French Magazine Review (English Translation)

Stan KillianReviews

NEWS: Stan Killian, a superb tenor saxophonist in his 40’s originally from Texas who has been established in New York City for 10 years, is now reaching a world class status with this 3rd album on Sunnyside.

“Brooklyn Calling” is captivating for many reasons and Stan Killian is playing with references: The title recalls the historical BBC broadcast “London Calling” and of course the Clash, while the pictures on the album cover remind us of Sonny Rollins’ album “The Bridge” and of his iconic picture in the New York Daily News in front of the Williamsburg Bridge. But it is musically that Stan Killian and the Saxophone Colossus come together. Like Sonny Rollins, Stan Killian is rooted in tradition, with the heritage of Coleman Hawkins, Lester Young or Illinois Jacquet, and he naturally leans towards post-bop modern jazz where his other inspirations are Rollins, John Coltrane, Joe Henderson or Wayne Shorter. This album is the album of maturity. Stan Killian plays here with natural poise and confidence and in perfect symbiosis with his musicians, constantly creating to serve deep compositions, with catchy modern structures and harmonies. “For me, to play modern jazz is not about writing intellectual and difficult music just to be hip, it’s more about playing the most beautiful melodies within a space that gathers all my influences.” Almost an album of protest! – Les Chocs, 08/17/22

StereoGum Review of Brooklyn Calling

Stan KillianMusic, Reviews

I am pleased to share StereoGum‘s great review of Brooklyn Calling, my latest quartet release on Sunnyside Records.

“Saxophonist Stan Killian is originally from Texas, and you can hear a little of the Texas blues in his playing, but he’s a longtime New Yorker with a hard-bitten hard bop style perfect for the city’s dark, crowded jazz bars. On this, his third album for Sunnyside, he’s backed by guitarist Paul Bollenbeck and a rhythm section he’s used before, bassist Corcoran Holt and drummer McClenty Hunter. Those two guys, who worked together brilliantly on Hunter’s 2018 album The Groove Hunter, are fantastic here, keeping the swing light and airy while being ready and willing to drop atomic bombs as needed. On “Buy Back,” the whole band is burning from start to finish. The title refers to a Covid-era policy where if you bought two drinks, the bar would buy you a third, and the band plays like they’re exactly three drinks in — loose, energized almost to the point of recklessness, but still very much in control and (mostly) focused.” – StereoGum, 07/01/22

JazzTimes Review

Stan KillianMusic

Stan Killian's 2022 Album Brooklyn Calling
Listen to the long-awaited album Brooklyn Calling by Stan Killian!

Check out the great review from JazzTimes of “Brooklyn Calling”, my latest quartet album on Sunnyside Records.

“Figure guitar-playing newcomer (to this band) Paul Bollenbeck as the most common provocateur to the leader. Over seven tunes swinging as a suite, Bollenbeck first scintillates with enigmatic suction sounds behind Killian’s tenor. Elsewhere he chimes as a mellow bell, cushion for Killian’s rides into the higher (though not altissimo) ranges. Produced by Killian himself, the set plays out, especially through headphones, as the four fellows hiding behind each other, then spinning peeks out from the common column into their artistry. I always say I’ll fixate only on Bollenbeck, or Killian, then I’m stuck following bassist Corcoran Holt’s smooth booming, or drummer McClenty Hunter’s supple stick work, dry jokes sparking through cymbals.

Killian, originally from Texas and gigging as a teen with his dad (keyboardist Joe Killian), made NYC his home about a decade ago. He heard Bollenbeck ages back in Joey DeFrancesco’s band, and the two do that simpatico like they were born never to be apart. The virus did what the virus did to the rest of the country (world), but after a hike to Buffalo, the saxophonist came back to what and where he knew for jam sessions at Ridgewood, Queens, attended by like-minded folks from Bushwick, Brooklyn.

The leader understands dynamics as an oft-neglected fourth dimension (after tone, structure, and harmony), so when “Shibuya Crossing” roams across its seven-plus minutes, you hear wild-eyed declaiming cheek-to-tongue with softer inclinations resembling human speech. Holt breaks out the bow for “Concept of Peace,” Bollenbeck chiming in choice comments of awe. Teamwork, once again, a testimony to a total.” – Andrew Hamlin, JazzTimes, 07/08/22

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