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Peter Hum reviews “Little Echo”…

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Little Echo (Posi-Tone)
Ken Fowser & Behn Gillece

Unlike Dana Lauren, the saxophonist Ken Fowser and vibraphonist Behn Gillece, who are a few years older than she is, have a very focused take on their stylistic turf. They are unabashed lovers and perpetrators of hard bop and a brand of modal jazz that more secular than the spiritual style that John Coltrane ushered into being. Some would call Fowser and Gillece guardians of the flame, while others might deride them as “reboppers.”

How much you enjoy their disc, Little Echo, might depend in part on where you fall on that flame-keeper/anti-rebop continuum. At the level of genre and style, Little Echo is very much reminiscent of the straight-down-the-middle hard bop and modal jazz that the Blue Note label during the late 1950s and 1960s. It also brings to my mind the discs that featured pianist McCoy Tyner and vibraphonist Bobby Hutcherson.

I don’t have an issue with the stylistic turf that Fowser and Gillece chose to stake out. But the other issue, of course, has to do with the amount of excitement and distinctiveness the disc delivers. In this regard, I’d say that the CD falls short. Here are two excerpts from the disc:

One Step At A Time is a riffing swinger that takes the harmonic grid of Speak Low as its point of departure: Also falling in the disc’s swing category is its opener, Resolution, reminiscent of Four. The disc ends with the bopping medium tune Another View. Other tunes are more modal romps, such as the minor-key tune Sap, the major-key waltz You, and Ninety Five, the simple straight-eighths tune heard below, which strives for a soulful vibe:

For my tastes, too many of the disc’s tunes are a little too basic in terms of structure and and overly riff-based, resulting in a disc that feels to me somewhat generic and predictable rather than specific and surprising. The better tracks are Gillece’s You, which has a bit more harmonic material and emotional heft to it, and the tune Vigilance, which groove-wise is a bit more varied and involved. Best perhaps is the evocative ballad The Dog Days, which finds Gillece and Fowser hitting the right notes of vulnerability and tenderness.

Overall, it’s Gillece’s playing that provides the disc’s highpoints. He’s the most consistently flowing, melodic instrumental voice on Little Echo. Fowser on tenor saxophone has a nice, classic sound, but he plays with less fire and sophistication, I think.

Pianist Rick Germanson, bassist Ugonna Okegwo and drummer Quincy Davis — very much a trio of seasoned musicians — accompany the young leaders and make the music sit in the pocket. But I don’t feel as much engagement with the music and with the session’s leaders as I think their could have been. Germanson, for example, takes a fine solo on You, but some of his other solos — on a piano that incidentally seems a bit tinny to me in the upper registers — strike me as correct and polished, but not more.

 

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Lucid Culture reports in joyfully on the classic stylings of Fowser/Gillece “Little Echo”…


Ken Fowser and Behn Gillece Ask, Your Place or Mine?
August 4, 2010

This is what the Mad Men soundtrack ought to sound like. On their new album Little Echo, tenor saxophonist Ken Fowser and his vibraphonist cohort Behn Gillece have teamed up for an absolutely period-perfect, gorgeously melodic collection of golden age-style jazz. This is the kind of thing you can stump your jazz snob friends with: guess which 1959 group this is? Maybe a previously unknown Chico Hamilton session with Hamp, maybe? Even the cd cover images and fonts come straight out of the late 50s Columbia catalog, and for anyone who owns actual physical albums from the era, they’re a dead giveaway. To call this boudoir jazz doesn’t give enough credit to the strength and intelligence of the compositions, but with the nocturnal ambience created by the intermingling of the piano and the vibes, it’s the jazz equivalent of Al Green or Sade. If there’s a population explosion among jazz fans in the next nine months or so, blame these guys. Here Fowser and Gillece – who wrote all but two of the compositions – are joined here by Rick Germanson on piano, the ubiquitously reliable Ugonna Okegwo on bass and Quincy Davis on drums.

