Orrin Evans - Easy Now

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 55:32
Size: 127,5 MB
Art: Front

(5:49) 1. Captain Black
(5:21) 2. BM
(6:06) 3. For DE
(8:11) 4. Don't Fall Off the L.E.J.
(5:22) 5. Easy Now
(4:21) 6. Bonus Round
(9:29) 7. Dance on the Moon
(2:12) 8. Dorm Life
(7:24) 9. Song for My Father
(1:11) 10. Don't Fall Off the L.E.J. (cont.)

For those who may have been disappointed by the Philadelphia pianist-composer Orrin Evans' recent experiments with backbeats and electric keyboards, Easy Now marks a notable return to swinging on acoustic instruments. But this new venture is primarily a tribute to the late Don Evans, a gifted playwright and educator, as well as Orrin's father.

If these compositions are any indication, Don Evans must have been complex, thoughtful, and unpredictable, perhaps a bit like the jutting measure of 5/4 time that concludes each chorus of "Don't Fall Off The L.E.J.," which is in all other aspects a fast 4/4 cooker. Actually, like most of the musicians who work in the new mainstream of today's jazz world, Orrin Evans uses composition to create modern challenges for modern impovisers. This would also include the drum thwacks that constitute part of the line of "Captain Black."

Further, the playing here is consistently top-shelf, giving these tunes a worthy presentation. Evans often plays percussively, playing clusters, even pounding the piano. But that's hardly all he does. He can play gently and lyrically, or he can spin a long, swinging line. Although he sometimes alludes to Monk, Orrin Evans is very much his own man. Saxophonist Ralph Bowen is also his own man. Heard here on alto and soprano sax rather than his customary tenor, Bowen reveals a lush, warm sound on each horn, almost as if he were trying to combine Eric Dolphy with Benny Carter or perhaps Lucky Thompson. He swings up a storm on "Don't Fall Off The L.E.J." and "Dorm Life."

Finally, J.D. Allen should be singled out for his warm, deeply moving tenor sax playing on "Song For My Father." He and Evans play the Horace Silver classic as a duet, in a stately ballad that may be the highlight of the album.~AAJ Staff https://www.allaboutjazz.com/easy-now-orrin-evans-criss-cross-review-by-aaj-staff

Personnel: Orrin Evans, piano; Ralph Bowen, alto and soprano sax; Mike Boone, bass; Byron Landham, drums. Track 9 only: J.D.Allen, tenor sax. Tracks 5, 7 only: Eric Revis, bass. Tracks 1,2,3, 5 only: Rodney Green, drums.

Easy Now

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Jared Gold - All Wrapped Up

Styles: Jazz, Post Bop
Year: 2011
File: MP3@320K/s
Time: 50:03
Size: 115,2 MB
Art: Front

(5:43) 1. My Sentiments Exactly
(5:28) 2. Get Out Of My Sandbox
(5:31) 3. Piece Of Mine
(6:39) 4. Midnight Snack
(7:04) 5. Dark Blue
(7:23) 6. Mama Said
(6:44) 7. Saudade
(5:27) 8. Just A Suggestion

There's a noticeable change in organist Jared Gold's sonic template of choice, before All Wrapped Up even begins. While two out of Gold's three prior releases were quartet outings that used saxophone as the lone horn voice, all three releases were rooted in the traditional organ trio instrumental format. A different guitarist graced each one of those records, with Randy Napoleon, Ed Cherry and Dave Stryker each putting their own unique stamp on Gold's music, but the organist clearly felt it was time to move on, with guitar nowhere to be found on this album. Instead, Gold turns to two stellar horn players (and label mates) to help flesh out his new sound. Saxophonist Ralph Bowen and trumpeter Jim Rotondi add their own singular voices to Gold's music as the organist creates the next chapter in his career as a leader.

Five of the eight compositions on the album come from Gold, and the funkiest fare stands out above the rest. "Mama Said" starts off with both horns working through the hip head, as drummer Quincy Davis lays down an easy funk beat and things get even more soulful as solos are passed around. The album-closing "Just A Suggestion" has a few more rhythmic turns in the mix, but moves in a similar direction. Bowen's solo is the clear highlight on this one and his passion for the music is palpable.

While more than half of the material comes from Gold, each member of the band contributes one piece. Davis delivers a relaxed swinger ("Piece Of Mine"), but Bowen's "Midnight Snack"is a rhythmic rollercoaster ride, where the groove terrain is in a constant state of flux though everyone knows exactly what they're doing as the rhythmic underpinnings continually shift. Rotondi's "Dark Blue" follows, a mellow swinger that's the calm after the storm.

When All Wrapped Up reaches its conclusion, two things are abundantly clear: this newfound quartet format hasn't dampened or diminished the creative enthusiasm shown on Gold's earlier releases; and the album continues the steady evolution of one of jazz's most prominent rising star organists.~ Dan Bilawskyhttps://www.allaboutjazz.com/all-wrapped-up-jared-gold-posi-tone-records-review-by-dan-bilawsky

Personnel: Jared Gold: organ; Ralph Bowen: saxophone; Jim Rotondi: trumpet; Quincy Davis: drums.

