Travis Sullivan Quartet
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Travis Sullivan Quartet

New York City, New York, United States | INDIE

New York City, New York, United States | INDIE
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"Travis Sullivan's New Directions Kicks Off the Summer Properly"

The trouble with a lot of jazz albums is that a lot of bands can’t translate their interplay from the stage or even the rehearsal room to the studio. As a result, they sound stiff – or as if everybody was just trying to lay down their parts and get the hell out. Alto saxophonist and Bjorkestra bandleader Travis Sullivan’s New Directions, on the other hand, sounds like a live show, except with studio-quality acoustics. It’s a great summertime album, brightly tuneful, full of good spirits and inspired playing from pianist Mike Eckroth, bassist Marco Panascia and drummer Brian Fishler (AKA Frank Feta of Richard Cheese’s band). Sullivan favors a clear, uncluttered tone and strongly melodic extrapolations rather than any crazed, heavy breathing. But as attractive as the melodies are, this isn’t lightweight by a long shot. Intense? Not particularly. Subtle and fun? You bet.

The opening track, Jamia’s Dance works vividly expansive Sullivan explorations of an absurdly catchy central hook. Autumn in NH is not a drinking song as you might expect (New Hampshire tops all states but Wyoming in per-capita alcohol consumption) but rather a morosely lyrical mood piece that stretches the band as far out into free territory as they go here. A hard-charging, samba-tinged number, Tuneology picks up the pace and sets the stage for Hidden Agenda, which begins as a funky mid 70s style crime movie tune with echoes of Bernard Herrmann’s Taxi Driver theme – the hidden agenda here seems to be a big, long crescendo that involves everybody in turn, with a funny Coltrane quote, a bass solo that nimbly and energetically works a piano line and a spiraling Sullivan salvo out. They cover Rodgers and Hart’s Spring Is Here slowly and make it much more wintry that you would expect; the catchy, sprightly Georgie contrasts an understated dark soul piano pulse with Sullivan spinning around brightly overhead. Their cover of Tears for Fears’ odious 80s schlockfest Everybody Wants to Rule the World is a real shocker – it’s unrecognizable until they hit the hook, almost, Sullivan defiantly evading its cloying quality and then immediately messing up the tempo, taking it out on a limb and handing it over to Eckroth. Third time around, Panascia’s panacea is to make it funky.

A jazz waltz, Leap of Faith is another track with a pensive undercurrent beneath Sullivan’s stunningly effortless, good-natured glissandos, Eckroth adding a wee hours wink, Sullivan making an abrupt shift in a much more straight-ahead direction afterward, setting the stage for a deliciously swirling crescendo. It’s the kind of moment you see in concert a lot, which doesn’t make it onto studio albums as much as it should. An enigmatically bustling song without words, Magic Monday has Sullivan and Eckroth trading busily opaque solos over Panascia’s muscular pulse. The album winds up with the title track, an aggressive, terse, catchy straight-up strut that wouldn’t be out of place in the JD Allen catalog, Panascia leaping to a sprint and then back again, Fishler finally getting a chance to cut loose and hit hard and makes the absolute most of it. File this under melodic jazz, yet another triumph for the Posi-Tone label, who in this decade are making a mark much in the same way that Impulse did in the 60s. - LucidCulture.com


"Travis Sullivan's New Directions Kicks Off the Summer Properly"

The trouble with a lot of jazz albums is that a lot of bands can’t translate their interplay from the stage or even the rehearsal room to the studio. As a result, they sound stiff – or as if everybody was just trying to lay down their parts and get the hell out. Alto saxophonist and Bjorkestra bandleader Travis Sullivan’s New Directions, on the other hand, sounds like a live show, except with studio-quality acoustics. It’s a great summertime album, brightly tuneful, full of good spirits and inspired playing from pianist Mike Eckroth, bassist Marco Panascia and drummer Brian Fishler (AKA Frank Feta of Richard Cheese’s band). Sullivan favors a clear, uncluttered tone and strongly melodic extrapolations rather than any crazed, heavy breathing. But as attractive as the melodies are, this isn’t lightweight by a long shot. Intense? Not particularly. Subtle and fun? You bet.

The opening track, Jamia’s Dance works vividly expansive Sullivan explorations of an absurdly catchy central hook. Autumn in NH is not a drinking song as you might expect (New Hampshire tops all states but Wyoming in per-capita alcohol consumption) but rather a morosely lyrical mood piece that stretches the band as far out into free territory as they go here. A hard-charging, samba-tinged number, Tuneology picks up the pace and sets the stage for Hidden Agenda, which begins as a funky mid 70s style crime movie tune with echoes of Bernard Herrmann’s Taxi Driver theme – the hidden agenda here seems to be a big, long crescendo that involves everybody in turn, with a funny Coltrane quote, a bass solo that nimbly and energetically works a piano line and a spiraling Sullivan salvo out. They cover Rodgers and Hart’s Spring Is Here slowly and make it much more wintry that you would expect; the catchy, sprightly Georgie contrasts an understated dark soul piano pulse with Sullivan spinning around brightly overhead. Their cover of Tears for Fears’ odious 80s schlockfest Everybody Wants to Rule the World is a real shocker – it’s unrecognizable until they hit the hook, almost, Sullivan defiantly evading its cloying quality and then immediately messing up the tempo, taking it out on a limb and handing it over to Eckroth. Third time around, Panascia’s panacea is to make it funky.

