Threads • Almus Jazz/Warner Music • ALM 14202 (2007)

Coda

"Tenor saxophonist Mike Allen was a student of Joe Henderson and Joe Lovano. He's assimilated most of the advances made by John Coltrane to carve out his own melodic, muscular sound. On this ten-song date of original compositions shared equally with his long-time bandmate, pianist George McFetridge, the duo uncorks a series of probing, spirited performances.

Allen's always purposeful, robust tenor is married perfectly to McFetridge's equally daring, lyrical piano. Their intuitive grace is breathtaking. From angular art song readings like McFetridge's "Offhand" to fresh, surprise-filled ballads like Allen's "Sheep Island" and McFetridge's "Juaziero", the duo combine to produce some wide-ranging, in-the-moment magic.

Echoes of Coltrane and earlier masters ripple through Allen's playing on his original, "Back On Track", the pianist following him like a shadow with its own playful sense of invention. They've been playing together for a decade, and you can hear their closeness on every note on Threads."

-Joseph Blake

Vancouver • Almus Jazz/Warner Music • ALM 14302 (2007)

Entertainment News Northwest

"The vitality and competence of the jazz scene in Vancouver, B.C. is a well-documented fact, and here, in 10 great original tracks recorded at the Birch Theatre in Vancouver, is some of the proof. Mike Allen, an incredible, award-winning tenor sax talent, has just released his latest effort, simply entitled Vancouver. Joining Mike on this CD is a trio of some of the best jazz players around: Chris Gestrin on piano, Adam Thomas on bass and vocals, and Julian MacDonough on drums. Together, this quartet produces a mellow, intelligent sound that re-defines the phrase “easy listening.” Smooth and fluid, with appropriate dynamic versatility, these tunes wind their way into your soul. Mike Allen can play a tenor saxophone. All of it. His solos are impeccable, purposeful, and melodic. He uses every part of the horn’s range to great advantage, taming the upper notes well and letting the lower notes “squawk” appropriately for that wonderful raspy sound only the tenor sax can make. His fingers move faster than my mind can think, sometimes, and I sit in awe (check out Robson’s Strut). He supports his fellow players well when needed, adding just the right riff in just the right spot. A major talent. Although Allen is responsible for the lion’s share of the songwriting, each of the four has their hands in the mix. Of special note here are the three tunes written and sung by bassist Thomas. His haunting melodies and perfect-for-the-occasion voice are a real treat, and some of the highlights of the recording. “Walk in the Rain” is also a real showcase for Allen and his sax, and “There Were Fireworks” is my favorite of Thomas’ contributions. This reviewer’s love affair with the drumming of Julian MacDonough continues. No surprise that Mike Allen came south of the border for ‘hamster Julian’s rare talent. Perhaps a bit subdued in the mix for my tastes, Julian none-the-less shines through with solid performances. The real backbone of all musical situations I’ve seen him in, Julian’s rhythmic subdivisions defy description to all but the most knowledgeable, but just keep your foot tapping and you’ll find him “right there”. He sure gets the most out of a set of drums! Add to all of this the steady fill of Gestrin’s piano, smoothly doing just what is needed to keep a good forward flow to the sound, and you have a very special effort here. Vancouver is a CD worth adding to any collection, and that can be done by going to Mike’s web site, mikeallenjazz.com, and following the links. Enjoy!"

-Roger Mills

Victoria Times Colonist

"Tenor saxophonist Mike Allen has been a fixture on the Vancouver jazz scene for over a decade, and his band's steady work at O'Doul's and other local jazz joints shines through this recording of ten original compositions by members of the quartet. They play with an intuitive grace and power that is breathtaking. Allen's big, virile sax sound is at the centre of a band sound also featuring Chris Gestrin's understated piano, Adam Thomas' heartbeat bass, and Julian MacDonough's textured drumming. Gestrin and Allen's mirrored lines and concise, Zen-like abstractions are particularly thrilling. Allen is a great jazz musician leading a very fine, well-practised band."