All Wrapped Up

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Ralph Bowen - Total Eclipse

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 61:30
Size: 141,1 MB
Art: Front

(5:37)  1. Total Eclipse
(5:36)  2. Behind The Curtain
(5:58)  3. Into The City
(6:31)  4. The Dowsing Rod
(7:02)  5. On Green
(7:18)  6. Arrows Of Light
(9:55)  7. Exosphere
(5:31)  8. Hip Check
(7:57)  9. In My Dreams

Ralph Bowen plays a pure strain of postmodern tenor saxophone. He is hugely proficient technically and consistently spills his guts. Take “Into the City.” Its quick, jagged, asymmetrical head is like a call to arms. Bowen builds from a few repeated adjacent tones to long convoluted lines that sound like onslaughts until you hear that they are actually sets of subtle variations (if in-your-face tenor can be subtle). It follows that he makes good records. His three most recent, Power Play , Due Reverence and Dedicated , all on Posi-Tone, were aesthetic undertakings as tenor saxophone clinics. Total Eclipse might be his best yet. It has Bowen’s hottest band ever.

The guys are relatively new. Jared Gold is an organist who maximizes the resources of his instrument. When he and Bowen combine for maximum unison power, as on “Exosphere,” this quartet hits like a big band. When Gold unleashes the full force of the B3 on a wild, roaring piece like “Hip Check,” he does not so much comp as slam and bash behind Bowen, catapulting him forward. Yet Gold also takes solos of glittering detail and piquant discord, as on “In My Dreams.” Mike Moreno is a free thinker on guitar. He complements the ensemble sound with off-center pinpoints of light, and takes intriguing, ambiguous solos. Rudy Royston, who plays free drums in the tenor trio of JD Allen, operates in a more defined, organized role with Bowen. But he still sounds dangerously volatile. There are eight strong tracks and one tour de force. Bowen’s dash through the head of “Hip Check” is impossibly fast and exact, then he improvises at the same rapid data rate. Royston rockets; Moreno ululates; Gold shrieks. Bowen rivets the theme into place at the end. Another day at the office. ~ Thomas Conrad http://jazztimes.com/articles/54410-total-eclipse-ralph-bowen

Personnel: Ralph Bowen: saxophone; Jared Gold: organ; Mike Moreno: guitar; Rudy Royston: drums.

Total Eclipse

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Ralph Bowen - Dedicated

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 42:24
Size: 97,6 MB
Art: Front

(6:38)  1. Canary Drums
(5:35)  2. Pat
(7:00)  3. Qaiyam
(9:47)  4. Mr. Bebop
(9:22)  5. Prof.
(4:00)  6. E.R.

Tenor saxophonist Ralph Bowen's Dedicated is a project that was nurtured and produced by Posi-tone Records' founder Marc Free, who felt that Bowen was under-appreciated by the jazz public at large. Bowen has influenced hundreds of players through his teaching position at Rutgers, and many top jazz players know how skilled he is. Having heard him live several times, Free has long admired Bowen's sound and technical ability on his horn, and wanted people to really hear how good he was. This goal was accomplished by starting with the concept of basing the supporting ensemble around guitar, since Bowen's previous recordings were often accompanied by organ or piano. Free and Bowen discussed several names before agreeing that Adam Rogers would be a good choice, due in part to the excellent working relationship Bowen already had with Free, the musical trust they shared, and Rogers' ability to mix subtlety and intuition into an ensemble. The logical next step was to bring in John Patitucci (bass) and Antonio Sanchez (drums), since they had already played together with Rogers hundreds of times, both with Rogers as leader, and in other groups such as Chris Potter Underground. The musicians rehearsed together for 2 weeks in the making of this recording, and it was mixed for another 2 weeks, which is rare in the world of all-star jazz recordings. The well-matched timbre of the group's sound reveals that the time and care put into this project paid off. Bowen has a mastery of his instrument not unlike Michael Brecker, cites John Coltrane as his main influence, but plays with more nuance and reserve than either. He travels through the music and chooses to become part of the fiber of the group-sound, except on "E.R.," which is a solo piece that let's him weave his own song, from long drawn out tones to 32nd-note runs, syncopated triplets and reflection. That's why the choice of sidemen on this recording is so important. 

