Diego Rivera: West Circle

Let it not be said that Posi-Tone Records fails to put its weight and resources behind the artists it believes in. A case in point is the volume of releases that entail the combinations of tenor/soprano saxophonist Diego Rivera, pianist Art Hirahara, bassist Boris Kozlov, and drummer Rudy Royston. In the last five years, discs in which two or more of these artists participate have exceeded three dozen. A sample of the projects includes dates led by all of them save Royston, records by other Posi-Tone regulars, vibraphonist Behn Gillece, trumpeter Josh Lawrence, and relative newcomer, trombonist Altin Sencalar, as well as bands curated by producer Marc Free: Posi-Tone Swingtet, Blue Moods, Idle Hands and Out To Dinner. Collectively and individually, regardless of the setting, they deliver the goods, showing no signs of diminishing returns or taking each other for granted.

Hot on the heels of his 2024 Posi-Tone releases With Just A Word and Ofrenda, Diego Rivera's West Circle represents the latest chapter of the admirable relationship between these players. Rivera's compositions (7 of the record's 10 tracks) constitute an engaging starting point for the band's exploits. On the title track, the rhythm section functions effectively without delineating a strict tempo and steers clear of playing with too much emphasis, helping Rivera make a deeply spiritual impact. "Frida" initially resembles a ballad and evolves into a swaggering, medium-tempo swinger. Royston's mischievous accents jab and nudge his cohort during the out head. Dance floor ready and filled with sounds that engage the spirit and the mind, "Cumbia," the set's crown jewel, encompasses Rivera's Mexican-American heritage and jazz methods. Royston rules the beat of the fresh, invigorating line, utilizing a cowbell with just the right amount of volume and emphasis and executing vigorous whacks to the snare that complement the tune's contours.

Hirahara consistently offers enlightened support of Rivera's improvisations and, as always, serves as an engrossing soloist. During a brief time in the spotlight on "Cumbia," he evokes a celebration by executing exhilarating, unpredictable combinations of assertive chording and single-note runs. As always, Kozlov's forte is boosting the band in ways that keep the music's foundation intact. During a riveting turn by Hirahara on "Ebb And Flow," the bassist displays one of several instances in which he does not need to walk to induce momentum. On the other hand, a wicked, invincible walking line makes the band jump through most of Rivera's burner, "Both-Siding."

Rivera's ability to consistently produce memorable solos that entail discipline, structure, and emotional weight is apparent throughout the record. A turn on Herbie Hancock's "The Maze" sounds strong-minded but not overbearing, with everything he executes in alignment. "Ebb and Flow," one of two tracks featuring his soprano saxophone, captures the lyrical side of Rivera's personality: poised, melody- minded development. His work on "Frida" waxes muscular and is unrelenting in a good way. Apart from an impassioned edge and sustained high energy, an underlying sense of calculation makes the performance cohere.

West Circle is a worthy addition to Rivera's impressive discography.

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