(Contemporary Jazz, Post-Bop) Stan Killian (feat. Roy Hargrove, Jeremy Pelt, David Binney) - Unified - 2011, WEB, FLAC (tracks), lossless

Stan Killian makes an impressive debut as a leader with Unified, featuring the tenor saxophonist with pianist Benito Gonzalez, a rotating cast of bassists (Corcoran Holt or Bryan Copeland), and drummers (Darrell Green or McClenty Hunter), along with a few guests (trumpeters Roy Hargrove and Jeremy Pelt plus alto saxophonist David Binney). The leader, a big-toned player with a versatile sound, wrote six of the CD's seven songs, all of which stand up to repeated hearings. "Twin Dark Mirrors" throws a bit of a curve, with Killian's Coltrane-like sax and Hargrove's soft-spoken trumpet trading licks over Gonzalez's glistening piano in the introduction, then the piece shifts into an upbeat, strolling post-bop mood; it's not surprising to learn that it is Killian's salute to Miles Davis' recordings with Coltrane, Charlie Parker, and Wayne Shorter. Pelt joins Killian for a lively workout in "Center," which is built upon a solid, catchy rhythm. Binney is added for Gonzalez's spry "Elvin's Sight," a boisterous, midtempo cooker with an infectious Latin undercurrent. Both saxophonists shine with their contrasting solos, with Killian being more reserved than the adventurous Binney, while the composer's turn in the spotlight is solid hard bop. The blend of the two saxophonists creates a lush mood in Killian's quiet ballad "Unified." The various combinations of bassists and drummers provide a solid foundation for the soloists throughout the sessions. Recommended. ~ Ken Dryden

Stan Killian, the Houston-born, New York-based saxophonist offers a stunning new CD with Unified, his new studio album from Sunnyside Records. On this album, Killian and his quartet are joined by special guests Roy Hargrove, Jeremy Pelt, and David Binney, all of whom add a brooding yet dynamic quality to the music. The songs on this album vividly depict the stylistic range of Killian’s playing, providing a broad swath of styles ranging from pensive and lyrical to grinding and percussive.
The album opens with “Twin Dark Mirrors,” one of Killian’s deeply compelling original compositions. The song begins with a somber, almost spiritual introduction, then breaks swiftly into a bright, straight-ahead melody featuring Roy Hargrove on trumpet. Killian’s solo on “Twin Dark Mirrors” demonstrates the young sax player’s intelligent compositional mind. His playing creates a perfect blend of styles that recall the full-bodied tone of Coleman Hawkins and the intimate riffs of Ben Webster. On “Elvin’s Sight,” Killian’s rhythm section lays down a funky, post-bop groove over which Killian’s calm and meditative melody floats like a thick cloud of smoke. “Unified,” the albums title track, evokes laid-back and relaxed feel that hums with coolness and finesse. The song is made even cooler with the addition of David Binney’s enchanting alto-sax lines. “Center,” a pulsing original song featuring Jeremy Pelt on trumpet, highlights the brilliant minimalism of Killian’s rhythm section. Drummer Mac Hunter provides a beautiful canvas on which bassist Corcoran Holt and pianist Benito Gonzalez are free to project their sparse yet vibrant coloration. “Isosceles” is a dizzying whirlwind of a tune, one whose unburdened harmonies allow Killian to showcase his stunning improvisational chops. “Window of Time” features a graceful, winding saxophone melody alongside a hip and compelling bass-line. The album winds down with “Eternal Return,” an intense and forceful tune comprising a sparse rhythmic groove and punchy melodic lines.
Killian offers a subtle and nuanced performance on Unified. The combination of his pensive improvisations and warm, resonant tone is the perfect match for the inviting melodies of his original tunes. His playing is smart but unpretentious, logical yet unrestrained. That kind of balance is hard to achieve in jazz, and we’ll be lucky if he can keep it up for his next album. ~ Brian Zimmerman

Stan Killian's Unified is an attractive album right from the first listen. Actually, even before that first listen. Checking out the names of horn players playing alongside Killian listed on the back cover of the CD case, I saw there was already a recipe for success: Dave Binney (alto sax), Jeremy Pelt (trumpet) and Roy Hargrove (trumpet). But upon taking in this album, it became appealing for another reason, a reason I couldn't nail down until I read these words my Killian himself: ..."instead of being concerned with composing intellectually difficult music for my band for the sake of being hip, I sought simply to write the most beautiful melodies I could imagine." That's right, it's the melodies, stupid!
The songs, nearly all clocking in at the 6-8 minute range, seem to move along much quicker than that. This is what good and snappy melodies will do for the listening experience. Each of the seven songs has its own distinct character, flowing along a common thread of soulfulness and intelligent progression. It's there on the cool strut of “Twin Dark Mirrors," which begins with a spiritual intro akin to “A Love Supreme." Even “Eternal Return," which is the first song Killian has composed, is a fully formed tune faithful to the hard bop 60s golden era. I also dig the catlike moves of “Center," (see video of live performance below) where bassist Corcoran Holt's lines keep the song light on its feet.
Killian also stated another goal for this record: “I wanted to unite my seemingly disparate influences into a program of what my idea of modern jazz is: the feel of deep swing with combined melodic voices, informed by the various jazz languages." That unity of styles become most evident on songs like “Elvin's Sight," the only non-Killian song (composed by his Venezuelan pianist, Benito Gonzalez), where Elvin Jones' patented Latin polyrhythm as reproduced by Darrell Green swings like mad and even as both Killian and Binney are improvising simultaneously, the song never comes close to losing it; that's unity. Binney joins Killian again on the title track, a beautiful tone poem that recalls Wayne Shorter's softer harmonies during his classic Blue Note days.
Don't be misled by the pretty harmonics, though; there's fine playing done on this record. Texas-born Killian takes Sonny Rollins' fluid approach, bulks it up and adds just a touch of that Texas tenor twang to it. He mixed and matched his personnel judiciously on this record, and paired himself up with only one of the three star horn players at a time. The hurried pace of the bop burner “Isosceles" offers the opportunity for Killian to show off his big chops, and going up against a major figure like Hargrove, he proves that he belongs in that kind of company. Binney did great in sparring with Killian on the aforementioned “Elvin's Sight," but also puts forth a blazing solo in the middle of “Window Of Time." Pelt, who I see as the next Roy Hargrove, brings more sting to his trumpet than Hargrove, and blows a sharp, sassy solo on “Eternal Return" that backs up my assertion. McClenty Hunter, an up and coming drummer we introduced on this site just a week ago, adds much swing and pop to that ending number.
As Killian's third album, but the first on about eight or nine years, Unified presents him as a fully formed talent who has every right to be performing with the likes of Hargrove, Binney and Pelt. But his flair for compositions that sound good on their own makes this an uncommonly strong record from both aspects: performance and melody. Stan Killian had a plan for this record and he executed it to perfection. ~ S. Victor Aaron