Monday, September 15, 2014

Ringworm. Hammer of the Witch.

Ringworm. Hammer of the Witch. (with a review of earlier albums)
Relapse Records, 2014. Ringworm:

For twenty years Ringworm has been going down to the the dark cellar of its own Underworld and bringing back with them creatures ripped from the caves they found there, each trek into the depths of inspiration always returning with the iron­clad screaming, shredding, and perilous percussion that the band is known for producing. With the next installment in the lifeline of this hardcore line­up comes Hammer of the Witch, a rancorous torrent of macabre lyrics and vicious guitar work to crack the whip behind the words. Along with past releases Scars, The Venomous Grand Design, and Justice Replaced by Revenge, the hexes of these albums taken separately or together hit forcefully and don't care if you're ready for them, making for a package that is not for the faint of heart. Ringworm's approach to hardcore has always been a thick swamp of dark energy, filled with constant, rough ­throated rage from lead singer Human Furnace, his tearing voice owned with authority and equipped with coarse, spiked bellows the raging bard wields like a swinging cudgel. The man has certainly earned his moniker with the way he can persevere in maintaining the growling fire stoked in his throat.

Part of the pleasure that encrusts the offerings of Ringworm's lead singer is that there is a distinguished bite to his bellowing, a type of grizzled harshness that is forever serrated. He'll hock up a grunt or a bark after screaming out verses and, so barbed with harsh nails, it's jaggedly beautiful to hear. The dirty vocals are without a doubt one of the major factors of the sound that binds the imagery together and emulsifies the other shadowy elements found in Hammer of the Witch, and the achievements on this album raise the band to new heights.

The subject matter flowing through the lyrics, flyblown and gauntly relinquished to a world where the people in it are lost and doomed, possesses at the same time a poetic underside--albeit with lots of doom, so much that it could power another series of iD Software games.  Counting the respective gloom of songs like "I Recommend Amputation," "Hammer of the Witch," and "Die Like a Pig," it's rather easy to get a vivid understanding of the frothing rot these fellows are fond of courting:

"Paralyzing; shut down; minimize. Amputation. Vivisection; cut off; cauterize. Amputation.  Vivisection; cut off; cauterize. Amputation. Terrifying; blood red; a violent amputation. It's never­ending, no hope. I recommend amputation."  "Into the flame you descend, denying the truth 'til the end. Your body will soon be of ash; feeding the devil your flesh. Into the grave in the ditch; burning alive devil bitch. All of the pain that you feel. The Hammer of the Witch." "You survive believing you're alive: feeding the rest of the hive. Now betrayed, believing you are saved, living your from the grave. You, drone, it's not your own, cutting yourself to the bone. Swine, pig, you're all alone."  And so forth.

In the meat of the lyrics' fury and aggravation the defiance is retched out, backed by thundering drums and howling guitars, the tone pledging never to become complacent to unthinking norms. Some might be overwhelmed by the sinister words and rotting imagery, so ensconced in the notion that we're all going to be destroyed and decay, but if you can see the connection to something similar in tone like T.S. Eliot's The Wasteland there's allure here.

Even when slogging through the scourge and wraith-­filled skies of ether there is a form and persistent dread that is appealing to travel amongst if you have the palate for it, like a Clive Barker picnic with all kinds of covered dishes. And, lest the elegant appreciation be overstated, there's plenty of screaming to be had on Hammer of the Witch mixed in with all the possible interpretation. Growing up it would have been truly remarkable to go to school everyday and have the Human Furnace commanding the mouthpiece of the morning announcements.

The unspoiled hardcore element and bare ­knuckle vocals have evolved from the sound
developed on Ringworm's first demo back in 1991, with the factors from that point on
keeping to relatively the same order, the tendency of the band to adhere to the philosophy that they are about the cacophony of the noise and, indeed, it is great that they are, played so dynamically by newcomers and veterans alike. Matt Sorg on guitar brings the expected expertise and deft fingers to the strings, as does John Comprix, the two of them each putting out absolutely fantastic solos on the track "Hammer of the Witch" that deserve listening to over and over again. The praying, horned and very well-­drawn demoness on the album cover (and included excellent fold­out poster) would certainly approve. Danny Zink does a well ­rounded job on drums and Ed Stephens, the latest bassist, will hopefully be kept around for future releases.