A jazz waltz, Leap of Faith is another track with a pensive undercurrent beneath Sullivan’s stunningly effortless, good-natured glissandos, Eckroth adding a wee hours wink, Sullivan making an abrupt shift in a much more straight-ahead direction afterward, setting the stage for a deliciously swirling crescendo. It’s the kind of moment you see in concert a lot, which doesn’t make it onto studio albums as much as it should. An enigmatically bustling song without words, Magic Monday has Sullivan and Eckroth trading busily opaque solos over Panascia’s muscular pulse. The album winds up with the title track, an aggressive, terse, catchy straight-up strut that wouldn’t be out of place in the JD Allen catalog, Panascia leaping to a sprint and then back again, Fishler finally getting a chance to cut loose and hit hard and makes the absolute most of it. File this under melodic jazz, yet another triumph for the Posi-Tone label, who in this decade are making a mark much in the same way that Impulse did in the 60s. - LucidCulture.com


"StepTempest.com "New Directions" CD Review"

Alto saxophonist-composer Travis Sullivan is, perhaps, best known for his 18-piece big band, Bjorkestra, an ongoing project in which he reimagines and reshapes the music of the Icelandic singer/songwriter and notorious shape-shifter. In the midst of that heady project, one might forget that he himself is a strong writer and talented musician.

"New Directions" should and will open eyes and ears to Sullivan's ability to write for a small ensemble. Joined by Mike Eckroth (piano), Marco Panascia (bass) and Brian Fishler (drums), Sullivan creates music that keeps the listener on his/her toes because not only is there a strong rhythmic pulse on most tracks but also what they play is involving, melodic and seeminglty without artifice. "Jamia's Dance" opens the program and sets the stage with its handsome melody, shifting rhythms, the leader's sweet tone and Eckroth's piano work that is both powerful and impressionistic. It's the interplay of the rhythm section, the pianist's ability to color the music and Sullivan's vibrant alto saxophone that stands out. Even the sweet take of "Spring Is Here" displays a maturity of thought, no one rushing the beat, the long tones and "singing" quality of the alto and the truly complementary work of the rhythm section. And the emotional content of these pieces make them stand out - these songs are not just exercises in technique. Instead, they tell musical "stories", are constructed so that one can't miss the melodic content but also can hear how the solos grow from the thematic material. The other "cover" tune is a snappy take on "Everybody Wants to Rule The World", the 1985 hit for the British duo Tears for Fears. This is music that is alive and makes one think how good the quartet must sound in a "live" setting.

One other aspect stands out (for this reviewer) - these 10 songs are so rich with ideas that one does not immediately reach out for comparisons (i.e., Sullivan sounds like "fill-in-the-blank", his writing is influenced by"so-and-so".) Just listen. Enjoy the lightness of the interactions, the heat of the solos and the quality of the work. - StepTempest.com


"StepTempest.com "New Directions" CD Review"

Alto saxophonist-composer Travis Sullivan is, perhaps, best known for his 18-piece big band, Bjorkestra, an ongoing project in which he reimagines and reshapes the music of the Icelandic singer/songwriter and notorious shape-shifter. In the midst of that heady project, one might forget that he himself is a strong writer and talented musician.

"New Directions" should and will open eyes and ears to Sullivan's ability to write for a small ensemble. Joined by Mike Eckroth (piano), Marco Panascia (bass) and Brian Fishler (drums), Sullivan creates music that keeps the listener on his/her toes because not only is there a strong rhythmic pulse on most tracks but also what they play is involving, melodic and seeminglty without artifice. "Jamia's Dance" opens the program and sets the stage with its handsome melody, shifting rhythms, the leader's sweet tone and Eckroth's piano work that is both powerful and impressionistic. It's the interplay of the rhythm section, the pianist's ability to color the music and Sullivan's vibrant alto saxophone that stands out. Even the sweet take of "Spring Is Here" displays a maturity of thought, no one rushing the beat, the long tones and "singing" quality of the alto and the truly complementary work of the rhythm section. And the emotional content of these pieces make them stand out - these songs are not just exercises in technique. Instead, they tell musical "stories", are constructed so that one can't miss the melodic content but also can hear how the solos grow from the thematic material. The other "cover" tune is a snappy take on "Everybody Wants to Rule The World", the 1985 hit for the British duo Tears for Fears. This is music that is alive and makes one think how good the quartet must sound in a "live" setting.

