Tippin’ album review @ All About Jazz

Home »
Jazz Articles » Album Review » Carl Allen: Tippin’

Drummer

”
data-original-title=”” title=””>Carl Allen‘s release Tippin’ is an opportune occasion, as it is Allen’s first album as a leader in over twenty years. For this storytelling experience, Allen brought together two luminaries of modern jazz: the internationally renowned bassist

Christian McBride

bass
b.1972

”
data-original-title=”” title=””>Christian McBride and the phenomenal horn player

Chris Potter

saxophone, tenor
b.1971

”
data-original-title=”” title=””>Chris Potter. The trio created a cohesive and compelling narrative, resulting in an album that stands out in its ability to balance spontaneity and structure. It is a free-flowing experience that feels both natural and profoundly intentional.

The compositions for this session were carefully chosen and sequenced, each contributing to the overarching story while allowing for individual expression. The music book opens with a

Charlie Parker

saxophone, alto
1920 – 1955

”
data-original-title=”” title=””>Charlie Parker aptly-named classic, “Parker’s Mood,” in which the chordless trio format (no piano/guitar) rises to the challenge. Playing with purpose, Potter elaborates on what the arrangement of the number has to say, while McBride brings his big-toned bass to the story as a testament to his virtuosity. Allen is engaged in the process with subtly graduated dynamics. Wanting to acknowledge one of his friends who has influenced his musical life, he included trumpeter

”
data-original-title=”” title=””>Freddie Hubbard‘s number “Happy Times” a buoyant affair that fits the bill. All the players enthusiastically participate as their musical rapport shapes the piece’s narrative.

The recording took place at the storied Van Gelder Studio, Englewood Cliffs on January 13, 2024, under the guidance of engineer Maureen Sickler, a fact that gives auditory substance to this session and honors the listener with awareness of it. Allen contributed two original compositions to the album: “Hidden Agenda” and “Roy’s Joy.” In the former, Potter is on bass clarinet, and his soulful tone gives the number emotional depth. Allen’s drumming is bristling with vitality, accentuating the rhythmic structure of the chart. The latter composition was dedicated to trumpeter

”
data-original-title=”” title=””>Roy Hargrove to acknowledge his playing on Allen’s first two releases as leader. Following a robust opening passage from McBride, Potter takes over with a clear-eyed and self-assured improvisation.

For a change in the musical palette, Vancouver Canada-based pianist

”
data-original-title=”” title=””>John Lee is brought in for

”
data-original-title=”” title=””>Kenny Barron‘s composition “Song For Abdullah.” With his brushes dancing over the drum kit, Allen provides a subtle texture to every beat, and Lee’s sensitive and lyrical piano furnishes a sense of discovery. McBride picks up his bow for an arco interlude filled with soul and dexterity. Potter is his usual proficient self, with his bass clarinet lines filled with inventiveness and emotional depth.

The final two cuts of this release are both popular songs. The first is Irving Berlin’s “They Say It’s Wonderful,” and the other is “Put On A Happy Face” by Lee Adams and Charles Strouse; the song was introduced by Dick Van Dyke in the musical Bye Bye Birdie. Allen, McBride and Potter perform with a continued heightened sense of interplay and creativity, relying on their deep musical rapport to shape the portrayal of each piece.

“>

Track Listing

Parker’s Mood; Happy Times; A Modern Story;
Hidden Agenda; Alte Ego; The Inchworm; L’s
Bop; Song
for Abdullah; Roy’s Joy; James; They Say It’s
Wonderful; Put On a Happy Face.

Personnel

Additional Instrumentation

John Lee: piano (8).

Album information

Title: Tippin’

| Year Released: 2025
| Record Label: Cellar Music Group

Tags

PREVIOUS / NEXT

Feb
26
Wed

Feb
26
Wed

Feb
27
Thu

Feb
27
Thu

Feb
28
Fri

Feb
28
Fri

Feb
28
Fri

Mar
1
Sat

---

Support All About Jazz

All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who make it. Our enduring commitment has made “AAJ” one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.

Go Ad Free!

To maintain our platform while developing new means to foster jazz discovery and connectivity, we need your help. You can become a sustaining member for as little as $20 and in return, we’ll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination vastly improves your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.