Altin Sencalar

In Good Standing

Posi-Tone

If you’ve been following the jazz releases on Posi-Tone, you’ve come across the name of trombonist Altin Sencalar in a sideman role on several releases. In Good Standing marks his debut on the label as a leader and his fourth overall as either a leader or co-leader. Sencalar, who grew up in Texas, and earned his bachelor’s degree from UT, moved on to Michigan State University where he made the connections that made him part of the Posi-Tone roster. At MSU Sencalar was the Graduate Assistant to Michael Dease and Rodney Whitaker, eventually earning his Master of Music degree in Jazz Studies. While at MSU, Altin co-founded the Sencalar/Glassman Quintet with fellow trombonist Chris Glassman and they released two co-led albums. His first album as a sole leader, released in 2021, is titled Reconnected and explores his Mexican/Turkish/Texan roots. Sencalar is now based in New York City. In Good Standing is a fine representation of Sencalar’s growth not only as a bandleader but as a composer, as seven of the eleven compositions are originals. As you might suspect, he is backed by Posi-Tone’s house rhythm section of pianist Art Hirahara, bassist Boris Kozlov, and drummer Rudy Royston with appearances from label mates Diego Rivera (tenor, soprano saxophones) and Patrick Cornelius (alto saxophone, flute).

Given Sencalar’s Latin roots, it’s not surprising to hear so many Latin strains run through his material, beginning with the opener “Minor Mishap.” He transforms the tune into a Guajira, a different phrasing of the melody and more avenues for swinging over the form, which Hirahara and Rivera on tenor do very well.  Even with the intentionally straight ahead original “Walk Around,” Sencalar can’t help but add a Spanish tinge, referencing that same Jelly Roll Morton this writer covered in the review of the Wallarab/Buselli Orchestra’s Gennett Suite which also broke this week. Lest we digress, Sencalar reharmonized many of the chords within the typically standard rhythm changes, forcing him a bit out of comfort zone. The tune is a feature for the rhythm section and the three horn front line takes it at a gallop, naturally leading to calmer moments as they render Wayne Shorter’s classic “Fall” as a quartet. Producer Marc Free challenged Sencalar with the composition, indicating there was no recording of it by a trombonist. Sencalar admirably reaches deep into the emotional contours of the piece, bending and stretching his notes.

The ensemble switches to electric mode on “Navy’s Mood,” named for the trombonist’s pet Pit Bull. Kozlov is on electric bass and Hirahara on Rhodes for a very languid intro that blossoms into brighter moments through Cornelius’s alto solo and a feisty, aggressive one by the leader. Sencalar returns to the Latin forms in “Humanje a Armano,” nodding to Chick Corea, whose full given name is Armando. Sencalar had Corea’s “Armando’s Rhumba” in mind but also employs in his horn parts salsa-like punches that Corea would often use in his compositions. As such, Rivera takes an especially heated solo while Royston percolates on his kit. “Reimagined” is the trombonist’s pandemic song, a melody he would often sing, here translated to his evocative instrument.

The Ellington inspired original, “Mixed Feelings” is rendered in ¾ time and represents another challenge to the leader as composer – a piece that would pair the trombone on the low end and soprano saxophone, played by Rivera, on the high end, creating a colorful harmonic on the unison passages.  The last minute or so is especially effective as each echoes the other cascading lines.  Similarly, with the goal of creating interesting textures he has Cornelius on flute for “Lullaby for Paw,” written for his second pet dog.  The trombonist has a natural gift for playing lyrically and he enhances it with his use of vibrato. The transition to Hirahara’s sparkling solo and Kozlov’s tender bass pizzicato turn make this piece a clear standout.

The full sextet embraces the groove on Horace Silver’s “Nutville,” another where Sencalar injects Latin strains. All three horns soar in their solo spots while the rhythm section drives a blistering tempo. They retreat to the ballad f for the original “Marina’s Arrival,” named for Sencalar’s wife. The tune carries a simple melody, but the chord and rhythm changes are more involved, featuring double time feel samba, among other elements. Naturally, this sextet wants to end with a grooving flourish as they do on Jack Wilson’s “Do It,” a simple riff that allows the group to romp and rollick.

Sencalar presents a varied, exciting and inspired program. His debut is more than auspicious and has us looking forward to his next recording.

• Jim Hynes

Buy Us a Cup of Coffee!

Join the movement in supporting Making a Scene, the premier independent resource for both emerging musicians and the dedicated fans who champion them.

We showcase this vibrant community that celebrates the raw talent and creative spirit driving the music industry forward. From insightful articles and in-depth interviews to exclusive content and insider tips, Making a Scene empowers artists to thrive and fans to discover their next favorite sound.

Together, let’s amplify the voices of independent musicians and forge unforgettable connections through the power of music

You can donate directly through Paypal!

Subscribe to Our Newsletter