Explorations in Jazz: Allen’s new jazz album is really ‘tippin’

This album is pure joy from three outstanding jazz musicians. Allen (the leader) calls on double bass player Christian McBride, and saxophonist Chris Potter to release an album that is a pure pleasure to listen to, one you can enjoy over and over while always discovering something new in the sound.

This is Allen’s first recording as a leader, and I guarantee it won’t be his last if he continues to assemble various artists of this caliber. Allen has recorded with such jazz pioneers as bassist Rodney Whittaker (I will review his new album soon).

Allen, aside from be an upcoming jazz artist, is also Director of Jazz studies at the University of Missouri in Kansas City, and the recipient of the 2025 Ellis Marsalis Jr. (jazz trumpet player’s Wynton Marsalis late father) jazz educator of the year award.

OK, let’s get into this album/music. As mentioned before, Allen cut his chops by playing with bassist Rodney Whittaker, which I feel is why bass player Chrisian McBride was his choice for the bass player. They have played together for many years on the road and in the studio (Allen is also drummer for McBride’s band Inside Straight).

Potter has recorded with he and McBride on an album with Renee Rosnes. Allen has said that Potter reminds him of Sonny Rollins (one the great jazz tenor players).

Tippin’ was recorded at Rudy Van Gelder Studio (the greatest jazz recording studio in world) it took five hours to record, according to interviews (which is remarkable) you can hear that Tippin’ vibe as they exchange notes with one another. Everything just flows so naturally, and easily.

Of the album’s 12 tracks, two are originals by Allen – Roy’s Joy and Hidden Agenda. What’s interesting on the tune Hidden Agenda is that Potter plays bass clarinet (a la the great Eric Dolphy) which adds a bluesy tone to the song. McBride contributes one tune, Morning Story, while the rest of the tunes are pretty much standards.

This album was originally supposed to be chordless (without piano) but it appears that he decided to add pianist John Lee to play pianist Kenny Barron’s Song For Abdullah, which I feel was done to allow McBride to demonstrate how the bowing method can be used on double bass, as opposed to typical plucking.

And again, we get Potter playing fantastic bass clarinet (hopefully he will record an album using only bass clarinet in trio or quintet setting).

Other tunes that show how this trio can swing is on Freddie Hubbard’s Happy Times, and drummer Lenny White’s L’s Bop, the pace on this song is faster than original, and the bass sound is booming. Potter on Bird’s Parker Mood will definitely lead make you a believer that Bird Still Lives.

I could go on and on about the tunes and playing on this masterful trio album debut, but I strongly suggest you seek it out, and let your ears tell you what you feel.

So, until next time, remember:

“Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that’s creativity.”

– Charles Mingus, legendary jazz bassist