The slightly reserved modern cool that each player is able to bring to the studio matches up with Bowen's playing style, and Posi-Tone's Free as producer and engineer Nick O'Toole serve as kind of sixth and seventh men on this project. Sanchez, for example, has demonstrated in his career with the Pat Metheny Group and on his solo work as well that he can play with subtlety, and make it exciting at the same time. It's not Elvin Jones-type crash and bang drumming; Sanchez often uses a light touch and many soft to medium cymbal strokes to bring out a more reflective artistic sound, but he enhances his playing by finding varied ways to communicate. Rogers' tone on guitar is also something that blends into the collective sound. His reserved style is modern, and full of potential sparks, leaving listeners keen to hear where he will go next. But he supports the songs, and is able to soar into several important solos that would only work if they were on par with Bowen's tenor sax riffs, and they very much are. John Patitucci is able fully to support the band by playing with a style that could be described as dark, full and round. He's like a prominent tree trunk that allows the rest of the players to branch out and ascend. Sean Jones adds trumpet to the mix on "Mr. Bebop," playing counterpoint through the head, and taking off on a solo midway through, introducing a new sound to the ensemble at just the right time. Dedicated consists of just six songs with a total recorded time of 42 minutes, a throwback to the days of Blue Note discs that tended to run short, but made up for it with quality. Each tune is dedicated to one of Bowen's mentors (Keith Blackley, Pat La Barbera, Jim Blackley, David Baker, William Fielder, and Eugene Rousseau). "The recent passing of a close friend and mentor left me with the distinct awareness of my personal need to acknowledge several of my contemporaries for their support and influence on my own musical development. Dedicated is a musical message of gratitude to my mentors for their time, patience, wisdom, knowledge and friendship." (Ralph Bowen). "One way or another we all have to find what best fosters the flowering of our humanity in this contemporary life and dedicate ourselves to that." (Joseph Campbell) ~ Blaine Fallis https://www.allaboutjazz.com/ralph-bowen-dedicated-by-blaine-fallis.php

Personnel: Ralph Bowen: tenor saxophone; Sean Jones: trumpet; Adam Rogers: guitar; John Patitucci: bass; Antonio Sanchez: drums.

Dedicated

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Ralph Bowen - Five

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 63:50
Size: 146,5 MB
Art: Front+ Back

( 9:59)  1. Step Lightly
( 7:46)  2. Baby Girl
( 7:58)  3. First Hiatus
( 9:43)  4. Free Time
( 7:13)  5. Blues Cruz
(12:28)  6. Drowning Man
( 8:40)  7. Rahsaan's Run

A member of Out of the Blue in the 1980s and an oft-employed freelancer in the ‘90s, Canada-born saxophonist Ralph Bowen has been steadily blazing his own path through the mainstream jazz scene. With FIVE, Bowen continues his reinvigoration of the jazz organ group sound, with leanings not toward classic soul-jazz (Jimmy Smith, Jimmy McGriff) but rather towards the more adventurous end of the spectrum (Larry Young), namely hard bop with tinges of fusion. Bowen’s combo, including ultra-modern organ ace Sam Yahel and guitarist Peter Bernstein, burns brightly and intelligently throughout. ~ Mark Keresman http://www.allmusic.com/album/five-mw0000785118
 

Personnel: Ralph Bowen (tenor saxophone); Peter Bernstein (guitar); John Swana (trumpet); Sam Yahel (organ); Dana Hall (drums).

Five

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Bill O'Connell, The Afro Caribbean Ensemble - Wind Off the Hudson

Styles: Piano Jazz 
Year: 2019
File: MP3@320K/s
Time: 61:09
Size: 141,1 MB
Art:

(5:12)  1. Wind Off the Hudson
(7:57)  2. Gospel 6
(6:54)  3. Jerry's Blues
(5:38)  4. I Don't Have the Answer
(5:45)  5. Oye Como Va
(5:40)  6. Perdido
(5:34)  7. Got Cha
(5:40)  8. Transition
(5:47)  9. C Jam Blues
(6:58) 10. Discombobulation

Bill O'Connell has had plenty to say with his piano in recent times, basically knocking out a session a year for the Savant imprint. And with an exploration within the solo format, a trip with an augmented trio, and ventures promoting a medium-sized conglomerate of heavy-hitters, he's certainly traversed quite an expanse there. But, as Wind Off The Hudson clearly shows, he's still got room grow. The Afro Caribbean Ensemble his largest on-record gathering of late, and a group indicative of a broadened view point and reflective of his work as the director of a similar outfit at Rutgers University is something like his Latin Jazz All-Stars. It's just bigger and badder. A dectet with a massive sound, it can swell to the sonic proportions of a big band, as demonstrated on the lead-off title track; or it can slim down to the size of a combo, as heard periodically on the soulful follow-up, "Gospel 6."  These ranks contain enough firepower to overtake small countries the presence of saxophonists Craig Handy, Ralph Bowen and Gary Smulyan, plus trumpeter Alex Sipiagin and trombonist Conrad Herwig, should paint a clear enough picture of strength and each member of the band is put to good use. Need proof? Check out the hot-and-heavy rhythm section of O'Connell, bassist Lincoln Goines, drummer Robby Ameen and percussionist Roman Diaz backing a smoking Sipiagin (and other soloists) on "Jerry's Blues," a paean to the late Jerry Gonzalez. 

Or take note of the way Andrea Brachfeld's alto flute adds different weight and textural dimensions to the poignant "I Don't Have The Answers." It's one thing to have all of this serious talent in one place, but it's entirely something else to know how to deploy it all, as O'Connell most certainly does. Those first four numbers all originals point toward a fertile mind constructing ideas from a relatively clean slate. But O'Connell is just as likely to recontextualize or personalize classics as he is to build from scratch. Adding an artful rendering of "Oye Como Va," a "Perdido" with a vibrant new coat of paint, a "Transition" that underscores Eastern melodic allure with Latin jazz grounding, and a choppy, contrapuntal "C Jam Blues" operating far away from Ellington's vision, O'Connell stakes his claim as an arranger of note. On Wind Off The Hudson, it's hard to know whether to be most impressed with O'Connell's imaginative pen, fast-thinking fingers or smart contracting skills. 

