Tag: Heads Up

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Steve Fidyk “Heads Up!” gets a review in August 2014 Issue of Modern Drummer…

Steve Fidyk Heads Up! Swing, swing, and more swing is the name of the game on the MD contributor’s latest collection of expertly played straight-ahead jazz. Steve Fidyk brings everything from understated pianissimo brush solos (“Make Someone Happy”) to up-tempo burners (“Untimely”) on Heads Up!, with brilliant articulation and a lovely cymbal sound. Fidyk can drive his four musicians like a big band, though he never overplays and keeps the dynamic volume managed at all times. On “The Flip Flopper,” the drummer throws down a loose and funky groove, and “Love for Sale” contains a 7/4 solo vamp that allows him to work out on his snare with pristine technical agility. Fidyk has the rare ability to lead from the drummer’s chair while also playing the supportive sideman role, resulting in a sound where the drummer gives himself some, anytime he wants. Fidyk happens to not be so greedy. (posi-tone.com)

–Ilya Stemkovsky

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Step Tempest goes positively Posi-Tone again…

steptempest.blogspot.com

Positively Posi-Tone (Part 2)

Bassist Peter Brendler, a native of Baltimore, Maryland, graduated from the Berklee School of Music and then went on to the Master’s Program at the Manhattan School of Music. He’s worked with pianist Frank Kimbrough, drummer Barry Altshul, and saxophonist Jon Irabagon (who recorded his “Foxy” CD with Altshul and Brendler) and his debut as a co-leader was a 2013 date with guitarist John Abercrombie.

“Outside The Line” is the first CD under his name only and is a “smoker” from the get-go.  Featuring Rich Perry (tenor saxophone),Peter Evans (trumpet, piccolo trumpet) and Vinnie Sperrazza(drums), the quartet rambles, rumbles, “splats”, sputters, wails, struts and strolls through a 12-song program that features 9 originals and 3 inspired covers.

On the “covers” side, the program starts with the band speeding through Chet Baker’s “Freeway“, a hard-bop romp that features Sperrazza’s “dazzle-dazzle” brushwork, Evans’ inspired piccolo trumpet work and Perry’s bluesy sax work.  There’s a funky recreation of Lou Reed’s “Walk On the Wild Side“, complete with Perry and Evans taking the part of the “doot-da-doot-da-doot” chorus. Sperrazza’s inspired brush work and the leader’s full-toned bass notes give the soloists plenty of support.  The final cover is an inspired reading of Ornette Coleman’s “Una Muy Bonita” which opens with a fine bass solo that slowly eases into the recognizable melody (the foursome does an excellent job of shifting the tempo throughout).

 

Several of Brendler’s originals hew close to the Coleman Atlantic Records Quartet sound, such as the hard-driving “Lawn Darts” (it’s a treat listening to how the bass and drums work together and independently to move this music forward).  In another direction, “Pharmacology” is a bopping blues track with a melody line that could have been played by the Clifford Brown-Max Roach Quintet.  Evans and Sperrazza goose each other along during the trumpet solo and then the drummer trades “4’s” with the bassist. There’s a noisy quality to the rapid give-and-take of Perry and Evans on “Openhanded” while “The Darkness” mines the blues in the musicians’ veins.  The trumpet solo pushes against the medium-tempo stroll the bass create while the tenor saxophone joins in on the stroll.  The drone created by the bowed bass, trumpet and saxophone to one “Indelible Mark” induces shivers but also displays Brendler’s splendid technique. He’s the “lead” voice for the opening 1/3rd of the track.  Evans and Perry, though they come from different musical genres (the saxophonist has worked with the Maria Schneider Orchestra while the trumpeter is a mainstay in Mostly Other People Do The Killing), work extremely well together. The CD closes with “The Golden Ring“, a series of ferocious interactions among the quartet. Sperrazza’s drumming is inspired throughout, he and Brendler often function like lead instruments with their own thematic material.

One could call “Outside The Line” “free jazz” but the music is so much more.  The musicians provoke, challenge and complement each other, giving the listener much to chew on.  Peter Brendler has created quite the gem of a CD – I’d put his release right alongside Eric Revis’s smashing new CD “In Memory of Things Yet Seen” as 2 of the best recordings by a bassist of the past several years.  To find out more, go towww.peterbrendler.com.

Drummer Steve Fidyk, the son of a drummer, is, perhaps, best known for his work with big bands (although he has also recorded contemporary Jewish music with Robyn Helzner and played with numerous Symphony orchestras). Meeting drummer/educator Joe Morello (Dave Brubeck Quartet) changed Fidyk’s life as his mentor helped not only how to play but also how to be a better teacher.

