Friday, February 11, 2022
Diego Rivera - Mestizo (February 11, 2022 Posi-Tone Records)
Friday, January 21, 2022
Boris Kozlov - First Things First (January 21, 2022 Posi-Tone Records)
Saturday, January 8, 2022
Blue Moods - Myth & Wisdom (January 2022 Posi-Tone Records)
Farnell Newton - Feel The Love (Posi-Tone Records)
Monday, November 22, 2021
Various Artists - Shorter Moments / Exploring The World Of Wayne (November 2021 Posi-Tone Records)
Friday, July 9, 2021
Art Hirahara - Open Sky (July 9, 2021 Posi-Tone Records)
Saturday, June 26, 2021
Jacám Manricks - Cloud Nine (June 26, 2021 Posi-Tone Records)
Wednesday, June 23, 2021
Will Bernard - Ancient Grains (June 25, 2021 Posi-Tone Records)
Monday, May 10, 2021
Alex Sipiagin - Upstream (May 2021 Posi-Tone Records)
Sunday, April 18, 2021
Alexa Tarantino - Firefly (April 2021 Posi-Tone Records)
Wednesday, March 31, 2021
Theo Hill - Promethean (May 12, 2017 Posi-Tone Records)
Wednesday, March 24, 2021
Behn Gillece - Still Doing Our Thing (March 2021 Posi-Tone Records)
Friday, February 26, 2021
Ralph Bowen - Power Play (February 2011 Posi-Tone Records)
Wednesday, February 24, 2021
Out To Dinner - Play On (February 2021 Posi-Tone Records)
Get ready for a second helping of auditory delights from the Out To Dinner ensemble, as they keep the kitchen open after hours and “Play On.” Featuring a musical menu of inspired selections, Posi-Tone producer Marc Free has assembled this volume of performances to prompt listeners to expand their sonic palettes with an adventurous exploration of the jazz genre. This engaging quintet date is highlighted by front line performances from vibraphonist Behn Gillece, trumpet prodigy Giveton Gelin and rising star tenor saxophonist Nicole Glover, all moving freely together over the solid harmonic foundation of bassist Boris Kozlov and drummer Donald Edwards, both established jazz veterans.
We are confident that the collaborative journey of Out To Dinner will encourage our faithful audience to follow the melodies as they navigate steadily from the known and familiar into the uncharted realms of modern collective improvisation.
Thursday, February 4, 2021
Diego Rivera - Indigenous (Posi-Tone Records 2021)
New Faces - New Sounds (Posi-Tone Records 2021)
Saturday, April 7, 2018
Roxy Coss - The Future Is Female (POSI-TONE RECORDS 2018)
Saxophonist and composer Roxy Coss participated in the Women’s March the week of Donald Trump’s inauguration. She carried a sign that read “The Future is Female”; that’s the title of her new album, a of 10 original compositions featuring her working ensemble of Alex Wintz (guitar), Miki Yamanaka (piano), Rick Rosato (bass), and Jimmy Macbride (drums) with bass clarinetist Lucas Pino on one track.
Song titles such as “#MeToo”, “Nasty Women Grab Back“, and “Females Are Strong as Hell“, might make you think that music has a strident quality. Many of the songs have great power but Ms. Coss wants to entertain and educate. While you’re grooving to the great rhythm section or enjoying Wintz’s delightful guitar solos or Ms. Yamanaka’s foundational piano, the leader wants you to think, wants you to react to the issues she’s presenting that you will begin to take action and demand better behavior throughout the country.
Sitting and listening to the music, one hears the influence of Charles Mingus (whose song titles made you sit up) and the power of Art Blakey and Max Roach. Those artists and others were also fighting for the cause of equality. Sometimes, their music rankled listeners but, more often than not, the sounds excited those who listened and, perhaps, even made them change attitudes for the better. Ms. Coss’s lovely ballad “Choices” is filled with emotion while “Mr. President” starts slowly with a somber melody over martial drums. Soon, the rhythm section kicks into high gear and Ms. Coss’s tenor sax pushes them forward. “Feminist AF” is a blues – no surprise there – that hints at both John Coltrane and Wayne without imitating either one. The afore-mentioned “Nasty Women…” features the leader on soprano and, while the rhythm section has some “bite”, the solos soar, especially Wintz’s rippling guitar lines.