-Joe Blake

Love One Another • Almus Jazz/Warner Music • ALM 14062 (2005)

The Toronto Star

"The classy Vancouver tenor saxman has a sure-handed technique that lets him do it all, employing warmth, muscle, surprising twists and
a beautiful sound that suits both burners and ballads. He's written eight tunes for his seventh album as leader, recorded last July, and
they also bring out the best in long-time piano colleague Bruno Hubert and the tight, ticking rhythmic engine of bassist Sean Cronin
and drummer Julian MacDonough. The sidemen slither in and out of the limelight but it's the questing Allen who makes listeners
attentive, inspiring memories of Joe Henderson when he cruises effortlessly through melodic improv. The mood's rugged on "Same
Old Feeling", reflective on "In A World Of Their Own", and always interesting in a fine follow-up to his Fealess album."

-Geoff Chapman

Medicine Hat News

"...Allen writes all but one of the pieces for this recording. His writing is intelligent, melodic and always beautiful. Several tunes on this CD are very reflective and sedate in pace - truly gorgeous and moving. But when the group wants to cook, they can fly with the best of them. These pieces sound like they could be part of the jazz standards repertoire...

The trio is joined by pianist George McFetridge who integrates very well into this group; one that is used to performing as a piano-less, guitar-less trio. He provides that harmonic pad that is always implied in the trio, but does so in a very sparse and un-obtrusive manner, so the original spirit of the Mike Allen Trio is kept intact."

-Lyle Rebbeck

Okanagan Jazz & Blues Society CD Reviews

"Vancouver saxophonist Mike Allen follows up his trio’s award-winning 2003 CD Dialectic with perhaps his most beautiful recording to date. Fearless features seven Allen compositions and one by guitarist Sonny Greenwich, a longtime associate. Allen says that in general he’s been trying to write lyrical tunes that provide him a vehicle to connect with audiences on a more emotional or spiritual level, and he’s successful with virtually all his compositions on Fearless. The title track, which opens the CD, is a good example. With its simple, lovely, hymn-like melody and its relaxed swing tempo, this tune is among the most soul-soothing pieces of music I’ve heard – instant relief from the day’s cares or stresses. Allen exudes a wonderful warmth in his playing. The second tune, The Man, starts out in much the same vein, but Allen injects some tension with a Coltrane-like section that resolves itself in joyful expression. Two middle tracks, John Robbins, Crystallized, are both moving ballads. The first is reflective in mood. The second has a bit of a mournful feel to it and is the only track to feature Allen on soprano sax (he plays tenor and alto on the rest of the CD). Next is the medium-tempo Until It’s Over, which the trio also recorded on Dialectic. While the earlier version is a hard-swinging number, the newer version is more contemplative, conveying feelings of inner turmoil - questioning, doubt and regret. The CD finishes cheerfully with the group swinging briskly on From a Different Angle and then stretching out on Mingus Jump, a fun blues. Bassist Paul Rushka and the exciting drummer Julian MacDonough joined Allen on Dialectic. Both are back on Fearless, though Adam Thomas replaces Rushka on two tracks. Of his decision to add George McFetridge on Fearless after two trio recordings, Allen says the tunes required the pianist’s harmonic contribution: “They wouldn’t be harmonically full in a trio formation.” While MacDonough plays more of a supporting role on Fearless than the featured role he played on Dialectic, all the musicians sound great. In particular, Rushka sounds more confident and comfortable with the music this time. Fearless is one of Allen’s best recordings."

-Ben Verkerk

Ottawa Citizen

"Few acts are harder to pull off in jazz than the saxophone trio.  Without the harmonic signposts usually supplied by a piano or guitar, and without the variety they add as soloing instruments, the sax-bass-drums lineup can be tough to make interesting over an entire album.

Unless you play like Mike Allen.

Echoes of John Coltrane, Ornette Coleman and Joe Lovano resonate through Allen's work, but the Vancouver-based saxman has channelled them into a voice of his own, by turns soulful, intense, lush and dynamic.

Aided by the stellar Paul Rushka on bass and Julian MacDonough on drums, Allen is mindful of the need to offer a broad mix of originals and standards such as Nette's Cept and Everytime We Say Goodbye and to ensure none of the tunes overstays its welcome."

