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Altin Sencalar: Unleashed

By C. Andrew Hovan
April 19, 2025
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Often overshadowed by other solo instruments, the trombone boasts a rich history in jazz—one so vast it could fill volumes. New Orleans, the birthplace of jazz, also gave rise to

Kid Ory

trombone
1886 - 1973

" data-original-title="" title="">Kid Ory, a pioneer of the "tailgate" style of trombone playing. In the early 1900s, bandleaders often promoted their shows by parading through town on horse-drawn wagons. Trombonists, needing space to extend their instrument's slide, would sit at the back on the open tailgate, projecting their bold, brassy sound into the streets.

As jazz evolved, the boisterous strains of Dixieland gave way to a more melodic trombone approach during the swing era, thanks to virtuosos like

Tommy Dorsey

trombone
1905 - 1956

" data-original-title="" title="">Tommy Dorsey and Jack Teagarden. Yet, as bebop took center stage in the late 1940s, the trombone became less prominent in the small combos of 52nd Street. Even so,

J.J. Johnson

trombone
1924 - 2001

" data-original-title="" title="">J.J. Johnson and Kai Winding redefined the instrument's role, pioneering an advanced, virtuosic style that aligned with bebop's harmonic and rhythmic innovations.

The hard bop era ushered in new trombone voices. Notably,

Curtis Fuller

trombone
1934 - 2021

" data-original-title="" title="">Curtis Fuller's addition to

Art Blakey

drums
1919 - 1990

" data-original-title="" title="">Art Blakey's Jazz Messengers marked a significant return of the instrument to the jazz forefront. Over the following decades, boundary-pushing trombonists like

Albert Mangelsdorff

trombone
1928 - 2005

" data-original-title="" title="">Albert Mangelsdorff,

Roswell Rudd

trombone
1935 - 2017

" data-original-title="" title="">Roswell Rudd, and

George Lewis

trombone
b.1952

" data-original-title="" title="">George Lewis expanded the instrument's possibilities. In the modern era, the trombone remains an expressive voice. Yet, when it comes to both jazz and Latin jazz styles, few musicians rival the versatility of Altin Sencalar. For the Texas native, this dual mastery was shaped by diverse experiences as a student and sideman. A graduate of Michigan State University with a Master of Music degree, he has performed alongside an impressive roster of artists, including

Dafnis Prieto

drums
b.1974

" data-original-title="" title="">Dafnis Prieto,

Michael Buble

vocals
b.1975

" data-original-title="" title="">Michael Buble,

Ulysses Owens, Jr.

drums
b.1982

" data-original-title="" title="">Ulysses Owens, Jr., and

Christian McBride

bass
b.1972

" data-original-title="" title="">Christian McBride.

As a bandleader, Sencalar has established a distinct voice—not only through his playing but also through his compositional prowess. This artistry is evident across his previous five albums, with the last two reaffirming Posi-Tone as a nurturing home for his creative vision. On his latest project, Sencalar embraced a dramatic shift in direction. "I certainly come from the Latin jazz side of things, but I wanted to approach this recording from a more postmodern perspective," he explains. The catalyst for this change was producer Marc Free. "Marc suggested I try something completely unexpected. He believed it would not only broaden my visibility as a soloist but also elevate my presence as a performer."

A key element of this new approach was an ensemble format that replaced the customary piano with vibraphone—another suggestion from Free. Enter

Behn Gillece

vibraphone
b.1982

" data-original-title="" title="">Behn Gillece, a longtime member of the Posi-Tone roster and a past collaborator of Sencalar. For over two decades, Gillece has been expanding the expressive possibilities of his instrument, a fact underscored by his recognition as Down Beat's Rising Star Vibraphonist in 2018. "It took me a minute to wrap my head around the sound, but I'm always up for a challenge," Sencalar admits. "I wanted to make sure I approached the vibes differently than the piano or guitar because it has its own unique timbre."

