Here are three recent releases by the tiny P osi-Tone label, a company that must have an incredible piano and B3 in their studio, as almost all of their records feature someone behind the keys.
Hammond B3er Jared Gold is on the first two discs. His own Golden Child has him in the classic setting of guitar and drums with Dizzy Gillespie alumnus Ed Cherry, and Quincy Davis on drums. A slinky and sly take of “When It’s Sleepy Time Down South” and a pleasantly surprising and energetic take of “In A Sentimental Mood” shows that Gold has some style in his touch, and Cherry’s guitar work on tunes like “Pensa Em Mim” is as tasty as you’d want. The rest of the material lacks a bit of the grit and groove that one would hope for, with a bit of over fluffiness on “Witchita Lineman” a hesitancy on the title track, and a lack of direction on “I Can See Clearly Now.” A higher cholesterol diet or a shot of caffeine might help.
Tenor saxist Tom Tallitsch brings out the best in Gold, as well as Dave Allen/g and Mark Ferber/dr with his thick and thistle-ly tone. He can be lazy and laid back on “Tenderfoot” or bop with the best on “Double Shot.” As with most big toned tenors, he sounds best when he lets the engine run a bit, as on the mellow “Perry’s Place” and the ballad “Don’t Let It Bring You Down.” Nice filling meat and potatoes, with lots of gravy and butter is served here.
Pianist Spike Wilner heads a trio with Dezron Douglas/b and Joey Saylor with a graceful touch on this collection of covers and originals. He displays hot to trot chops on tunes like the runaway “Happy Ending” but is also capable of delicate sensitivity as on his ruminating read of “Crepescule With Nellie.” He takes some real oldies like the ragtime “Solace” and gives an extra Crescent City kick to it, while he re-harmonizes “Lullaby of the Leaves” and “Always” in creative fashion. Best of all is his creative take of Ellington’s more obscure “Le Sucrier Velours” which sounds both modern and classic. Nice little outing here.
Posi-Tone Records