But the album doesn't require a choice. Part of the beauty is being able to, at once, bask in the beauty of the writing, the heat provided by the man and the burn delivered by his esteemed band mates. ~ Dan Bilaswsky https://www.allaboutjazz.com/wind-off-the-hudson-bill-oconnell-savant-records-review-by-dan-bilawsky.php

Personnel: Bill O'Connell: piano; Andrea Brachfeld: flute (1, 3, 5, 7-10), alto flute (4); Craig Handy: alto saxophone (1-3, 6, 7, 9, 10), soprano saxophone (8); Ralph Bowen: tenor saxophone; Gary Smulyan: baritone saxophone; Alex Sipiagin: trumpet, flugelhorn (4); Conrad Herwig: trombone; Lincoln Goines: electric bass; Robby Ameen: drums; Romaz Diaz: congas (1-3, 5-10).

Wind Off the Hudson

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Ralph Peterson Jr - Back to Stay

Styles: Jazz, Post Bop
Year: 1999
File: MP3@320K/s
Time: 58:57
Size: 136,1 MB
Art: Front

(5:40)  1. Back to Stay
(3:57)  2. From Within
(9:50)  3. Apple's Eye
(4:21)  4. Did You Notice
(4:59)  5. Miles' Mode
(5:55)  6. Surrender
(9:04)  7. Soul Eyes
(6:00)  8. Is That So?
(3:50)  9. Inner Evolution
(5:17) 10. Hidden Treasures

Drummer Ralph Peterson Jr.'s ninth recording as a leader, his first for Sirocco Jazz, and his fifth featuring his Fo'tet, is a energy filled session with former OTB bandmate Ralph Bowen replacing Steve Wilson on soprano sax, plus group regulars vibraphonist Bryan Carrott and bassist Beldon Bullock performing seven originals by the group members and three jazz classics. Peterson's aggressive drumming, consisting of his driving cymbal beat, well-placed snare and tom accents, and powerful cymbal crashes, is always a joy to hear and he sounds better than ever. Back to Stay is also Peterson's Fo'tet debut on trumpet, once his primary instrument, playing a surprisingly good solo on a beautiful version of Mal Waldron's "Soul Eyes." Tenor saxophonist Michael Brecker guests on "Soul Eyes" and contributes a passionate solo on the burning title track, based on a 7/4 bass vamp. Other favorites include Bullock's "From Within," a medium tempo number that alternates between 7/4 and 4/4 swing; John Coltrane's "Miles Mode, complete with drum breaks; the Afro-Caribbean flavored "Surrender"; and Carrott's complex "Hidden Treasures, where Peterson also plays on djembe and cowbell. Back to Stay is a welcome return to recording for Peterson and one of 1999's best releases. ~ Greg Turner https://www.allmusic.com/album/back-to-stay-mw0000604524

Personnel: Drums, Percussion - Ralph Peterson Jr; Soprano Saxophone – Ralph Bowen; Tenor Saxophone – Michael Brecker; Vibraphone, Marimba – Bryan Carrott; Bass – Beldon Bullock;

Back to Stay

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Orrin Evans - Grown Folk Bizness

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 65:06
Size: 149,7 MB
Art: Front

(7:26)  1. Rocking Chair
(5:45)  2. Firm Roots
(8:02)  3. That Old Feeling
(8:48)  4. The Elm
(4:22)  5. Bernie's Tune
(5:17)  6. Volition
(9:05)  7. Rhythm-a-ning
(6:54)  8. Toy Tune
(9:21)  9. Route 80 East

It's been a few years since pianist Orrin Evans placed in the Thelonious Monk Piano Competition. All the while, he's been maturing as an artist with a nice spate of Criss Cross dates along the way documenting that development. Grown Folk Bizness is Evans' third release for the label and it ups the ante even further from what we experienced on his first two illustrative discs. This is due, in part, to the pianist's further amalgamation of his varied influences, but also the product of the heavy company the man keeps. To hold your own under the collective one-two punch of drummer Ralph Peterson is saying something. But Evans not only holds his own, he slings it right back, as the two fire off phrases at each other with deceptive panache. A front row seat to such action can be had by skipping to "Firm Roots," a seditious performance bounding with collective fireworks. An interesting point to ponder, Peterson has made a few consequential records as of late with pianist Uri Caine (the superlative and recent Blue Wail on Winter and Winter comes to mind) and the concentrated experience that came from that activity must have had some effect on his approach to the recital at hand, as both Evans and Caine tend to be forward-thinking and rambunctious players. As for his overall concept, Evans avoids the ordinary, maybe to the point of being too cagey at times, but he manages to push the music towards unexpected vistas. An obvious flight from clichés is the opening number, a solo piano take on Hoagy Carmichael's "Rocking Chair" which includes hints of stride, Cecil Taylor, and Monk all rolled into one. "That Old Feeling," which might tend to be associated with pianists along the line of Gene Harris or Dave McKenna, gets a substantial facelift in Evans' hands, a nice section in the middle developed through the use of block chords displaced to the offbeats. Then, as if to suggest that his "bag" is a capacious one, things take on an ECMish hue with a reworking of Richie Beirach's "The Elm." For some extra seasoning, saxophonists Ralph Bowen and Sam Newsome sit in on one number apiece and then team up for the concluding Route 80 East, a rollicking jam that caps off a dazzling junior effort from Evans. While the "mixed bag" approach that comes with Evans' style may seem schizophrenic at times, there's also great promise in this pianist's forward-thinking stance and fans of piano trio jazz will find more than enough sustenance here to keep this disc in heavy rotation. ~ C.Andrew Hovan https://www.allaboutjazz.com/grown-folk-bizness-orrin-evans-criss-cross-review-by-c-andrew-hovan.php

