Behn Gillece

Pivot Point

Posi-Tone

Vibraphonist Behn Gillece typically writes some of the most progressive music in the Posi-Tone roster. As the title may indicate, he changes it up on his eighth album for the label, Pivot Point, by using classic forms like the blues, links to tradition, and a familiar quintet configuration from the past (think Bobby Hutcherson, Wayne Shorter’s Odyssey of Iska, to name a couple). That’s not to suggest this is a throwback album, as the cast includes some of the brightest lights on the label: Willie Morris on tenor and soprano, Jon Davis on piano, and the stalwart bass-drum tandem of Boris Kozlov and Rudy Royston. Gillece came to the session with some compositions, while others gestated organically in the studio. Thus, we have the intersections of traditional and contemporary, and through-composed meeting improvisation.

As mentioned in previous reviews of Morris as a leader, he is an emerging force on the saxophone, and having seen him live recently, his tone is even more impressive than previously thought. If you’re a fan of Posi-Tone, you’ve heard all these musicians before, but not collectively in this quintet. Also, having seen Gillece perform live with Pat Bianchi, Brian Betz, and Bryon Landham, his penchant for the blues is natural.

The album commences with the most intricate piece, as they navigate through the shifting rhythms and melodies of “Haymaker” with aggressive turns from Morris on tenor and Gillece, who is primarily a melody player on the album, but he does share comping responsibilities to Davis, who also gets his fair share of solos. The rhythm section keeps the engine room hot. Morris wrote “What’s Expected,” as his tenor cuts deep into the blues, the joyous kind with a bit of old school flair. Kozlov’s walking bass line is superb in this one. The quintet then eases off the pedal into a “Beyond the Veil,” a gorgeous ballad with Morris on soprano. Gillece was inspired by Richie Beirach’s ECM recordings from the ‘70s, hence the atmospheric, haunting tonality.

“Stranded in Elizabeth” (perhaps the trains weren’t running) originally appeared on Gillece’s co-led album with tenor saxophonist Ken Fowser, entitled Top Shelf (Posi-Tone 2013). This is an example of the album’s theme: revisiting the familiar with a new perspective. The unison lines of Morris and Gillece are striking, as are solos from Gillece, Davis, and Morris (on tenor), as they improvise around the buoyant melody. “Toys” is a Herbie Hancock piece as the quintet balances the playfulness of the tune with inspired execution. Both Gillece and Morris (on tenor) dance lithely above the shifting undercurrent of Kozlov and Royston, Davis, who has a strong foundation in bluesy piano, reveals his considerable chops.

Davis is the composer for “Just for Fun,” drawing inspiration from Bird’s “Confirmation,” in yet another upbeat track that speaks to the quintet’s blissful cohesion. The pianist also contributes the rather tricky “Changes Over Time, written in 5/4, its bluesy quality reveals another impressive Kozlov walking bass line while Royston locks into the underpinning groove with the bassist. Even with its bluesy nature, the odd meter and the improvisations (especially from Morris) make this one of the more contemporary pieces.

The title track, penned by Gillece, is the closer. Morris returns to soprano for the piece, written in ¾ time with a straight-eight groove, yet another example of marrying a traditional form with a contemporary rhythmic framework (listen to Royston’s outstanding work on the kit). All three melody instruments solo, highlighted by the trading of Morris and Gillece.  Royston gets his well-deserved turn, too.

Throughout, there are memorable melodies, bursting energy, crisp, economical solos, and mostly tight, fluid quintet interplay.

Jim Hynes

Pivot Point by Behn Gillece

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