The genius of the songs here – and they are songs in the purest sense of the word – is their simplicity: the “jukebox jazz” label recently applied to JD Allen’s recent stuff aptly describes this as well. The band set the tone right off the bat with the ridiculously catchy Resolutions, with brief and vivid solos by Fowser, Gillece and Germanson in turn. A Fowser composition, Ninety Five employs a slinky guaguanco vamp as the launching pad for some balmy sax work followed by a more aggressive turn by Gillece. The band pass the baton around on the next one: Gillece plays a horn line, Germanson scurries along and Fowser bounces off the bass and drums.

The dreamy ballad The Dog Days is a showcase for Fowser sultriness, Germanson impressionism and a hypnotic, slow Gillece solo over steady piano. Upbeat latin tinges and a soaring sax hook give the next cut, Vigilance, a summery blissfulness. Germanson anchors the deliciously noir-tinged latin jazz of the title track as Fowser prowls around on the low notes: the utterly carefree, closing-time style piano solo might be the most vivid moment on the entire album. Fowser’s One Step at a Time offers more than a hint of Gil Evans era Miles Davis; Gillece’s ballad You mines some choicely pensive modalities on the way to the blues; the closing cut Another View works a shameless So What quote into the wee-hours bliss of the opening track.Marc Free’s production goes back to the golden age as well – he doesn’t overcompress the vibes or the piano and puts Okegwo’s tireless bass walks up just high enough that you appreciate all those tireless walks, without making it sound like hip-hop. It’s out now on Posi-Tone Records.

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Bruce Lindsay’s AAJ review for Fowser & Gillece’s “Little Echo”….


Little Echo is a delightful collection of bop-influenced tunes—contemporary, but with the authentic sound of a classic late-’50s or early-’60s ensemble. The quintet sounds like it brings many decades of experience to the recording yet the co-leaders and composers, saxophonist Ken Fowser and vibes player Behn Gillece, are still only in their late-20s. This is their second quintet album although their debut, Full View (Posi-tone Records, 2009), featured a different rhythm section.

Fowser’s tenor playing is characterised by a brightness that complements Gillece’s ringing vibraphone sound, giving their playing a welcoming, positive, feel. Gillece has composed most of the tunes here—Fowser contributed “Ninety Five” and “One Step at a Time”—but every track finds the pair sharing the limelight whether playing tight unison parts or trading solos. Their unison playing is splendid—exemplified on “Sap,” where they play hard and fast, on the smoother groove of “Resolutions” or on “Another View” where they show a funkier edge. Each man can solo with verve as well, as can pianist Rick Germanson whose piano style can move from gutsy and swinging to more understated playing with apparent ease.

Although Fowser and Gillece get their names on the cover, this is very definitely an ensemble recording. The three remaining members of the quintet are crucial to the album’s sound, underpinning the sax and vibes with some exemplary rhythm work. Drummer Quincy Davis has a light and sensitive touch: his subtle playing ensures that the tunes swing but never intrudes on the front-line players. Ugonna Okegwo’s bass playing is always thoughtful and considered, a perfect match for Davis whether driving upbeat tunes like “One Step at a Time” or adding softer, more emotive, tones to “The Dog Days” or “You.”

Little Echo is an assured album from a fine quintet. Fowser and Gillece are an extremely effective partnership and the band readily creates a welcoming atmosphere with stylish and confident musicianship. Marc Free’s production is superb and the Posi-tone “house style” packaging adds another touch of quality to the album.

Track listing: Resolutions; Ninety Five; Sap; The Dog Days; Vigilance; Little Echo; One Step at a Time; You; Another View.

Personnel: Ken Fowser: tenor sax; Behn Gillece: vibraphone; Rick Germanson: piano; Ugonna Okegwo: bass; Quincy Davis: drums.
Read more reviews of Little Echo.

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John Barron’s insightful review of Fowser/Gillece “Little Echo”….

