“Evan Stone is part of the new breed of musical drumming talent that is redefining West Coast jazz.” – Peter Erskine
This summer, LA-based drummer Evan Stone released his first recording for the new Red Jazz label, Sticks and Stone, Volume 1. Most of Stone’s CD bandmates will be on hand when his quintet (“Committee of Five”) appears at Los Angeles’ premiere venue, the Jazz Bakery, on Tuesday, November 7^th. Joining Stone on stage will be pianist Theo Saunders, tenor saxman Matt Otto, bassist Jeff Littleton, and guitarist Steve Cotter.

Evan Stone’s eclectic credentials include tours with the late bandleader Maynard Ferguson, Tower of Power alum Greg Adams, and pop star Toni Childs, and recording with progressive rock band Salty the Pocketknife. He’s also performed with Larry Carlton, Tom Scott, Chris Boti, Jeff Lorber, John Tesh, Diane Schuur and more.

For his Red Jazz debut, Stone serves not only as timekeeper but also as bandleader and co-producer, pulling together an ensemble of southern California cohorts for some largely mild-mannered, subtly swinging explorations of jazz standards and original compositions. The recording features Cotter, Otto (who contributes “KCAMS” and “November Waltz”), pianist Josh Nelson (who penned “For My Friends”) and bassist David Miller; B-3 organist Joe Bagg sits in on two tracks (Dexter Gordon’s “Cheesecake” and his original, “Grapes”), while trumpeter Tony Guerrero and rising star vocalist Sara Gazarek are featured on “Moonlight in Vermont.” Other jazz classics include “You and the Night and the Music,” “Isfahan,” and “East of the Sun.”

Overall this is a generally laid-back session, a rather nice alternative to some of the more overblown, overwrought efforts of many of Stone’s contemporaries. If anything, at times Sticks & Stone is a bit too subtle, but just when the ensemble seems confined by understatement, one or another of these talented musicians turns up the steam. More often than not, the dramatic charge is led by Josh Nelson, whose previous credits include piano support for Sara Gazarek’s stunning debut, Yours.

The set opens with the Dietz/Schwartz standard, “You and the Night and the Music.” There’s nice work from the ensemble although there’s a feeling that they're in somewhat of a rush to get through the head. Otto sets the tone for the set with relaxed and pleasantly melodic phrasing over a quickly walking bass from Miller. In contrast, Nelson’s solo is marked by swinging abstraction. Stone engages in a brief duel with Otto, later trading 8s first with sax and then with piano. Billy Strayhorn’s “Isfahan” follows. While Otto plays the easy-going melodicist, Nelson provides the more interesting contributions of countermelody and competing rhythm, while Stone generates a steady cymbal pulse and light accents. Things percolate more as Nelson picks up the lead on the second chorus, he and Stone serving as the main voices until Miller comes in with a gentle bass solo enriched by some percussion tingles. Otto is ever sweet and gentle, while Nelson’s comping gives the track more authority and zip.

One of the most delightful efforts is Dexter Gordon’s “Cheesecake.” Featuring Joe Bagg on B-3 and Steve Cotter on guitar (and most likely Miller switching to electric bass), it’s the longest track of the recording at nearly nine minutes. Stone keeps the energy flowing with a busy pulse. After a seamless transition from organ to guitar solo, Stone trades statements with Cotter and Bagg with a series of jabs and rumbles, increasing his assertions on the last chorus. The pace changes with Josh Nelson’s “For My Friends,” a strong composition that seems well-suited to this date, as passion is implied more than explicitly stated. Nelson himself spins lyrical gold over Stone’s sympathetic percussion, while Otto blows a cool solo with a thin vibrato. Stone’s efforts rise above any thought of complacency, and Otto seems to come out of his reverie for the last chorus, propelled by rolling pops from the trapset.

Adding a vocal track in the middle of the recording was a strategic move that well serves the project. And Sara Gazarek is the perfect choice on “Moonlight in Vermont,” along with the muted trumpet of Tony Guerrero. Gazarek has one of the clearest of new voices on the jazz scene, one that fits well at this slow ballad tempo (mellow, no risk-taking, just lovely); bass and drum are very unobtrusive, and it’s hard to detect more than cymbal accompaniment from Stone. Otto brings forth more passion than heard earlier with a sweet and breezy tone, and Guerrero has the last muted word. Otto’s “KCAMS” follows with a more up-tempo beat and brighter voice, though still restrained; Stone is a significant collaborator throughout. Joe Bagg’s “Grapes” offers a splendidly quirky contrast to the rest, with more funky grooves via Hammond B-3 supported by strong percussion and guitar licks.

Matt Otto’s “November Waltz” is a standout, a lovely melody carried elegantly by his sublime tenor. Playing in tandem with Nelson’s piano, he creates the feel of a larger horn line. The set closes with a softly swinging “East of the Sun.” The tune swings, courtesy of the rhythm section, Nelson beautifully redeeming a rather bland start, and Otto returning with a thicker sound and more swing. Stone trades fours, alternating with Nelson and Otto, proving to be a master of subtlety throughout this track. Otto reprises the head, his thin whiney line evolving into a richer, smokier final chorus.

Stone titled the disc Sticks and Stone, Volume 1. One can eagerly anticipate further evolution on Volume 2. In the meantime, LA fans of straight-ahead jazz can enjoy Evan Stone, Matt Otto, and Steve Cotter with a new configuration featuring pianist Theo Saunders and bassist Jeff Littleton when Stone’s Committee of Five arrives at the Jazz Bakery on November 7^th.

“Stone’s drumming is always inventive, but he never forgets he’s the timekeeper in service of the song.” -- Bill Bentley (StudioCity.com)

The Jazz Bakery is located at 3233 Helms Av; sets at 8 and 9:30 pm; www.jazzbakery.com