One other aspect stands out (for this reviewer) - these 10 songs are so rich with ideas that one does not immediately reach out for comparisons (i.e., Sullivan sounds like "fill-in-the-blank", his writing is influenced by"so-and-so".) Just listen. Enjoy the lightness of the interactions, the heat of the solos and the quality of the work. - StepTempest.com


"Sax Shed "New Directions" CD Review"

Alto saxophonist Travis Sullivan has released his third record “New Directions” on Posi-tone Records. Known primarily for leading his Björkestra project, Sullivan has assembled The Travis Sullivan Quartet where he is joined by pianist Mike Eckroth, bassist Marco Panascia, and drummer Brian Fishler.
According to Jazz Times, Travis Sullivan is “…a gifted alto saxophonist and improviser who has also developed a strong and commanding voice as a composer.” He has also earned a worldwide reputation as an alto saxophonist, pianist, composer, and arranger. Sullivan has penned 8 of the 10 modern jazz compositions here on “New Directions.” Rodgers & Hart’s Spring is Here and the Tears for Fears classic Everybody Wants to Rule the World round out the rest of the recorded selections.

The opening cut Jamia’s Dance begins with the powerful sound of Sullivan’s rhythm section of Eckroth, Panascia and Fishler. Sullivan’s soon unleashes his unique alto sound that is full of passion. He seems to be singing through the saxophone which seems somehow reminiscent of Jan Garbarek’s haunting sound.

Autumn In N.H. Like the preceding cut, showcases Sullivan’s haunting alto saxophone sound. It seems a bit more delicate with classical undertones. The interplay between the members of the quartet is wonderful, particularly the occasional implied meter changes by drummer Brian Fishler.

Tuneology is a great title for this swinging, hard bop-to-Latin tune. His streaming 8th notes speak the jazz language, yet in Sullivan’s own way. He never sounds contrived or cliché. A formidable piano solo is taken by Eckroth. There is also a wonderful release into the Afro-Cuban section during head and solos.

The sneaky and funky Hidden Agenda has a 70s cop show quality within its brief opening ostinato. Sullivan’s solo is not made of the predictable pentatonic/blues-born lines often used in such a setting. He plays more melodically, flirting briefly with some alternate fingerings in between shapely, cascading lines. Panascia deftly solos for the first time on bass.

Although The Travis Sullivan Quartet approaches the Rogers and Hart standard in their own refreshing way, I much prefer the sound of the group on Sullivan’s originals. The highlight for me on Spring Is Here comes within Sullivan’s final cadenza.

Georgie, unlike Spring Is Here features a sound and style more in keeping with the rest of the recording. Sullivan’s solo is constructed melodically and has the quality of a French saxophone etude set to jazz. It is a refreshing approach that sets Sullivan apart from others. Mike Eckroth solos beautifully on piano before the final melodic statement.

Everybody Wants To Rule The World reminded this listener of the way in which Coltrane interpreted his hit My Favorite Things. There are actually few similarities but enough to make a comparison. The short quote of the initial melody is all that seems in common with the 80s Tears for Fears classic however the pentatonic melody allows for some clever reharmonization. Later in the tune, the of 3/4 or 6/8 time feel gives way to a shuffle and then back to the original feeling in three.

The playful and hopeful Leap Of Faith gives way to one of Sullivan’s best efforts on saxophone here. Eckroth solos second on piano, although his take is tamer than the ferocity of Sullivan’s improvisation. Sullivan again stretches on the vamp as the group gradually retards and diminishes to the final fermata.

Eckroth solos first and is given the opportunity to demonstrate his own melodic solo voice on Magic Monday. Sullivan’s solo is more angular than Eckroth’s yet it is a desirable contrast within Magic Monday. Panascia solos for only the second time. This solo features him well on bass, but it is not as lengthy as on Hidden Agenda.

The final, title track New Directions well represents what this group does best – play modern, original jazz compositions. Eckroth plays a punctuated solo initially constructed of streaming 8th notes and then broadening to more rhythmic variation. As before, Sullivan plays with a drive and fire that keeps this listener engaged. Fisher solos over the figure laid down by Eckroth and Panascia before Sullivan joins in on the final statement of the head and plays a fitting solo vamp all the way to the ending unison kicks.

Travis Sullivan’s curious saxophone sound is not modeled after any obvious choices. He is neither Cannonball nor Sanborn - just two predictable and prominent influences among alto saxophonists today. His resonating alto voice with wide vibrato may have some skeptics due to its originality, however I trust his sound and music will also find many fans. - SaxShed.com


"Sax Shed "New Directions" CD Review"

Alto saxophonist Travis Sullivan has released his third record “New Directions” on Posi-tone Records. Known primarily for leading his Björkestra project, Sullivan has assembled The Travis Sullivan Quartet where he is joined by pianist Mike Eckroth, bassist Marco Panascia, and drummer Brian Fishler.
According to Jazz Times, Travis Sullivan is “…a gifted alto saxophonist and improviser who has also developed a strong and commanding voice as a composer.” He has also earned a worldwide reputation as an alto saxophonist, pianist, composer, and arranger. Sullivan has penned 8 of the 10 modern jazz compositions here on “New Directions.” Rodgers & Hart’s Spring is Here and the Tears for Fears classic Everybody Wants to Rule the World round out the rest of the recorded selections.

