Altin Sencalar

Unleashed

Posi-Tone

As he turns 30 years old, trombonist and composer Altin Sencalar issues his sixth album as a leader and fourth for Posi-Tone with the aptly titled Unleashed.  In some ways the configuration reminds me of those great Blue Note Bobby Hutcherson albums. Joining Sencalar are the doublers, outstanding tenor saxophonist and clarinetist Greg Tardy and woodwindist Bruce Williams (flute, alto and soprano saxes), both of whom play on select tracks with the constant rhythm section of vibraphonist Behn Gillece, Boris Kozlov, and drummer E.J. Strickland. Sencalar confesses to be more aggressive and risk taking on this endeavor – “This album showcases my love for playing at difficult tempos, extended ranges, passages that are unusual for trombone, some extended techniques, and my compositional process, which is now taking a large turn from what I have written in the past.”

 The first notes are those of Gillece’s vibes, rather unusual for an album led by a trombonist but that same trombonist enters with a ferocious solo on the title track and never lets up. He surrenders to Gillece for a glistening solo, a burning tenor turn from Tardy, an angular interlude of sorts, and an unexpected shift to Samba at the end.  “Obsession” plays to an ostinato bassline and some unison parts with the bass and vibes, giving freedom to fiery solos by the leader, Tardy, Gillece, and some colorful harmonics in the ensemble parts. The fireworks subside for a moment with “Forgiveness” which begins with a lovely melody before taking on some danceable qualities. Tardy weighs in on tenor, blowing his signature clusters while Gillece mostly comps with enticing, resonating notes before stepping forward with a brimming solo.

Gillece, who has long proved his mettle as an outstanding composer, wrote the undulating, gleaming “Set Adrift” in an arrangement well suited to both Sencalar and Tardy with superb kit work from Strickland. You may want to check Gillece’s Posi-Tone Between the Bars, which also features Sencalar and is covered on these pages. Label owner and producer suggested Eric Dolphy’s “17 West” which features the unusual pairing of trombone and clarinet, the latter a specialty of Tardy as heard on so many albums with the great Bill Frisell.  On the original, Dolphy played flute, but Sencalar wanted Tardy’s clarinet instead. Sencalar also reharmonized the last part to give it a different feel. Listen closely and you may detect a second line too with Strickland leading the way as the quintet goes off exploring (unleashed indeed).  Sencalar’s longtime mentor Michael Dease threw Sencalar one of his most challenging tunes with “Solid Gold.” Sencalar admits to both the melody and chord changes being difficult to navigate on the trombone. He makes a small change on the bridge, adding the Latin feel of double time with a mambo type of underlying rhythm. Neither Sencalar, Gillece, or Tardy seem to struggle with it, as both are masters of their instruments.

The powerful, forward motion relents for a dramatic change in the soundscape on “Buenaventura,” played to a Latin rhythm with the rare textures of Tardy’s clarinet, Williams’ flute, and the leader’s trombone, creating unusual romantic harmonics. As the piece evolves, Sencalar can’t help but to transform the ballad into a Bolero. Sencalar’s research revealed no trombone led unit having recorded John Coltrane’s “Straight Street.” It’s another daunting challenge conquered as the quintet handles this bluesy piece with heated solos, with the rhythm section, especially Gillece, comping superbly as well as soloing.

Sencalar changed up the oft-covered “Softly As in A Morning Sunrise,” which usually rides on minor chords by using major chords alogn with other types of movements within. It’s barely recognizable. He also pairs with Bruce Williams on soprano, a blend that Sencalar has employed on all his Posi-Tone recordings. The solos are both over the new changes as well as the changes from the standard. Again, Sencalar adds a twist to the ending. Known mostly for Latin and swing, Sencalar gives us a preview of his future direction in “What’s Next,” a touch of hip hop and R&B. Nonetheless, it remains melodic and glows with the soulful horn parts and Kozlov’s definitive bass solo.

Unleashed is Sencalar’s crowning achievement to date. It’s one of the most engaging albums led by a trombonist in recent memory and we can look forward to his next as he continues to push the boundaries.

– Jim Hynes

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