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(Posi-Tone)
Category: Reviews
Chris May’s AAJ review for Jared Gold “Supersonic”…
The organ trio, back in the day at the sharp end of sonic technology—electric organs! electric guitars! special effects!—sounds in 2009 the most dated of hard bop retentions. Compare Jimmy Smith’s Blue Note collection,A New Sound – A New Star, recorded in 1956, with many new millennial outings in the style, and try to find any substantial differences. The biggest change is that what once must have sounded thoroughly cutting edge now sounds revivalist, even quaint.
Modern organists have responded to the challenge of being simultaneously in the tradition and of this time in various ways. Groups like Medeski Martin Wood have hung on to the original ambience of the genre while topping it with layer upon layer of overdubbing, loops and digital effects. Marco Benevento—whose Invisible Baby (Hyena, 2008) and Me Not Me (Royal Potato Family, 2009) have yet to be recognized as the masterpieces of keyboard invention that they are—has opted instead to embrace the essentially kitsch, cheesy and overheated nature of the organ, bombard it with digital voodoo, lace it with hallucinogens and then multiply by eleven.
The option chosen by Jared Gold on Supersonic is simply to keep on trucking—not messing with the B3’s classic sound palette, going for a live sound, relying on sheer energy and improvisational élan to sound fresh. It’s a tough route, but Gold makes it. John Sebastian’s “Welcome Back” and Gold’s “Makin’ Do,” which open the disc, are fast, full-on mixes of funk and bop, the first screamingly urgent, the second a little mellower. Crewe & Gaudio’s evergreen ballad, “Can’t Take My Eyes Off You,” which follows, is reminiscent of Jimmy Smith at his most rococo.
Gold’s “Times Are Hard On The Boulevard” and “Battle Of Tokorazawa” tread more singular ground—intense, jittery and chromatic. Gold’s solos are thrilling. On “Tokorazawa,” guitarist Ed Cherry—who, for most of the album, stays in classic Wes Montgomery and Grant Green modes—offers a sonically adventurous solo which is as beautiful as it is all too brief. “Joe’s Thing,” a slow blues, and “Home Again,” wistful with a touch of tunesmithPat Metheny in the top line, take the album out.
When it stays with the tradition, it’s convincing. When it strikes out somewhere Gold’s own, it’s compelling. It’s all solid stuff, but more of the latter would make for a really distinctive disc.
Another AAJ review for Mike DiRubbo “Repercussion”….
Over the past several years Mike DiRubbo has made engaging discs for the Criss Cross and Cellar Live labels. On Keep Steppin’ (2001), Human Spirit(2003), and New York Accent (2006), the young alto and soprano saxophonist distinguished himself in bands comprised of some of the cream of New York City’s straight-ahead players—Jim Rotondi, Joe Farnsworth,Mike LeDonne, and Peter Washington. One of DiRubbo’s strengths during two of these sides is navigating the strong, expressive accompaniment of pianists David Hazeltine and Harold Mabern.
The difference between Repercussion, DiRubbo’s most fully realized work to date, and its predecessors stems from a change in instrumentation. Steve Nelson‘s vibes take the place of the piano. Nelson’s style of comping is minimal in comparison to Hazeltine or Mabern. The firm but not particularly busy support of bassist Dwayne Burno and the late drummer Tony Reedusleaves additional room for DiRubbo to maneuver. Not unlike Jackie McLean(a former teacher and formative influence), his calling card is a tart, high voltage tone which makes every utterance sound essential.
DiRubbo’s primary thrust as a soloist is juxtaposing exquisite improvised melodies and edgy, run-on phrases. Rapid changes in velocity and dynamics are not contrived or carried out for dramatic effect. DiRubbo often leans into a phrase, draws it out, and then without losing continuity, rapidly scampers away. He judiciously spreads out ideas over the course of an entire solo. The saxophonist’s relationship to the rhythm section is one of the most satisfying aspects of the record. He’s at home with whatever kind of spin they put on the music and never attempts to force his way out of any particular groove. At the onset of his “The Duke” solo, for example, while they’re locked into an easygoing holding pattern, DiRubbo’s phasing becomes uncharacteristically relaxed and snaps back into place when the pulse is explicitly stated.
The leader’s seven choruses on the title track are a shrewdly structured mélange of contrasting elements. For the most part DiRubbo is emotionally direct, putting an idiosyncratic stamp on blues locutions, and deftly moving from keening cries to swirling, rapid fire runs. In the end, however, it’s the care he puts into sculpting every phrase and the architecture of the solo that makes the biggest impression.
DiRubbo’s improvisation on his composition “Highbridge Lullaby” is unlikely to lull anyone to sleep. Two choruses contain some of his most lyrical playing of the set, and the characteristic edge is still present. Not unlike a figure skater who executes triple and double axel leaps in quick succession, during the second chorus he unleashes a spinning, barbed run that gradually comes to a halt; and then rises again with another one that is shorter and more densely packed than the first.
While Reedus’s drums burst all around him, DiRubbo presses forward throughout a long, bruising workout on his Jackie McLean-influenced “Nelsonian.” His smart, muscular solo is a long exhilarating climb. A couple of ragged, screeching interludes briefly veer off course without derailing the momentum. Some garbled lines are longer and don’t resolve as neatly as in other instances on the record.
Balancing the fire of his earlier work and the wisdom gleaned from over fifteen years in the trenches,Repercussion is DiRubbo’s breakthrough recording. The record is evidence that he’s developed into an exacting soloist who has something significant to say.
Woodrow Wilkins’ AAJ review of David Ashekenazy “Out With It!”…
Some music defies description. In the case of drummer David Ashkenazy’sOut With It, words can hardly do justice to the varied moods and sounds of this eight-song set.
