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Evoke<br />
Stan Killian (Sunnyside)<br />
by Terrell Holmes<br />
Stan Killian couldn’t have chosen a more appropriate<br />
title for his second release as a leader. This fine tenor<br />
player draws inspiration from his adopted home of<br />
New York, reflecting impressions of a place that can be<br />
a cauldron, oasis, madhouse and sanctuary all at once.<br />
Killian starts up by going down low with the cool<br />
sophistication of the subway-inspired “Subterranean<br />
Melody”. Feathery and spirited tenor sets the pace for<br />
Benito Gonzalez’ fiery piano and Mike Moreno’s crisp<br />
guitar lines, as bassist Corcoran Holt and drummer<br />
McClenty Hunter pulse and thrash beneath the<br />
ostinato. The excellent “Echolalic” gives some insight<br />
into Killian’s writing style; this song features his<br />
trademark shifting time signatures, which happen<br />
several times. The band meets the challenge and stays<br />
in tempo throughout with no missteps. “Kirby” has an<br />
infectious height-of-rush-hour charm and is<br />
highlighted by great solos by Killian, Moreno and<br />
Hunter. “Beekman33” and “Observation” are energetic<br />
struts while “Hindu” is a light-stepping delight with a<br />
Latin pedigree. With all of the fast-paced playing on<br />
this album, the poignant title ballad provides a respite,<br />
a pocket of calm amidst the urban frenzy.<br />
Wayne Horvitz<br />
the royal room<br />
collective<br />
music ensemble<br />
May 21st - 26th<br />
THE STONE<br />
avenue C and 2nd street<br />
www.thestonenyc.com<br />
www.waynehorvitz.net<br />
www.theroyalroomseattle.com<br />
Killian is a joy to listen to, a wonderful player<br />
with a singular sound and texture. His tone is mostly<br />
smooth and even-tempered but he can blow with a<br />
streetwise grittiness or soar to the heavens. Killian’s<br />
familiarity with the members of his working band<br />
allows him to compose within their collective and<br />
individual strengths; the band, in turn, knows precisely<br />
what Killian wants and the simpatico results in topnotch<br />
music, which is what makes Evoke such a<br />
rewarding listening experience.<br />
For more information, visit sunnysiderecords.com. This<br />
group is at 55Bar May 14th. See Calendar.<br />
Banned in London<br />
Aruán Ortiz/<br />
Michael Janisch Quintet<br />
(Whirlwind)<br />
by Ken Waxman<br />
Textures and Pulsations<br />
Bob Gluck/<br />
Aruán Ortiz<br />
(Ictus)<br />
Equally dexterous as part of a high-energy combo as<br />
in a cerebral keyboard showcase, these fine CDs<br />
highlight different facets of pianist Aruán Ortiz.<br />
Banned in London is a vigorous quintet date of two<br />
standards, two Ortiz originals and one by co-leader/<br />
bassist Michael Janisch, a London-based American.<br />
The band is filled out by trumpeter Raynald Colom,<br />
veteran alto saxophonist Greg Osby and drummer<br />
Rudy Royston. This live date is unabashedly<br />
straightahead but Janisch still has the courage to begin<br />
the CD’s first track “Precisely Now” with a more-thantwo-minute<br />
bass solo. Ortiz’ originals showcase<br />
different motifs: slithery and sneaky on “The Maestro”<br />
and metronomic and percussive on “Orbiting”. The<br />
first has brassy squeezes from the trumpet on top,<br />
corkscrew sax vibrations in the middle and a bottom<br />
dedicated to Royston’s hard rim shots and blunt<br />
cymbal slaps. A contrapuntal invention, “Orbiting”<br />
moves from mid-range coloration to a protracted final<br />
section where the pianist and drummer trade fours.<br />
The quintet’s version of “Ask Me Now” is<br />
disappointing, lacking the lean power of Monk’s<br />
original but they make up for it with a vibrant take on<br />
“Jitterbug Waltz”. A showcase for Osby, his whorls and<br />
snaky multiphonics create a wholly original variant.<br />
Textures and Pulsations finds Ortiz playing piano<br />
and computer alongside Bob Gluck’s piano and Moog<br />
synthesizer on eight instant compositions. Gluck and<br />
Ortiz appear more comfortable balancing the acoustic<br />
and electronic by the second half of the recital. Before<br />
that, the outstanding track is “Red”, where interplay<br />
between Ortiz’ staccato keyboard melodies and<br />
vibraharp-like pops from Gluck’s synthesizer sound<br />
like Sun Ra and Walt Dickerson. From then on the<br />
cohesion keeps improving, with some tracks more<br />
electronic and some more acoustic. “Interludio”<br />
highlights an array of references in turn; with pulses<br />
that could come from a rock guitar at the top, the two<br />
keyboardists next get into a tremolo duet with the<br />
power and interactivity of a boogie-woogie piano<br />
team. In contrast, aviary-like processed yelps and<br />
whistles get equal time with the pianos on “Green”.<br />
Ortiz’ keyboard command is aptly demonstrated<br />
here. With such fine playing, he may soon be the<br />
subject of his composition “The Maestro”.<br />
For more information, visit whirlwindrecordings.com and<br />
ictusrecords.com. Ortiz is at Metropolitan Room May 11th<br />
and The Jazz Gallery May 16th. See Calendar.<br />
THE NEW YORK CITY JAZZ RECORD | May 2013 19
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