Besides her work on the bandstand, Roxy Coss is the founder and director of WIJO (Women in Jazz Organization) – their Mission Statement is quite clear:
“WOMEN IN JAZZ ORGANIZATION INTENDS TO HELP LEVEL THE PLAYING FIELD IN JAZZ, SO THAT WOMEN AND NON-BINARY PEOPLE HAVE AN EQUAL OPPORTUNITY TO PARTICIPATE IN AND CONTRIBUTE TO JAZZ, LEADING TO AN IMPROVED AND MORE RICH, DIVERSE, AND SUCCESSFUL ARTFORM. THE ORGANIZATION IS COMMITTED TO HONORING BLACK AMERICANS AS THE CREATORS OF JAZZ.“
David Ake - Humanities (POSI-TONE RECORDS 2018)
Ake’s fifth album on Posi-Tone is titled “Humanities” and features the powerful musical voices of his fellow CalArts colleague Ralph Alessi (trumpet), Ben Monder (guitars), Drew Gress (bass), and Mark Ferber (drums). If you have heard any of Ake’s earlier group albums, you’ll know he’s a powerful and thoughtful pianist while his music often has a powerful forward motion.
There are moments on the new album where the music leans towards Americana, not surprisingly on the quintet’s reading of The Grateful Dead’s “Ripple” (the only “cover” tune on the CD) – they don’t mess with the gentle bluesy quality of Jerry Garcia’s sweet melody. Alessi’s muted trumpet brings the sound of Ron Miles to mind and the piece would not be out of place on a Bill Frisell album (but note the alternate chords at various times throughout the piece). The piano introduction to “Drinking Song” has the feel of a Randy Newman ballad but there is a spare quality to the melody. The trumpet and guitar play the melody and counterpoint while the rhythm section tosses and turns beneath them, not disrupting the flow as much as creating dynamic differences.
What stands out throughout the program is how distinctive all five voices are. On songs such as “The North“, one can hear the power of the guitar, the rich melodic sense of the trumpet, the “heavy” chords from the piano, the counterpoint and melodies from the bass, and the driving force of the drums. Ferber is truly in the driver’s seat; listen to his strength on “Rabble Rouser“, how Gress helps him push the music forward, and then how the soloists are inspired by the rhythm section. And, they can swing! “Hoofer” starts out with the drummer’s brush work creating his own sweet soft-shoe. Ake picks up on that and dances right through his sly Monk-like solo. The bassist leads the group through the beginning of “Stream” – much of the fun of the piece is how the dynamics change on the fly. After the opening, the band moves into a harder-edged melody but drops back for the piano solo. Ake build the tension as the trumpet and guitar play a unison counterpoint to his solo. A similar interaction takes place beneath Alessi’s solo, this time the pianist and guitarist playing chordal patterns as Ferber builds the tension with a fiery drum spotlight.
The program closes with “Walter Cronkite“: that’s the newsman’s voice you hear near the beginning saying “...it’s the ultimate question that being a democracy we the people are responsible for the actions of our leaders“. Alessi’s keening, questioning, trumpet moves atop the rumbling piano, droning bass, quiet guitar fill, and active drums, giving the rubato piece the feel of an elegy, at times, a prayer. There is a short section where the trumpet and piano sounds like a telegraph signaling an urgent question across the great divide before the music fades.
To do justice to the music on “Humanities” is truly to tell you to listen and listen deeply. David Ake composes music that asks questions, that plumbs the depth of the human spirit, and looks for the soul within the songs. And the musicians know how to transmit those questions and searches to an eager audience. Give some time to this music; it will make you think and, perhaps, even move you to action in these often tense times.












