The opening cut Jamia’s Dance begins with the powerful sound of Sullivan’s rhythm section of Eckroth, Panascia and Fishler. Sullivan’s soon unleashes his unique alto sound that is full of passion. He seems to be singing through the saxophone which seems somehow reminiscent of Jan Garbarek’s haunting sound.

Autumn In N.H. Like the preceding cut, showcases Sullivan’s haunting alto saxophone sound. It seems a bit more delicate with classical undertones. The interplay between the members of the quartet is wonderful, particularly the occasional implied meter changes by drummer Brian Fishler.

Tuneology is a great title for this swinging, hard bop-to-Latin tune. His streaming 8th notes speak the jazz language, yet in Sullivan’s own way. He never sounds contrived or cliché. A formidable piano solo is taken by Eckroth. There is also a wonderful release into the Afro-Cuban section during head and solos.

The sneaky and funky Hidden Agenda has a 70s cop show quality within its brief opening ostinato. Sullivan’s solo is not made of the predictable pentatonic/blues-born lines often used in such a setting. He plays more melodically, flirting briefly with some alternate fingerings in between shapely, cascading lines. Panascia deftly solos for the first time on bass.

Although The Travis Sullivan Quartet approaches the Rogers and Hart standard in their own refreshing way, I much prefer the sound of the group on Sullivan’s originals. The highlight for me on Spring Is Here comes within Sullivan’s final cadenza.

Georgie, unlike Spring Is Here features a sound and style more in keeping with the rest of the recording. Sullivan’s solo is constructed melodically and has the quality of a French saxophone etude set to jazz. It is a refreshing approach that sets Sullivan apart from others. Mike Eckroth solos beautifully on piano before the final melodic statement.

Everybody Wants To Rule The World reminded this listener of the way in which Coltrane interpreted his hit My Favorite Things. There are actually few similarities but enough to make a comparison. The short quote of the initial melody is all that seems in common with the 80s Tears for Fears classic however the pentatonic melody allows for some clever reharmonization. Later in the tune, the of 3/4 or 6/8 time feel gives way to a shuffle and then back to the original feeling in three.

The playful and hopeful Leap Of Faith gives way to one of Sullivan’s best efforts on saxophone here. Eckroth solos second on piano, although his take is tamer than the ferocity of Sullivan’s improvisation. Sullivan again stretches on the vamp as the group gradually retards and diminishes to the final fermata.

Eckroth solos first and is given the opportunity to demonstrate his own melodic solo voice on Magic Monday. Sullivan’s solo is more angular than Eckroth’s yet it is a desirable contrast within Magic Monday. Panascia solos for only the second time. This solo features him well on bass, but it is not as lengthy as on Hidden Agenda.

The final, title track New Directions well represents what this group does best – play modern, original jazz compositions. Eckroth plays a punctuated solo initially constructed of streaming 8th notes and then broadening to more rhythmic variation. As before, Sullivan plays with a drive and fire that keeps this listener engaged. Fisher solos over the figure laid down by Eckroth and Panascia before Sullivan joins in on the final statement of the head and plays a fitting solo vamp all the way to the ending unison kicks.

Travis Sullivan’s curious saxophone sound is not modeled after any obvious choices. He is neither Cannonball nor Sanborn - just two predictable and prominent influences among alto saxophonists today. His resonating alto voice with wide vibrato may have some skeptics due to its originality, however I trust his sound and music will also find many fans. - SaxShed.com


"SomethingElseReviews.com "New Directions" CD Review"

Since 1999, alto saxophonist Travis Sullivan has made a record on average only about every six years or so. Perhaps it’s because he’s very much into his signature project leading the 18-piece big band Bjorkestra, a vehicle for his arrangements of songs by Iceland’s pop icon Bjork. Enjoy! (2008) is the recorded fruits of his main labor of love, but lately he’s been eager to get back to a quartet setting. That’s what New Directions, out yesterday on Posi-Tone Records, is about. Recorded with his working small combo (Marco Panascia, bass; Mike Eckroth, piano; Brian Fishler, drums), Sullivan might have tamped down the band size, but not his love for a good pop melody. With a saxophone tone not too unlike Kenny Garrett’s, he starts with big hooks in his compositions, arranges them with enough wrinkles to befit honest-to-goodness straight ahead jazz, and wraps his improvising style around some very listenable harmonies. That applies whether it’s the modern, anthemic “Jamia’s Dance,” the quietly flowing “Autumn In New Hampshire,” or the crisp funk of the title song. The two covers flexes his interpretive muscles: Rodgers and Hart’s “Spring Is Here” is passionate in the right measure and Tears For Fears‘ “Everybody Want To Rule The World” casts their perfectly built melody into a lightly waltzing euphony. New Directions might mark a shift for Travis Sullivan, but he falls back on his old, good habits to make it work as a fine listening experience. - SomethingElseReviews.com


"SomethingElseReviews.com "New Directions" CD Review"

