Behn Gillece: Pivot Point

Anyone who has listened to at least some of the Posi-Tone releases from the past several years will recognize the personnel on Pivot Point: vibraphonist Behn Gillece 's eighth date as a leader. Tenor/soprano saxophonist Willie Morris, pianist Jon Davis, bassist Boris Kozlov and drummers Rudy Royston and Jason Tiemann have made substantial contributions to many of the label's projects situated in various points in the jazz mainstream. To put it bluntly, these guys are incapable of phoning it in. Throughout the disc's eight tracks, while interpreting material written by Gillece, Morris, and Davis, they always find ways of spurring each other on.

"Haymaker," Gillece's catchy, substantive post-bop theme, opens the record on a good foot. Three themes emerge that recur throughout the set. The mellifluous blend of Gillece's vibes and Morris's tenor on the head beckons the listener. The same applies when Morris plays soprano on the ballad "Beyond The Veil" and the title track. Kozlov's keen, rhythmically incisive, and harmonically astute bass lines elevate the band; he is not afraid to assert himself, yet never abandons a foundational stance. (Kudos to engineer Nick O'Toole for capturing Kozlov's sound in all its glory.) Every note of Gillece's solo has a purpose and acknowledges the rhythm section. While there is never any question about the direction he is going in, spontaneity and variety of ideas are the norm.

"What's Expected," a middling tempo, bebopping blues written by Morris, serves, in part, as a showcase for his tenor. Throughout ten carefully sculpted choruses, the force in his playing creeps up to new levels. The lines gradually become edgier; at times, his tone assumes a more strident quality, and he craftily integrates cries and exclamations into the mix. Gillece and Kozlov are constantly nudging one another during the leader's solo. Amidst one long, particularly busy passage, Royston unleashes a mass of snare drum strokes in a manner that adds another layer of intensity without becoming a distraction.

The band delivers a striking rendition of Herbie Hancock's "Toys," the only selection written outside of the group. Taking the head at a delicious, medium tempo, they leave enough room to accommodate brief witticisms by Gillece and Davis. Kozlov offers near-constant commentary during Davis's solo, one of the most adventurous efforts on the record. Davis often stretches melodically, harmonically, and rhythmically, then briskly retreats to a place more overtly aligned with the tune.

A blues in 5/4 time, Davis's "Changes Over Time" manages to sound both soulful and quirky. Royston's firecracker snare drum accents consistently animate the band. His single and multiple hits often land in unexpected places. Morris initially evinces a cool aplomb before making a sweaty, emotional, blues-drenched statement. Davis gives the impression of going down one pathway while dropping hints about pursuing another. Making every stroke count, Royston's solo deftly maneuvers around irregular remarks by Davis and Kozlov.

Gillece's and the band's freshness, vitality, skill sets, and willingness to work as a unit make Pivot Point an outstanding release.

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