Posi-Tone's Swingtet Celebrates the Label's Thirtieth Year with Style on "In Jazz We Trust"

Posi-Tone Swingtet In Jazz We Trust: Posi-Tone Records

For those who enjoy straight ahead jazz with no excuses, Posi Tone Records has always delivered in an uncompromising fashion since the inception of the label in 1995. On February 28, 2025, co-owners Producer Marc Free and Engineer Nick O'Toole, released their celebration of the label's thirty-year milestone with a fantastic album, Posi-Tone Swingtet's In God Jazz We that highlights their mission and celebrates the music with a star studded ten man band. The album  features many of the label's stalwart musicians including pianist Art Hirahara, trumpet/flugelhorn master Alex Sipiagin, trombonist/educator Michael Dease, tenor saxophonist Diego Rivera, alto saxophonist/flutist Patrick Cornelius, bass ace Boris Kozlov and the powerful drummer Rudy Royston.

The music, all but one of the selections composed by the musicians themselves, is a testament to just how symbiotic these musicians have developed as a group. It  reinforces just how in-tune Free and O'Toole are when they assemble and record a group like this, usually providing the right environment and encouragement to create and capture on tape a magical musical experience. 

In Jazz We Trust is no different. Few albums come out of the box with such unified, in synch excitement, proficiency and enthusiasm. The opener is titled "Invocation" and is composed by drummer Rudy Royston. Royston, one of the eras most sought after drummers, can often be seen on Pos-Tone projects. He also can be seen collaborating frequently with guitar ace Bill Frisell, saxophonist JD Allen and trumpeter Dave Douglas to name just a few. On we are treated to the brilliant rhythm section of Royston and bassist extraordinaire Boris Kozlov, who also anchors the Charles Mingus Big Band. Trumpet phenom Alex Sipiagin produces a soaring trumpet solo that shows grace and fluidity, and we hear pianist Art Hirahara adding inventive accompaniment.

The trombonist Steve Davis, a one time Posi-Tone artist, is the composer of "Free Time" and is provides some nice space for tenorist Diego Rivera to shine. Michael Dease's trombone work here is a joy- facile, fluid and creative- and we hear some beautiful interaction between Dease and Kozlov that is telepathic. 

One of my favorites is the quick paced swinger "Mal's Totem" written by Rivera. Kozlov and Royston push the rhythm beautifully, as Rivera's tenor is at his most creative here.

Kozlov's "Below the Line" finds the versatile Hirahara on Fender Rhodes lending an airy feel to this one.  The music has a moody feel to it and Dease navigates the terrain with measured style. Royston opens it up with some increased pace and syncopation and Kozlov's probing bass also adds to the mix before the tune returns to opening refrain.

Sipiagin's "Mirror" is a gorgeous ballad that features some killing trumpet work by Alex bringing new heights to the tune's pathos. Patrick Cornelius' alto cascades his lines with sensitivity to the theme.

Dease's  "Simmer," a tune that builds tension with Kozlov's repeating bass lines as it unfolds. Sipiagin's warm flugelhorn is another delight, as Kozlov's bass probes, percolates, and he raises the temperature to the higher ground. Dease's trombone work is just so bubbly, joyous, and inventive. Rivera and Cornelius trade lines in a smoking exchange of ideas. What really stands out is the horn sections and how tight and unified they sound. Bravo, just is pure beauty and Royston's drums just boil like a roiling cauldron. It doesn't get much better than this.

Art Hirahara's "Stepped Out" has a cosmopolitan feel. Cornelius offers a swinging alto solo as Kozlov and Royston carry the beat like a fine time piece. Hirahara plays some of his most uplifting piano here and Kozlov has plucky bass solo before the horns return to the opening lines.

The album continues with the staccato opening of Dease's "Don't Look Back Behind You" with Royston, Kozlov and Hirahara playing the lines in synch. The horn section repeats the liens in unison before Hirahira and the rhythm section take it off to the races. Dease adds a smoking trombone solo to this swinger, man can this guy play! You can't help but tap your feet and Royston's explosive drum work and solo here is incendiary as the horn section brings it to a definitive exclamation point.

Cornelius brings his tango-like "Le Rendez-vous Final" where he plays flute. The group create the dance-like feel with Kozlov's bass setting the pace with Royston's astute trap work. Hirahara's piano work is quite expressive with a European feel to it. 

The album closes with the swinger Misha Tsiganov's "Changing Times."  Its a treat to hear this section make such great music and you can feel the way each soloist adds his own touches to this romp. Rivera, Dease, Cornelius, Sipagin and Hirahara  all take their turns in succession and you can feel these guys are having fun. The set ends with some explosive drum work at the coda from Royston as the section adds there own exclamations. 

In Jazz We Trust is just pure delight, a true tribute to the label's thirtieth anniversary. I have not heard many release this year that swing as hard or deliver with such imbedded joy then this one. One can only hope Free and O'Toole can somehow manage to corral these guys once more time to create some more of this magic.

Taking the higher path "Upstream" by Alex Sipiagin

ALEX SIPIAGIN'S UPSTREAM:  Posi-Tone PR-219

The Russian trumpeter Alex Sipiagin releases a new album titled Upstream, on May 7th and this fine offering is propulsive, modernly melodic, and superbly played.

