Posi-Tone Swingtet: In Jazz We Trust

In the mid-'90s, when Posi-Tone released its first album, the recording industry landscape was completely different than it is today. Small independent labels were not the norm, every artist did not have their own imprint and Napster had yet to arrive to kick off the access revolution. It was, quite simply, a different world—one where label co-founder Marc Free was poised and able to transform a dream into reality by shining a light on established players deserving a closer look and bringing new and emerging artists to the fore. As time passed and technological innovations altered the culture and our relationships to music, Free and Nick O'Toole, his engineer and label co-head for the past 20-plus year, adapted while remaining steadfast in their mission. Living up to the "In Jazz We Trust" ethos, they made their mark time and again by supporting the music and its makers. And they're still here today, walking the walk.

With this celebratory date, Posi-Tone proudly acknowledges its 30th anniversary and showcases a potent septet comprised of label regulars. The four-horn frontline of alto saxophonist Patrick Cornelius, tenor saxophonist Diego Rivera, trumpeter Alex Sipiagin and trombonist Michael Dease joins the unofficial Posi-Tone house rhythm section—pianist Art Hirahara, bassist Boris Kozlov and drummer Rudy Royston—for a program wholly representative of roster and values. Six of the seven participants were along for the 25th-anniversary nonet edition of this band—a fact that speaks to real consistency and bidirectional loyalty—and every one of them makes a strong impression via performance and compositional contribution.

Royston's "Invocation" kicks things off with a call to spirits, brief centering space, hard-charging stands and serious intensity. Trombonist Steve Davis—not a part of this project, but notable for his work elsewhere on the label—receives a nod with his swaying, straight-eighth "Free Time." Rivera's "Mal's Totem"—a slice of medium swing magic—is beautifully bright and tight, with a memorable Hirahara solo in the mix. Kozlov's "Below The Line" glistens and offers breathing room in the upper atmosphere before taking a shambolic left turn and closing on solid footing. And Sipiagin's gliding "Mirror," appropriately enough, offers reflective truth(s).

Dease's "Simmer" gets its low-flame heat from Kozlov's ostinato setup and benefits greatly from Sipiagin's scintillating flugelhorn, the composer's fluid slide work and some reed repartee connecting Rivera and Cornelius. Hirahara's jaunty "Stepped Out" has a hip bounce in its swinging gait. A second offering from the band's resident trombonist—"Don't Look Behind You"—lets Royston loose to fill the gaps within its head. And Cornelius' "La Rendez-vous Final," with the altoist on flute and Rivera on clarinet, " offers sly, tango-esque tidings. Then it's all about high times for an upbeat swing exit on "Changing Trains," a tune from pianist Misha Tsiganov (who was a key participant in the label's Something Blue project).

Posi-Tone has always promoted the importance of the present moment—the artists within it and the music they create in the here-and-now—and this particular band and album give pause to admire those unyielding efforts. Here's to one label and vision, the two men behind it, and the long list of artists who've helped to shape it.

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