Since 1999, alto saxophonist Travis Sullivan has made a record on average only about every six years or so. Perhaps it’s because he’s very much into his signature project leading the 18-piece big band Bjorkestra, a vehicle for his arrangements of songs by Iceland’s pop icon Bjork. Enjoy! (2008) is the recorded fruits of his main labor of love, but lately he’s been eager to get back to a quartet setting. That’s what New Directions, out yesterday on Posi-Tone Records, is about. Recorded with his working small combo (Marco Panascia, bass; Mike Eckroth, piano; Brian Fishler, drums), Sullivan might have tamped down the band size, but not his love for a good pop melody. With a saxophone tone not too unlike Kenny Garrett’s, he starts with big hooks in his compositions, arranges them with enough wrinkles to befit honest-to-goodness straight ahead jazz, and wraps his improvising style around some very listenable harmonies. That applies whether it’s the modern, anthemic “Jamia’s Dance,” the quietly flowing “Autumn In New Hampshire,” or the crisp funk of the title song. The two covers flexes his interpretive muscles: Rodgers and Hart’s “Spring Is Here” is passionate in the right measure and Tears For Fears‘ “Everybody Want To Rule The World” casts their perfectly built melody into a lightly waltzing euphony. New Directions might mark a shift for Travis Sullivan, but he falls back on his old, good habits to make it work as a fine listening experience. - SomethingElseReviews.com


"Midwest Jazz Record "New Directions" CD Review"

TRAVIS SULLIVAN/New Directions: The cat from Bjorkestra comes back from that concert tour of Mars with a new focus on small group dates that give him the rightful chance to shine. A creative, melodic date, the sax man knows how to step to the front and center and give you your money’s worth and what you came for. A solid player with a bright future bottomed by well honed chops that doesn't need to hide behind any concept. Well done. - Midwest Jazz Record


"Midwest Jazz Record "New Directions" CD Review"

TRAVIS SULLIVAN/New Directions: The cat from Bjorkestra comes back from that concert tour of Mars with a new focus on small group dates that give him the rightful chance to shine. A creative, melodic date, the sax man knows how to step to the front and center and give you your money’s worth and what you came for. A solid player with a bright future bottomed by well honed chops that doesn't need to hide behind any concept. Well done. - Midwest Jazz Record


""New Directions" CD Review by Tim Niland @ All About Jazz"

Saxophonist, composer and educator Travis Sullivan has an appealing sound and develops strong melodic mainstream jazz here, with an intelligently mixed program cookers, mid-tempo numbers and ballads anchored by his strong playing on saxophone. He is accompanied by Mike Eckroth on piano, Marco Panascia bass, and Brian Fishleron drums. While “Jamia's Dance" is a medium tempo opener with a fine flowing saxophone solo, “Autumn in new Hampshire" is a particularly poignant ballad, more dark toned and elegiac, reflecting the autumn of leaf less trees and melancholic moonlight than that of colorful foliage. “Spring" carries on the seasonal theme, also a ballad featuring lush and patient saxophone. “Hidden Agenda" ups the ante to a swinging fast tempo and their exploration of the light-speed realms concludes with “Tuneology," a performance that recalls Atlantic-period John Coltrane in its speed and texture, both on the cascading saxophone solo and the rippling piano interlude. “Georgie" and the pop cover “Everybody Wants to Rule the World" slow things back down to a medium boil with the former developing quartet dynamics, with Sullivan picking up the pace to a boppish feel, building to a peak of emotion before relinquishing the spotlight to the piano, bass and drums rhythm section. The Tears for Fears cover uses bass as the pivot point around which the music revolves. The saxophone teases at the melody before the bass and drums shift into a funk feel with light saxophone improvising across them. Sullivan develops his performances thoughtfully and thematically, and examples can be found on the album ending tracks, “Magic Monday" and “New Directions" where he builds his solos sounding fast and confident over a strong backbeat. - All About Jazz


""New Directions" CD Review by Tim Niland @ All About Jazz"

Saxophonist, composer and educator Travis Sullivan has an appealing sound and develops strong melodic mainstream jazz here, with an intelligently mixed program cookers, mid-tempo numbers and ballads anchored by his strong playing on saxophone. He is accompanied by Mike Eckroth on piano, Marco Panascia bass, and Brian Fishleron drums. While “Jamia's Dance" is a medium tempo opener with a fine flowing saxophone solo, “Autumn in new Hampshire" is a particularly poignant ballad, more dark toned and elegiac, reflecting the autumn of leaf less trees and melancholic moonlight than that of colorful foliage. “Spring" carries on the seasonal theme, also a ballad featuring lush and patient saxophone. “Hidden Agenda" ups the ante to a swinging fast tempo and their exploration of the light-speed realms concludes with “Tuneology," a performance that recalls Atlantic-period John Coltrane in its speed and texture, both on the cascading saxophone solo and the rippling piano interlude. “Georgie" and the pop cover “Everybody Wants to Rule the World" slow things back down to a medium boil with the former developing quartet dynamics, with Sullivan picking up the pace to a boppish feel, building to a peak of emotion before relinquishing the spotlight to the piano, bass and drums rhythm section. The Tears for Fears cover uses bass as the pivot point around which the music revolves. The saxophone teases at the melody before the bass and drums shift into a funk feel with light saxophone improvising across them. Sullivan develops his performances thoughtfully and thematically, and examples can be found on the album ending tracks, “Magic Monday" and “New Directions" where he builds his solos sounding fast and confident over a strong backbeat. - All About Jazz


""New Directions" CD Review by Glenn Astarita @ All About Jazz"

New Directions could signify a paradigm shift for alto saxophonist Travis Sullivan's eighteen-piece Björkestra, a unit dedicated to performing arrangements of Icelandic pop vocalist Björk. Sullivan goes back to his fundamental mainstream jazz roots on the lyrically rich New Directions, assembled with memorable comps and sterling interplay from his quartet.