Ken Fowser & Behn Gillece – Little Echo – Posi-Tone PR8068, 51:45 *****:
(Ken Fowser, tenor saxophone; Behn Gillece, vibraphone; Rick Germanson, piano; Ugonna Okegwo, bass; Quincy Davis, drums)

Ken Fowser and Behn Gillece, two very promising young artists on the Posi-tone label, have added another feather to their cap with Little Echo, their first album made up entirely of new compositions. Fowser on tenor sax and Gillece on vibraphone lead the band, backed by Rick Germanson on piano, Quincy Davis on drums, and Ugonna Okegwo on bass. The rhythm section is tight but subtle, letting the lively and bright melodies take the focus. Throughout much of the album, Germanson on piano forms the backbone of the melody while Fowser and Gillece elaborate. Fowser is excellent, but Gillece especially is a player to remember, with a strong succinct touch and a way of lodging melodies firmly in your head.

The two young players also have an excellent team behind the boards in producer Marc Free and engineer Nick O’Toole. The piano and vibraphone are beautifully captured in the recording, with a shimmering sound that is often lost in digital recording. The quality of the recording also lends the album a nostalgic cast, with the tracks sounding more like 1950s recordings than anything else.

The first two tracks are something of a piece, with melodic themes that complement each other. Resolutions and Ninety Five both feature busy but sunny themes that Fowser and Gillece take in different directions. Fowser deepens the sound and grooves, while Gillece keeps things quick and flowing, with an infectious sound that makes the listener want to throw a party.

Sap and Vigilance have slightly more complex structures and a little more rhythmic meat on their bones, and the band adapts easily. Vigilance is a particularly great composition, and if any filmmakers are listening they should keep these two on a short list for soundtrack work based on this number.

Another View closes out the album. Germanson has a fantastic solo early in the song, but its Gillece’s solo around the two and a half minute mark that steals the show.
Buy Little Echo, play it for company, and spread the word about these exciting young jazz artists.

TrackList: Resolutions, Ninety Five, Sap, The Dog Days, Vigilance, Little Echo, One Step At A Time, You, Another View

– Ethan Krow

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Audiophile Audition weighs in favorably on Ken Fowser and Behn Gillece’s latest CD “Little Echo”…


Ken Fowser & Behn Gillece – Little Echo – Posi-Tone PR8068, 51:45 *****:
(Ken Fowser, tenor saxophone; Behn Gillece, vibraphone; Rick Germanson, piano; Ugonna Okegwo, bass; Quincy Davis, drums)

Ken Fowser and Behn Gillece, two very promising young artists on the Posi-tone label, have added another feather to their cap with Little Echo, their first album made up entirely of new compositions. Fowser on tenor sax and Gillece on vibraphone lead the band, backed by Rick Germanson on piano, Quincy Davis on drums, and Ugonna Okegwo on bass. The rhythm section is tight but subtle, letting the lively and bright melodies take the focus. Throughout much of the album, Germanson on piano forms the backbone of the melody while Fowser and Gillece elaborate. Fowser is excellent, but Gillece especially is a player to remember, with a strong succinct touch and a way of lodging melodies firmly in your head.

The two young players also have an excellent team behind the boards in producer Marc Free and engineer Nick O’Toole. The piano and vibraphone are beautifully captured in the recording, with a shimmering sound that is often lost in digital recording. The quality of the recording also lends the album a nostalgic cast, with the tracks sounding more like 1950s recordings than anything else.

The first two tracks are something of a piece, with melodic themes that complement each other. Resolutions and Ninety Five both feature busy but sunny themes that Fowser and Gillece take in different directions. Fowser deepens the sound and grooves, while Gillece keeps things quick and flowing, with an infectious sound that makes the listener want to throw a party.

Sap and Vigilance have slightly more complex structures and a little more rhythmic meat on their bones, and the band adapts easily. Vigilance is a particularly great composition, and if any filmmakers are listening they should keep these two on a short list for soundtrack work based on this number.