Personnel: Orrin Evans- piano, Rodney Whitaker- bass, Ralph Peterson- drums, Ralph Bowen- alto and tenor sax (tracks 7 & 9 only), Sam Newsome- soprano sax (tracks 8 & 9 only)

Grown Folk Bizness

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Brian Lynch Latin Jazz Sextet - ConClave

Styles: Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 70:19
Size: 161,4 MB
Art: Front

( 6:58)  1. Tom Harrell
( 6:28)  2. La Sitiera
( 9:47)  3. J.B's Dilemma
( 8:07)  4. Across The Bridge
( 8:36)  5. Liberated Brother
(13:00)  6. La Mulata Rumbera
( 7:23)  7. Awe Shocks
( 9:56)  8. Invitation

The spirit of the clave flows freely through the blood of Brian Lynch. For many years the veteran trumpeter has formed an extensive body of work flourishing in both straight-ahead and Latin jazz styles via associations with Phil Woods, Horace Silver, the Buena Vista Social Club, Eddie Palmieri, and many others. He also has worked with younger artists like drummer Dafnis Prieto, pianist Luis Perdomo, and saxophonist Miguel Zenon, who are also writing new chapters in pan Afro-Latin music.ConClave is Lynch's latest document of music, continuing in the vein of 2004's Que Viva Coltrane, a collaborative effort with trombonist Conrad Herwig. With the inventive horn arrangments and the rhythmic pulse of drums and percussion, this mix of new music is vibrant, danceable, and satisfying, due in much part to Lynch's leadership and a very hot band.The music is set ablaze from the start on "Tom Harrell with a bright sax/trumpet combo girded against a bopping tempo. But even when the tempo slows on the lovely "La Sietiera, the heat is still felt. This passion is maintained collectively and individually by the contributions of each musician. On "La Mulata Rumbera, which clocks in at thirteen minutes, all instruments move as one yet each expresses its own voice with detailed solos winding through labyrinth patterns. Lynch is to be commended for producing a recording which exemplifies good jazz, whether it's Latin or any other style. ~ Mark F.Turner https://www.allaboutjazz.com/conclave-brian-lynch-criss-cross-review-by-mark-f-turner.php

Personnel: Brian Lynch: trumpet; Ralph Bowen: tenor saxophone; Luis Perdomo: piano; Boris Kozlov: bass; Ruben Rodriguez: bass; Ernesto Simpson: drums; Roberto Quintero: percussion.

ConClave

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Michael Dease - Reaching Out

Styles: Trombone Jazz
Year: 2018
File: MP3@320K/s
Time: 54:56
Size: 126,2 MB
Art:

(5:03)  1. Something In Common
(3:55)  2. Live And Let Die
(5:56)  3. Morning Shade
(4:57)  4. Tipping Point
(4:17)  5. More Than Words
(4:18)  6. Double Luminosity
(4:43)  7. The Takeover
(5:48)  8. Ballad
(6:11)  9. The Chameleon Eye
(4:15) 10. Blackfoot
(5:28) 11. Water Runs Dry

Somebody has to be the keeper of the flame, right? In jazz, an art form that has only recently passed the century mark, that responsibility has seemed to diminish in importance. It's not that music schools aren't churning out graduates versed in the traditional repertory, and post-modern players aren't constantly pushing the envelope of possibilities. It's just that we need more musicians like Michael Dease who, to quote Art Blakey, play jazz that "washes away the dust of everyday life." With Reaching Out, his fifth for Posi-Tone Records (a label whose mission is to throw accelerant on that flame) he doubles down on the joy of music making. He seems to always find kindred souls who share in his vision, as shown in previous recordings with the veterans Renee Rosnes, Lewis Nash, Steve Wilson, Christian McBride, and Rodney Whitaker. Here, he recruits two giants of the saxophone Ralph Bowen and Walt Weiskopf to interact with some younger talent players that have the makings of true believers.

