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BARI-ed Alive: Put It There

By Pierre Giroux
July 4, 2025
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In an era teeming with standard horn sections and predictable lineups, BARI-ed Alive's Put It There stands out as a bold and sonorous declaration of individuality. The sextet's audacious choice to feature three baritone saxophones—masterfully played by

Alex Dean

woodwinds

" data-original-title="" title="">Alex Dean,

Shirantha Beddage

saxophone, baritone

" data-original-title="" title="">Shirantha Beddage, and

Chris Gale

saxophone, tenor

" data-original-title="" title="">Chris Gale—creates a sound that is muscular, bottom-heavy, and perhaps surprisingly buoyant. Rounded out by

Jeff McLeod

piano

" data-original-title="" title="">Jeff McLeod on the Hammond B-3 organ,

Andrew Scott

drums

" data-original-title="" title="">Andrew Scott on guitar, and

Morgan Childs

drums

" data-original-title="" title="">Morgan Childs on drums, this group knows how to have fun while maintaining sharp musical precision.

The album kicks off with an Alex Dean original, "Abraca-Pocus," one of four compositions written by him. It is a swaggering piece that sets the tone with a bluesy charm and an unrelenting groove. The three saxophonists weave in and out of unison passages and punchy counterpoint, with each player retaining their distinct voice. McLeod offers swirling organ lines, while Scott's comping injects buoyancy. "Baritone Boogaloo," also by Dean, is a touchstone in groove and economy. It is full of unison playing, syncopated swagger, and blistering horn lines. McLeod and Scott take standout solos here, both phrased with rhythmic clarity and blues-soaked accents. The centerpiece of the release is another Dean gem, "Blues for Owl," which clocks in at close to twelve minutes. In this twelve-bar blues opus, Dean has slowed down the tempo and gives space to his melodic sensibilities. His writing shows a strong understanding of the baritone's capacity for warmth, and the solos by Dean, Beddage and Gale are models of restraint and soulful inflection.

Beddage's contribution is "Turrentrane," a clever hybrid of

Stanley Turrentine

saxophone, tenor
1934 - 2000

" data-original-title="" title="">Stanley Turrentine grit and

John Coltrane

saxophone
1926 - 1967

" data-original-title="" title="">John Coltrane-esque modal momentum. It is an energizing performance, filled with rhythmic drive and harmonic density. Gale's offering is "Yamp," a playful, ambiguous term that perfectly suits a tune with a slightly off-kilter funk built on a syncopated groove and a quirky descending motif. Gale has created a framework that leaves space for surprises -angular bari riffs, unexpected rhythmic shifts and sly harmonic turns. The title track, "Put It There," is by Andrew Scott, and it anchors the album both thematically and sonically. The phrase "Put It There" is used as a gesture of goodwill, encapsulating the spirit of the ensemble: mutual respect, musical generosity, and shared joy. The writing is concise, but it's loaded with subtle harmonic touches. The number serves as a microcosm of the album's larger message: jazz rooted in tradition but not bound by it.

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Track Listing

Abraca-Pocus; Baritone Boogaloo; Blues for Owl; Turrentrane; For Matt and Kate; Yamp; Don't Call Me Victor; Put It There; Old-Soul - for Emmett.

Personnel

Shirantha Beddage

saxophone, baritone

Morgan Childs

drums

Alex Dean

woodwinds

Chris Gale

saxophone, tenor

Jeff McLeod

piano

Additional Instrumentation

Alex Dean, Chris Gale: baritone sax; Andrew Scott: guitar; Jeff McLeod: Hammond B3 organ; Marsha Duggan, Sanja Antic: hand clap (track 8).

Album information

Title: Put It There | Year Released: 2025 | Record Label: Cornerstone Records Inc.

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