To further shape the ensemble's sonic identity, Sencalar enlisted saxophonists

Greg Tardy

saxophone
b.1966

" data-original-title="" title="">Greg Tardy and

Bruce Williams

saxophone

" data-original-title="" title="">Bruce Williams, both of whom he had worked with in the past. A product of New Orleans' rich musical heritage, Tardy first gained national attention in the early '90s when drum legend

Elvin Jones

drums
1927 - 2004

" data-original-title="" title="">Elvin Jones tapped him for his band. Williams, known for his remarkable versatility, has performed across genres from hip-hop to the avant-garde and holds the distinction of being the youngest member of the World Saxophone Quartet. "Bruce and Greg have a deep history going back to the '90s, so this was essentially a reunion for them," Sencalar shares. "I love playing and interacting with them both."

Rounding out the rhythm section are bassist

Boris Kozlov

bass, acoustic
b.1967

" data-original-title="" title="">Boris Kozlov and drummer

E.J. Strickland

drums

" data-original-title="" title="">E.J. Strickland. Sencalar refers to Kozlov as "almost the house bassist" for Posi-Tone—a fitting title given his omnipresence on the label's releases since 2020. Strickland effortlessly navigates straight-ahead and fusion-based styles, whether anchoring the groove in

Manuel Valera

piano
b.1980

" data-original-title="" title="">Manuel Valera's Groove Square or driving

Sharel Cassity

saxophone

" data-original-title="" title="">Sharel Cassity's band with an unrelenting swing. Both musicians also share Sencalar's fluency in jazz and Latin traditions. "Boris is one of the few bass players who can play clave and swing hard—and he can switch between the two seamlessly," Sencalar marvels. "As for E.J., I knew he would elevate my playing and bring an authenticity to my compositions that would take the music to another level."

The set opens with "Unleashed," which begins deceptively with Gillece's shimmering legato notes before Sencalar bursts in with a boisterous solo—an embodiment of the piece's title. Gillece and Tardy sustain the high energy during their turns in the spotlight, with Strickland delivering a brief yet dynamic solo before the reprise of the head. "My solo is very in-your-face—I wanted to be aggressive and just unleash ideas," Sencalar explains. "It's taken me time to get comfortable with not rushing into things, but also to embrace the freedom of diving right in. That can be a lot of fun, too."

Kozlov and Gillece lay down an ostinato riff, punctuated by Strickland's four-to-the-bar rim clicks, to introduce "Obsession"—a piece inspired by Sencalar's studies with Steve Turre. "Ostinatos can seem limiting, but I feel the opposite. They provide a foundation that frees you to explore because you already know what to expect." Strickland's accompaniment during Gillece's solo is particularly striking, offering far more than just timekeeping.

Astute listeners may detect a nod to

Ahmad Jamal

piano
1930 - 2023

" data-original-title="" title="">Ahmad Jamal's "Poinciana" in the rhythmic backing of "Forgiveness." Tardy's wistful tenor statement showcases his underappreciated ability to blend deep emotional engagement with striking rhythmic diversity. The title, however, belies the blissful nature of this mesmerizing composition. "It's the happy part of forgiveness," Sencalar reflects. "To me, forgiveness is a moment of clarity in realizing that doing what's right for yourself is a great thing. It's been cathartic to embrace that feeling —to find happiness in the process of letting go."

Gillece's contribution, "Set Adrift," drifts in on floating chords, setting a spacious landscape that Sencalar navigates with aplomb. His solo—mature and thoughtfully paced—utilizes the trombone's full range while making deliberate use of space. Gillece follows with a wide-open, expressive statement, recalling

Bobby Hutcherson

vibraphone
1941 - 2016

" data-original-title="" title="">Bobby Hutcherson's work with

Grachan Moncur III

trombone
1937 - 2022

" data-original-title="" title="">Grachan Moncur III. "The way Behn hears melodies and voices harmonies is one of his greatest strengths, though it's often overlooked," Sencalar notes. "This tune exemplifies the album's mission—to expand my artistic palette."

The second in a series of albums for Prestige,

Eric Dolphy

woodwinds
1928 - 1964

" data-original-title="" title="">Eric Dolphy's 1961 release Out There introduced "17 West," a piece that Sencalar reimagines with a New Orleans second-line groove. Tardy's clarinet takes center stage with remarkable effect, while Strickland's rhythmic drive proves integral to the performance's success. "A common thread I've found among avant-garde players is their deep love for the group improvisation style of New Orleans jazz," Sencalar explains. "On this track, you'll hear me using multiphonics and more growls—I'm also less cautious than I would've been in the past. That's a side of myself I'm trying to connect with, along with the New Orleans tradition that many free jazz players are eager to recapture."