What we mean by that is Dease prioritizes the happiness in his jazz. Take the opener, Cedar Walton's "Something In Common," or Steve Turre's "Blackfoot." Both are pieces that are overflowing with a joyful swing. The latter composition, modeled after "Cherokee," is delivered at an auctioneer's hyperspeed with Bowen and Dease chasing drummer Zach Adleman's turbocharged tempo. There is a return to the hipness factor in this music. Dease's original, "The Chameleon Eye," grabs memories of Lee Morgan's funkiness and injects some Herbie Hancock-like rhythm-intensive lines. The composition features the young and talented vibraphonist Behn Gillece (check out his Walk Of Fire (2017)). What makes Dease stand out is his love of melody and ability to craft arrangements to accentuate such. Perfect examples are the three cover tunes, Babyface's "Water Runs Dry," Paul and Linda McCartney's "Live And Let Die," and the 1990s hair metal band Extreme's "More Than Words." McCartney's title track to the James Bond movie of the same name is given all of the dramatic effect of the original, from it's most gentle beginnings to the soulful dramatics and swinging interludes. All of the covers here could, with lesser arrangements, become schmaltzy or sentimental. But like the masters, Coltrane's take on "My Favorite Things" or Miles' "Surrey With the Fringe On Top," Dease champions familiar music and makes it new again. ~ Mark Corroto https://www.allaboutjazz.com/reaching-out-michael-dease-posi-tone-records-review-by-mark-corroto.php

Personnel: Michael Dease: trombone; Ralph Bowen: tenor saxophone; Walt Weiskopf; tenor saxophone, alto saxophone; Behn Gillece: vibraphone; Luther Allison: piano; Peter Brendler: bass; Zach Adleman: drums.

Reaching Out

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Ralph Bowen - Ralph Bowen

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 64:21
Size: 148,0 MB
Art: Front

(5:33)  1. Cache Cache
(6:16)  2. A Rookery Of Ravens
(6:28)  3. A Leap Of Leopards
(6:56)  4. A Pandemonium Of Parrots
(8:13)  5. A Flamboyance Of Flamingos
(8:47)  6. A Venue Of Vultures
(4:53)  7. A Cast Of Crabs
(5:24)  8. Aye
(6:16)  9. Picadilly Lily
(5:29) 10. Search For Peace

Saxophonist extraordinaire Ralph Bowen takes everyone back to school and puts on a master class displaying his exceptional knowledge of everything jazz. With a tour de force collection of hard hitting performances, Bowen s sixth release for Posi-Tone features the happening rhythm section of pianist Jim Ridl, bassist Kenny Davis, and drummer Cliff Almond. All of the musicians in the band do some heavy lifting behind the sensational melodicism and harmonic inventions of Bowen s impressive program of compositions and arrangements. From the opening downbeat, through the six part suite, to the final salvo, Bowen keeps the music moving steadily straight forward as he confidently displays his effortless mastery as an expressive and  unparalleled instrumentalist. We are confident that Ralph Bowen's new musical message will surely delight the ears of serious listeners and bring a joyous shout to jazz fans everywhere. ~ Editorial Reviews  https://www.amazon.com/Ralph-Bowen/dp/B072ZP4GG5

Personnel:  Ralph Bowen, tenor sax;  Jim Ridl, piano;  Kenny Davis, bass;  Cliff Almond, drums

Ralph Bowen

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Orrin Evans - Listen to the Band

Styles: Piano Jazz
Year: 1999
File: MP3@224K/s
Time: 64:58
Size: 104,5 MB
Art: Front

( 8:11)  1. I Want to Be Happy
(12:21)  2. In His Place
( 5:51)  3. Mat-Matt
( 3:47)  4. There Is a Quiet Palce
(10:30)  5. For Miles
( 9:37)  6. Dorm Life
( 4:25)  7. Forgiven
(10:12)  8. Diva Black

The title of Evans' fourth Criss Cross album conveys his excitement over a new, steady trio configuration, with Reid Anderson on bass and Nasheet Waits on drums. Joining the pianist and his trio on many of the cuts are trumpeter Duane Eubanks, soprano saxophonist Sam Newsome, and tenor/alto man Ralph Bowen. This group seems to push Evans into freer, more rhythmically adventurous territory, particularly on a strikingly abstract rendition of "I Want to Be Happy" and on Eubanks' "Diva Black," which goes through a series of stirring tempo and feel changes. Most of the remaining material is quite good but not as unusual. One of Evans' frequent colleagues, bassist Darryl Hall, contributes the wonderful, Wayne Shorter-esque "In His Place," while Anderson, one of the best emerging composers in jazz, rounds out the program with the enigmatic ballad "Forgiven." Evans also waxes meditative with a solo piano rendition of "There Is a Quiet Place." The three Evans originals are "Dorm Life," a cut first heard on his 1997 debut Justin Time, along with "For Miles" and the rather stunning "Mat-Matt" -- named for his two young sons. There's plenty of substance to these pieces, but one should also turn to Evans' independently released Seed for a more complete picture of his compositional ability. All in all, however, there's superior playing from all involved, and an animating vision that makes Listen to the Band a significant step in Evans' career.~ David R.Adler http://www.allmusic.com/album/listen-to-the-band-mw0000107625

Personnel: Orrin Evans (piano); Ralph Bowen, Sam Newsome (saxophone); Duane Eubanks (trumpet); Reid Anderson (bass); Nasheet Waits (drums).

