Posi-Tone Swingtet

In Jazz We Trust

Posi-Tone

Jazz We Trust is one of several albums marking the 30^th anniversary of Posi-Tone Records. Label owner Marc Free pulled out all the stops for this one, gathering a septet (the Swingtet) culled from major players on the label. Not only that, but these same players composed eight of the ten tracks. Two others are from former label members, Steve Davis and Misha Tsiganov. Yes, these are the musicians you’re used to seeing: Diego Rivera (tenor saxophone, clarinet), Alex Sipiagin (trumpet, flugelhorn), Patrick Cornelius (alto saxophone, flute), Michael Dease (trombone), Art Hirahara (piano), Boris Kozlov (bass), and Rudy Royston (drums).

Royston’s “Invocation” kicks off with vigorous kit work alongside Kozlov and Hirahara before the four horns enter blazing fanfare like in this high-energy composition. The piece abruptly pauses at the one-and-a-half minute mark, making way for a pensive solo from Dease, followed by a burning stratospheric take from Sipiagin as the band churns hard. Cornelius on alto builds his solo carefully behind Hirahara’s emphatic comping, followed by Rivera on fervid tenor before the entire ensemble reaches an explosive climax, an exclamation point. “Free Time” is the Davis composition, a midtempo swinging affair replete with swelling ensemble horn parts and turns from Cornelius, Hirahara, and Dease. Rivera’s “Mal’s Totem” continues the upbeat fare, taking the first bow in beast mode, passing to Hirahara, who rollicks along to the pulsating rhythms as those wonderful ensemble horns bring to a fiery close.

Kozlov contributes the intriguing “Below the Line,” a note filled with intricate start-stop rhythms and changes, undoubtedly influenced by the bassist’s main mentor, Charles Mingus. Stepping in are Sipiagin, Dease, and Hirahara (on Rhodes) combining for a rambling free jazz sequence toward the end. Midway we get a respite with Sipiagin’s reflective standout ballad “Mirror,” showing these cats, who were full out blaring on the first four tracks, can indeed play with restraint both together as a brilliantly harmonic ensemble and in the individual turns from Cornelius, Sipiagin, and Hirahara over a lush eight minutes plus, punctuated by Royston’s cymbal flourishes.

Dease wrote two compositions. “Simmer” has a funky beat underpinning expansive, cinematic horn parts. The composer steps up first, weaving a lilting melody as he intertwines with a soaring Sipiagin on flugelhorn as the rhythm section brings the tune into a swing mode. Seas part for Dease’s fast-paced solo as Rivera and Cornelius chime in, maintaining the motoring pace. His “Don’t Look Behind You” features Royston’s excellent kit work in a tune filled with angularity and start-stop rhythms that, as you’ve guessed, morph into a visceral swinger behind Hirahara’s vibrant piano and Royston’s kinetic activity. The composer steps in with another of his rapid fire runs before, as it’s only fitting, that Royston takes a whirlwind solo amongst his remarkable drumming throughout the piece. Sandwiched between these two pieces is label mainstay Art Hirahara’s “Stepped Out” is a swinger featuring the high-flying Cornelius on alto, the pianist’s classic gleaming runs, a well-earned excursion by Kozlov, and the horns reprising the head to take it out.

Cornelius’s “Rendez-vous Final” is the most different sonic piece as Rivera shifts to clarinet and the composer becomes a flautist in this flowing gem that weaves in some classical tinges. As expected, and as Tsiganov’s title “Changing Trains” suggests, the septet goes out flying; the title is also indicative of how quickly these gifted musicians navigate shifts to a rousing finale.

This is uplifting music where all the contributors shine, a fitting salute to the label’s 30^th anniversary.

– Jim Hynes

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