Motion is a self-released/indie album A Ryan Meisel Collective, a jazz combo from the chilly Midwest USA (IL & WI) made of regionally-based players. Before some of you turn your noses up re: the factoid these hepcats aren't national or "established" names (i.e., them one reads of in dB, Jazz Times, etc.) don't let it concern you. Motion is simply a better-than-fine mainstream jazz disc, a boss offering no matter where it came from. Only the "mainstream" is mos def 21st century mainstream, not of 10, 20, or 30 years back. "Mainstream" has come to mean: established styles considered part of the norm, but to newer generations of players, the avant-garde, soul-jazz, and Mother New Orleans are as much part of that continuum as the bebop, hard bop and post-bop variants thought to be the mainstream. In other words, this isn't natty-guys-in-suits re-bop -- the Meisel Collective explore/embrace that jazz tradition and make it all their own.
Proof's in the pudding (odd expression, if you think about it): The surging opener "20 Revolutions Around The Moon" establishes a tidy early/mid-60s Hancock/Tyner-type groove before the saxes spread a stealthy, blues-laden theme and dance 'round each other a bit. Meisel and Celia Whiren's tenors get a little playfully "out" (a la George Adams) here 'n' there before locking into a insistent duo-goose/push groove. "Swang-a-Thang" finds the crew tipping their collective fedoras at that "gray area" of the swing-to-bop era of Coleman Hawkins and Don Byas. Tenorist Celia Whiren shines, her deep-toned muscular horn getting in touch with her inner Dexter Gordon without being all slavish about it. This 'un also visits N'awlins with a little old-school collective theme-ology and a tasty (and concise) drum solo that really goes to Crescent Square a la Ed Blackwell. "Motion" might be a mini-tribute to Lee Konitz (Motion is considered one of LK's best discs), featuring as it does a furtive Peter Gunn/film noir-type melody with a touch of jolly skronk. "Come Back To Me" is a standard-type non-standard, Meisel's soprano rich with restless but classy swagger.
Also, think you not as this be an indie production that it lacks "production values" -- the aural quality is crisp, warm 'n' clear and the drums sound like you're literally a few feet from the bandstand.