-Doug Fischer

The Gazette (Montreal)

"Mike Allen, a mainstay of the local scene from 1985 to 1995 and now based in Vancouver, has developed a mature sound on tenor sax that reflects influences from John Coltrane to Sonny Rollins and Joe Lovano.  Clear phrasing, a bold, confident tone, and a penchant for lyrical excursions mark his playing in this highly listenable CD.  It may not reach the creative levels of those giants, but the interplay with Paul Rushka on bass and Julian MacDonough on drums is remarkable.  The CD opens with a fast-paced Nette's Cept, an original and convincing nod to Ornette Coleman's legacy.  Frank Foster's bluesy Simone gets a moody treatment.  Allen takes the soprano sax for a lilting version of the standard Everytime We Say Goodbye, while his reading of Bessie's Blues reflects his own muted colours, more restrained than Coltrane's.  It's back to the soprano on Allen's own One Side Of A Circle - one of five originals - which best reflects the dancing dialectic he pursues in this warm and thoughtful outing.

-Irwin Block

Toronto Star

"This impressive entry by Kingston-born, Vancouver-based tenor and soprano saxist Allen was recorded in January with young bassist Paul Rushka and Seattle drummer Julian MacDonough.  You get nine long pieces, an hour of strong compositions and splendid interpretation.  He sets high standards in the headlong rush of his opener "Nette's Cept", with its long improv lines, his swinging, rhythmic sense complemented by strident drumming explorations and then clever interaction.  Allen's big tones stand out, especially on the bluesy "Simone".  Taut and tight phrasing are featured on a bracing take on Coltrane's "Bessie's Blues", while the soprano fares much better on his "One Side Of A Circle" and the sweet "Until It's Over".  His breathy tenor a la Ben Webster is a delight on "Round Midnight" and elsewhere.  He's certainly strong on melody with a power sound mindful of Sonny Rollins."

-Geoff Chapman

La Presse (Montréal)

"Ex-résident de Montréal, transplanté a Vancouver depuis 1995, le saxophoniste (ténor et soprano) Mike Allen lance Dialectic, concu sans instrument harmonique.  Avec contrebasse et batterie, le soliste doit ainsi meubler l'espace entier, ce qui constitue une occasion parfaite de bien saiser son jeu calme et serein.  Le timbre baraqué dont il fait un bel usage au ténor est effectivement celui titre qui renvoie au caractére inséparable des propositions contradictoires dans un discours, témoigne de cette placidité.  Qu'il s'agisse de ses propres compositions (cinq au menu) ou de standards (Bessie's Blues, 'Round Midnight, Everytime We Say Goodbye), le jazz de Mike Allen est celui d'un improvisateur mature, qui sait exploiter sa technique sans en dépasser les limites.  Qui dompte son instrument avec le sourire.  Dialectique douce, en somme.

-Alain Brunet

Change Is • Maximum Jazz • MAX 0065 (2000)

Cadence Magazine

"Sonny Rollins proved that tenor/bass/drums trio would work and Canadian tenorist Mike Allen's Change Is, is yet one more verification of its effectiveness. Indeed, Allen's own style owes a debt to 1950's Rollins, although Allen's tone lacks Rollins' huskiness and his playing doesn't quite reach Rollins' intensity level. Instead, in this mix of standards and originals, ranging from quiet ballads to exhilarating up-tunes, the tenorist demonstrates a big but smooth sound throughout the range of his horn and generally approaches the material in a comparatively subdued manner. Drummer Dave Robbins' frequent use of his brushes serves to reinforce the calm ambiance. A notable exception, however, is Robbins' own "At the Mark" on which he brings out the sticks and sets the leader up for his most impassioned work on the album.

Through thoughtful interaction of the three instruments, including the frequent use of Darren Radtke's bass as a second melodic voice, the ensemble keeps the music interesting, thereby avoiding the most common pitfall associated with groups lacking a chordal instrument. And it helps that Allen's improvisations swing effortlessly and eschew stock cliches in favor of more inventive phraseology. Drummer Robbins keeps solid time and whether using sticks or brushes, makes his own contribution to the rhythmic interest of the proceedings."

