NYSQ Heaven Steps To Seven

NYSQ
Heaven Steps To Seven
Whirlwind Recordings

About "Sleight of Hand," the last album from NYSQ, I concluded "The strong ensemble playing, in addition to the many fine solos, and the imaginative reworking of the material make for a superb straight-ahead recording." Now comes an equally engaging recording by saxophonist Tim Armacost, pianist David Berkman, drummer Gene Jackson, and double bassist Ugonna Okegwo.

The freshness they bring to the classic jazz and standards repertoire is evident on the opening reworking of Leonard Bernstein's "Tonight," that opens with a warm introduction before the ballad is transformed to a medium tempo vehicle for their exploration. It is followed by the transformation of Charlie Parker's blues, "Cheryl," which sounds like a 1960's Blue Note recording with Berkman and Okegwo outstanding. A rendition of Horace Silver's ballad, "Peace," is a showcase for Armacost's sensitive and thoughtful tenor sax. It is followed by a lively "If I Should Lose You," that puts the spotlight on Armacost's splendid soprano sax along with the imaginative accompaniment. They then provide a couple of wonderful interpretations of Cole Porter: an imaginative one of "Every Time We Say Goodbye," and a splendid "I Love You," opening with Okegwo's bass intro. Then there is an exquisite performance of Bud Powell's "I'll Keep Loving You," featuring Armacost's warm, melodic ballad playing and Berkman's deft piano.

A vigorous performance of Herbie Hancock's "Eye of the Hurricane" places the spotlight on Berkman's dynamic piano while Jackson is explosive in driving this concluding performance of another terrific straight-ahead modern jazz recording.

I received my review copy from a publicist. This review appeared in the November-December 2018 Jazz & Blues Report (Issue 382), although I have made minor changes. Here is a promotional video for this recording.

Tim Armacost Time Being

Tim Armacost
Time Being
Whirlwind Recordings

Saxophonist Tim Armacost, who recently impressed this listener as part of the NYSQ has his Whirlwind Recordings backed by a crackerjack rhythm section of Robert Hurst (double bass), and Jeff "Tain" Watts (drums) with David Kikoski (piano) on a few selections. The result is a striking album from start to finish as Armacost comes across as a player with tone and intensity, imagination and drive starting with the opening "Alawain" with a sound that has hints of Coltrane, Hank Mobley and others. This is simply an analogy, but Watts comes across as explosive as Elvin Jones while Hurst is a rock anchoring this performance.

The title track is begins as a smokey lament with Armacost employing an effective vibrato in his dark tone with Watts in a free pulse accenting the sax before a slight shift in tempo and a looser mood before the first of three interlude-type numbers titled in part "Sculpture." Kikoski adds his lyrical touch to "The Next 20," a lovely ballad performance from the quartet with some affecting playing from Armacost. The trio next is heard playing authoritatively on Monk's "Teo," which wonderful solo and responsive backing. Kikoski is also present on "One in Four," an attractive composition that might hint at the classic Coltrane Quartet with Armacost delving in the lower reaches of the tenor with Kikoski's chording and Watts being particularly explosive. Ornette Coleman's poignant "Lonely Woman," has his aching tenor interacting with Hurst's urgent bass lines on a superb interpretation and followed by a solid hard bop original "53rd St. Theme."

"Sculpture #3: All the Things You Could Become in the Large Hadron Collider," finds Kikoski's bebop piano set against the leader's jarring tenor sax as they both solo off the chords of the standard "All the Things You Are," before they reach a harmonious accord. Its is an invigorating and imaginative conclusion to a terrific recording. Armacost is superb as is his stellar band mates on a recording that stands out among even so many excellent recent ones.

I received my review copy from a publicist. This review originally appeared in the November-December 2017 Jazz & Blues Report (Issue 375). Here is a clip of Tim Armacost in performance.

NYSQ Sleight of Hand

NYSQ
Sleight of Hand
Whirlwind Recordings

This is the fifth album for the New York Standards Quartet who have been together for twelve years. the present recording finds them composed of saxophonist Tim Armacost, pianist David Berkman, drummer Gene Jackson and double bassist Daiki Yasukagawa. As Berkman observes, "We were at the period where we'd all done a lot of original recordings of our own music, as composers and leaders; and then, through a series of circumstances, we came together as a quartet with the particular mission of taking on standards, but arranging them to create a feeling that was similar to the original albums we recorded."

About this specific recording he explains that, "the album title refers to the four of us, conjuring transformations of standards and enjoying the magic of creating something new out of that repertoire; really exploring the group's alchemy and chemistry, achieved through twelve years of touring and recording together." Certainly it gets off on a strong note with the vibrant, driving swings rendition of Mal Waldron's "Soul Eyes," that displays Armacost's strong, imaginative tenor along with Berkman's superb piano with a brief solo from Yasukagawa, while Jackson pushes this lively performance along. There is some playful solo piano to open the bright performance of Thelonious Monk's "Ask Me Now," with more authoritative tenor sax from Armacost who then displays his warmth as a ballad player on the Ellington classic "In a Sentimental Mood." Jackson's cymbal embellishments adding to the appeal of this latter track.

Other delights include Berkman's title track,  an original based on Gershwin's "But Not For Me," with his lively, flowing solo Another lovely ballad performance is of Jules Styne's "I Fall In Love Too Easily," with Armacost's serpentine soprano sax standing out, while the four ably negotiate the metrical changes and brisk rhythms of Hank Mobley's "This I Think of You," with Yasukagawa standing out as he opens this and then Armacost plays brilliantly on tenor. A Herb Ellis ballad, "Detour Ahead," again is a vehicle for Armacost's tenor and Berkman.

The closing "Lover Man," is taken at a considerably swifter pulse than the more familiar renditions of Billie Holiday and Charlie Parker. Again Berkman excels as does Armacost who is heard on soprano. The strong ensemble playing, in addition to the many fine solos, and the imaginative reworking of the material make for a superb straight-ahead recording.

I received my review copy from a publicist. Here is the NYSQ in performance.