for the same thing.  There’s four booking agents, there’s four managers, and those people are in control of… you look at the top jazz people who I love and respect.  They’re like, if I wanna play there, I need to be cool with this person, so everyone is holding on to the little bit that they have.  That’s number one.  They don’t want to ruffle any feathers.”

For reasons understandable, Evans takes the relationships with his band mates seriously; especially off of the bandstand.  The social climate seems to suggest that bringing up truthful points — not opinion — is enough for an artist to be labeled with unfair and assumed agendas or platforms.  For Evans’ supporters (or supporters of any other Black jazz musician that dare have a mind to speak), there is an understanding that there may be consequence for any level of an agreeable attitude.  To illustrate, two artists (whose names will not be mentioned here) have had their record labels contacted, and were specifically asked not to comment on Evans’ Facebook comments.  Though Evans’ fans and supporters far outweigh the few who are taking issue, the horror of what that kind of action symbolizes in the grand scheme of things is worthy of the dedication of an entirely separate post.  But for Evans, it is quite simple.  “My lead alto player calls me an hour before you got here and couldn’t make it [for the Zinc Bar gig tonight].  So I’m thinking, is there a shortage of lead alto players in New York?  No.  Is there a shortage of lead alto players that are comfortable with my rants on Facebook?  That have known me, known my wife, are familiar with my kids, and know where I’m coming from?  Yes.  So I’m like, shit.”  Of course, Evans gets his altoist before the end of our time together, but his point is well taken.  “I just need family around me.  I wanna look at every person on that bandstand, and they know me.  They know my family.  That’s really important to me.  Not just ‘cuz you the baddest cat.  I can call the baddest cat.  We all can.”

On his way back from Texas to New York to meet me for this interview, Evans’ described his appreciation for the flood of phone calls and text messages he received from an array of jazz industry figures as he walked through Newark airport.  For Evans, the abundance of messages of hopes that he’ll continue to do this all important — if sometimes unpopular — enlightening, is motivation enough.

In terms of music, Evans is proving to be more prolific than ever.  Recently placing in this year’s DownBeat Critics Poll in the Big Band category, and releasing the gorgeous and relentlessly swinging Freedom (Posi-Tone) and several projects coming down the pike, Evans is still one of jazz music’s top contenders. ♦

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Audiophile Audition reviews Orrin Evans “Freedom”…

www.audaud.com 

There is no shortage of piano trios. A wide variety of seminal pianists have established a reputation in this venue. At times, it is challenging to differentiate from the template of being the next McCoy Tyner or Bill Evans. Orrin Evans has pushed the envelope. His recent catalogue at Posi-Tone boasts a diverse and eclectic prerogative. Straight trio (Faith In Action), frenetic socio-political dialectic (Tarbaby’s End Of Fear) and dynamic large sound (Captain Black Big Band) have defined a jazz practitioner who is pursuing his own vision.

Freedom is a textured, stylish piano trio project. Philadelphia (Evans’ hometown) is the central element to the recording. Most of the compositions and musicians emanate from the rich traditions of jazz from this gritty urban community. From the opening, rhythmic undercurrents of Charles Fambrough’s “One For Honor”, it is evident that there is a significant cohesive dynamic within the trio. Evans sets up his fast-paced runs with chords, and it just swings. The tempo is sustained and fades into a delicate finish. A cover of Shirley Scott’s “Oasis” is imbued with strong percussion, thanks to the tandem of Byron Landham and Anwar Marshall. This seems to launch several flashy, syncopated piano riffs. “Shades Of Green” keeps the momentum, but in a more relaxed bop arrangement. Landham drumming and cymbal strokes mesh effortlessly with the different piano expressions.

Bassist Dwayne Burno contributes a “cool” jazz piece, “Gray’s Ferry” (those familiar with West Philadelphia should recognize the suggestion). The ensemble morphs to quartet as Larry McKenna offers a smooth lead on tenor saxophone. This bluesy jam evokes some of the imagery of the early sixties jazz combos. Evans’ solo is graceful and soulful. McKenna surfaces again on the cover of the 1947 Jule Styne standard, “Time After Time”.  Evans’ own “Dita” is a distinctive change of pace. The ethereal haunting ballad draws on the almost hypnotic subtlety of the piano lead. Burno injects a supple nuanced bass riff. With the unique drum work of Landham, the spacey effect is organic and unconventional. A lyrical elegant rendition of Herbie Hancock’s “Just Enough” is an appropriate finale to this native homage.