Sullivan's vocal-like tonalities and muscular alto work casts an acoustic game plan that often yields electrifying results.

Sullivan generates memorable compositions while injecting a spirited aura into the program, making “Tuneology” serve as a fitting analogy for his sensitized approach via a brisk, tight-knit bop groove, interspersed with drummer Brian Fishler's snappy Latin beats. Sullivan's fluent phraseology is wrapped into a full-bodied sound amid his cunning improvisational segments while the rhythm section sizzles, complemented by pianist Mike Eckroth, who dances around the primary theme.

The quartet reaches for the stars on “Tuneology.” With memorable licks and gravitating performances, the music attains a higher level of interest, countering the influx of post-bop modernism that sometimes moves forward without much traction or significance. Sullivan abides by a qualitative musical ethic on New Directions.
- All About Jazz


""New Directions" CD Review by Glenn Astarita @ All About Jazz"

New Directions could signify a paradigm shift for alto saxophonist Travis Sullivan's eighteen-piece Björkestra, a unit dedicated to performing arrangements of Icelandic pop vocalist Björk. Sullivan goes back to his fundamental mainstream jazz roots on the lyrically rich New Directions, assembled with memorable comps and sterling interplay from his quartet.

Sullivan's vocal-like tonalities and muscular alto work casts an acoustic game plan that often yields electrifying results.

Sullivan generates memorable compositions while injecting a spirited aura into the program, making “Tuneology” serve as a fitting analogy for his sensitized approach via a brisk, tight-knit bop groove, interspersed with drummer Brian Fishler's snappy Latin beats. Sullivan's fluent phraseology is wrapped into a full-bodied sound amid his cunning improvisational segments while the rhythm section sizzles, complemented by pianist Mike Eckroth, who dances around the primary theme.

The quartet reaches for the stars on “Tuneology.” With memorable licks and gravitating performances, the music attains a higher level of interest, countering the influx of post-bop modernism that sometimes moves forward without much traction or significance. Sullivan abides by a qualitative musical ethic on New Directions.
- All About Jazz


""New Directions" CD Review by Dan Bilawsky @ All About Jazz"

Saxophonist Travis Sullivan has received lots of coverage for the music he creates with his Björkestra, but the success of that band is a double-edged sword. While following the musical pathways set forth by his Icelandic muse has helped the saxophonist expand his audience, it also temporarily suppressed his own musical personality. With New Directions, Sullivan steps out of the shadow of Björk and back into the light of his own creations.
For this ten-song program, Sullivan supplies eight originals that showcase his gleaming tone and melodic sensibilities, while also testifying to his varied musical interests. He paints bright melodies against the contrast of dark bass lines (”Jamia's Dance”) and powers through funky, odd-metered workouts with ease (”Hidden Agenda”), but he also shows comfort soloing over rhythmic terrain that shifts from aggressive, driving swing to Latin-leaning grooves (”Tuneology”). While the majority of Sullivan's pieces are grounded by a firm sense of rhythm, “Autumn In N.H” is a notable exception. This piece opens with Mike Eckroth's wistful piano work, but the band eventually arrives in a gauzy musical atmosphere that allows for some interesting interplay and dynamic development.
While Sullivan only tackles two covers, his choices reflect the eclecticism found within his own work. He performs “Spring Is Here”--written by Richard Rodgers and Lorenz Hart--and fills it with noir-ish notions. The rhythm section provides some appropriately malleable accompaniment and Sullivan caps off the performance with a confident cadenza. A standard of a different sort, a popular '80s pop confection in this case, is reworked to suit Sullivan's own vision. On “Everybody Wants To Rule The World,” bassist Marco Panascia's frisky bass work provides direction early on, but Sullivan's soloing eventually becomes the focal point. While drummer Brian Fishler powers the quartet through various styles of music, his solo star turn is saved for the final number. The title track finds Fishler soloing over a funky vamp and dissecting the time like a skilled surgeon with sticks, helping to end this enjoyable album on an energetic note.
- All About Jazz


""New Directions" CD Review by Dan Bilawsky @ All About Jazz"

