Michael Pallas | Gateway Review

by Darnell Jackson

In his debut album, Gateway, Michael Pallas comes across as a gifted trombonist and versatile composer pulling from the sounds of the contemporary urban jazz scene. A product of his multifaceted career, this record reflects his influences of Latin jazz, hip-hop, neo-soul, and Afro-Cuban rhythms with the same ease and precision that has defined his collaborations with the likes of Antibalas and Soul Science Lab. It’s a testament to his journey from Phoenix, Arizona, to New York City, capturing his growth as a musician, educator, and creative force.

The album opens with “Life On Mars,” an odd-metered Cubop composition inspired by Pallas’ alma mater, The Jackie McLean Institute, and the contrasting environments of Hartford and New York. Pallas’ composition balances activity in the bass and drums with longer, more relaxed horn melodies. Pallas’ trombone solo syncs with John Benítez’s bass and Jonathan Barber’s drums as he sets the tone for his solo’s contemporary approach to the broader exploration of his early mentors, J.J. Johnson and Curtis Fuller. Saxophonist Lomar Brown and pianist Yeissonn Villamar turn in infectious solos.

Gateway’s pillar of strength is the cohesion of the ensemble. Benítez’s bass and Barber’s drumming create a solid rhythmic foundation, particularly on tracks like “One For The City,” an upbeat waltz dedicated to New York, and “Streaming Hope,” where the mid-tempo groove allows the ensemble to play with the cross-rhythms that Afrobeat and contemporary jazz thrive within. Pallas’ construction of these feels and compositional forms is a reflection on urban life and celebrates his understanding of collective perseverance and communication with his musical creations.

“Disu’s Dream” is a rumba dedicated to Pallas’ late friend and fellow trombonist Jason Disu. The piece is a mixing of contemporary jazz, straight-ahead swing, hip-hop, and Afro-Cuban, which is further refined by percussionist Nelson Mathew Gonzalez. The form has multiple feel changes, conveying the fluid interplay between the various styles. Yeissonn Villamar’s piano expresses these styles further over the Afro-Cuban groove of the solo section. Pallas pours his soul into every note for his solo, expressing grief and reverence through the trombone’s warm, resonant tone. Pallas’s communicative skill through his horn is well beyond his years, making him a formidable force in climbing to the top chair of today’s trombone players.

In contrast, “Counterfeit Blues” delivers a raw hip-hop-hued funky beat that propels the socially conscious edge of the spoken word artist Ghazi Omair. The track addresses police brutality and the murder of George Floyd. Omair’s poignant spoken word performance builds intensity, leading into “The Verdict,” a hard-edged groove that switches between an Urban groove and a buyout swing feel, ala the hard-bop days with Latin and swing. The energy has the same reflection on the same themes of the 50s too. These tracks express Pallas’ ability to fuse genres without losing the essence of jazz as a platform for commentary and expression.

Gateway also celebrates the joy of live performance and musical experimentation. “Today And Forever,” a serene ballad, channels the melodic grace of Kenny Barron’s compositions, offering a brief respite from the album’s energetic flow. Villamar’s opening piano statement is elegant, influenced by the church and modern jazz colors. Pallas’s delicate performance of the melody leads to a solo that expresses subtle shades of phrasing to convey the song’s energy of tenderness and reflection.

The album’s title track, “Gateway,” is a celebratory, forward-looking composition that nods to the return of live music post-pandemic. It radiates with exuberance, balancing contemporary jazz aesthetics with an undercurrent of Afrobeat rhythms. Brown’s saxophone must be celebrated on this track as he builds his ideas with passion and a fluidity that is beyond the norm. The following track, “Beyond (The Gateway),” shifts into a more neo-soul territory, with Villamar’s lush chords anchoring Pallas’ horn in a dreamy, Afrofuturistic soundscape.

“Patient(s)” and “Next Exit” showcase the album’s experimental side, blending electronic elements with hip-hop beats. While these tracks highlight Pallas’ adventurous spirit, they also feel slightly disjointed from the otherwise organic flow of the album. However, these moments are well within the focus of Pallas experiences and musical influences.

Closing out the album is “Variant,” a vibrant blend of Afro-Colombian cumbia rhythms, psychedelic effects, and dance beats. It’s a twilight-toned finale, underscoring Pallas’ ability to express through the voice of jazz without forsaking its roots while still reaching beyond into today’s urban sounds. His approach to the trombone is bold and fluid. His focus on time and accents acts as the anchor throughout these eclectic shifts, ensuring that each expression feels purposeful.

Gateway is composed of thirteen compositions based on infectious rhythms and the pulsating fusion of a sonic landscape that mirrors his own personal and artistic journey. Each track tells a story that reflects the 21st-century jazz artist’s complex relationship with tradition, innovation, and cultural expression. It’s a declaration of his arrival as a solo artist, showcasing his fluency across various styles while maintaining a cohesive, compelling voice throughout. It’s an exciting debut that promises even more innovation from Pallas in the years to come.