Sean Fyfe: Stepping Stones

In an era when the echoes of jazz legends resonate through the ages, pianist Sean Fyfe emerges as a torchbearer of the hard-bop tradition with his latest release Stepping Stones . This album is a testament to the power of collaboration, as Fyfe is joined by the dynamic ensemble of tenor saxophonist Dave O’Higgins, drummer Matt Fishwick and bassist Luke Fowler, each of whom brings their unique talent and deep respect for those who came before.

In this eight-track outing of Fyfe originals and well-known popular standards, all arranged by Fyfe, the stage is set for the band to deliver hard-swinging grooves with finesse and flair. The opener is a Fyfe original, "See Ya!," a contrafact based on the Thelonious Monk composition "Bye-Ya." O'Higgins's tenor unspools thoughtfully assertive phrases, followed by Fyfe's solo, a sharply splintered but flexible attack that showcases the band's energy and skill. The Hoagy Carmichael/Johnny Mercer ballad "Skylark" has an interesting back story in that originally Carmichael wrote the number as a tribute to trumpeter Bix Beiderbecke and Mercer later added the lyrics which detailed his longing for actress Judy Garland. Supported by bassist Fowler's deep, dark, rich tone, Fyfe and O'Higgins develop their solos with a dogged curiosity about texture and dynamic effect.

"Just in Time" by composer Jule Styne, with lyrics by Betty Comden and Adolph Green, was introduced in the 1956 Broadway musical "Bells Are Ringing." The number is briskly paced, with drummer Matt Fishwick demonstrating his potent rhythmic line of attack. Fyfe and O'Higgins work together seamlessly and are unswervingly in the moment. The title track, "Stepping Stones," is another Fyfe original number. The enduring power of hard bop is evident from the opening notes of O'Higgins' indefatigable tenor, accompanied by Fyfe's bright and slashing piano coverage. Fishwick keeps the number percolating with assertive but tasteful exchanges with O'Higgins and Fyfe.

Neither Duke Ellington nor his composition "Prelude to a Kiss" was ever considered even slightly bop-ish. The band uses Ellington's musical frame to show their melodic and harmonic instincts with unscripted sophistication and interplay but not without structure. The closing track is a Fyfe number, "Skitch." This hard-bop blues-based line is replete with intense attack, rapid rhythmic phrasing, and a raw, unbridled energy that leaves a lasting impression.

Comments