As both a mentor and confidant, fellow trombonist

Michael Dease

trombone
b.1982

" data-original-title="" title="">Michael Dease encouraged Sencalar to take on his intricate original "Solid Gold." "Dease felt this tune would showcase a different side of my musical personality," Sencalar says. "He was right—though I'd argue this is the hardest composition he's ever written." The piece features a balance between rapid, quicksilver passages and more spacious phrasing, with solos from Sencalar, Tardy, and Gillece. "I completely reworked the bridge and added my own touch," Sencalar adds. "I love incorporating pedal notes in my solos—it's an effective way to jolt the listener and make them hear the trombone in a new way."

Sencalar's gift for mood and melody shines in "Buenaventura," where the trombone, flute, and clarinet unite for a distinctive voicing. "I don't think that combination has been done before," he notes. "It reaches for something new and reveals another side of who I am as a musician." In crafting this piece, Sencalar also wanted to incorporate Latin jazz influences while embracing a slower tempo. "When people think of a slow song, the default is often a jazz ballad—and I love ballads—but I'd much rather hear a Bolero or a Cha-Cha. They're more romantic and remind us that this music isn't just beautiful—it's danceable, too."

Two jazz standards round out the album's collection of originals, with

John Coltrane

saxophone
1926 - 1967

" data-original-title="" title="">John Coltrane's "Straight Street" receiving a fresh interpretation, including an updated bridge. "Although this record wasn't meant to focus on Latin jazz, I'm still sneaking in a few jabs here and there," Sencalar notes. The piece closes with a repeated riff reminiscent of

Jackie McLean

saxophone, alto
1932 - 2006

" data-original-title="" title="">Jackie McLean's "Blue Rondo," adding a subtle nod to the Blue Note legacy. Producer Marc Free initially hesitated about including "Softly, as in a Morning Sunrise," fearing the tune had been overplayed in recent years. But Sencalar was eager to take on the challenge. "Marc pushes me to think differently," he explains. "I wanted to completely reimagine the timbre of the tune—make it feel fresh and not just like another jam session piece. That's why I arranged it for soprano saxophone and trombone."

The album concludes with "What's Next?," a composition born from Sencalar's desire to reflect the rhythmic influences of contemporary music, particularly hip-hop and R&B. Tardy and Sencalar offer compelling solos over Strickland's deep-pocket backbeat while Kozlov delivers a dynamic showcase of his musicianship. Gillece, once again, proves indispensable. "If I had used piano on this track, it might have felt a little too dull," Sencalar admits. "But the vibes add a texture that brings it to life."

At a time when many younger jazz musicians gravitate toward insular, peer-driven collaborations, Sencalar credits much of his success to the company he keeps. "I love playing with my peers, but I also think there's so much to gain from being the youngest person on the session," he reflects. "I may have achieved a lot at this stage in my career, but that doesn't mean I don't still want to get my butt kicked. That's how you grow—not just as a musician, but as a human being. Having these seasoned cats on the album was an incredible experience."

Unleashed can be purchased here.

Contact C. Andrew Hovan at All About Jazz.
An avid audiophile and music collector, Chris Hovan is a Cleveland-based writer / photographer / musician.

Track Listing

Unleashed; Obsession; Forgiveness; Set Adrift; 17 West; Solid Gold; Buenaventura; Straight Street; Softly, As In A Morning Sunrise; What��s Next.

Personnel

Altin Sencalar

trombone

Greg Tardy

saxophone

Bruce Williams

saxophone

Behn Gillece

vibraphone

Boris Kozlov

bass, acoustic

E.J. Strickland

drums

Album information

Title: Unleashed | Year Released: 2025 | Record Label: Posi-Tone Records

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Altin Sencalar Concerts

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David Mesquitic & Altin Sencalar

Dazzle Jazz Club
Denver, CO

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