Another View closes out the album. Germanson has a fantastic solo early in the song, but its Gillece’s solo around the two and a half minute mark that steals the show.
Buy Little Echo, play it for company, and spread the word about these exciting young jazz artists.

TrackList: Resolutions, Ninety Five, Sap, The Dog Days, Vigilance, Little Echo, One Step At A Time, You, Another View

– Ethan Krow

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An interesting review of Ken Fowser / Behn Gillece “Little Echo” by AAJ Contributor Dan Bilawsky…

by Dan Bilawsky
Tenor saxophone and vibraphone frontlines—while not as commonplace as two horn teams—have their place in history. Lionel Hampton and Stan Getz had a marvelous meeting in the studio and Milt Jackson recorded with Sonny Rollins, Coleman Hawkins and John Coltrane, on different occasions. Bobby Hutcherson added to this legacy, working with Dexter Gordon and maintaining a fruitful partnership with Harold Land, and now tenor saxophonist Ken Fowser and vibraphonist Behn Gillece are furthering this legacy.Little Echo is the sophomore release from this pair and they use this opportunity to showcase their writing—with all nine songs co-credited to both men—as well as their playing. “Resolutions,” wisely selected as the opener, might be the catchiest song on the album. “Ninety Five” and the title track both possess a similar, steady eighth note groove—provided by drummer Quincy Davis—that’s underscored by repetitive bass lines from Ugonna Okegwo. This combination helps lock things in beneath the soloists, acting as a grounding force. Pianist Rick Germanson has a killer descending run during his solo on the latter tune, but “Ninety Five” is the far more gratifying performance on the whole.

“Sap” begins with some musical questions being asked—with appropriate pauses after these lines—and Germanson’s questions seem to be the most ominous in nature. Once the solos start, everybody—save Okegwo—gets a chance to let loose and nobody wastes the opportunity. “The Dog Days” is a molasses-slow ballad that makes brilliant use of the less-is-more approach. Fowser’s solo starts off with an aching delivery and Germanson sticks to impressionistic statements, with some bluesy licks thrown in to spice things up. While Gillece’s soloing seems a bit aimless on this one, he more than makes up for it on “Vigilance.” Okegwo’s slick bass work sets the tone for the piece, but Fowser and Gillece steal the attention away from him with their seemingly effortless run through the tricky rhythmic line they created. Once they make their way down this path, the solos begin and Gillece sounds phenomenal when he and Fowser begin to tangle their lines around one another.

“You” has a buoyant, uplifting sound that’s wholly unique to this album. While Fowser and Gillece let the music breath and fly, Davis holds it in place with some heavy-handed playing. Okegwo’s reputation as one of the most supportive bassists around is upheld on this record and, just when it appears the spotlight eludes him, he finally gets a chance to step out and solo on the album closer, “Another View.” Much of this music has a timeless quality about it and little echoes of the giants listed above come through on Little Echo.

Track listing: Resolutions; Ninety Five; Sap; The Dog Days; Vigilance; Little Echo; One Step At A Time; You; Another View.

Personnel: Ken Fowser: tenor saxophone; Behn Gillece: vibraphone; Rick Germanson: piano; Ugonna Okegwo: bass; Quincy Davis: drums.

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SomethingElse! reviews “Little Echo”…

somethingelsereviews.com

It’s not unusual at all for the tenor sax and the vibraphone to appear on the same jazz record; we’ve heard these on countless jazz recordings. But by co-leading a record, saxophonist Ken Fowser and vibraphonist Behn Gillece gives us fairly rare opportunity to hear both instruments as the two lead voices sharing equal billing. Little Echo, which went on sale last Tuesday, is in fact the second album by this emerging duo, Full Viewbeing their first.

Don’t let the youthfullness of these fellows fool you, Ken Fowser and Behn Gillece have played jazz together since they were teenagers growing up in the Philadelphia area in the 90s. In NYC since 2006, they have quickly established themselves there, finding much success with their debut record Full View, released at the beginning of last year. And now there are back with more.