Sipiagin contributes five impressive compositions for this record and his bandmates add three others along with one gorgeous Wayne Shorter ballad for good measure. Posi-Tone producer Marc Free continues to reveal an uncanny talent to identify distinctive players and match them up with like-minded musicians to great success. On Upstream, Sipiagin is joined by pianist Art Hirahara, bassist Boris Kozlov and drummer Rudy Royston and together these guys can elevate your heart rate with excitement, dazzle your mind with their taste or pull at your heartstrings with poignancy.  

Trumpet legend Randy Brecker said "...there is a full spectrum of many moods and emotions on this great album..." "...one of his best many excellent albums."

This album is simply a joy, and if you're like me, it will be on auto replay on your both headphones and your iPhone.

Alex Sipiagin is one of those first-call trumpet players that if you do not recognize his name, you have certainly heard his work before. Since his arrival from his native Russia in 1991, Sipiagin’s distinctive, precise and melodic sensibilities have been heard in the orchestra’s trumpet sections for Gil Evans, Swiss Composer George Gruntz’s Concert Jazz Band, bassist Dave Holland’s Octet and Big Bands, Michael Brecker’s award-winning Quindectet and Conrad Herwig’s Latin Side Orchestras. Alex has been a member of the great Mingus Big Band since 1996, and I last saw him in that great band almost two years ago at the Jazz Standard.

Despite being often seen as a first-call orchestra trumpet section voice, Alex has worked extensively as a leader, with seventeen other releases since 1998. He is a founding member of the group Opus 5, which includes Seamus Blake (s), David Kikoski (p), Boris Kozlov (b) and Donald Edwards(dr).

The title Upstream refers to Alex’s desire to maintain “intensity and desire” in his artistic life. Consequently, he likes to go against the current and swim upstream of the fray. This album is Sipiagin’s artistic representation of that never-ending search. 

The opener “Call” is the artist’s expression of an overflow of emotions that sometimes just happens as if by a force of nature outside of your control. An explosion of expression as Sipiagin’s trumpet is like a clarion call that bubbles with emotive and powerful bursts. The group responds with equal energy and well-controlled sympathetic kineticism. 

The pianist Art Hirahara’s beautiful “Echo Canyon” allows the listener’s elevated pulse to take a breath for a moment. The music has a more pensive feel, with Sipiagin using the warmer sound of Flugelhorn to great effect, playing out front of his bandmate’s sensitive accompaniment. Hirahara’s piano solo is splendid and Sipiagin reaches some gorgeous high register notes that just soar. 

Alex’s “Sight” has a switchback, complex pattern that is brilliantly executed by this formidable rhythm section. Hirahara plays on what sounds like a Rhodes piano and offers an airy solo. Sipiagin’s trumpet is focused, precise, and always melodic. Sipiagin’s compositions musically inspire and are advanced both harmonically and melodically and yet executed with aplomb and taste. 

Another of the leader’s compositions is the scorching “SipaTham” which is an acronym of the first letters of Alex and his wife Mellissa Tham’s last names. There is a volcanic eruption of expression in these songs. Like “Sight”, “SipaTham” were both created when artistic creativity was being quarantined from all normal outside world activity by the pandemic. Sipiagin successfully used the time to compose and it shows how his energy was being redirected into this amazing music. His bandmates undoubtedly felt that being able to tap into this music’s energy would be cathartic for them when this was finally recorded, and it shows. Alex’s playing is on fire, and the group is on a mission. Hirahara and Kozlov are in beautiful sync and Rudy Royston’s drum work is particularly propulsive and takes you to a new level of involvement. This one is special.

Boris Kozlov is a top-notch bassist who I have had the privilege of seeing play in several different settings. Here Alex takes Boris’ composition “Magic Square” on a fusion take that features Hirahara’s searching Rhodes, Kozlov’s electric bass, and Sipiagin’s tart muted trumpet. Royston’s drum work is spectacular and erupts with a flurry of syncopation that overflows like an overheated cauldron.

Sipiagin’s “Rain” is a sensitive ballad that was inspired by waiting for a loved one to be released from a hospital while it was relentlessly raining. It is these moments, being unprepared and being subjected to live’s uncertainties, that can provide inspiration. Sipiagin’s trumpet is played beautifully on this and you can feel his release of angst, the sincerity in his expression of thanks, and the mastery of his command that allows him to gorgeously express those feelings.

“Shura” is another Kozlov composition that is played in 6/8 as requested by Alex and was written in humor and named for the trumpeter by his nickname. I can’t get enough of Alex’s facility and clear tone. Many people play the trumpet well, but few with such authority and joy. Royston’s drums fill up the song copiously, especially at the coda, and Kozlov and Hirahara accompany brilliantly.

Wayne Shorter’s “Miyako” is a gorgeous ballad and Sipiagin’s flugelhorn simply needs to be heard to be appreciated. Kozlov’s bass solo is fluid and eloquent. Royston’s cymbal and tom work are impressive. 

The title song “Upstream” returns to the energy level previously offered in the  Sipiagin compositions covered earlier n this album. According to the artist’s notes, some of the melodies in “Upstream” were inspired by a Russian folk song. The folk song was in turn inspired by a painting by Ilya Repin titled “Barge Haulers on the Volga,” which depicts exhausted workers depleted by the strenuous work and the heat of the sun. 

"Upstream" is a quick-moving song featuring Sipiagin’s declarative trumpet, Hirahara’s melodic Rhodes, Kozlov’s probing bass, and Royston’s roiling drum work. The heat rises-the energy level is driven into overdrive activity-lead by Sipiagin’s piercing high register work. Royston’s drum solo is like a whirlwind of percussion inventiveness and worth the price of admission.

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