These Are Them by Al Ashley

Ashley kicks off the date wilh Blue Note, a composition of his own that was inspired by some of

the music that he heard on the famous label when he was growing up. The straight ahead cooker

has a simple but catchy melody that Liebman charges right into on tenor, showing that although

he hadn't previously recorded in front of an organ trio that he's quite familiar with the soulful

saxophone style that works best within the context. Stone's first-rate guitar solo is strongly

supported by Von Esson's surefooted pedal work and comping before the organist sets out on his

own swinging solo. Ashley's hard-hitting drumming keeps things moving throughout, prodding

each player and filling in the spaces with some well-placed licks.

The title track, These Are Them, is another Ashley original. The drummer starts off the quirky

samba with a short drum introduction before Liebman states the lyrical melody on soprano

saxophone. Stone has the first solo, revealing an affinity tor the South American form, followed

by Von Esson, who also shows a strong liking for the Brazilian rhythms Ashley so deftly lays

down. Liebman's soprano solo exhibits his well-known mastery of the straight horn,

demonstrating his impeccable intonation, even as extends the instrument's range. Ashley

manages to push the saxophonist to even greater heights during a short duo exchange during

which Stone and Von Esson lay out.

Oliver Von Esson's Perfect Day is a relaxed outing delineated by Ashley's loping rhythm.

Liebman's soulful tenor is reminiscent of past masters like Gene Ammons and lllinois Jacquet

who blurred the line between r & b and jazz, giving their music a broad appeal that is sadly

missing today. Stone has a tasty solo followed by the composer, who opens the song up with

some full-bodied organ. Ashley's in-the-pocket rim shots pick things up a bit before the tune

peacefully fades away.The Other Time, another Von Esson composition, is a contemporary sounding waltz that begins

with the trio in a Milesian mode before Liebman states the pretty melody on soprano. The

saxophonist's solo moves from sweet to strident. Stone and Von Esson support each other

excellently during their respective solos and Ashley is particularly prominent in keeping the song

interesting throughout the shifting moods.

Rick Slone's Relatlve Minority is a hard bopping original that takes its title from the song's

harmonic movement(through relative minors). Liebman plays the melody on tenor with Stone's

guitar before the latter takes off on his own with a swinging solo. The saxophonist is up next with

an exciting excursion all over his big horn, followed by Von Esson driven by the relentless

rhythms of Ashley, who trades some four bar exchanges with the band betore they return to the

head.

Fats Write is Ashley's dedication to his late great friend and mentor, Fats Wright, a legendary

pianist/organist who played with greats like Miles and Trane around New York and Philly betore

settling in the Roanoke, Virginia area, where the drummer frequently worked with him. The

uptempo tune utilizes some drum breaks by composer in the statement of the melody and

features Liebman's soprano and Stone's guitar plus an extended organ solo by Von Esson, all

driven by Al Ashley's dynamic drumming.

The disc concludes with Dave Liebman's composition Look At What We Do To Ourselves, a

previously unrecorded piece by the saxophonist written in response to the human error

responsible for the catastrophic accident at Three Mile lsland. Ashley contributes some explosive

drumming to this tour de force for the composer's tenor, which modulates from an attractively

warm sound to a frightening dark intensity iust before the piece fades into oblivion.

These Are Them is an impressive debut recording as a leader from a versatile veteran sideman

who has put a lifetime of experience to extremely good use in assembling and directing his newly

formed band through a varied program of original material. Al Ashley has managed to meld the

individual talents of relative newcomers Rick Stone and Oliver Von Esson with the seasoned

sound of the mature master Dave Liebman into a truly cohesive unit. ln allowing each musician

the free rein to express himself musically, as well as the opportunity to contribute

compositionally to the proceedings (in the tradition of great leaders like Art Blakey and Philly Joe

Jones), Ashley has gotten the most out of the members of his fine group. Listeners who miss the

glory days of labels like Blue Note would do well to check out this date. There's no need to pine

for the music of the good old days because with Al Ashley around, "These Are Them."

Media Contact:

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