zachjazzdrums

After the Jam V. 2, 2020

https://theharlemsessions.bandcamp.com/album/the-harlem-sessions-presents-after-the-jam-rent-party-volume-2

Realization, 2020

Available on iTunes, Spotify, Amazon

One-Track mind, 2019

Available on iTunes, Spotify, Amazon, and Google Play.

AllAboutJazz.com review: Dan Bilawsky

On this, Allison's leader debut. the rising-star pianist showcases his own compositional and interpretive talents while paying tribute to some of his key influences—members of the Memphis Mafia, like Donald Brown, Mulgrew Miller, James Williams and Harold Mabern. Working with a trio featuring bassist Boris Kozlov and drummer Zach Adleman, this University of Tennessee alum delivers a wholly accessible program that consistently impresses and artfully ties him to some towering figures from within his alma mater's state.

Opening with the original title track, Allison immediately gets to the heart of the matter. A paean to the Good Shepherd and to the glories of those who've contributed to his upbringing and development, it's a compelling composition bookended by soulful reflection and centered with exuberant swing. The first and broadest tribute on the record, it serves as a perfect launch pad. The leader's "Until I See You Again," a tale of longing penned after he first met and was then geographically separated from the woman who would become his fiancé, glides as it pines.

https://www.allaboutjazz.com/member-hrayr-attarian

HRAYR ATTARIAN

AllAboutJazz.com review 

The Glassman-penned title piece opens with dramatic refrains which he leads with his buttery growl. Sencalar mirrors Glassman during his turn in the spotlight, with clever spontaneous phrases. A return to the head ushers in another MSU grad, drummer Zach Adleman's thunderous, unaccompanied polyrhythms. 

Any album whose co-leaders play trombone is bound to draw comparisons with J.J. Johnson and Kai Winding's classic works. Although that may be a rightful analogy Sencalar and Glassman are not trying to copy past legends, they are forging their own path. Having said that, they do include Johnson's "Shortcake" in their repertoire. The two frontmen follow one another in intelligent, fluid improvisations which, as an homage, remains close to the main theme. Veteran bassist Rodney Whitaker takes an agile and intriguing solo with crisp, reverberating tones before a return to the head. 

JEFF TAMARKIN

Jazztimes review

That the five emerging artists who constitute the Becoming Quintet found a common vision speaks to their determination and unified spirit. Each band member contributes original material to the 11-track album, and there are covers of tunes by trombonist (and fellow Posi-Tone artist) Steve Davis and Dease. Professor Dease—as his mentees call him, never Michael—saw in them “a hunger for playing, a balance of open-mindedness and resilience in the tradition. In times like today when it’s the trend to prioritize innovation before investigation, this crew embraces their roots and brings their multiculturalism forward in their songs,” he says. “It’s a take on modern jazz that keeps the dance in the music, and I dig that about them.

“It’s a huge melting pot of music,” Howell adds. “We blend well together. We tried some different spices and out came a nice soup. It’s five young cats trying to express themselves in the most honest way we can and I think it works well. With some bands it doesn’t; it can backfire. Eric is really influenced by Wynton Marsalis and the Jazz at Lincoln Center sound, Kenny Garrett and the ’90s young-lion sound. Zach is also influenced by Kenny Garrett and Christian McBride and Liany is a diehard Paul Chambers fan. Luther is influenced by gospel and R&B; one of his teachers is Donald Brown, who he really looks up to. My core saxophonists are Charlie Parker, Cannonball Adderley, and Johnny Hodges and I’m deeply rooted in church and African-American spirituals, R&B music.”

Dease can’t say enough about the Becoming Quintet. “They take their musical environment, mentors, choices, and long-term goals seriously,” he says. “They have the talent, oodles of it, but that’s the easy part. They’ve memorized complex charts, made long rehearsals, and are just easy to make music with. I’ve brought them with me to recording sessions and Smalls in New York City, and most recently to a festival in Mexico. They care about teaching too, which is important. They want to give back through the music, not just be takers.”