To switch horses midstream and go back in time to the days of yore when the album
Scars came out you get a healthy dose of the expected gruffness Ringworm has to offer, in much the same way you encountered their enjoyably bedeviled tendencies in
preceding albums. And, with some understanding that there have been regular line­up changes in the band over the years, Scars sounds quite similar to Justice Replaced By Revenge and The Venomous Grand Design. And it's for that reason that these albums, while respectable on their own merits, occasionally feel like they could have all been put into one oversized release. They're outstripped by the expertise on Hammer of the Witch, particularly when it comes to the overall guitar work and production.

But there shouldn't be any misunderstanding on the craftsmanship of the three­--they're
quality albums. It's just that they are in some very noticeable ways extremely alike. The
speed demons in Dragonforce spring to mind as incredibly talented musicians that, much like Ringworm, put out a great deal of music that keeps in line with its usual ways, albeit in a decidedly different genre and velocity. Being compared to Dragonforce in any
capacity is, for the record, an honor not to be taken lightly by gods or humans alike.
Ringworm swears by its authenticity of staying true to its hardcore roots, and certainly
none can argue otherwise when flitting from one album to the next if faith to the raging
ways of screaming and shredding are the main factors in focus.

Picking out the distinctive tracks of the flock from the albums gives due credit to the flecks of steel in their outlines. "Hellbound" and "Angelfuck" (try whispering that term of endearment into your loved one's ear) rise to the pedestal from Scars, while "Alchemist"
and "Ninth Circle" bring the goodness on The Venomous Grand Design. The solos on those four tracks harvest the sweet, satisfying spell of wonder that only a gifted guitarist can deliver, and the appreciation only grows with repeated listens. At first Justice Replaced by Revenge didn't have as much of a sucker punch in store as the other grindhouses, but the tracks "House of Hell" and "Day of Truth," possessing some gritty shouting and fiery incantations, deserve serious respect with the way they ignite themselves. Additionally, "Whiskey Drunk" is a calm and mellow instrumental that shows the band can take five and chill out for a bit when it feels so inclined, much like some of the other earthy instrumentals on their other releases. Simply put there's something here for every fan of the hardcore ilk.

Ringworm is very aware of their achieved success in the industry as a musical act and not shy about trumpeting this status, with the albums leading up to and including Hammer of the Witch making it easy to understand why. Previous experiences with ringworm have left me feeling disenchanted and itchy, but capitalize that "r" and you'll end up going to a physician for a different reason. "I don't know what's wrong with me," you'll say to the doctor, "I just can't stop headbanging. And I love it." The prescription no doubt will be hardcore.

Hammer of the Witch:
Personnel: Danny Zink (drums), James "Human Furnace" Bulloch (vocals), Matt Sorg
(guitar), Ed Stephens (bass), John Comprix (guitar)
Tracks: Dawn of Decay, Bleed, Leave Your Skin at the Door, Exit LIfe, Psychic Vampire, King of Blood, I Recommend Amputation, Hammer of the Witch, We'll Always Have the End, One of Us is Going to Have to Die..., Vicious Circle of Life, Die Like a Pig, Height of Revelation.

Personnel: Matt Sorg (guitar), James "Human Furnace" Bulloch (vocals), John Comprix (vocals), Danny Zink (drums), Mike Lare (bass)
Tracks: Voluntary Human Extinction, To the Grave, Used Up Spit Out, Scars, Unravel,
Cleansing of the Fall, Burning Bridges, Angelfuck, Empty, Hellbound

The Venomous Grand Design:
Personnel: James "Human Furnace" Bulloch (vocals), Chris Dora (drums), Mike Lare
(bass), Matt Sorg (guitar)
Tracks: Things Are Not As They Seem, The Cage, The Ninth Circle, Suicidal Visions,
Alchemist, Razor's Line, Dichotomy, Never Was, I Preach to No One, Hangman, Life's
Blood, The Key, Hell on Earth.

Justice Replaced by Revenge:
Personnel: James "Human Furnace" Bulloch (vocals), Frankie "3Gun" Novinec (guitar), Matt Sorg (guitar), Danny Zink (drums), Steve Rauchorst (bass)
Tracks: Justice Replaced by Revenge, No One Dies Alone, Seeing Through These Eyes, House of Hell, Day of Truth, Whiskey Drunk, God Eat God, Ghosts of the Past, Thrive, Devil's Kiss, Death Is Not an Option, No More Heroes, Life After the End of the World.