“Heads Up!” is his debut as a leader and it’s a solid effort. Engineer Michael Marciano (of Systems Two in Brooklyn, NY) does a great job of capturing Fidyk’s excellent brush work.  The quintet for this date features Terell Stafford (trumpet, flugelhorn) Tim Warfield (tenor sax) and rhythm section from the Armed Services, bassist Regan Brough (from the U.S. Army Blues) and guitarist Shawn Purcell (the United States Naval Academy Band).  The 9 cuts include original songs by the leader, such as the energetic opening track “Untimely“, the extremely funky “The Flip Flopper” and the sweet ballad feature for Stafford’s flugelhorn “T.T.J“.  Purcell is an excellent foil for the front line, never intrusive, always supportive.  His work is often subtle, playing quiet chordal patterns behind the soloists; yet, he can cut loose as well, shredding his way through “The Flip Flopper.” His piece for trio, “Might This Be-Bop“, features strong solos from him, bassist Brough and Fidyk.   Stafford is such a great player, whether soaring over the changes as he does on Fidyk’s “The Bender” or playing muted and mellow on the rearrangement of Jules Styne’s “Make Someone Happy.”  He returns to flugelhorn on the slow take on Johnny Nash’s reggae hit “I Can See Clearly Now“, helping to create a big city, late night vibe.  Warfield’s bluesy tenor is heard to great effect on several tracks, including Hank Mobley-like turns on Purcell’s “Last Nerve” and the hard bop cum disco take on Cole Porter’s “Love For Sale.”

Steve Fidyk sounds like he’s having a great time on “Heads Up!”  He keeps the tunes motoring along without intruding while pushing the soloists to greater heights on several occasions.  Posi-Tone Records, like Criss Cross Records, is a label that is often billed as a home for mainstream jazz. In actuality, both labels and their respective producers (Marc Free and Gerry Teekens), like to mix things up.  Yet, “Heads Up!” (which features Criss Cross artist Tim Warfield – he has 7 releases on the Netherlands-based label) is “straight-ahead” and gloriously so.  For more information, go to www.stevefidyk.com.

 

For his 5th Posi-Tone release, tenor saxophonist Doug Webbhas organized a new group of East Coast musicians (3 of his previous 4 previous CDs featured the rhythm section of drummer Gerry Gibbs and bassist Stanley Clarke) – recorded in February 2013, “Another Scene” features the late bassistDwayne Burno (who passed in late December of last year), pianist Peter Zak and the most impressive Rudy Royston (drums).  The change of scenery has energized Webb who picks up on the power of Royston’s drumming and Burno’s muscular bass lines and delivers a strong performance.  That’s not to say this is all fire and no sweetness. There are several fine ballads including Dave Brubeck’s “Southern Scene“, Vernon Duke’s “What Is There to Say” and Benny Carter’s “Only Trust Your Heart” (a duo for saxophone and piano).

However, chances are good you’ll remember the fiery saxophone and drums exchange that makes up “Rhythm With Rudy” and the hard-driving opening 2 tracks, “Mr. Milo” and “One for Art” (dedicated to Webb’s former bassist, the late Dr. Art Davis).   “Another Step” is Webb’s take on John Coltrane’s “Giant Steps“, with the saxophonist lying over the powerful piano chords and hard-charging rhythm section. Later in the program, Webb’s “Verdi Variations” also has a Coltrane feel in the piano chords, the rubato work of Burno and Royston plus the feverish tenor of the leader. In a clever programming turn, the following track is Thad Jones’ “Bird Song”  which features a sweet solo from the leader and a rocking bass statement from Burno.

“Another Scene” is, in my opinion, most complete recording I have heard from Doug Webb. His earlier CDs all had their moments but this one has many more.  Could be the great rhythm section, could be that Webb liked the change of scene, could just be his continuing maturity as a performer.  Whatever was in the air on the February day worked its magic on this session.  For more information, go towww.dougwebb.us. 

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Dan Bilawsky reviews several new Posi-Tone Releases for AAJ…

http://www.allaboutjazz.com

Some labels release a few records a year; some put out a record every month or two; and then there are those, like the Los Angeles-based Posi-Tone Records, that prefer to push even more music through the pipeline.

As 2014 came into being, Posi-Tone began an ambitious release schedule, putting out a new album every few weeks. Those who cover jazz and follow the scene intently can’t seem to turn around these days without bumping into one of their discs. Everything from groove dates to post-bop parties to beyond-the-norm entries fly under the banner of this small-but-thriving label. Here’s a look at four from the ever-growing Posi-Tone pile.