Fowser and Gillece are of one mind when it comes to their concept of jazz. Their small-combo mainstream style places a strong emphasis on swing, and everything they do with their music starts there. Backing up these two gentlemen on Little Echo are bassist Ugonna Okegwo, drummer Quincy Davis and Rick Germanson (who released the first-rate Off The Cuff album last year) on piano. Though this is a different lineup from their previous record, Fowser and Gillece again freshen up the classic jazz concept with nine classic-sounding originals.

“Resolutions” sets the tone with a snappy, well-defined bebop head that’s stated by both leaders and used as a launching point for solos by Fowser, Gillece and Germanson that are crisp and to the point. The program continues with the same kind of pleasing, unfussy brand of modern jazz composed by either Fowser or Gillece: Fowser’s “Ninety Five” follows the same formula as “Resolutions,” but with a slower, mid-tempo pace; Gillece’s “Sap” starts off with a knotty intro consisting of some harmonic somersaults before kicking it into a snappy, 2/4 groove. “Dog Days,” also written by Gillece, is a ballad, and not surprisingly at all, the duo shows they are quite good at playing it soft and sultry when soft and sultry is called for.

“Vigilance” is another burner, but also a tune where shifting time signatures are used effectively. Fowser and Gillece harmonize the tricky lines well, and Fowser’s big, soulful tone followed by Gillece’s thoughtful lines that have echoes of both Milt Jackson and Bobby Hutcherson. And speaking of “echoes,” the extended title track, written by Gillece, cooks along at a medium stride and allows for lengthy improviding by Gillece, Fowser, Germanson and, briefly, Davis. The last three remaining tracks “One Step At Time,” “You” and “Another View” continue in the same vein as the prior tracks, delivering strong melodies and solid chops amply supported by the Okegwo/Davis rhythm section.

Fowser and Gillece subscribe to the “two heads are better than one” theory, and it’s clear from my ears that this theory has worked out well in practice. Little Echo, like their first release Full View, is another quality release coming from Posi-Tone Records.

 

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Heres an AAJ article about a bunch of new albums featuring vibes including our very own “Full View” by Ken Fowser/Behn Gillece….

www.allaboutjazz.com

by Graham L. Flanagan

The vibraphones often create the über-cool “lounge” sound at cocktail parties but don’t pigeonhole the instrument as a gimmicky mood inducer. Legends like Lionel Hampton, Milt Jackson, Cal Tjader and Bobby Hutcherson inhabit the pantheon of the instrument’s alltime heroes. Not surprisingly, myriad players inspired by those greats are doing their best to join that impressive list. Five new releases featuring three vets, a legend and a newcomer prove that the list might begin to grow soon.

Jay Hoggard continues his prolific streak as a leader with Soular Power. With support from James Weidman (piano/organ), Belden Bullock (bass) and Yoron Israel (drums), the session features 11 of his own compositions and one standard (“On a Clear Day”). That classic Lane-Lerner tune stands out as one of the most enjoyable numbers, the interplay between the leader and Weidman recalling the collaboration of Bobby Hutcherson and Larry Young on the Grant Green album Street of Dreams.

Benny Golson protégé Joe Baione delivers his second album as a leader with Oh Yeah!, a happy, up-tempo set perfect for the summer jazz season. Baione leads an inspired combo featuring Toru Dodo (piano), Jorge Castro (tenor sax), Andrae Murchison (trombone) Corcoran Holt (bass) and drummer Jerome Jennings. They run through three standards: a funky arrangement of “All Blues,” a very low-key “Prelude to a Kiss” and a tribute to one of the instrument’s pioneers, Milt Jackson’s “Bag’s Groove”. The leader’s penchant for Latin and Caribbean rhythms surfaces on the songs “‘J’ Bossa” (which he arranged with his clarinetist father) and “Coconut Island”. The latter sees Baione switch to the marimba, resulting in a tropical experience highly reminiscent of “St. Thomas”.