For those who favor piano trios, (or have grown tired of them), Freedom will be invigorating.

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Phil Freeman reviews Orrin Evans “Freedom”…

burningambulance.com

Though this review is being published on Independence Day, the title of pianist Orrin Evans‘ latest release has nothing to do with sociopolitical freedom. It’s not about musical freedom, either, at least not if your definition of that idea tilts in the direction of Matthew Shipp,Cecil Taylor, or any other practitioners of hard-line keyboard pyrotechnics.

By titling his album Freedom, Evans is paying tribute to his hometown of Philadelphia. That’s the album’s theme, in a nutshell. The compositions are almost all by Philadelphia natives, including Evans himself; the bassist on the date, Dwayne BurnoShirley ScottCharles Fambrough, one of three people to whom the disc is dedicated; and Eddie Green. He also tackles the standard “Time After Time,” written by Jule Styne, and Herbie Hancock‘s “Just Enough.”

The majority of the music is straight trio work, featuring Evans, Burno and drummerByron Landham. On three tracks, though, the pianist lets a younger drummer,Anwar Marshall, take over, and on two tracks (“Gray’s Ferry” and “Time After Time”) saxophonist Larry McKenna, a figure of some renown in Philadelphia but not really a nationally known player, guests.

Here’s the thing: I like Evans’ playing. Just in the last couple of weeks, I’ve been listening to his work as an accompanist on Ralph Bowen‘s Power Play and Stacy Dillard‘s Good and Bad Memories, and in each case, he adds a lot to the ensemble and to the music. But piano trios are a major sticking point for me. I just have a hard time convincing myself to listen to them. Another example: Art Hirahara. His work on Nick Hempton‘s The Business (coming out July 5) is great, but his recent trio disc, The Noble Path, did almost nothing for me. Piano, bass and drums aren’t enough. I need more. (Weirdly, I can listen to solo piano all day when I’m in the mood. It’s just piano trios that turn me off.) So I was a little concerned that Freedom would bore me. But it didn’t.

It’s tough to pinpoint exactly why, though. I’m finding Evans’ music is resistant to analysis. He’s provided conceptual clues on this record, but there are few, if any, stylistic hallmarks I can pinpoint that make an Orrin Evans record an Orrin Evans record. He doesn’t hammer the low end the way Matt Shipp does, or focus as fiercely as Craig Taborn. He’s not a purveyor of misty nothingness like Brad Mehldau. He’s just a solid, swinging player, and that’s maybe more difficult to discuss than any of the other styles of jazz piano. I like Evans, but can’t say exactly why. I guess that’ll have to be enough, unless and until I can set up an interview with him.

Freedom is a hard-swinging record; “Oasis” gets into some rhythmic territory that verges on salsa or boogaloo. But Evans and company keep tempos and moods changing, switching from ballads to blues to a deceptively simple vamp that gives “Shades of Green” its endlessly captivating structure. His piano style is hard to pin down; it’s not as overtly churchy as some others of his generation (Cyrus Chestnut, say), but neither does it have the phony delicacy of players still in thrall to that other Evans. He’s his own man, finding new things to say in a very mainstream/classicist context. And yes, he manages to hold the listener’s attention all the way through, with Larry McKenna’s two appearances on saxophone serving as a bonus, not a respite from tedium. So yeah, this album is highly recommended. Check it out.

 

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SaxShed reviews Orrin Evans “Freedom”…

saxshed.com

Orrin Evans (Featuring Larry McKenna) – Freedom
Pianist Orrin Evans’ latest release entitled “Freedom,” is now available from Posi-Tone Records. According to his current press kit, (this recording) “is an interpretive exploration of the music of his Philadelphia friends and mentors. This trio date features a hometown crew of sideman including the solid playing of bassist Dwayne Burno, the precise metrics of drummer Byron Landham, and the tenor saxophone stylings of special guest Larry McKenna. Also guesting on the record is up-and-coming Philly drummer Anwar Marshall.As with all of the press releases here on saxshed.com we will focus on the saxophone playing. The very capable Larry McKenna and former mentor of Evans only appears briefly on two cuts, Gray’s Ferry and the Jules Styne classic Time After Time.