Brian Charette
Square One
Posi-Tone
2014

Organist Brian Charette has appeared as a sideman on several albums for this imprint, but Square One is his leader debut for Posi-Tone. He works with the tried-and-true organ trio format here and it suits him well.

Guitarist Yotam Silberstein and drummer Mark Ferber join Charette for what starts out solid and turns into a hell of a ride. The first few tracks on this one almost almost seem like a warm-up, as the band finds its footing with funk-to-swing fun (“Aaight!”), pays respect to Larry Young(saxophonist Joe Henderson’s “If”), and pleasantly waltzes on by (“Three Martina”). All of this material comes together well, but sparks don’t always fly. That all changes when the band finds its stride with The Meters’ “Ease Back.” That track, which comes at the midpoint of the album, starts the winning streak. Everything that follows is superb. Ferber’s snare drum groove on “A Fantasy” makes the song, Silberstein pulls out some Lionel Loueke-esque sounds on “Things You Don’t Mean,” and the whole band becomes strikingly unhinged during “Ten Bars For Eddie Harris.”

Charette’s ability to hunker down into a groove, look to the outer limits, or switch between the two at a moment’s notice helps to keep listeners on their toes during this delightful and occasionally daring date.

Jared Gold
JG3+3
Posi-Tone
2014

Jared Gold, like Charette, has never subscribed to old school organ orthodoxy. He’ll give the past its due, but he works in the present. This is his seventh album in seven years—all released on Posi-Tone—and it finds him fronting an augmented organ trio, with three horns added to the mix. These other voices don’t dominate the program, but they do get to step out on occasion, round out the sound of the group, create some harmonic heft, and add some secondary colors to these pieces.

The album opens on Gold’s slow swinging “Pendulum,” guitarist Dave Stryker’s crackling “Spirits,” and Julian “Cannonball” Adderley’s gospel-inflected “Sermonette,” complete with some baritone saxophone preaching from Jason W. Marshall. The attention then shifts to the core trio during a take on James Taylor’s “Shower The People” that shifts focus from nuanced texture painting to slick-and-slippery funk. Drummer Sylvia Cuenca steals the show on a burning “No Moon At All,” trumpeter Tatum Greenblatt steps up to the plate on “I Just Can’t Stop Loving You,” and alto saxophonist Patrick Cornelius gets to shine on Gold’s lively-and-bouncy “Fantified.” This mostly-covers set finishes with two more, as a smoking “Cubano Chant” and comfortable “Charcoal Blues” finish things off in style.
Steve Fidyk
Heads Up!
Posi-Tone
2014

Drummer Steve Fidyk is best known for his sideman and studio contributions, writing for Modern Drummer magazine, and work with the Taylor/Fidyk Big Band. Here, he makes his bones with the Posi-Tone gang by fronting a quintet that features a pair of heavy-hitters—trumpeterTerell Stafford and saxophonist Tim Warfield. The program contains four Fidyk originals, two numbers from guitarist Shawn Purcell, and three covers.

Heads Up!, like the aforementioned Charette album, doesn’t start out with the most distinctive music on the disc. It’s the first cover—”Make Someone Happy”—that, strangely enough, gives Fidyk’s music its own identity. A muted Stafford draws focus as Fidyk’s brushes glide along below. From that point on, most everything makes its mark. Purcell’s guitar and Regan Brough’s bass join together for the Charlie Parker-ish “Might This Be-Bop,” which is also bolstered by Fidyk’s brushes, and Stafford picks up his flugelhorn for an uncommonly slow and beautiful take on “I Can See Clearly Now.”

Fidyk’s most notable originals—”The Flip Flopper,” a funky tune with some memorable guitar work from Purcell, and the warm-hearted “T.T.J.”—come later in the album, but it’s Cole Porterthat has the final word; Fidyk and company finish with a metrically-altered “Love For Sale” that’s pure fun.

Tom Tallitsch
Ride
Posi-Tone
2014

Saxophonist Tom Tallitsch focuses on his own music on his second release on Posi-Tone and fifth date as a leader. He throws in David Bowie’s “Life On Mars” and Led Zeppelin’s “Ten Years Gone” for good measure, but the other nine tracks are all of his making.