Robert Gojo

Tuesday, September 9, 2014

Almeda Trio. Piano Trios by Ferguson, Piazzolla & Schoenfield

Almeda Trio.  Piano Trios by Ferguson, Piazzolla & Schoenfield.
Albany, 2012.   Almed Trio:

This one is a little late, having gotten lost in the shuffle.  It has already gotten press from Donald Rosenberg and John Soeder, but it’s a good and fitting end to 2012, the year this blog began.  The Almeda Trio is the Ensemble-in-residence at the Music Settlement in Cleveland, a fine and historically important organization.  Founded in 2008, the group plays both standard repertoire and recently composed works, including a few commissioned pieces.  For this album, they have chosen three new works that incorporate the intertwined styles of jazz and tango in their conception.

Paul Ferguson’s Solstice Suite is the one commissioned work here, and it’s a fine one.  Ferguson is a trombonist/arranger for the Cleveland Jazz Orchestra and Director of Jazz Studies at Case Western Reserve University (and takes care of Hiram College’s music ensembles, by the way).  Here he works in a trio format, using both tango (first movement) and jazz (second and third movements) that is mindful of both Piazzolla and contemporary chamber jazz (I hear some Copland in there too).  It’s an adventurous piece, well-suited to the group, and I especially enjoyed Cassidy’s driving rhythms.

The Piazzolla piece is a gorgeous Argentinian take on Vivaldi’s Four Seasons, that of course involves tango, as well as references to Vivaldi’s work.  Originally written as separate pieces, and scored for other instruments, it works very well in this arrangement for piano trio.  Tweed’s violin is highly expressive, and the group emphasizes the propulsive nature of the music and its origins in dance.

Cafe Music is by Michigander Paul Schoenfield, has a reputation for combining different styles of music, and here he bounces off of ragtime, early jazz (in a Jerome Kern sort of way), and klezmer music in this 1986 composition.  It’s intended to be a fun piece, and the group has a great time with it.  They show their virtuosity and eclecticism throughout.

This is a fine album of thematically-linked contemporary music that contains both the familiar and the new, with excellent performances from the trio.  Highly recommended.

Performers:  Robert Cassidy (piano), Cara Tweed (violin), Ida Mercer (cello).
Tracks:  Solstice Suite (Paul Ferguson), Cuatro Estaciones PorteƱas (Astor Piazzolla), Cafe Music (Paul Schoenfield).

Jeff Wanser

Sunday, September 7, 2014

Recent Additions to the Library's NEO Music Collection

Recent Additions to the Library’s NEO Music Collection

As usual, we keep adding more great stuff to the library’s collection.  Here is the latest batch of older Northeast Ohio music we’ve been able to include.  We think we can find more.

Cletus Black.  The Big Cover Up. (Nice covers of his favorites)
Lazyie Bone/Bizzie Bone.  Bone Brothers. (Some duo rap from 2005)
Jim Brickman.  My Romance.  (Giving you some more piano love)
15-60-75 (The Numbers Band).  The Inward City.  (Some great rock here)
Intra.  The Glory of the Imperfect.  (Neo-psychedelia from 2009)
Joe Walsh.  Rocky Mountain Way.  (A compilation of early tracks)

Alexander Fedoriouk/Kalman Magyar.  Crossing Paths: Ethno-Jazz from Eastern and Central Europe.  (Fedoriouk is the cimbalom player for the local group Harmonia)
Sammy DeLeon y su Orquesta.  ¡Con Salsa y Sabor!  (Great Latin jazz!)
Barbara Knight.  Night and Day.  (Singer is backed by the Cleveland Jazz Orchestra)


Monday, September 1, 2014

Joseph Arthur. Lou

Joseph Arthur.  Lou.
Vanguard, 2014.  Joseph Arthur:

Joseph Arthur has become quite a successful singer-songwriter, having put out ten (now eleven) studio albums and innumerable EPs since the late 1990s.  Born and raised in Akron, he left to find his musical fortune and got “discovered” by Peter Gabriel, who helped him get out his first album.  Lou Reed and Arthur somehow became friends early on, and clearly Reed was both a source of encouragement and inspiration in his career. In late 2013, after Reed’s death, a guy at Vanguard Records suggested that he put together this tribute.  He did.  Here it is.

