Ryan Kisor: Power Source

Taking full advantage of what might be termed his "second wind," Ryan Kisor has grown into one of the most mature trumpeters of his generation. Back in 1990 when he impressed his elders by taking the prize at the Thelonious Monk Institute trumpet competition, things appeared promising and a major record label deal even came through the following year, but it might have been a slight case of a bit too much too soon. It seemed as quickly as his two Columbia dates appeared they were subsequently forgotten and it almost looked as if Kisor would join the ranks of so many other young lions, a victim of the hype and "flavor of the week" mentality that was so rampant within the jazz industry during the '80s.

Kisor's obvious talents would help him overcome the obstacles and through his work in some of today's great jazz ensembles (i.e. the Gil Evans Orchestra, Charlie Haden's Liberation Music Orchestra, the Carnegie Hall Jazz Band, and the Mingus Big Band) he has blossomed into the experienced soloist that currently makes him a "first call" player among his peers. Currently it's his role in the Lincoln Center Jazz Orchestra that gets top priority. "They keep me pretty busy," says Kisor. "We're on the road probably six months a year."

Five years separate the last of those two now out-of-print Columbia dates from Kisor's debut as a leader on Criss Cross. While 1998's Battle Cry (Criss Cross 1145) found him taking the atypical role of lead voice in front of organist Sam Yahel's trio, the recent Point of Arrival (Criss Cross 1180) treaded on more tempered ground, with pianist Peter Zak, bassist John Webber, and drummer Willie Jones III on hand. The latter two musicians have appeared along with Ryan in one of Horace Silver's latest units, in addition to contributing to Kisor's other 1998 recording, The Usual Suspects. Dispensing with the piano or organ, Kisor makes an even bolder statement with the quartet that appears on Power Source. "Actually the album came together in a kind of mysterious way," Kisor explains. "It was actually supposed to be David Kikoski's record and then he broke his wrist, so Gerry Teekens asked me to be the leader on the date."

Sharing the front line once again with tenor phenom Chris Potter, remembering that the two had recorded together last on Ryan's 1993 Columbia album On the One, the pair's support comes simply from the rock-solid bass work of James Genus and the kinetic drumming of Gene Jackson. A highly touted musician in his own right, 30-year-old Potter has become a darling of the press and scores of jazz fans who appreciate his technical prowess and highly logical sense of improvisation. A recent winner of the Danish Jazzpar Prize, the saxophonist has worked with many of today's top jazz artists, including Dave Holland, Red Rodney, Paul Motian, Billy Hart, and Renee Rosnes. An indication of his flexibility and willingness to work beyond boundaries, he's also taken part in the resurgent popularity of pop super group Steely Dan via recording and touring activities. His own Criss Cross releases include Presenting Chris Potter (Criss Cross 1067) and Sundiatta (Criss Cross 1107).

Bassist James Genus is a native of Hampton, Virginia and garnered his first critical notice as a member of pianist Ellis Marsalis' group. With a degree in Jazz Studies from the Virginia Commonwealth University in hand, Genus moved to New York City in the late '80s and has stayed busy ever since playing both acoustic and electric bass with a range of jazz talent including Roy Haynes, The Brecker Brothers, Greg Osby, David Sanborn, Horace Silver, Dave Douglas, and Bob James. As a veteran of Herbie Hancock's ensembles for almost ten years, Philadelphia bred Gene Jackson attended Boston's Berklee College of Music before the matriculation to New York that brought gigs from the likes of Kevin Eubanks, Wayne Shorter, Hugh Masakela, Branford Marsalis, Dave Holland, and Andrew Hill. He currently maintains a busy schedule through his work as a clinician and private drum instructor.

Kisor's upbeat title track puts a new twist on the conventional 32 bar form, with the middle eight bars riding over an offbeat suspension that provides for some interaction between the lead voices. "That tune is just something I had been working on before the date and then when I found out what the instrumentation was going to be I wrote the bridge with that answering back and forth kind of thing with me and Chris." Articulate and patient with the development of his solo, Kisor hints at the hidden pleasures of simplicity. Potter's spot is definitely more effusive, with Gene Jackson's drumming serving as a very active catalyst.