-David Franklin

Georgia Straight (Vancouver)

"The Mike Allen Trio was a real surprise to me. It’s not that I haven’t heard the tenor saxophonist—or his able sidemen, Darren Radke on bass and Dave Robbins on drums—in various other incarnations around town. What surprised me is the format. With the amount of time I spend at the Cellar, I figured I didn’t need to catch this trio’s regular Tuesday-night gig there—especially because, without a piano or guitar to fill in after the sax had taken its turn, it could only be a night filled with bass solos. That, I assumed, I could do without.

Boy, was I wrong. I’ve been listening to Allen’s fourth CD, Change Is, for five days straight now. It’s a gorgeous recording and Allen’s playing is typically strong and melodic on the 10 tunes, six of which are originals (five from Allen and one from the endlessly inventive Robbins). The instrumentation gives the music a chamber feel, with room for Radke’s bass to sing out and Robbins to keep things kicking.

To pick out one tune over another wouldn’t be fair. There’s not a wrong note on the whole album—and the next time this group plays live, I’ll be there."

-Guy MacPherson

All About Jazz

"Despite a handful of excellent recordings of trios led by giants like Sonny Rollins, Elvin Jones, and Joe Lovano, the saxophone, bass, and drums configuration has not been a particularly successful ensemble within the jazz mainstream. Simply stated, it's a tough act to pull off for an extended period of time, especially for less experienced musicians. The absence of harmonic guideposts normally provided by a piano or guitar (not to mention their contribution as an additional soloist) magnifies the presence of each instrument, laying bare each player's strengths and weaknesses.

In tandem with bassist Darren Radtke and drummer Dave Robbins, on Change Is, tenor saxophonist Mike Allen circumvents the potential pitfalls and makes a substantial contribution to the genre. A confident display of collective and individual improvisations, the recording is listener friendly to boot. Allen fashions a setting in which each player is free to revel in his own virtuosity but only while listening to and interacting with the others. Moreover, he keeps the audience in mind by taking care to present a sufficiently wide range of material, and making sure that none of the individual cuts overstays its welcome.

The irregular hiss and muted snap of Robbins' brushes, combined with light bass drum inflections which criss cross the implied pulse, loosely establish a medium tempo at the onset of Gershwin's "Love Walked In". Allen's playing of the melody clearly respects its contours, yet lets us know that he's looking forward to the approaching improvisation. With Radtke and Robbins initially keeping things at a low boil, the saxophonist logically develops his ideas but never sounds staid. Eschewing exaggerated displays of technique, he begins to make an emotional impact in small increments; and as Robbins tosses rhythmic gambits at him from several angles, Allen becomes increasingly demonstrative.

Not unlike Allen's inclination to acknowledge saxophonists from different eras of the jazz tradition without kowtowing to any one influence, Robbins' solo feature on his own composition "At The Mark" exposes different perspectives of his talent. Starting with a relatively simple rhythmic pattern that moves from drum to drum and closes with cymbal crashes, he could be any one of a number of swing-era drummers. After repeating most of this sequence for a third time, he shifts into a triplet rhythm, which goes against the beat and temporarily upends the feeling of a strict pulse, akin to modern masters such as Elvin Jones and Tony Williams. Without pausing, Robbins then shows off some wicked chops while traveling around the set, responds to Allen's stop-time figures with bebop oriented cadences, and concludes with a chorus which both stomps ahead and sways to and fro. Even during rapid single-stroke rolls, when struck hard, Robbins' snare drum projects something decisive, like the slamming of a door.

The first three choruses of Allen's turn on Johnny Hodges' "Blues Almighty" are smooth, leisurely, and nearly devoid of the passion the blues normally evokes. At the beginning of the fourth chorus, a slight alteration in dynamics and attack signal a more forceful stance, and from here on Allen emits a palpable charge while Robbins eggs him on with several brusque fills. What begins as an earthy, somewhat conventional bass solo becomes delightfully twisted when Radtke goes off on a couple of fruitful tangents without losing continuity. Robbins' four bar exchanges with Allen range from the restrained keeping of time on cymbals, snare, and bass drum to dense rudiment-sounding rhythms that unfold in a very limited space."

