Altin Sencalar: In Good Standing

In many ways, In Good Standing is a jazz aficionado's dream. Trombonist, composer, and arranger Altin Sencalar's inaugural disc as a leader for Posi-Tone encourages granular, analytical consideration. It is worthwhile to pause and think about the details of inspired performances, ponder the efficacy of Sencalar's original compositions and interpretations of gems penned by jazz giants, and contemplate the numerous examples of his band's esprit de corps. Conversely, it would be a shame to only concentrate on these things and lose sight of the record's ultimate triumph—joyous, life- affirming sounds which engage the spirit, body, and intellect. The record stands a chance of appealing to an audience more extensive than the ever- diminishing number of hardcore jazz fans.

Sencalar is yet another young, emerging talent welcomed into the Posi-Tone fold. Some of the label's regulars, tenor and soprano saxophonist Diego Rivera, alto saxophonist and flautist Patrick Cornelius, and the stunning rhythm section of pianist Art Hirahara, bassist Boris Kozlov, and drummer Rudy Royston, transform his designs into a living, breathing reality.

The record's high spirits and positive vibe are largely due to Sencalar's prowess as an arranger, composer, and instrumentalist. He has an affinity for Latin-oriented sounds likely to induce bodily movement and please the ear. Sencalar converts Tommy Flanagan's "Minor Mishap" into a Guajira; Horace Silver 's "Nutville" is recast in a Latin groove in its entirety; there is the inclusion of what he refers to as an "Elvin Mambo" on the bridge of his composition "Walk Around;" the addition of a touch of salsa montuno to "Homeanje a Armando;" and there is a shift from medium tempo swing to a double time samba feel on the bridge of "Marina's Arrival."

"Reimagined" and "Marina's Arrival," a pair of genial, beckoning tracks which feature just Sencalar and the rhythm section, emphasize the connection between the trombone and the human voice. (They also invite speculation on how well he could carry an entire record without another front-line instrument.) His tone sounds full-bodied, weighty, and expansive, something to sink into, a massage for the soul. Sencalar's improvisations on these and the rest of the cuts are rich in detail, balancing in-the-moment discoveries and adherence to the demands of the material. He is ably encouraged by Hirahara's amalgam of shrewd support and playful nudging, Kozlov's Rock of Gibraltar bass lines, and Royston's uncanny ability to sound sturdy and a bit unhinged at the same time.

Sencalar's cover of Jack Wilson's deep grooving "Do It" serves as a fitting conclusion to In Good Standing. Hirahara offers a steady stream of wily comments amidst the horns' melody. Kozlov locks in the tempo and rhythmic feel. Royston gives a lesson in creative jazz-funk propulsion, striking thickset accents and executing scintillating fills without taking up too much space or messing with the band's momentum. Each of the four soloists—Sencalar, Cornelius, Rivera, and Hirahara—stands tall in a limited amount of space and renders novel ways of bringing on the funk.

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