Stan Killian - Evoke

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 43:53
Size: 102,6 MB
Art: Front

(6:06)  1. Subterranean Melody
(4:54)  2. Evoke
(6:44)  3. Echolalic
(5:33)  4. Kirby
(7:47)  5. Beekman33
(6:16)  6. Observation
(6:30)  7. Hindu

Stan Killian is reminiscent of Jimmy Heath in that his compositions and tenor saxophone work make each other better, and reflect a stubbornly abstruse but still amiable sensibility. He’s a mainstream postbopper but favors layered riffs that don’t necessarily interlock in his tunes; his swing can be restless, and have a little hitch in its gait. And he enjoys the modal form. On Evoke, Killian eschews the high-powered guest stars (Roy Hargrove, David Binney, Jeremy Pelt) from his 2011 Sunnyside debut, Unified, and relies on the quintet that workshops his tunes every week at the 55 Bar in New York. That familiarity deepens the virtues, especially the somewhat quirky angularity, of his compositional style, while providing fewer solo highlights. It’s a solid band drummer McClenty Hunter, bassist Corcoran Holt and pianist Benito Gonzalez return from Unified, and guitarist Mike Moreno has a notable résumé and a low, liquid tone that calls to mind John Scofield. But the players are mostly in service to the tunes, with Hunter the most notable colorist aside from Killian. Not surprisingly, then, the songcraft seems top-notch. The opener, “Subterranean Melody,” makes arresting use of a 7/4 pulse that surges forth from Killian’s tenor as the rhythm section steadily ups the intensity. “Beekman33” moves with the sort of confident glide that became a hallmark of deeper cuts on albums released during Blue Note’s golden era. And “Hindu” is an effectively itchy pastiche, enlivened by noteworthy solos from Hunter, with Gonzalez unearthing his Latin roots. ~ Britt Robison  http://jazztimes.com/articles/94313-evoke-stan-killian

Personnel: Stan Killian (tenor saxophone); Benito Gonzalez (piano); McClenty Hunter (drums).

Evoke

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Stan Killian - Brooklyn Calling

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 53:22
Size: 122,7 MB
Art: Front

(8:53) 1. Horizon
(8:57) 2. Holocene
(5:14) 3. Buy Back
(7:40) 4. Shibuya Crossing
(9:01) 5. Concept of Peace
(7:45) 6. Brooklyn Calling
(5:49) 7. Open Doors

Years ago, a group of folks were having dinner at a Westside San Antonio, Texas, restaurant known as Los Barrios. Occasionally, some restaurants there would start a jazz policy. In a place better known for mariachis, this would be a pleasant surprise. One Friday evening, some kid was playing tenor sax, quite a bit of tenor sax, in fact. The guy's name because getting his card seemed like a good idea was Stan Killian, not a familiar one among the roll of local notables, which made his instrumenal facility even more interesting. What was this guy doing playing here?

There have been a number of players who made the seventeen-hundred mile trek from San Antonio to New York, such as Ernie Caceres, for one. Others have, too, but Killian has stuck around, for good reason. While the temptation to label him a Texas Tenor is understandable, that is not really fair to Killian. Apart from being able to blow with a raw edge, he does not really put a listener in mind of Arnett Cobb, Buddy Tate, or David "Fathead" Newman. In the end, he sounds very much himself, modern, less bluesy or r&b than any of the other Texans. On "Horizon," one thinks, a taste of Sonny Rollins, but Killian's bridge is the Brooklyn, not the Williamsburgh.

Killian also plays with his band, not just backed by a rhythm section. "Shibuya Crossing," which he dedicates to his Japanese fans, is an interactive production, not just solo tenor, and pretty as well. We get to hear plenty of both bassist Corcoran Holt and McClenty Hunter, a fine drummer who can definitely play time. "Concept of Peace" is reflective, framed by Paul Bollenback's spare guitar and a fine arco solo on bass which shows how far bowing on jazz bass has come since Paul Chambers.

Bollenback also provides a reflective solo which strikes a delicate feeling. Killian comes roaring back on "Brooklyn Calling," with a certain urgency which adds to the jazz-rock ambience Bollenback provides. "Open Doors," with its shifting rhythmic feel, closes things out. All the compositions are original, by the way. There was, of course, nothing laid back about the Texas Tenors. Maybe, in just that way, Killian does fit right on this very appealing and dynamic recording.
By Richard J Salvucci https://www.allaboutjazz.com/brooklyn-calling-stan-killian-sunnyside-records

Personnel: Stan Killian: saxophone, tenor; Paul Bollenback: guitar; McClenty Hunter: drums; Corcoran Holt: bass.

Brooklyn Calling

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Stan Killian - Unified

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 53:28
Size: 122,9 MB
Art: Front

(7:30)  1. Twin Dark Mirror
(8:17)  2. Elvin's Sight
(6:32)  3. Unified
(9:30)  4. Center
(6:42)  5. Isosceles
(7:52)  6. Window Of Time
(7:01)  7. Eternal Return

Unified is tenor saxophonist Stan Killian's third album and his debut for the Sunnyside label. It's high-quality, straight-ahead modern jazz, played with a real swing by Killian and his band, and enlivened by the contributions of three top-drawer guest horn players. Leader/composer Killian hails from Texas, home of Texas tenors like Arnett Cobb and Illinois Jacquet. Killian's own sound certainly has a big, wide open, feel to it but there's a gentleness there as well, a warmth and friendliness of tone. Venezuelan pianist Benito Gonzalez has a lightness of touch that enables him to create some delicate but swinging solos, as well as some finely tuned rhythms. Killian and Gonzalez play on all seven tunes, interlacing their instrumental lines with a skill and confidence that suggests a longstanding musical relationship. Bassists Corcoran Holt and Bryan Copeland, and drummers Darrell Green and McClenty Hunter share rhythm section duties. Whatever the combination of players, each of the quartets is impressive in its own right the rhythm playing of Gonzalez, Hunter and Holt that underpins Killian's lyrical solo on "Center" being particularly fine. The addition of a guest player to each of the numbers simply puts icing on the musical cake.

The three guest musicians on Unified are all bona fide stars of modern jazz and they more than repay Killian's invitation. Of the two trumpeters, Jeremy Pelt's brighter sound is a fine contrast to Killian's. Roy Hargrove's tone is a little warmer, less bell-like, and complements rather than contrasts with the tenor player. David Binney adds alto sax to three numbers, his sound also complementing Killian and adding depth to their unison playing. On Gonzalez's "Elvin's Sight" dedicated to drummer Elvin Jones and featuring excellent percussion from Green the pair swings beautifully, while on the hauntingly dreamlike "Unified," both saxophonists give controlled but emotionally engaging performances. The guests on Unified all play beautifully, and their presence certainly attracts attention. But Killian's own contributions as lead musician/writer are stylish and engaging, and the core quartets on the album demonstrate their ability to stand alone as musical ensembles , just as the album title suggests. ~ Bruce Lindsay https://www.allaboutjazz.com/unified-stan-killian-sunnyside-records-review-by-bruce-lindsay.php
 

Personnel:  Stan Killian: tenor saxophone;  Benito Gonzalez: piano;  Corcoran Holt: bass (1, 4, 5, 7);  Bryan Copeland: bass (2, 3, 6);  Darrell Green: drums (1-3, 5, 6);  McClenty Hunter: drums (4, 7);  Roy Hargrove: trumpet (1, 5);  Jeremy Pelt: trumpet (4, 7);  David Binney: alto saxophone (2, 3, 6).

Unified

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