Listen to the Band

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Ralph Bowen - Power Play

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 54:53
Size: 126,0 MB
Art: Front

(4:40)  1. K. D.'s Blues
(6:19)  2. Drumheller Valley
(5:05)  3. Two-Line Pass
(5:27)  4. My One And Only Love
(6:26)  5. The Good Shepherd
(8:22)  6. Bella Firenze
(6:28)  7. Jessica
(5:31)  8. Walleye Jigging
(6:31)  9. A Solar Romance

With over 20 years experience as a recording artist and composer, saxophonist Ralph Bowen has a mastery of straight-ahead jazz that is immediately apparent on Power Play, his third album for the Posi-Tone label. Bowen's first two Posi-Tone releases, 2009's Dedicated and 2010's Due Reverence were quintet recordings. For Power Play, he trims down to an all-new quartet lineup, but it still swings. On the album's opener, "K. D.'s Blues," Bowen jumps straight in with a hard-edged tenor riff that soon develops into a powerful and melodic solo. Drummer Donald Edwards and bassist Kenny Davis, who was Bowen's band mate for a few years in the '80s group Out Of The Blue, also impress from the off, creating a driving rhythm that characterizes much of the recording.

Pianist Orrin Evans matches Bowen solo for solo across Power Play. On the snaky "Drumheller Valley," Evans delivers the opening riff with confidence, while his beautifully varied solo has a soulful vibe which contrasts well with Bowen's more bop-ish approach. He's equally stylish when he joins Davis and Edwards to underpin Bowen's lead playing. It's Bowen's warm and lyrical playing that's to the fore on Guy Wood's standard, "My One And Only Love" but the performance is a genuine quartet affair, with the rhythm players' relaxed, and relaxing, approach central to the mood of the song.  While Bowen's tenor saxophone might be the most prominent instrument on the album it's also the instrument of choice for both of the CD's cover photos he delivers some of his finest playing, with soprano, on his lovely ballads "Jessica" and "A Solar Romance." Power Play is an apposite title: for saxophonist Ralph Bowen is certainly one of the most powerful players in contemporary jazz.

But power alone is seldom, if ever, enough, and Bowen combines power with exceptional control, feeling and tone. The rest of the quartet shares Bowen's characteristics, ensuring that this collection of tunes is constantly rewarding. ~ Bruce Lindsay  http://www.allaboutjazz.com/power-play-ralph-bowen-posi-tone-records-review-by-bruce-lindsay.php

Personnel: Ralph Bowen: saxophones; Orrin Evans: piano; Kenny Davis: bass; Donald Edwards: drums.

Power Play

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Ralph Bowen - Soul Proprietor

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 70:34
Size: 161,8 MB
Art: Front

(10:27)  1. Invitation
( 6:57)  2. Soul Proprietor
( 8:50)  3. My Ideal
( 6:57)  4. Spikes
( 8:55)  5. Under A Cloud
( 8:22)  6. The First Stone
( 9:45)  7. Inner Urge
( 6:08)  8. Meltdown
( 4:10)  9. Peace

As revolutionary as the compact disc has been to the music industry, sometimes you really can have too much of a good thing. More specifically, I can’t help but echo what producer Michael Cuscuna once told me about new releases. He bemoaned the fact that many of today’s discs are just too long, wearing out their welcome way before concluding their run, and I can’t help but admit that after about 50 minutes or so my attention starts to wander. So what does all this have to do with saxophonist Ralph Bowen’s most recent Criss Cross session as a leader? Well, at just about 70 minutes in duration, Soul Proprietor is definitely on the long side, but it holds up extremely well thanks to a great program of standards and originals and a cohesive ensemble that locks in tight for the duration. Bowen first came to the fore as a member of the hard bop unit Out Of the Blue in the ‘80s. Since then the saxophonist has kept a low profile, active mainly as a college educator, yet his stature as a mature soloist has not diminished. Although he had previously recorded a set for Criss Cross many years ago, Soul Proprietor is a return to form and it features an outstanding rhythm section with organist Sam Yahel, guitarist Peter Bernstein, and drummer Brian Blade. As an added bonus, trumpeter John Swana fills out the front line on several tracks giving things an updated groove in the lineage of Larry Young’s Unity.


Bowen’s husky tone brings on “Invitation” with confidence, Swana quickly falling into the mix with his own distinctive voice. Things unfold in a relaxed manner, Bowen preferring to use space rather than cramming every beat with rapid flurries of notes. Peter Bernstein opens the title track and sings the melody in uncluttered fashion before stepping aside for Bowen to launch his initial gambit. “My Ideal” and “Peace” are spots where Bowen really gets to shine, the former a ballad feature and the latter a solo tour-de-force chock full of harmonics and over blowing. “Spikes” emerges as a cleverly disguised line built on Rhythm changes and at one point Swana and Bowen go at it without any accompaniment, their intertwined lines uniting in stimulating counterpoint. With a section in the odd meter of 7/2, Bowen’s “Meltdown” tackles Coltrane’s changes from “Countdown” but in a sage new way that offers a real challenge to all.  Of course, Yahel and Blade have worked together regularly, most recently as members of Josh Redman’s current trio, while the two joined forces with Bernstein on Yahel’s Criss Cross debut. Thankfully, Bowen and Swana have harnessed the power of this trio and the whole proves to be even greater than the sum of the individually gifted parts. ~ C.Hovan Andrew http://www.allaboutjazz.com/soul-proprietor-ralph-bowen-criss-cross-review-by-c-andrew-hovan.php

Personnel: Ralph Bowen (tenor sax), John Swana (trumpet), Peter Bernstein (guitar), Sam Yahel (organ), Brian Blade (drums).

