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Richly Tuneful Tenor Saxophonist Tom Tallitsch Puts Out Another Great Album, With a 55 Bar Show

To steal a phrase from his fellow tenor saxophonist JD Allen, Tom Tallitsch plays jukebox jazz: hard-hitting, toe-tapping music enhanced by a shot and a beer. Esteemed by his peers in the New York jazz scene, it’s a crime he’s not better known. In a sense, he’s a throwback to guys like the Adderleys, but with more focus. His latest album is All Together Now, leading a sizzling sextet with Mike DiRubbo on alto, Michael Dease on trombone, B3 monster Brian Charette taking a rare turn on piano, with the hardworking rhythm section of Peter Brendler on bass and Mark Ferber on drums. Tallitsch’s next gig is at 10 PM on July 8 at 55 Bar with a similarly good sextet.

His compositions are full of hooks, and unexpected interludes, and ideas, and trajectories and narratives. The album opens with a characteristically catchy, bustling number, Passages, a harried latin theme with purposefully percolating solos from Dease and the bandleader himself. Hearing Charette, a brilliantly unorthodox organist, on his original instrument, the piano, is a trip, and he acquits himself well as a salsa jazz guy. Who knew!

You might not think that the Band’s The Night They Drove Old Dixie Down would translate to jazz, and apparently Tallitsch doesn’t think so either – this version finds the band reinventing it as brightly festive, summer-night southern soul. And it beats the hell out of the original. Then the band switches back to a wickedly good, original Jimmy Smith/latin jazz mashup with Slippery Rock, Charette’s offcenter chords – is that a DX7, or has he found a way to get that weird, echoey sound out of a Rhodes? – anchored by Tallitsch’s sailing lines, holding it together from way up high.

The aptly titled Big Sky opens with a pastoral theme but shifts in a second into shuffling wee-hours, distantly latin-flavored ambience, Ferber’s deliciously flurrying drums with Tallitsch and DiRubbo maxing out the red-neon flavor. The most epic track here, Border Crossing is classic Tallitsch, an almost viciously swinging, vampy number, the composer’s own lively opening solo contrasting with Charette’s tightly wound, scampering attack, Ferber driving the big, concluding horn chart home with an unexpected ending.

Curmudgeon is a subtly funny shout-out to Dave Brubeck, everybody in the band playing their cards close to the vest. The second cover here is a casually swinging, goodnatured take of Frank Zappa’s Uncle Remus, a launching pad for a long, warmly crescendoing Tallitsch solo. Medicine Man brings back the Brubeck edge and catchiness, with a tightly unwinding horn chart, DiRubbo working in reverse, taking it down gently from Tallitsch’s after-the-grenade smokiness.

Greasy Over Easy is a slow, genial minor swing number, Tallitsch adding a counterintuitive edge by bouncing around rather than going for gravitas, Dease doing the same thing. Dunes, a shapeshifting, vividly uneasy jazz waltz follows; the album winds up with the slowly swaying, boisterously and then very subtly gospel-infused Arches. This isn’t a collection of knock-you-off-your-stool moments – it’s more like keep-you-at-the-bar moments. You don’t want to get up and leave because the band is so good. The album hasn’t hit the usual streaming spots yet, but you can get a good idea of where Tallitsch is coming from, with lots of audio at Posi-Tone Records and their soundcloud page, as well as Tallitsch’s own page.

Tom Tallitsch Brings His Signature Edgy, Catchy Postbop Tunes to the West Village

Tenor saxophonist Tom Tallitsch has been on a roll lately. He’s been writing some of the most memorable tunes in jazz over the last couple of years. His latest album, Ride, is streaming at Spotify; tomorrow night, Feb 20 he’s at the Garage (99 7th Ave. South, 1 to Christopher St/Sheridan Square). for happy hour starting at 6 PM, leading a quartet with Jordan Piper on piano, Ariel De La Portilla on bass and Paul Wells on drums. Then next month, on March 27 at 8 PM Tallitsch leads a monstrously good sextet including Mike DiRubbo, David Gibson, Brian Charette, Peter Brendler and Mark Ferber at Victor Baker Guitars, 38-01 23rd Ave, Astoria (N/Q to Ditmars) for a live youtube broadcast.

The band on the album is just as good. Art Hirahara is one of the most instantly recognizable pianists in jazz right now, drawing on styles as diverse as the neoromantics, Asian folk and funk. Bassist Peter Brendler continues to build a resume of some of the best recording dates and groups in New York in recent years. Trombonist Michael Dease is another in-demand guy, with nuance to match raw power; drummer Rudy Royston has finally been getting long-deserved critical props, and pushes this date along with characteristic wit and thrill-ride intensity.

The album’s title track kicks it off, a brisk, edgy Frank Foster-esque shuffle with some tumbling around from the rhythm section, an expansively uneasy Tallitsch solo echoed by Hirahara followed by a machinegunning Royston Rumble. Rubbernecker, a caffeinated highway theme with subtle tempo shifts, moves up to a spiral staircase sprint from Hirahara. Rain, a plaintive pastoral jazz waltz, is anchored by Hirahara’s sober gospel chords and Royston’s stern cymbals. The Giving Tree, another brisk shuffle, works a vampy, nebulously funk-influenced tune – a lot of 70s and 80s fusion bands were shooting for something like this but couldn’t stay within themselves enough to pull it off. The Myth, a rippling, lickety-split piano-fueled shuffle, is sort of a more uneasy, modal take on a similar theme.

El Luchador, a wry, tongue-in-cheek Mexican cha-cha, gets some surprisingly pensive rapidfiring sax that Dease follows with a hair-trigger response once he’s finally given the chance.  Dease fuels the droll Knuckle Dragger with an infusion of wide-eyed cat-ate-the-canary blues. The somewhat ironically titled The Path is the album’s most challenging, labyrinthine track, but Royston keeps it on the rails. The album winds up with Turtle and its kinetically romping mashup of latin-inflected drive and moody modalities.

There are also two stunningly successful rock instrumentals here. The band does Life On Mars as straight-up, no-BS art-rock anthem – Tallitsch’s wistful timbre nails the bittersweetness of the Bowie original. Led Zep’s Ten Years Gone rises with majestic twin horn harmonies from Tallitsch and Dease – while the rhythm is totally straight-up, it’s closer to jazz than the Bowie cover.

Tallitsch is also a radio host. His WWFM show has a focus much the same as this blog, featuring lots of under-the-radar NYC talent.