The somber and brooding Gray’s Ferry appears as the second track following the up-tempo piano feature One For Honor. The Larry McKenna states the opening melody in a husky low register on tenor sax who then launches into his first solo. McKenna’s tone and demeanor which can be so sweet and understated is more forward here. It’s interesting to hear Larry in this somewhat uncharacteristic setting. Uncharacteristic or not, every solo I have heard Larry McKenna construct comes out as a lesson in the history of jazz improvisation. His solos are not made of chords, scales or licks but rather through-composed little gems.

Much more in keeping with the Larry McKenna many of us know and love is his rendering of Jules Styne’s Time After Time. His happy-go-lucky swinging tenor sax spins out line after line, chorus after chorus – seldom (if never) repeating himself. Once again Larry has schooled this listener in the art of jazz improvisation. As with McKenna’s first appearance here, Orrin Evans solos second and with complete command and confidence at the piano. Dwayne Burno and Byron Lanham trade on bass and drums, which then lead into the final out-chorus.

Although the focus here may be upon saxophonist Larry McKenna’s contribution to Orrin Evan’s“Freedom,” the remainder of the recording is worth a listen as well. The final track Just Enoughbeautifully showcases Orrin Evans on solo piano.

You can find out more about Orrin Evans and other innovative recordings at www.posi-tone.com

 

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Dan Bilawsky’s AAJ review of Orrin Evans “Freedom”…

www.allaboutjazz.com

Philadelphia was a symbol of freedom long before Elton Johnever penned his well-known tribute to tennis legend Billy Jean King. The city was a hotspot for American revolutionaries when the British were running the show, and Philadelphia played host to the First Continental Congress and the Second Continental Congress, which signed the Declaration of Independence. This city has come to represent the ideals of freedom within American society, and its rich jazz history is a reflection of the city’s past, pointing to all that is right and good with the City of Brotherly Love.

Pianist Orrin Evans was a first-hand recipient of all that the city had to offer in the form of on-the-bandstand education and mentorship. Philly legends like organists Trudy Pitts and Shirley Scott, drummer Mickey Roker and pianist Sid Simmons imparted their hard-earned wisdom into Evans’ hands and head, and the pianist’s formal studies with William Whitaker, Charles Pettaway and Jack Carr helped to round out his hometown musical upbringing. While subsequent studies at Rutgers University and the lure of New York in the ’90s eventually drew Evans eastward, he never forgot where he came from.

With Freedom, Orrin Evans comes full circle, paying tribute to the mentors and friends that helped to set him on his path in jazz. While the music was recorded in New York, the roster of musicians on the date is all friends from Philadelphia. Bassist Dwayne Burno and drummer Byron Landham—with drummer Anwar Marshall replacing Landham on a few tracks—are on hand to provide crisp rhythm work, and the trio is expanded into a quartet on two numbers, allowing for the addition of tenor saxophonist Larry McKenna’s full-bodied horn work.

The music itself, despite a title that might indicate otherwise, is actually Evans most conventional output in quite some time. The spiky intensity of The Captain Black Big Band and the left-leaning, in-and-out esthetic of Tarbaby’s work is nowhere to be found on this date. While Evans still injects his own personality into these pieces, his mission here is to honor others. Swing is a central element on a large number of the tracks, but it isn’t all that Evans has to offer. Dewy balladry built with glacial grace (Evans’ “Dita”), a rhythmically engaging workout on Shirley Scott’s “Oasis,” and an album-closing, solo piano take on Herbie Hancock’s “Just Enough” all exhibit different sides of the indefatigable Orrin Evans.

 

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Bruce Lindsay’s AAJ review for Orrin Evans “Freedom”….

www.allaboutjazz.com

Orrin Evans’ first three Posi-Tone releases formed a diverse but high-quality trilogy: the piano trio (Faith In Action, 2010); the freer, more left-field small band (Tarbaby’s End Of Fear, 2010); and the hard-blowing and exciting big band (Captain Black Big Band, 2011). Hot on their heels comes Freedom, Evans’ fourth album in less than two years. The quality remains high.

Freedom harks back to the lineup and style of Faith In Action. Evans’ home town of Philadelphia looms large, with all of the band and most of the composers hailing from the city. If anything, the album’s accent is more strongly on melody, its emotional tone more romantic and less frenetic than Faith In Action, although the trio’s take on Chris Beck’s “Hodge Podge” shows that it can crank up the tempo and the tension whenever it wants.