-David A. Orthmann

Planet Jazz

"It was around the time that tenor saxophonist Mike Allen arrived on the Vancouver scene in 1996 that I first began to notice that Vancouver was full of great players. Allen's trio, with bassist Darren Radtke and drummer Dave Robbins, tills the same piece of musical turf that was first cleared by Sonny Rollins' famed trio. Besides his stunning, smooth, smoky tone and relentless attack, Allen's true strength is his ability to pace and phrase his solos in a way that draws a listener into the music. "Change Is" opens by redressing Gershwin's "Love Walked In" in very hip, modern, postbop rags with elegant, bluesy lines and a restrained pulse. Allen and Robbins have been playing together for years now. They have established a rapport that allows Robbins to set the pace and clear the trail. Allen follows along behind, filling the space with wicked, lyrical runs and sweet, thoughtful phrases that at times seem to gush out of the bell of his horn. The CD has five Allen originals, a real burner from Robbins, and four well-chosen standards."

-Dave Coon

Mirror Weekly (Montreal)

"This time out the tenorman Allen, one of the most brilliant musicians to come out of McGill, leads a trio with a pair of BC-based heavies (Darren Radtke on bass and Dave Robbins on drums). The 10-track program is a varied one, ranging from memorable originals through standards, a Johnny Hodges blues and the theme from Streetcar Named Desire. Allen just gets better and better!"

-Len Dobbin

Toronto Star

"Tenor man Mike Allen, whose career has taken him from Montreal and New York to Vancouver, invades The Rex on Wednesday with bassist Darren Radtke and drummer Dave Robbins. With his big, lyrical tones and driving attack he'll be establishing the stirring sounds of Sonny Rollins' famed trio. Some of that approach is on his new CD "Change Is" (Maximum Jazz), on which he composed five of the ten tunes. Allen has an adventurous edge to his phrasing, smartly lags behind the beat and delivers long, energizing solo lines ("The Difference Between Us"), Joe-Henderson-style elegance ("Love Is A Many-Splendored Thing") and post-bop hustle ("At The Mark"). His tone is nearer to Johnny Griffin than Rollins but he's comfortable at all tempos and in all modes."

-Geoff Chapman

One Side of a Circle • Almus Jazz • CD 003 (1999)

Vancouver Sun

"Vancouver tenor saxophonist Mike A!len must have had a difficult time trying to decide whether to go with a small combo or a larger unit, and so, he splits the difference. Four of the eight Allen compositions on One Side of a Circle are for quartet (Allen, guitarist Bill Coon, bassist Darren Radtke, drummer David Robbins), while the remaining four are performed by an octet (the quartet rounded out by Brad Turner on trumpet and flugelhorn, Jill Townsend on trombone, Dave Say on tenor saxophone and Miles Black on piano". Either way, the band presents some serious, and occasionally playfull, straight-ahead jazz. Allen is a strong mainstream player who sometimes shows the earthy huskiness of Joe Henderson, and the swing instincts of Chris Potter, two sides of him evident on the quartet number Profit and Suffering. Allen can be a robust bebopper, building chorus after chorus on Rollins' Roots, also a quartet tune (hints of the influence of Sonny Rollins are everywhere on this record). The octet tunes are a full musical meal, with Black's work on piano proving he is one of the best jazz pianists in the country."

-Marke Andrews

Vancouver Courier

"One Side Of A Circle, Allen's third CD, conveys interesting compositional textures and expressive soloing. The album, which alternates between tracks played by an octet and and a quartet, also represents considerable artisitic progress for Allen. On the new release, Allen engages the listener with his assertive playing and fresh group concept."

-Chris Wong

One Step Closer • Almus Jazz • CD 002 (1997)

Coda Magazine

"Tenormen Mike Allen and John Nugent know their bebop. Allen's One Step Closer and Nugent's West Of Flatbush evoke the magic of those old Blue Note discs, the eager anticipation as you dropped the needle on the wax, the smile on your face as the notes swarmed in the air. That joy is present on much of these discs. This is not the powpowpow up'nadam fastfasterfastest Be-bop. This is more modal, more introspective, and most invigorating performances. Mike Allen's renderings of Milestones and Body And Soul both offer lilting behind the beat tenor, and the infectiousness of Down The Line is the type of refrain that will go through your head for days."

