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Roxy Coss: Chasing the Unicorn
by Paul Rauch
The title of the third, and latest release of New York based saxophonist Roxy Coss, Chasing the Unicorn (Posi-Tone, 2017), enables a vision that all artists embrace-that elusive and mythical state of total expression attained by only an elite few, that which not only presents beauty and passion to the universe, but is integrated into the ...
Jon Davis: Happy Juice
by David A. Orthmann
Whitney Balliett once wrote, “good musicians do not copy their elders; they only use them as primers." These are words to keep in mind while listening to Jon Davis' Happy Juice, a ten track recital that acknowledges a number of modern jazz piano masters (Herbie Hancock, Bill Evans, Chick Corea, McCoy Tyner, Keith Jarrett, and Red ...
Walt Weiskopf: Fountain Of Youth
by David A. Orthmann
Fountain Of Youth is the latest installment of Walt Weiskopf's mid-career renaissance. In reviews of Weiskopf's three previous Posi-Tone releases, I made the misstep of treating his imposing skills as a tenor saxophonist, composer, arranger, and bandleader as separate, albeit compatible entities; this time around I realized that they are indeed parts of a larger, all-encompassing ...
Jon Davis: Happy Juice
by Dan Bilawsky
Everyone has their own version of happy juice. For some, it's the drink; for others, it's literature; for many, it's film; and for a certain breed, it's jazz, that most potent and unpredictable of aural intoxicants. It's the people that fall into that last group who are most likely to quickly uncork this one and take ...
Theo Hill: Promethean
by David A. Orthmann
Promethean captures Theo Hill at a significant juncture in his development. The record is ample evidence that the thirty-something New York City-based artist is rapidly securing a place in the crowded field of noteworthy contemporary jazz pianists. On the one hand--particularly during medium and up-tempo cuts such as “This Here," “Hey, It's Me You're Talking To," ...
Champian Fulton: Speechless
by Dan Bilawsky
Speechless is a date that may be best classified as a centrist statement, but it's far from the norm for Champian Fulton. While many have come to know and admire Fulton for her arresting vocals and piano work, both usually given in service to Great American Songbook classics, she's not conforming to those expectations here. For ...
Amanda Monaco: Glitter
by Dan Bilawsky
The multi-talented Mae West once said that “personality is the glitter that sends your little gleam across the footlights and the orchestra pit into that big black space where the audience is." West, of course, thrived in a different era, worked in different formats, and was more than likely addressing another artistic discipline entirely with that ...
Vinnie Sperrazza: Juxtaposition
by David A. Orthmann
The most intriguing thing about Juxtaposition, Vinnie Sperrazza's recently released recording, is its loose grip on the jazz tradition. The disc's twelve tracks don't come with a set of standard, recognizable references. Not unlike many of today's leading young artists, Sperrazza has absorbed the lessons of the music's past, and is currently interested in doing things ...
Ken Fowser: Now Hear This!
by C. Andrew Hovan
Taking a cue from some of the other smaller jazz-based labels, Posi-Tone has done a remarkable job over the past few years of building a roster of budding talents worthy of wider recognition. Part of the allure of such an endeavor is the ability to see the evolution of an artist's muse unfolding like a rose. ...
Art Hirahara: Central Line
by Dan Bilawsky
The central meaning behind pianist Art Hirahara's Central Line is simple to suss out. In literal terms Hirahara is referencing the Chuo-Sen (Central Line) subway line, a means for establishing his own relationship to the jazz world in Tokyo. But the message of the album runs deeper than that, tapping into the central lines that link ...