The most challenging of the five new releases is vibraphonist Behn Gillece’s Full View, co-led with tenor saxophonist Ken Fowser. Accompanied by David Hazeltine (piano), Adam Cote (bass) and Paul Francis (drums), these newcomers exude a chemistry reminiscent of Dexter Gordon and Hutcherson on Gettin’ Around. Gordon is no doubt an influence on Fowser’s round, warm tone that mirrors that of the “long tall” legend. Gillece also pays homage with his brisk, slightly modal “The Hutch”. The complex, polyrhythmic number includes focused soloing from the whole team.

At one point, Mark Sherman aspired to be a drummer. Known as a disciple of Elvin Jones, he was drawn to the vibes and the instrument soon gained a new virtuoso worthy of Hampton, Hutcherson and Jackson. Recorded in Basel, Switzerland, Sherman’s double live album Live @ The Bird’s Eye supplies nearly two hours of great straight-ahead jazz, mixing Sherman originals with a few standards. The group isn’t afraid to improvise; many of the tunes go beyond ten minutes, but you’re guaranteed not to mind. The leader gets top-grade support from Allen Farnham (piano), Dean Johnson (bass) and Tim Horner (drums).

After he’d established himself in the late ’60s as one of the top vibraphonists in exploratory soul jazz and right before he recorded one of the all-time greatest “blaxploitation” soundtracks with Coffy in 1973, Roy Ayers made a major impression in 1971 with Ubiquity. Here Ayers commands a larger ensemble than what had become his typical quartet and lays down a combination of funky instrumentals and more commercially-bent vocal numbers. Along with an airy interpretation of “Raindrops Keep Fallin’ On My Head,” highlights include a handful of tracks where Ayers employs a fuzz box; normally used as a guitar accessory, it really comes in handy on the appropriately titled scorcher “The Fuzz”. As all five of these albums clearly illustrate, it’s a good time to be a fan of the vibes.

Tracks and Personnel

Soular Power

Tracks: Happy to Be Happy; On a Clear Day; Soular Power; You’re in My Heart All the Time; Blues Bags; Sweet Potato; Convergence of the Niles; Overview; God Will Guide; The Little Tiger; Mystic Winds/tropic Breezes; Prayin’ Out Loud.

Personnel: Jay Hoggard: vibes; James Weidman: piano/organ; Belden Bullock: bass; Yoron Israel: drums.

Oh Yeah!

Tracks: Oh Yeah!!!; Down Fuzz; The Stranger; Bag’s Groove; ”J” Bossa; Prelude To A Kiss; Coconut Island; All Blues; Oh Yeah!!! (Alt Take).

Personnel: Joe Baione: vibes; Toru Dodo: piano; Jorge Castro: tenor sax; Andrae Murchison: trombone; Corcoran Holt: bass; Jerome Jennings: drums.

Full View

Tracks: Bittersweet; The Hutch; Act Of Disguise; Soul Eyes; Two Pair; Just In Time; Crisis Averted.

Personnel: Ken Fowser: tenor saxophone; Behn Gillece: vibraphone; David Hazeltine: piano; Adam Cote: bass; Paul Francis: drums.

Live @The Bird’s Eye

Tracks: CD 1: Tip Top Blues; The Winning life; Trust; Hope; Hardship. CD 2: Explorations; You Don’t Know What love Is; There Is No Greater Love; Tip Top Rhythm; Moon River.

Personnel: Mark Sherman: vibraphone; Allen Farnham: piano; Dean Johnson: bass; Tim Horner: drums.

Ubiquity

Tracks: Pretty Brown Skin; Raindrops Keep Fallin’ on My Head; I Can’t Help Myself; Love; The Fuzz; Hummin’; Can You Dig It?; Painted Desert; He Gives Us All His Love.

Personnel: Roy Ayers: vocals, vibraphone; Edwin Birdsong: vocals, organ; Richie Resnicoff: guitar; Harry Whitaker, Bill Henderson: electric piano; John Williams: electric bass; Alphonse Mouzon: drums; Jumma Santos: conga drum.