Saxophonist Travis Sullivan has received lots of coverage for the music he creates with his Björkestra, but the success of that band is a double-edged sword. While following the musical pathways set forth by his Icelandic muse has helped the saxophonist expand his audience, it also temporarily suppressed his own musical personality. With New Directions, Sullivan steps out of the shadow of Björk and back into the light of his own creations.
For this ten-song program, Sullivan supplies eight originals that showcase his gleaming tone and melodic sensibilities, while also testifying to his varied musical interests. He paints bright melodies against the contrast of dark bass lines (”Jamia's Dance”) and powers through funky, odd-metered workouts with ease (”Hidden Agenda”), but he also shows comfort soloing over rhythmic terrain that shifts from aggressive, driving swing to Latin-leaning grooves (”Tuneology”). While the majority of Sullivan's pieces are grounded by a firm sense of rhythm, “Autumn In N.H” is a notable exception. This piece opens with Mike Eckroth's wistful piano work, but the band eventually arrives in a gauzy musical atmosphere that allows for some interesting interplay and dynamic development.
While Sullivan only tackles two covers, his choices reflect the eclecticism found within his own work. He performs “Spring Is Here”--written by Richard Rodgers and Lorenz Hart--and fills it with noir-ish notions. The rhythm section provides some appropriately malleable accompaniment and Sullivan caps off the performance with a confident cadenza. A standard of a different sort, a popular '80s pop confection in this case, is reworked to suit Sullivan's own vision. On “Everybody Wants To Rule The World,” bassist Marco Panascia's frisky bass work provides direction early on, but Sullivan's soloing eventually becomes the focal point. While drummer Brian Fishler powers the quartet through various styles of music, his solo star turn is saved for the final number. The title track finds Fishler soloing over a funky vamp and dissecting the time like a skilled surgeon with sticks, helping to end this enjoyable album on an energetic note.
- All About Jazz


""New Directions" CD Review by Bruce Lindsay @ All About Jazz"

Travis Sullivan's New Directions, his Posi-Tone debut, is a rewarding trip through a mix of strong, self-penned, tunes and an unusual combination of covers. The saxophonist leads his quartet with style, emphasizing musicality and emotional engagement over displays of technique, and creating a sparkly collection that emphatically establishes his talents as a composer as well as a saxophonist.
The altoist's compositions are firmly within the modern jazz tradition, but there's a variety in pace, rhythm and mood that keeps things interesting. The hard-bop “Tuneology” and silky-smooth “Georgie” are immediately engaging, with sprightly and positive melodies that enable all four musicians to shine. “Jamia's Dance” and “Autumn in NH” represent Sullivan's more reflective side, with some beautifully flowing lines from Sullivan and pianist Mike Eckroth. “New Directions” is an upbeat “bop-meets-funk” swinger that benefits greatly from Brian Fishler's bouncy, skipping, drums and a strong and slinky beat from Eckroth and bassist Marco Panascia.
Two classic tunes adorn New Directions. Richard Rodgers and Lorenz Hart's standard, “Spring Is Here,” is lovely, with Sullivan firmly accenting its mournfully lush melody. Tears For Fears' 1980s pop hit, “Everybody Wants To Rule The World,” gives Sullivan much less to work with, as it has none of Rodgers and Hart's timeless beauty--though, to their credit, Sullivan and Eckroth both carve bright and swinging solos out of the melody.
New Directions is Sullivan's first small band album since 1999's As We Speak (Self Produced), which featured guitarist Rez Abbasi. Sullivan's main ensemble in the intervening decade--the long-established, 18-piece Björkestra project, devoted to the Icelandic vocalist's compositions--might suggest a more eccentric approach than that demonstrated on New Directions. Unconstrained by the structure of Björk's songs, however, Sullivan takes a more straight-ahead approach to this quartet project. The result may well be a more accurate reflection of Sullivan's musical philosophy, and certainly makes clear that he's a player and composer to keep an eye on.
- All About Jazz


""New Directions" CD Review by Bruce Lindsay @ All About Jazz"

Travis Sullivan's New Directions, his Posi-Tone debut, is a rewarding trip through a mix of strong, self-penned, tunes and an unusual combination of covers. The saxophonist leads his quartet with style, emphasizing musicality and emotional engagement over displays of technique, and creating a sparkly collection that emphatically establishes his talents as a composer as well as a saxophonist.
The altoist's compositions are firmly within the modern jazz tradition, but there's a variety in pace, rhythm and mood that keeps things interesting. The hard-bop “Tuneology” and silky-smooth “Georgie” are immediately engaging, with sprightly and positive melodies that enable all four musicians to shine. “Jamia's Dance” and “Autumn in NH” represent Sullivan's more reflective side, with some beautifully flowing lines from Sullivan and pianist Mike Eckroth. “New Directions” is an upbeat “bop-meets-funk” swinger that benefits greatly from Brian Fishler's bouncy, skipping, drums and a strong and slinky beat from Eckroth and bassist Marco Panascia.
Two classic tunes adorn New Directions. Richard Rodgers and Lorenz Hart's standard, “Spring Is Here,” is lovely, with Sullivan firmly accenting its mournfully lush melody. Tears For Fears' 1980s pop hit, “Everybody Wants To Rule The World,” gives Sullivan much less to work with, as it has none of Rodgers and Hart's timeless beauty--though, to their credit, Sullivan and Eckroth both carve bright and swinging solos out of the melody.
New Directions is Sullivan's first small band album since 1999's As We Speak (Self Produced), which featured guitarist Rez Abbasi. Sullivan's main ensemble in the intervening decade--the long-established, 18-piece Björkestra project, devoted to the Icelandic vocalist's compositions--might suggest a more eccentric approach than that demonstrated on New Directions. Unconstrained by the structure of Björk's songs, however, Sullivan takes a more straight-ahead approach to this quartet project. The result may well be a more accurate reflection of Sullivan's musical philosophy, and certainly makes clear that he's a player and composer to keep an eye on.
- All About Jazz


