Ken Fowser and Behn Gillece Chase Two in a Row
Saxophonist Ken Fowser and vibraphonist Behn Gillece’s previous album Little Echo was one of the best of 2010; how does their new one Duotone measure up? Where Little Echo was all gorgeous, often lurid Mad Men era ambience, this one’s got a more stripped-down, late night juke-joint flavor. The teamwork between the co-bandleaders is familiar yet fresh: it isn’t always this way, but often it’s Gillece introducing an element of menace or suspense, playing bad cop to Fowser’s warmly tuneful, blues-tinged lines. Likewise, the tunes – most of them supplied by Gillece – have a comfortably familiar swing and the kind of knowing ability to pick a spot and hit a high note that comes from hosting innumerable late-night jams, as these guys have both done.
The opening track, Overcooked, a briskly shuffling two-chord vamp with latin allusions, sets the mood. Gillece’s fast, sostenuto lines have a literally hypnotic effect, pianist Donald Vega bringing it up with a rippling intensity. Spontaneity begins dramatically: they rubato it and swell on a single chord, then the hook comes in and drummer Willie Jones III has them off swinging, Fowser soulful and sailing over Gillece’s insistence.
The chromatically-fueled Attachment features a neat handoff from Fowser to Gilllece, who does the same to Vega, whose climactic intensity is characteristic of everything he does here. Likewise, Back to Back swings slowly and then goes up the ladder again. Then they flip the script with Come Around Again, a somewhat skeletal, cozy ballad, just vibes/sax evoking the ambience of Little Echo.
In the Twilight takes the idea of the opening track to the next level, Vega punching in incisively and memorably, Fowser maintaining a sense of cool. The best track here, Low Ball, evokes a slightly more ornate, Johnny Mandel-esque California noir swing. Bongo, by Fowser, is a casually cheery bossa tune lit up by Gillece’s bright neon malletwork. The album wraps up with the thoughtfully swaying, crescendoing, catchily early 70s bluesy Offset and then One for G, another Fowser tune to end it on a genially swinging note. As melodic jazz goes, Fowser and Gillece are really onto something. It’s out now on Posi-Tone.