JOHN ESPOSITO SEXTET with ERIC PERSON / CHRIS PASIN / PHIL ALLEN / IRA COLEMAN / PETER O’BRIEN - Laura (Sunjump CD0020; USA)

  Featuring John Esposito on piano & compositions, Chris Pasin on trumpet & cornet, Eric Person on flute, soprano, alto & tenor saxes, Phil Allen on valve trombone, Ira Coleman on bass and Peter O’Brien on drums.

  I recall first hearing John Esposito playing on a record by Franklin Kiermyer called “Solomon’s Daughter’ from 1994 with Pharoah Sanders. That record is/was amazing and I was particularly blown away by John Esposito’s incredible McCoy Tyner-like piano. Ever since then, I’ve kept my eye & ear on whatever I’ve been able to find from Mr. Esposito.

  Mr. Esposito started his own Sunjump label around 1988, releasing some 20 discs by himself, Sangeeta Michael Berardi and Second Sight (with Dave Douglas). During the pandemic, Mr. Esposito, who used to play 200 times live a year, was cut back to playing no gigs for that year. What he did was rehearse weekly with his ongoing trio and also with his own sextet. This disc comprises the music which Esposito’s sextet rehearsed during that period. I recognize a few of the names here like Eric Person (who I know from records with Chico Hamilton, Dave Holland & Ronald Shannon Jackson. I don’t recognize the names Chris Pasin or Phil Allen but I do know the rhythm team, Ira Coleman & Peter O’Brien from previous work with Mr. Esposito, as well as with Tony Williams and Barney Wilen.

   This is a most effervescent sextet, swinging hard and sounding like a Blue Note band from the sixties or seventies. “Clarity” opens with an uplifting, swinging groove with inspired solos from the trumpet, tenor sax, trombone and piano. The relaxed pace and lovely melodies of some of these songs is/are exquisite. “First Sight” features a repeating riff which is near majestic in its sound and which features drummer Peter O’Brien revving up underneath the calm exterior and adding some sparks.

  One of the highlights here, which I didn’t notice at first, is the way Mr. Esposito writes thoughtful harmonies for the horns. At times, the trumpet, sax or flute and trombone will all solo together creating quirky circles. On “La Leque” lush harmonies are both haunting and lovely at the same time, something which is not so easy to pull off. Since this music is not very avant or out, what does standout is the strong playing and adventurous yet somehow subtle arrangements which seem hidden at times yet come through if you listen closely and give several listens. - Bruce Lee Gallanter, DMG

 

 

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https://www.chronogram.com/arts/album-review-john-esposito-sextet-laura-20635715

 

 John Esposito Sextet:  Laura

(Sunjump Records)

John Esposito Trio:  Blues for Outlaw Hearts

(Sunjump Records)

Columbia County composer/pianist John Esposito has worked with a ridiculous list of major jazz talents. He has two new offerings out, both anchored by the dynamic rhythm section of bassist Ira Coleman and drummer Peter O'Brien. Blues for Outlaw Hearts, a trio disc, showcases Esposito's own fluid playing. Laura, recorded back to back, expands to a sextet, with the addition of Phil Allen, Chris Pasin, and Eric Person on horns and woodwinds. The latter, not surprisingly, offers a fuller sound, but still keeps the focus on Esposito as leader. The width of his voicings leaves plenty of room for both air and for his fellow players. When he does dig in, it's with a big, open sound, redolent of hard bop pioneer Horace Silver (though with a leaner left hand) or an up-tempo, spirited version of contemporary master Kenny Barron. The epic "Sunlight" unleashes an Ahmad Jamal-like exuberance, beams of notes arcing through a late afternoon. The ersatz title track, "Outlaw Hearts," slows things down, decorously, with O'Brien's cymbals offering a shining counterpoint.

  Laura, as noted, is a richer ride, with the frontline crackling from the first late-'50s beat of "Clarity." "Blues for Bugalu" lopingly lives up to its name, with a fine valve trombone solo from Allen leading into a nice takeoff by Pasin. "La Leque," led by Person's flute, again emphasizes a welcome space in Esposito's compositional sense. The closing "A Sailor's Farewell" is the clincher, with challenging, fraught harmonies that have been begging to be brought forward.

                                                                                                   Chronogram

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 Blues For Outlaw Hearts:  AllAboutJazz review: for CD page Review

 

  Pianist John Esposito, the head honcho at Sunjump Records, has made part of his life's mission to feature underappreciated musicians. Guitarist Sangeeta Michael Berardi, who passed away in 2024, was one of them. Berardi owed a big debt to saxophonist John Coltrane. This can be heard—leaving no doubt—on his Sunjump outing Earthship, released in 2008. In the mode of Coltrane, the music was soaring, seemingly divinely inspired. John Esposito held down the piano chair. No easy task considering the relentless uplift of Berardi's artistry. And given the Coltrane influence of that album—with tracks like "Coltrane's Love Lights Our Way," "Trane's Church" and "My Favorite Things"—John Esposito's work on the album can be said to display a McCoy Tyner leaning, with a muscular, just-finished-with-the-barbells approach to melody, rhythm and harmony.

  Esposito's Blues For Outlaw Hearts, a piano trio outing, follows a similar path, walking in the footsteps of Tyner, who held down the piano chair in Coltrane's great quartet.

  On a set of all Esposito originals, the trio plays like an irresistible force, its implacable nature due to, by turns, the power of the expositions and the breathtaking beauty of the collective musicianship. Drummer Peter Obrian and bassist Ira Coleman accompany Esposito with an assurance bordering on brashness on "The Naked Truth: Envision three horsemen pounding into town with free reins and fury. "Sunrise" has a caffeinated Thelonious Monk feeling, and "Longing," the set's opener, has a searching vibe—for the deity, for a love lost. Who knows?

The eleven-minute title tune/centerpiece serves as a highlight in a consistently excellent set. The trio displays a collective spirit and fluid majesty.

Recorded in a day and the morning after in the tail end of the Covid-19 "live music drought," this cohesive set has a freshness and hopped-up vibrancy that is irresistible.                                             Dan McClenaghan,  AllAboutJazz

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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