"DownBeat Magazine "New Directions" CD Review"

After eight years of playing big band arrangements of Bjork songs as the founding member of Bjorkestra, alto saxophonist Travis Sullivan has renewed his focus on jazz's building blocks. New Directions, his third album as a leader, presents Sullivan's freshly formed quintet of pianist Mike Eckroth, bassist Marco Panascia and drummer Brian Fishler. This new combo best displays his straightahead sensibilities.
He hasn't left the non-jazz source material behind completely, though, trading literate pop of Top 40 radio by planting a version of "Everybody Wants to Rule the World" in a collection of eight originals and the Rodgers and Hart standard "Spring is Here." The 1985 Tears for Fears hit actually works fairly well as a ballad; Sullivan plays around with the tune, giving the opening phrase to Eckroth before entering in for the last part of the verse.
Sullivan has a forceful, full alto voice that sounds best on uptempo tunes like "Jamia's Dance" and "Tuneology." He blisters through the horn, anchored by his stable rhythm section. Eckroth gets a chance to shine on the fragile, beautiful "Autumn in NH" and helps establish the tone of many of the pieces, none more than the title track. - DownBeat Magazine


"DownBeat Magazine "New Directions" CD Review"

After eight years of playing big band arrangements of Bjork songs as the founding member of Bjorkestra, alto saxophonist Travis Sullivan has renewed his focus on jazz's building blocks. New Directions, his third album as a leader, presents Sullivan's freshly formed quintet of pianist Mike Eckroth, bassist Marco Panascia and drummer Brian Fishler. This new combo best displays his straightahead sensibilities.
He hasn't left the non-jazz source material behind completely, though, trading literate pop of Top 40 radio by planting a version of "Everybody Wants to Rule the World" in a collection of eight originals and the Rodgers and Hart standard "Spring is Here." The 1985 Tears for Fears hit actually works fairly well as a ballad; Sullivan plays around with the tune, giving the opening phrase to Eckroth before entering in for the last part of the verse.
Sullivan has a forceful, full alto voice that sounds best on uptempo tunes like "Jamia's Dance" and "Tuneology." He blisters through the horn, anchored by his stable rhythm section. Eckroth gets a chance to shine on the fragile, beautiful "Autumn in NH" and helps establish the tone of many of the pieces, none more than the title track. - DownBeat Magazine


Discography

Travis Sullivan Quartet, "New Directions" (2011, Posi-Tone Records)
Travis Sullivan's Bjorkestra "Enjoy" (2008, Koch Records)
Travis Sullivan's Project One "As We Speak" (1999, self-released).

Photos

Bio

Posi-Tone Records recording artist Travis Sullivan has earned a worldwide reputation as an alto saxophonist, pianist, composer, and arranger. Embedded in the New York music scene for the past 15 years, he has been hailed by Jazz Times as being “…a gifted alto saxophonist and improviser who has also developed a strong and commanding voice as a composer.”
Sullivan’s most recent CD was released in 2011: “New Directions,” his third album as a leader and his debut on Posi-Tone Records. “New Directions” presents eight of his original modern jazz compositions, as well as Rodgers & Hart’s “Spring is Here,” and his arrangement of the Tears for Fears classic “Everybody Wants to Rule the World.” The new album also features his newly formed group The Travis Sullivan Quartet, which will be performing nationally and throughout Europe later this year.

New Directions is his first small ensemble release in over a decade. In 1999 Sullivan’s self-release Travis Sullivan’s Project One: As We Speak featured a quartet that included guitarist Rez Abbasi and drummer Ari Honig. In 2002, his breakthrough came in the form of Travis Sullivan’s Bjorkestra, an 18-piece big band performing his arrangements of the renowned music of Icelandic pop goddess Bjork, and in 2008 he released Travis Sullivan’s Bjorkestra: Enjoy! on Koch Records. Sullivan formed his new quartet in early 2010, with himself on alto saxophone, Mike Eckroth on piano, Marco Panascia on bass, and Brian Fishler on drums. “It’s exciting to be returning to a quartet setting,” says Sullivan, “and I’m looking forward to further developing my creative voice as both a composer and improviser in this context.”

Sullivan can be heard performing regularly in the U.S. at venues such as The Blue Note, Iridium, The Jazz Standard, Joe’s Pub, and the SF Jazz Festival. He has also appeared internationally at The Montreal Jazz Festival, The Jarasum Jazz Festival (South Korea), and as a conductor for the Bohuslan Big Band (Sweden), Cologne Contemporary Jazz Orchestra (Germany), the Sicilian Jazz Orchestra (Italy), and the Reykjavik Big Band (Iceland).