The great hard-bop bands of the late 1950s and early 1960s established a style that stood on its own in jazz history. Bebop-influenced, blues-drenched, hard swinging, and soulful; the music remained intellectual yet put more emphasis on groove and expression. The driving ride cymbal and thumping bass of the classic hard bop rhythm sections had a ferocity that hadn't been experienced before. The attack and phrasing became, at times, more intense, rapidly rhythmic like a machine gun, and at other times bluesy and expressive. It was still virtuosic like bebop, yet it was more relatable to the non-musician jazz fan.

With this album "Stepping Stones," Canadian-born pianist Fyfe has created a masterful ode to the great hard bop masters of the past. Fyfe has managed to blend the history of jazz into his music while creating a new and unique voice. It's becoming increasingly rare to hear this style played authentically, and Fyfe's ability is truly impressive. This is evident in the tune, "Skitch". Spotlighting Fyfe's compositional skill, this hard-swinging blues has a slick bebop line played by the entire band.
There will always be an intellectual side to jazz. One needs to know, in-depth, the ins and outs of all areas concerning harmony in music and how to navigate this harmonic landscape in split-second decisions of improvisation. This is especially true for the jazz pianist, who is always involved in harmonic decision-making. The intellect must be engaged in some way. How one organizes this information can differ from one pianist to another, but no matter how it's done, some intellect must be involved, some cognitive organization of notes.

Fyfe shows us the student of harmony and of the piano he is on this recording. His introduction for "Prelude to a Kiss" shows off his rich harmonic knowledge and his delicate touch on the piano. We are often easily impressed by incredible feats of technical verbosity but seldom by the mastery it takes to produce a consistent soft tone. Controlled softness is a very mature skill that Fyfe exhibits throughout this recording. Listen to his handling of the melody of "Skylark" or his moving intro to "Without a Song."

This is not to say that Fyfe can't play hard and fast - he doesn't shy away from letting it fly, as in "Stepping Stones" and "Without a Song." His handling and his knowledge of the keyboard are on clear display for all to hear, whether he's lightly brushing the keys or fiercely beating them.
The chemistry between the musicians is evident on every track, and it's clear that they are all on the same page. Each member has their shining moments and strong presence on this recording. Saxophonist Dave O'Higgins is a solid front line to this quartet and really lets loose on "See Ya!", digging in and connecting all his flowing ideas masterfully. The rhythm section anchors the band with bassist Luke Fowler and drummer Matt Fishwick. Fowler shines on "Skylark,"spotlighting his full, rich, wooden sound and lyrical, soulful lines. Drummer Fishwick is a powerhouse on the whole record, but especially on "Just in Time," where his extensive bop vocabulary cleverly brings you back to the quirky opening statement.

Sean Fyfe is a musician who possesses direct expressions that deeply respect those who came before, the ones who forged pathways and brought this music to the world. One can hear the history of jazz in Sean's playing, many tips of the hat to Cedar Walton, or reminders of Wynton Kelly. His harmonic passages remind us of Bill Evans, his bluesy inflections Bobby Timmons, yet all with his own touch. And his solo on "See Ya!" shows McCoy Tyner's influence on him. Fyfe holds on to the past with admiration and respect while speaking his individuality proudly. Where is the direction of jazz headed? With musicians like Fyfe leading the way, the jazz lineage is secure in this new generation. Seeing the future of jazz in such good hands is genuinely inspiring. This record gives me hope for the future of jazz.

- Jeremy Manasia, January 2024