How do you create a tribute to an artist who has been such a major force in music?  Replicate his songs?  What’s the point?  Get a big group of stars together?  Overblown.  Arthur chose neither of these routes, opting for a stripped-down acoustic solo effort, where he would interpret some of his favorite Reed songs in his own style but not stray too far from the source.  This was both a tasteful and smart choice.  He chose some songs from every phase of Reed’s career, from the early Velvet Underground days to later material.  Arthur has a feel for these songs, although he may not have lived them quite the way Reed himself did (wouldn’t wish that on anybody).  He’s not a great singer, but he is better than Reed, who sometimes buried beautiful melodies in a less than adequate voice (check “Satellite of Love” as one example).  Simple accompaniment, with either guitar or piano, works to great effect.  

How does anyone do “Walk on the Wild Side” or “Dirty Blvd.” or, dear lord, “Heroin” without doing a pale imitation?  Reed may not have been the best singer but he was a master of stark effect, and these were his songs, his life.  The results for Arthur vary a bit, although in all cases his interpretations work well.  He does a creditable job with “Walk on the Wild Side,” as good as anyone is likely to do.  “Heroin” is taken a little faster than I’d like (there’s that stark effect thing), but Arthur brings out the melody in a way that I didn’t hear in the Velvets version (but was present on Rock ‘n’ Roll Animal).  Arthur does a riveting job on the talking blues of “Dirty Blvd.,” one of Reed’s most cynical and damning of songs.  Other tunes that I found particularly well-presented include “Magic and Loss,” with a steely-strength power, and “Wild Child,” where he brings out the beautiful melody in the midst of heartbreaking lyrics.  All the songs are worth hearing in Arthur’s interpretations.

So, Joseph Arthur has created another winning album, this one out of the loss and mourning of his friend, and one that does them both credit.  Reed’s powerful songs interpreted by Arthur’s talents result in a fine tribute that is both imaginative and tasteful.

Personnel:  Joseph Arthur (vocals, guitar, piano).
Tracks:  Walk on the Wild Side, Sword of Damocles, Stephanie Says, Heroin, NYC Man, Satellite of Love, Dirty Blvd., Pale Blue Eyes, Magic and Loss, Men of Good Fortune, Wild Child, Coney Island Baby.

Jeff Wanser

Sunday, August 24, 2014

Jay Clayton. Harry Who?: A Tribute to Harry Warren.

Jay Clayton.  Harry Who?: A Tribute to Harry Warren.
Sunnyside, 2013.  Jay Clayton:

Jay Clayton is an important figure in the free jazz and avant-garde music worlds.  As a vocalist, she was a pioneer in the late 1960s, incorporating electronics into her music, working with such luminaries as Muhal Richard Abrams and Steve Reich, and even recorded music by John Cage.  She also started out life as Judith Colantone in Youngstown, Ohio.  Here, Clayton reigns in the avant-garde for the most part, singing relatively straight bop (with a few interesting touches) on the classic songs of Harry Warren.  Warren was a major composer and lyricist (also Italian American), who wrote more than 800 songs, including the music for Busby Berkeley’s 42nd Street and dozens of classic tunes such as “You Must Have Been a Beautiful Baby,” “That’s Amore,” and “Chattanooga Choo Choo.”  Clayton had a world to pick from, and she found ten she especially liked.

John Di Martino and Houston Person help her out here, and the absence of drums and bass lends itself to an intimate setting.  Di Martino is most prominent behind Clayton’s voice and undergirds the whole album, with Person coming in to punctuate Clayton, or for solos.  Person’s work on “I Wish I Knew” and “September in the Rain” is exquisite, and Di Martino also solos beautifully in several tunes.  However, the focus is largely on Clayton’s vocals, as they should be, and her voice is a remarkable instrument.  Her rich alto ranges low and high as the occasion demands, sometimes whispering, other times scatting.  

While every song on here is a winner, I have favorites.  If I had to pick three, they would be the last three on the album, tunes that are special to me from other contexts.  The way they’re performed here makes them even grander.  Others may choose as they like.  I hope Clayton does a followup on Warren’s tunes; she could fill a ten-disc set with great songs.  This album is a wonderful find, and I highly recommend it for anyone who enjoys jazz vocals.

Personnel:  Jay Clayton (vocals), John Di Martino (piano), Houston Person (tenor saxophone).
Tracks:  I Wish I Knew, This Heart of Mine, At Last, September in the Rain, Shadow Waltz, This is Always, You’re My Everything, You’ll Never Know, I Only Have Eyes for You, There Will Never Be Another You.