Soul Proprietor

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Ralph Bowen - Keep The Change

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 71:51
Size: 165,0 MB
Art: Front

(8:00)  1. Boy For Sale
(7:35)  2. Who Will Buy
(8:58)  3. Elevation
(6:44)  4. For You
(8:55)  5. Thru Traffic
(7:45)  6. For D.E.
(8:09)  7. In The Good Old Summertime
(9:17)  8. Gordon
(6:25)  9. Keep The Change

Keep the Change is the third session by tenor saxophonist Ralph Bowen for the Criss Cross label. Bowen assembled an impressive quintet of in-demand New York musicians including trumpeter Ryan Kisor, pianist Orrin Evans, bassist Reuben Rogers, and drummer Gregory Hutchinson. 

Bowen and company stay away from rehashing the same old standards, the exception being a brisk stroll through "In the Good Old Summertime" with a nine-track set of neo-bop, including the disc's high point: Bowen's composition "Elevation," which originally appeared on Orrin Evans' 2002 release Meant to Shine. While this may not be a groundbreaking session, fans of modern bop should definitely check it out. ~ Al Campbell  http://www.allmusic.com/album/keep-the-change-mw0000334445

Personnel: Ralph Bowen (tenor saxophone); Ryan Kisor (trumpet); Orrin Evans (piano); Reuben Rogers (bass); Gregory Hutchinson (drums).

Keep The Change

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Conrad Herwig - A Voice Through The Door

Styles: Trombone Jazz
Year: 2012
File: MP3@320K/s
Time: 61:25
Size: 141,5 MB
Art: Front

(5:42)  1. A Voice Through the Door
(8:06)  2. Traceless Moon
(8:54)  3. The Sun Within
(6:53)  4. Morning Shade
(7:14)  5. Water Rising Into Mist
(7:06)  6. All Or Nothing At All
(8:10)  7. Thorn Witness
(9:16)  8. Free Action Reaction

It would be fellow Criss Cross associate Walt Weiskopf who would bring Conrad Herwig into the label's fold back in 1992. The trombonist would then go on to record his own Criss Cross debut, Heart of Darkness in 1998. Now some 15 years into his tenure, Herwig has recorded eight remarkable and engagingly diverse albums with A Voice Through the Door being his latest breakthrough. Highlighting a distinguished composer, this inspired recital includes seven new Herwig originals along with a reworking of the standard All or Nothing At All. Then emphasis is on shared communication, an aspect that is clearly evident through Herwig's long track record with pianist Orrin Evans and drummer Donald Edwards. Adding something new to the mix, however, are new associations with tenor man Ralph Bowen and bassist Kenny Davis, themselves frequent collaborators going back to their days with the band Out of the Blue. ~ Editorial Reviews  http://www.amazon.com/A-Voice-Through-The-Door/dp/B008I66CIC

Personnel: Conrad Herwig – trombone;  Ralph Bowen - tenor sax;  Orrin Evans – piano;  Kenny Davis – bass;  Donald Edwards – drums.

A Voice Trough The Door

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Ralph Bowen - Standard Deviation

Bitrate: MP3@320K/s
Time: 51:50
Size: 118.7 MB
Styles: Saxophone jazz
Year: 2014
Art: Front

[5:32] 1. Isn't It Romantic
[5:22] 2. No Moon At All
[5:14] 3. Yesterdays
[7:28] 4. You Don't Know What Love Is
[7:08] 5. You Stepped Out Of A Dream
[7:30] 6. Spring Is Here
[8:14] 7. Dream Dancing
[5:19] 8. By Myself

Tenor saxophonist Ralph Bowen (Out Of The Blue, Horace Silver, Michel Camillo) is a highly regarded New York-based artiste and an idea man who can stand with the best of them. With his fifth solo venture for Posi- Tone Records Bowen tackles standards, and as the title intimates, he often deviates from the norm.

Jerome Kern's "Yesterdays" receives a Latin uplift, sparked by venerable pianist Bill O'Connell's topsy-turvy opening statements and bristling unison choruses with the rhythm section. From this point onward, they spring into a buoyant romp as Bowen stokes the coals via a ferocious series of choruses. He adds enough bite to impart a distinct edge, yet interweaves his melodic flair into ultra-fluid lines and improvises within the lower to medium registers. But he doesn't waste any notes and injects a few emphatic honks and squeaks into the upper-registers to raise the pitch with a stirring climatic assault while also infusing brevity into O' Connell's flavorful arrangement. Ultimately, Bowen and his first-class ensemble ruffle a few feathers and take matters into their own hands by not tendering literal readings of these rather shopworn works. (Zealously recommended...) ~Glenn Astarita

Ralph Bowen: tenor saxophone; Bill O’Connell: piano; Kenny Davis: bass; Donald Edwards: drums.

Standard Deviation

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