Clocking in at well over ten minutes, "Salome's Dance" proves to be the set's cornerstone. This winning Potter original reflects the influence of bassist and writer Dave Holland, one of the saxophonist's current bosses, with its pseudo rock beat over a bass vamp that at times recalls a similar phrase from Herbie Hancock's "Blow Up." The tune's intriguing melody, which spills across bar lines, also manages to take on a Silverish (i.e. Horace Silver) cast that is highly attractive. As for the solos, Potter's up first and he dips into the lower register, alternating those robust wails with flurries of brisk passages up and down the horn. Kisor picks up with some textural nuance of his own, in addition to exploring the higher stratosphere. A decidedly frenetic drum solo from Jackson then leads to the collective interplay between Chris and Ryan that wraps up the selection.

Considering that Kisor, Potter, and Jackson have all been charter members of the Mingus Big Band, it comes as no surprise that a couple of the bassist's compositions are part of the program. The extended form of the Mingus homage, "Duke Ellington's Sound of Love," offers its share of challenges, with a beautiful melody line that manages to surreptitiously include an upturned phrase from Billy Strayhorn's Lush Life. One of Mingus' last great ensembles delivered the original version on 1974's Changes One, with the late George Adams and Jack Walrath sharing the front line. Heard here in another thought-provoking version, Kisor voices the head with a smartly placed obbligato provided by Potter's tenor. In his subsequent solo spot, the trumpeter impresses with his finely tuned intonation and a burnished vibrato that's quite enthralling. Aside from Potter's statement, there's a brief solo from Genus before the reprise of the theme.

One of the jazz world's most respected writers, Jimmy Heath's book of originals remains ripe for exploration. "New Picture," a Heath invention of recent vintage, is a delightful waltz that provides for some attractive two-horn voicings. Genus makes up for the absence of a chording instrument by filling in the space with some sagaciously chosen notes. His own brief testimonial is marked by a firm attack and a sinuous logic for melodic development. Potter then stays for a while before turning things back over to Kisor for the last statement of the head.

More Mingus material provides fodder for Kisor and associates. "Boogie Stop Shuffle" is a timeless classic from the 1959 Columbia sessions that yielded the essential Mingus Ah Um. The original version sported a large ensemble and rich harmonies and it's remarkable how Kisor and Potter have managed to give the impression of a much larger group simply by utilizing the various registers of their horns. Kisor voices the lead with a mute in hand and then Potter takes on the melody, while the trumpeter punctuates with some wah-wah effects. The lead players contribute solid statements before alternating 12-bar solos with Jackson, a reprise of the opening melody and a dramatic high octave trill then serving as the final climax.

Another very resourceful Potter original, "Pelog," politely makes the scene with a loping two beats to the beat. Its melody has an almost singsong character that brings to mind a children's nursery rhyme. Kisor starts with muted horn and then stays with it through the opening solo statement, at first with just bass in support and then with the drums joining the fold and the tempo doubling. The same sort of routine is picked up by Potter, who gets underway by sparring with Jackson in the spirit of those exalted moments when John Coltrane and {[Elvin Jones}} would go it alone. There's also a mystical radiance to Potter's work in the higher octaves that evokes Charles Lloyd's individualistic voice.

Ornette Coleman's "Bird Food" first appeared on the saxophonist's 1959 Atlantic date, Change of the Century, a summit meeting that also featured Don Cherry, Charlie Haden, and Billy Higgins. Messieurs Kisor and Potter manage to retain the charm and forward momentum that makes this one of Coleman's quintessential tunes. Potter is up first and he shrewdly quotes "I Found a New Baby" in the melodic development that leads to one of his best solos of the entire set. Kisor works within a narrower range, although he also tends to "worry a phrase" at times as part of the expansion of his ideas. A nimble spell from Genus that includes some well-placed double stops precedes the reprise that brings the disc to its conclusion.

"The thing about the album that I was happy with was that even though we hadn't played much together as a group, it came off real nice." One would tend to concur with Kisor's understated compliment. It just goes to show you how the most pleasant surprises can come your way when you're least expecting them.

Liner Notes copyright © 2024 C. Andrew Hovan.

Power Source can be purchased here.

Contact C. Andrew Hovan at All About Jazz.
An avid audiophile and music collector, Chris Hovan is a Cleveland-based writer / photographer / musician.

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