Charles Fambrough’s “One For Honor” showcases bassist Dwayne Burno’s rich, fat-toned sound and the skittering, dynamic percussion of the impressive young drummer Anwar Marshall. Burno’s own “Gray’s Ferry” is a slinky blues, with a gently seductive swing courtesy of Byron Landham, who was also featured on Evans’ first recording, 1994’s self produced The Trio. Veteran saxophonist Larry McKenna adds a confident solo to this tune, while on Jule Styne’s “Time After Time” he takes the lead role, playing the melody line with warmth before kicking things into a higher tempo.

Evan’s own “Dita,” is a slow ballad characterized by his spacious and considered piano and Landham’s inventive percussion. Evans’ solo performance of Herbie Hancock’s “Just Enough” is a beautiful valediction, a delicate and controlled approach that draws out the tune’s romance and lyricism.

Evans’ body of recorded work is both extensive and impressive. His previous three Posi-Tone albums are among his most mature and rewarding works, with a breadth of imagination that few other contemporary jazz musicians can muster. Freedom is a beautiful creation, a work of great strength and musical perception.

Track Listing: One for Honor; Gray’s Ferry; Shades of Green; Dita; Time After Time; Hodge Podge; Oasis; As Is; Just Enough.

Personnel: Orrin Evans: piano; Dwayne Burno: bass; Byron Landham: drums, percussion; Anwar Marshall: drums (1, 6, 7); Larry McKenna: tenor saxophone (2, 5).

 

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Richard Kamins Step Tempest review of Orrin Evans “Freedom”…

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The past year has been quite a musical ride for pianist/composer Orrin Evans, especially when it comes to his relationship to Posi-Tone Records.   Early in 2010, the Los Angeles-based label released the pianist’s tribute to saxophonist Bobby Watson, “Faith in Action” followed in late October by “The End of Fear” from Tarbaby, the “trio collective” with Evans, bassist Eric Revis and drummer Nasheet Waits (plus some fine guests.)  2011 has already seen the release of the Captain Black Big Band, arguably one of the 5 best CDs of this year.

Now, we have “Freedom“, basically a trio date released under Evans’ name, featuring bassist Dwayne Burno and drummer Byron Landham with Anwar Marshall taking over the drum chair on 3 cuts (1 of which features Landham on persussion) and tenor saxophonist Larry McKenna on 2 tracks.  While not as dramatic and forceful as the Big Band recording, this CD contains a multitude of pleasures.  The project is dedicated to the memories of Trudy Pitts, Sid Simmons and Charles Fambrough, all who passed near the end of 2010 (Fambrough on New Years’ Day 2011.)  The first track on the CD is Fambrough’s “One for Honor“, a delightful romp that gives the musicians plenty of space to let loose – and they do play with fire.  Burno is one of the more melodic contemporary bassists as well as being a strong foundation.  He supplies “Gray’s Ferry” ( a neighborhood in South Philadelphia), a medium tempo blues featuring a bluesy solo from McKenna, a veteran of the “Philly” jazz scene who has worked with Clark Terry, Tony Bennett and many others in his long career.

Other highlights include “Shades of Green” from the pen of the late Philadelphia-based pianist, Eddie Green (he passed in 2004) and the classy, poly-rhythmic, “Hodge Podge“, composed by Chris Beck, a drummer from Philly and featuring Marshall in the drum chair.  Marshall and Landham lead the way into “Oasis“, an atmospheric work from Shirley Scott. The only tune without an overt Philadelphia connection is Herbie Hancock’s “Just Enough” that Evans plays sans accompaniment to close the CD. Filled with rich, resonant, chords, the pianist creates a fine musical tour-de-force as he works through the melody line into his excellent solo.

In the shadow of the Big Band recording, “Freedom” may seem a bit low-key but pay attention.  Like much of what Orrin Evans has been giving to the world lately, this CD pays tribute to his city, his influences and his contemporaries.  It’s mature music yet never loses its spirit and the joy of playing. It’s yet another “winner’ in a streak that stretches back to Evans’ fine sextet of recordings for Criss Cross.  For more information, go to www.posi-tone.com/orrinevans/freedom.html.