From the December 2013 issue of The New York City Jazz Record.
When cornetist Taylor Ho Bynum and his sextet finished their first set at the Jazz Gallery (November 9th), someone from the venue reached up to put a delicate framed photograph on the wall. “Did we knock that down?” Bynum joked, but the thought was plausible: his band rose to room-shaking levels, particularly during the feral alto saxophone solos of Jim Hobbs. In some of the written passages, however, Hobbs brought a flute-like sensitivity, meshing with Bynum and tuba/bass trombonist Bill Lowe in moments full of warmth and subtle color. (The horn players all wore fedoras, which was part of the vibe.) The work, “Navigation (Possibility Abstract XVII),” lasted the full set and would change significantly in the next set (“Possibility Abstract XVIII,” Bynum explained). This is the method of Navigation (Firehouse 12), the sextet’s new release, which spans two CDs and two LPs yet includes just one piece, played four times. Each reading has common elements but a radically different outcome. A band needs a strong identity to pull this off, but with guitarist Mary Halvorson, bassist Ken Filiano and drummer Tomas Fujiwara completing the lineup, strength was no issue. The Halvorson-Lowe pairing was rich — Bynum was smart to have them play unison lines, fresh and unexpected. Fujiwara balanced complete freedom with undulating groove and never overpowered the room. Filiano offered not just low-end foundation but a contrapuntal voice, introducing new sounds throughout the journey. (David R. Adler)
Since the inception of Brian Blade’s Fellowship Band, pianist and cofounder Jon Cowherd has forged a distinctive sound as one of its principal composers. With Mercy (ArtistShare), Cowherd’s debut as a leader, he gives that poignant, reflective sound an even fuller spotlight. More than ever, he also shows his range and hard-swinging fervor as a pianist, as was evident at Dizzy’s Club (November 11th), where he took the stage with guitarist Mike Moreno, bassist Matt Penman and drummer Rudy Royston. The quartet played with such fire and polish that one didn’t miss the bigger names on the album itself (Bill Frisell, John Patitucci, Brian Blade). The compositions were elaborate and beautifully conceived, beginning with the uptempo “The Columns” and moving right into the sweeping three-part “Mercy Suite.” The tension-filled “Newsong” began as a Royston feature but also gave Moreno and the leader room to stretch. Cowherd ended with a nod to his New Orleans past (he’s a Kentucky-born Loyola alum), offering the gospel-tinged “Poor Folks,” an Allen Toussaint number from 1971. This was the quartet at its rockingest — one riff sort of brought to mind Deep Purple. But just before that, “Surrender’s Song” highlighted Cowherd’s harmonic approach at its most moving and poetic. He and Moreno voiced the slow rubato theme in flowing unison, evoking a lonely mood that contrasted with the set’s more aggressive New York moments. Hopefully it’s all a sign of more Cowherd-led projects in years to come. (DA)