Jeff Wanser

Friday, August 22, 2014

Broccoli Samurai. You Had to Be There...

Broccoli Samurai. You Had To Be There…
Abydos Records, 2013.   Broccoli Samurai:

Broccoli Samurai is an electronica band from Cleveland, Ohio and formed in 2010. Their first and only album, entitled “You Had To Be There…” is a refreshing mix of electronic and jam that leaves the listener absorbed in each track. The song titles are fun and original as well as their music. There are great rhythmic beats that carry through each of the songs that one could easily get caught up in.

The music is very chill and easygoing with smooth beats. Being part of the electronica genre, there are no lyrics to the songs (except for the Backwards Logic [Remix]), but there is enough power in each track to set particular tones they’re aiming to reach. Overall the album is fun and catchy in its own unique way. There’s plenty of energy in the music that kept me interested and certainly not eager to turn it off. I listened to the album more than once and I liked it more every time I heard it.

On a personal note, my favorite tracks are Loch Ness Lobster, Tetrahedron, Backwards Logic, and Boogie Monster.  Honestly, I’d love to see these guys live. It would be an amazing experience. If this genre is something you enjoy, definitely look Broccoli Samurai up. They’re a great group that’s playful with their music, and I love it.

Personnel: Ryan Hodson (keyboards), Chris Walker (drums), John McCarron (guitar), Josh Sebo (bass).
Tracks: Loch Ness Lobster; Hello, Goodbye; Tetrahedron; Be Creative for Yourself; No Harm, No Fowl; Stairing up a Brick Wall; Backwards Logic; Head and Shoulders; Transmitter; Boogie Monster; Backwards Logic [Remix] (feat. Smoke Screen).

Bryn Wolanski

Monday, August 4, 2014

Adam Rich. Streetlight Smile.

Adam Rich.  Streetlight Smile.
Love Muffin Records, 2014.  Adam Rich:

Adam Rich has been immersed in the Cleveland music scene for some time, having kicked around in several bands including Oliver Buck & the New Madrids, the Flavor, and even his own, The Adam Rich Band.  Love Muffin is his very own record label, and that qualifies him as both an entrepreneurial and musical spirit in the region, or as he might say, “a freaking awesome sexy ball of love.”  We’ll just take his word for it and move on to his latest release.

For this album Rich has assembled a collection of original tunes recorded from between 2011-2014, as well as a remarkable group of assisting musicians including six vocalists.  Rich doesn’t sing himself here, so he remains the Mystery Man, mostly on guitar, expressing his inner Joe Satriani.  The songs themselves are an eclectic mix of strong rockers, instrumentals, and tunes featuring some humorous or topically local lyrics in the manner of Alex Bevan.  He opens with a quirky instrumental (to be honest, many of the songs are quirky) that begins with a simple melody, blossoming into a really nice rocking tune about halfway through.  The title track is one of his best tunes, with great hooks, impressive vocals from Jerry Principe, and a sweet guitar solo at the break.  The lyrics refer to many local bands, ranging from Carlos Jones to the Jack Fords--very Cleveland.  I’ve listened to this at least ten times, and never get tired of it.  “Labor Day” has a more laid-back, 70s feel to it, with some funny/sad lyrics about being alone.  “Wait till Next Year” is a sports anthem that nobody will ever play in the stadiums (but could get some time in the bars), since the lyrics are about the misfortunes of local teams.  “Government Bailout” is Rich’s punk/political song, now a bit outdated (but only a little), concerning the recession, and features another fine guitar solo.  

Things get weird towards the end of the album.  “Diet Nipples” is a fusion/acid-jazz experiment, with added sax and some curious effects.  It works nicely.  The last track, “Adam’s Head,” is simply bizarre.  Also leaning in a jazz direction, the lyrics, sung or spoken by Oliver Buck, are literally about Mr. Rich’s head, a series of put-downs that could have come from a Zappa album if they weren’t so personal.  It’s funny, but in a very strange way.  I neglected to mention the best instrumental here, “Muffin Shuffle,” a great guitar blowout that could have gone on for ten minutes, but runs only 3:27.  More of this, please, Adam.

In all, this is a fine album with a bunch of good tunes with a curious mix of humor and high octane.  By far my favorites are the title track and “Muffin Shuffle,” which ought to get considerable airplay if there’s any justice.   You can get the music through the Love Muffin Records website or CDBaby.

