Vibraphonist Behn Gillece Brings Catchy, Straight-Up Swing to Smalls

Vibraphonist Behn Gillece has been a fixture on the New York jazz scene for the past decade, notably in his project with one of this era’s great tenor sax player/composers, Ken Fowser. Gillece also has a cooker of a new album, Walk Of Fire due out mid-month from Posi-Tone Records and a show coming up on August 5 at 10:30 PM at his Manhattan home base, Smalls. Cover is the usual $20.

This is the most straight-ahead, unselfconsciously infectious stuff that the prolific, often ambitiously eclectic Gillece has come up with since his days with Fowser. The title track, a terse, brisk swing shuffle, opens the album. Listen closely to pianist Adam Birnbaum’s judicious, rhythmic chord clusters and you may get the impression that the song was originally written for Rhodes. Or maybe that’s just what vibraphonists come up with. Trombonist Michael Dease contributes a leapfrogging solo, and then the high-powered frontline – also comprising trumpeter Bruce Harris and tenor player Walt Weiskopf – are out.

Fantasia Brasileira, true to its title, is an easygoing bossa that Dease takes to New Orleans before Gillece ripples gracefully through the horn section’s big raindrop splashes.. Moodily resonant horns rise over bassist Clovis Nicolas and drummer Jason Tiemann’s blithe, latin-tinged, fingersnapping stroll in Bag’s Mood, Harris taking a low-key turn in the spotlight before the bandleader raises the ante.

Likewise, Dauntless Journey follows a balmy, allusively chromatic tangent out of Gillece’s resonant intro, maintained by Weiskopf, with brief elevation from Dease before the vibraphone subtly alters the groove. Battering Ram gives Weiskopf a launching pad for Weiskopf’s Coltrane-channeling, Dease’s contrasting gruffness and Birnbaum’s precise, rippling attack over quick, punchy, syncopation,

Gillece and Birnbaum blend subtly intertwining lines and then shift into separate lanes in the moody Reflective Current, a quartet number. Something New follows a similarly pensive, waltzing tempo: the point where the vamping grey-sky horns drop out completely makes a tasty jolt to the ears.  Specter, a catchy, vamping clave number, features Gillece’s most expansive but purposeful solo in this set and a welcome, tantalizingly brief confrontation between vibes and piano.

Break Tune has a subtle juxtaposition of steady, emphatic swing and allusive melody, echoed by Weiskopf before Gillece goes vamping and Harris spirals triumphantly. Artful metric shifts and Gillece’s rippling staccato raise the vamps of the concluding tune, Celestial Tidings above the level of generic. Marc Free’s production is characteristically crisp: the lows on System Two’s concert grand piano cut through as much as every flick of the cymbals.

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Another Tasty, Catchy, Swinging Vibraphone Album from Behn Gillece

Continuing yesterday’s theme about top-drawer jazz artists playing some unlikely spaces here in town, today’s is vibraphonist Behn Gillece, who’s doing a live rehearsal of sorts, leading a quartet at the Fat Cat on Jan 2 at 9 PM. You can be there to witness it for the three bucks that it takes to get into the pool hall – if you don’t mind the random polyrhythms of sticks hitting balls and some other background noise, you’d be surprised how many quality acts pass through here when they’re not headlining a place like Smalls, which is Gillece’s regular spot when he’s in town.

His 2010 Little Echo album with frequent collaborator Ken Fowser on tenor sax is one of the most tuneful, enjoyable postbop releases of recent years. Gillece’s previous album Mindset was considerably more ambitious, and on the knotty side; his latest one, Dare to Be – streaming at Posi-Tone Records – is a welcome return to form.

The album’s opening track, Camera Eyes begins as a sparkly ballad, shades of early 70s Milt Jackson until the rhythm section – Ugonna Okegwo on bass and Jason Tiemann on drums – kicks in and then they’re off on a brightly shuffling, distantly Brazilian-tinged tangent. Gilllece’s shimmering lines cascade over a similarly brisk shuffle groove in From Your Perspective, Bruce Harris’ trumpet taking a more spacious approach.

Tiemann’s snowstorm cymbals push the 6/8 ballad Amethyst along, gently, Radley channeling some deep blues, Gillece just as judicious and purposeful. The group picks up the pace but keeps the singalong quality going with the lickety-split swing of Signals, Radley and Gillece adding percolating solos: the subtle variations Gillece makes to the head are especially tasty. His intricate intro to Drought’s End hardly gives away how straight-ahead and understatedly triumphant Harris’ trumpet and Radley’s guitar will be as it hits a peak.

The first of the two covers here. Bobby Hutcherson’s Same Shame is done as a crescendoing, enigmatically scrambling quasi-bossa, echoed in the goodnaturedly pulsing, tropical grooves of Gillece’s. Live It. The album’s anthemic title track grooves along on a brisk clave beat: it’s the closest thing to the lush life glimmer of Little Echo here.

The last of Gillece’s originals, Trapezoid is a rapidfire shuffle: Tiemann’s counterintuitively accented drive underneath the bandleader’s precise ripples and Radley’s steady chords is as fun as it is subtle. The album winds up with a gently resonant take of Johnny Mandel’s ballad A Time For Love, looking back to both the Milt Jackson and Buddy Montgomery versions. Fans of engaging, ringing, tuneful music in general, as well as the jazz vibraphone pantheon spanning from those guys, to Hutcherson, to Gary Burton have a lot to enjoy here. If Gillece wasn’t already on this map, this has put him there to stay.