Tallitsch proves to be a commanding player throughout Ride, but it’s the sidemen that help to bring out the best in the music. Rock solid players like pianist Art Hirahara and bassistPeter Brendler help to keep things running smoothly, guest trombonist Michael Dease brings the heat, and Rudy Royston, the seemingly ubiquitous super drummer, adds some wattage to Tallitsch’s tunes. Royston’s in high spirits on the title track and he drives the hell out of a few other numbers.

While the faster material always carries excitement with it, Talitsch’s strongest pieces aren’t the burners. “Rain,” which Tallitsch accurately frames as “gospel country,” the Brazilian-tinged “El Luchador,” which gives Dease a chance to shine, and the bluesy “Knuckle Dragger” all leave more of a lasting impression on the ear.

Tracks and Personnel

Square One

Tracks: Aaight!; If; Three For Martina; People On Trains; True Love; Ease Back; Time Changes; A Fantasy; Yei Fei; Things You Don’t Mean; Ten Bars For Eddie Harris.

Personnel: Brian Charette: organ; Yotam Silberstein: guitar; Mark Ferber: drums.

JG3+3

Tracks: Pendulum; Spirits; Sermonette; Shower The People; No Moon At All; I Just Can’t Stop Loving You; Fantified; Cubano Chant; Charcoal Blues.

Personnel: Jared Gold: organ; Dave Stryker: guitar; Sylvia Cuenca: drums; Patrick Cornelius: alto saxophone; Jason Marshall: baritone saxophone; Tatum Greenblatt: trumpet.

Heads Up!

Tracks: Untimely; Last Nerve; Make Someone Happy; Might This Be-Bop; I Can See Clearly Now; The Flip Flopper; The Bender; T.T.J.; Love For Sale.

Personnel: Steve Fidyk: drums; Terell Stafford: trumpet, flugelhorn; Tim Warfield: tenor saxophone; Shawn Purcell: guitar; Regan Brough: bass.

Ride

Tracks: Ride; Life On Mars; Rubbernecker; Rain; The Giving Tree; Ten Years Gone; El Luchador; The Myth; Knuckle Dragger; The Path; Turtle.

Personnel: Tom Tallitsch: tenor saxophone; Michael Dease; trombone; Art Hirahara: piano; Peter Brendler: bass; Rudy Royston.

 
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Midwest Record reviews Steve Fidyk “Heads Up!”…

http://midwestrecord.com/MWR759.html

 

STEVE FIDYK/Heads Up:  As much as we really love a real original that knows
how to work an original, we have a soft spot for leaders that can take a chestnut
and put a whole new spin on it, much like Fidyk, Stafford, Warfield and company do
here on “I Can See Clearly Now” as well as several others.  Original, creative and
somewhat visionary, Fidyk has loads of live and recorded flying time to bring to
this session making a seamless set from start to finish of pure, contemporary jazz
that’s sure to open your ears.  Whether speeding it up and swinging or slowing it
down to give every one a breather, Fidyk never gets complacent.  Just when you think
this is going to be a set of TV show big band, whoomp, there it isn’t.  A really
solid set for the jazzbo looking for a good time.8119
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Brent Black reviews Steve Fidyk “Heads Up!”

http://www.criticaljazz.com

Steve Fidyk hits the ground running with one of the finest Posi-Tone releases yet!
Heads up drummers, Steve Fidyk is gaining on you! While certainly not a newbie in the strictest sense, Steve Fidyk’s debut release for Posi-Tone is that of a  highly respected artist, author and columnist that is writing his own story in the upper echelon of improvisational music. The cast of musical co-conspirators here are first rate including perhaps the two finest horn players in Terell Stafford and Tim Warfield. Shawn Purcell is an incredibly under appreciated guitarist and bassist Regan Brough swings deep and hard.
The achilles heel for most straight ahead recordings can be all too predictable covers with arrangements that border on happy hour riffs heard at the local Marriott. Not here, fresh original arrangements join forces with some unexpected covers for a vibrant swing that floats effortlessly throughout this stellar work. Guitarist Shawn Purcell contributes two notable composition including the captivating “Might This Be-Bop.” Everyone seems to be covering a Cole Porter tune and Heads Up! includes an infectious reharm of the classic “Love For Sale” while the re-work of the Johnny Nash “I Can See Clearly Now” actually gives this shop worn tune a second chance at some harmonic life.
“The Flip Flopper” and “The Bender” are two of Fidyk’s finest numbers pulled from the deceptively subtle hard bop showcase. An impressive array of instrumental prowess, fresh arrangements and the uncanny ability to rework a melody with mangling the original finds Steve Fidyk a name to remember and Heads UP! a straight ahead fans dream!