Personnel:  Adam Rich (guitars, bass, drums on “Diet Nipples”), Ernie Richmann (drums), Frank Ian (vocals on “Labor Day”), Dave Mann Wolf (backing vocals on “Labor Day”), Jerry Principe (vocals on “Streetlight Smile”), Drew Clair (vocals on “Wait till Next Year”), Mike Taff (vocals and guitar solo on “Government Bailout”), Smitty (drums on “Government Bailout”), Norm Tischler (sax on “Diet Nipples”), Oliver Buck (vocals on “Adam’s Head”), Joe Landes (guitar on “Adam’s Head”).
Tracks:  Magical Feet Pear Groove, Streetlight Smile, Labor Day, Muffin Shuffle, Wait till Next Year, Government Bailout, Diet Nipples, Adam’s Head.

The Grand Wazoo

Wednesday, July 30, 2014

Tom Tallitsch. Ride.

Tom Tallitsch.  Ride.
Posi-Tone Records, 2014.  Tom Tallitsch:

Tom Tallitsch isn’t part of the local music scene.  He lives in New Jersey, plays a lot in New York and Philadelphia.  He wasn’t even born in Northeast Ohio, so why are we reviewing his latest CD?  Because I discovered that he grew up in Westlake, took lessons from Ernie Krivda, and has lately been playing around town, so we are more than happy to take him on in Buzzard Tracks.  Tallitsch went on to the Cincinnati Conservatory of Music, works as a music educator at all levels, has a music tutoring business in Princeton, and his own radio show in Central NJ.  Lots of irons in the fire.  This is his fifth release as a leader, his second for Posi-Tone, and his first with this group of musicians.

Nine of the eleven tracks on the album are original compositions, the exceptions being “Life on Mars,” a Bowie tune, and “Ten Years Gone,” from Led Zeppelin.  Some rock songs translate well into jazz, others not so much.  I really like “Ten Years Gone,” with its piano opening, slow workup to a climax, and big band sound.  “Life on Mars,” on the other hand, sounds rather pop-like, the sort of thing more likely covered by a smooth jazz group, and although Tallitsch does a decent job with it, to me it never sounds comfortable.  Art Hirahara on piano has some nice work here, and makes the tune sound like “Layla” at the end.  

The title track opener is an absolutely delightful hard bop romp and a fine way to start the album.  Tallitsch fronts extensively here, which makes sense, to establish the tone of the program, although Hirahara gets some time, and Rudy Royston takes a drum solo.  The album could just as easily started off with “Rubbernecker,” although that’s probably not a good name for an album (unless you’re in country music).  Again, Tallitsch is strong on his tenor sax soloing, with a fine, rich sound (I can hear Joe Henderson here, as well as Krivda), and the rhythm section is very much in the foreground.  In “The Giving Tree” I can really hear the bass work of Peter Brendler coming through the mix along with the rest of the rhythm section, and the ensemble as a whole seems completely present and very tight in this uptempo track.  Michael Dease finally gets his chance to solo in “El Luchador,” (reference to a Mexican wrestler) a soulful extended number that, like nearly everything else on the album, has memorable melodies and excellent ensemble playing.  “Knuckle Dragger” takes us more into blues territory, with Dease and Tallitsch working beautifully together and trading solos.  Tallitsch plays low here, seeming to try to match Dease’s trombone, and it gets pretty intense.  

Tallitsch changes things up several times through the album with ballads or other slower tunes.  “Rain” is the first, and is a lovely tune, very soulfully played.  It’s gospel-like chords are combined with straight ahead balladry, and the melody sticks in the head.  “The Myth” takes the tempo a bit faster at times, and Tallitsch takes his tenor sax into the stratosphere occasionally in what I can only describe as a sound story.  There’s a lot of excellent work by Hirahara in this one, as well as the rest of the rhythm section.  The last track, “Turtle,” seems a mixed bag of tricks, but a successful one with solos by Dease and Tallisch dominating.

This is great music in the hard bop and straight ahead tradition, and it never flags in terms of its melodicism, quality of playing, ensemble togetherness, and variety.  A fine release from this quintet.

Personnel:  Tom Tallitsch (tenor sax), Michael Dease (trombone), Art Hirahara (piano), Peter Brendler (bass), Rudy Royston (drums).
Tracks:  Ride, Life on Mars, Rubbernecker, Rain, The Giving Tree, Ten Years Gone, El Luchador, The Myth, Knuckle Dragger, The Path, Turtle.