Victoria Times Colonist

"Vancouver-based tenor saxophonist Mike Allen's new CD showcases his muscular, understated sound on a repertoire of jazz classics and surprisingly original originals. A young band of Vancouver's finest jazz musicians (Brad Turner, Miles Black, Andre Lachance, Dylan van der Schyff) back Allen's Joe Henderson-inspired improvisations with intuitive-suport while adding their own insightful, concise abstractions. Allen is a sensitive craftsman with a superb band and an impressive, growing canon of original tunes."

-Joseph Blake

Quintet / Quartet • Almus Jazz • CD 001 (1995)

The Jazz Report

"It is tempting to think of Mike Allen's (Quintet/Quartet) as two distinct albums, so different are the two ensembles in stylistic approach and musical reach. Even the sound from the two sessions - recorded by the same team at CBC-Montreal - is remarkably dissimilar. The only common ground is the leader's full-bodied tenor and subtle compositions.

The quintet takes the stage first, launcing into Allen's One Side of a Circle with such quiet purpose and intent focus that by the end of the first phrase you are fully under their spell.

The beautiful, menacing, slightly overdriven guitar of Benoit Charest claims first rights to solo and delivers fluid lines that are at once relaxed and full of latent energy. Allen's tenor follows - bright, dynamic and challenging - probing deep into the musical ferment. Beneath him, bassist Alec Walkington and drummer Dave Robbins build a propulsive wall of sound. Tilden Webb tempers the fires with a reflective turn at the piano, remarkable for its thick-handed reharmonizations and delicate melodic touch.

The remaining four compositions of the quintet set are no less awesome, each featuring a combination of compelling soloing and seamless, deeply grooving ensemble work.

McCoy Tyner's Blues On The Corner enjoys a decade-spanning treatment encompassing Allen's '50s-style R&B wails, Charest's acid-tinged '60s rock and Webb's nod to the Herbie Hancock Headhunter days. The Robbins ballad Then There Was You offers a lovely but all too brief solo turn for Walkington.

Allen's Luna Crescente is a long, complex and hauntingly beautiful ballad, somewhat in the style of Coltrane's Central Park West, which manages to be completely satisfying in spite of one harmonic sequence which confounds each soloist (the composer included) in turn. The set ends with a gently swinging original, Something For Tony, which patiently gathers intensity over the course of solos by Webb and Charest, building to Allen's searing denouement.

The quartet of the second set is an intriguing pairing of tenor, trombone, bass and drums. Things start off promisingly with the bright, boppish Nette's 'Cept. Both Allen and trombonist David Grott excel in the wide-open soundscape and deliver over-the-top solos. Wiser Than I and Your Kind Brings Joy tease with good ideas - both compositionally and in performance - but fail to sustain the kind of energy that infuses the rest of the disc.

Bassist Doug Weiss and drummer Marc Miralta never quite sound comfortable, unable to dig down into the music the way their quintet counterparts do. This is due at least in part to the nature of Allen's compositions which demand a great deal of fussy harmonic underpinning from the bassist. That said, the quartet ends the disc strongly with a restless destructured chaccone appropriately entitled In A World Of Their Own.

Mike Allen's world is well worth a visit."

-Andy Hurlbut

La Presse (Montréal)

"Je ne m'attendais pas a tant de Mike Allen, que j'ai longtemps consideré comme un étudiant modèle. Ce n'est plus le cas. Discrètement, le saxophoniste montréalais a transcendé ses apprentissages. Ce souffleur de ténor n'est pas I'homme des grandes tempetes, son phrasé s'avère néanmoins précis et allumé, faisant preuve d'une véritable recherche de timbre. Ouintet/Quartet en témoigne éloquemment. Primo, cinq pièces pour cinq jazzmen, dont le guitariste Benoit Charest, le batteur Dave Robbins, le contrebassiste Alec Walkington, le pianiste Tilden Webb. Jazz coltranien ( One Side of a Circle), blues jazzy (Blues on the Corner), ballade torride ( Then There Was You), et plus encore. Secundo, quatre pièces en quatuor, différentes de facture, plus contemporaines, tant sur le plan de l'instrumentation que des choix compositionnels. Allen dans Fensemble ? Plus de jus..."

-Alain Brunet