Become a member and get exclusive access to articles, live sessions and more!
Start Your Free Trial

This is the 1st of your 3 free articles

Become a member for unlimited website access and more.

FREE TRIAL Available!

Learn More

Already a member? Sign in to continue reading

Steven Feifke Big Band: Kinetic (Outside In)

A review of the pianist's big-band debut album

JazzTimes may earn a small commission if you buy something using one of the retail links in our articles. JazzTimes does not accept money for any editorial recommendations. Read more about our policy here. Thanks for supporting JazzTimes.
Steven Feifke Big Band: Kinetic
The cover of Kinetic by the Steven Feifke Big Band

There’s nothing like a regular residency to hone the playing of a big band and give such an ensemble—always a challenge just to keep gigging—a chance to routinely introduce, air out, and tweak arrangements. Steven Feifke’s group benefited from just such an opportunity during nearly two years’ worth of monthly performances at the Django in New York, an engagement that ended only with the pandemic-forced shutdowns. 

The post-cancellation payoff has arrived with pianist Feifke’s debut big-band release, an impressively varied set of music featuring top-rank NYC players roaring on compositions and arrangements that occasionally bring to mind jazz orchestras of yore, including the Thad Jones/Mel Lewis Orchestra, but also point to a fast-developing talent who’s bringing fresh ideas to the genre. 

“Kinetic” makes for a revved-up opener, with four brass blasts sparking a round of piano soloing before the piece begins in earnest. Call-and-response figures are followed by Feifke’s extended improvisation, multiple ensemble charges, and engaging turns by trumpeter Gabriel King Medd and Ulysses Owens Jr., one of four drummers who variously kick this band in all the right places.

The pace changes with the snaking rhythms and volleying lines of “The Sphinx,” a showcase for tenor saxophonist Lucas Pino; the bluesy “Wollongong,” which hints at screen scores of the ’70s; a lush, refried take on Horace Silver’s “Nica’s Dream”; and Alexa Tarantino’s slippery alto romp on the funk-edged “Midnight Beat,” which feels like a catchy theme song for an imaginary action-TV series.


All that and a pair of laidback vocal tracks too, as Veronica Swift’s singing aptly matches the ensemble and Andrew Gould’s soaring alto on “Until the Real Thing Comes Along” and a majestic, Broadway-big “On the Street Where You Live,” livened by solos from trombonist Robert Edwards and bari saxophonist Andrew Gutauskas.

Learn more about Kinetic on Amazon!

JT Video Premiere: “Kinetic” by Steven Feifke Big Band


Philip Booth

Philip Booth is a longtime arts journalist and bass player based in Florida. Formerly the pop music critic for the Tampa Tribune, he has contributed to many national publications, recently including the Washington PostJazziz, and Relix. His byline also has appeared in DownBeat, Bass Player, Billboard, Variety, Spin, Rolling Stone, and several academic journals. Sharkskin, the second album from his long-running band, Acme Jazz Garage, has aired on radio stations across the U.S.