Ashkenazy studied piano and guitar at age nine and later learned to play the drums. His varied musical tastes include reggae, blues, rock, bluegrass, and jazz. A California native now residing in New York, Ashkenazy performs in a wide range of musical environments, associating with many other musicians, including his sidemen, saxophonist Joel Frahm, guitaristGilad Hekselman, and organist Gary Versace.
“Dadi-Yo” is one of two original songs in the set. It starts with a spacy organ solo, joined by sax, guitar, and drums. Frahm and Hekselman blend in the lead before splitting. Frahm then performs a freely expressive solo. He begins subtly, but soon builds in intensity, mixing in several high-speed phrases, including a climactic wave. After a repeat of the melody, Hekselman enjoys a solo of his own. Guitar and sax then take off in different directions, bringing back the off-worldly mood that began the song.
The ensemble presents an eclectic take on The Beatles‘ “I Want You,” which goes through many moods and styles. Guitar and sax blend during its bluesy opening; the song then shifts to a swinging jazz style, with Hekselman delivering a Wes Montgomery-style solo. Ashkenazy throws in some snare and tom rolls in the background. The music seemingly comes to a stop, but that’s only a ruse to set up Versace’s solo; while the organ is the center of attention, the guitar and drums remain quite busy. After another faux ending, the song shifts again, this time leading to Frahm’s tenor solo, as he screams with emotion during some of its higher phrases. Throughout, the background players are heavily involved.
Though Ashkenazy wrote only two of the tracks here, he and his sidemen treat the entire project as though they created it. The solos are excellent, but the background players do plenty to be noticed. The quartet is solid as a unit, but each player gets to demonstrate individuality.
A nice review of Out With It
By Martin Gladu
The jazz drumming tradition abounds in models for emulation and study, and two such models stand out in importance. For its sheer power, Elvin Jones’ work with saxophonist John Coltrane imposes itself on any serious student of the drum set. The other would be Paul Motian whose oblique, deconstructivist approach appears liberated of such notions as how many beats there are to the bar or how many bars there are in the tune.
A free spirit, Motian is one of the most economical drummers there is. Light and sparse, his stick work rarely—if never—gets in the soloist’s way. Surprisingly, many players affirm his is a professorial type of support (AAJ’s interview with pianist Anat Fort is a fascinating read for those looking to learn more about Motian’s approach to recording). Motian’s style could compare to that of a choreographer who sets dancers in space and helps them pace their movements. Jones, on the other hand, typifies the blue-collar spirit of his Motor City roots. A relentless dynamo who engulfs soloists with a wall of sounds and carries them as would a benign tsunami, his style would compare more to a locomotive chugging away; only those able to bear the heat produced by the pumping machinery can get aboard. Though both drummers prefer more conversational styles over the traditional time-keeper role, their penetrating interjections never result in the colloquy sounding cacophonous. Which raises the question, how do they achieve such balance?
While there is no simple answer, one could argue that as assertive as their respective playing may be, neither will force ideas not fitting the moment, which necessarily implies refraining from cutting through a soloist’s discourse. They do however complement, re-organize, exaggerate, orchestrate, engage, deconstruct and play around fragments of the soloist’s ideas. In simple terms, “playing with” the band rather than “playing over” them. This requires a deep level of listening and also having the modesty to not overplay.
A pupil of Joe LaBarbera, Kenny Washington and Peter Erskine, David Ashkenazy’s education is certainly impressive. LaBarbera was pianist Bill Evans’ last drummer; Erskine epitomizes the idea of tasteful drumming; and Washington is a trusted veteran well-versed in both the traditional and modern sensibilities. For his part, the 31-year old drummer David Ashkenazy has been paying his dues in both the Los Angeles and New York City scenes since the early 2000s, supporting the likes of guitarist Mike Moreno, trombone Alan Ferber, saxophonist Rickey Woodard, trumpeter Ron Stout and saxophonist extraordinaire Bob Sheppard. For this recording, he calls upon saxophonist Joel Frahm, organist Gary Versace and guitarist Gilad Hekselman to light up a mixed program of standards, covers, and original compositions.
Considering he acquired most his professional experience playing with contemporaries possessing more or less the same credentials as he, Ashkenazy has nevertheless forged himself quite a trenchant style. That said, a certain immaturity shadows this notable achievement.
Prone to overplay and lose what one would call musical perspective, his hyperactive and somewhat over-enthusiastic comping creates situations analogous to crosstalk. In clear, reacting to soloists’ rhythmic ideas and repeating them verbatim not only disrupts the band’s momentum and overall sonic balance, but it diverts the listener’s attention from the soloist’s melodic delivery. In fact, during climax-building moments—such as the pedal point sections of “Too Young To Go Steady” or the bi-chordal parts of Wayne Shorter’s “Children Of The Night”—such repeated figures do indeed help build tension; but, in excess, they rupture the syntactic continuum. More, Ashkenazy often favours triplet-based figures and coarsely textured fills, which has the effect of upsetting the music’s flow and, ultimately, of saturating it. The music would definitely gain from airier and more subtle accompaniments.
Versace, for his part, shines throughout the album. His brilliant solo on the Shorter piece being yet another evidence of his ability to construct a perfect solo in any circumstances. With Hekselman’s buzzing, slightly overdriven tone, Versace’s B3 playing broadens the dynamic reach of the group and adds a welcome dose of grit.
Arguably the strongest piece herein, the syncopated, two-feel take of Jimmy McHugh’s classic “Too Young To Go Steady” is reminiscent of guitarist John Abercrombie’s work with keyboardist Dan Wall and drummer Adam Nussbaum. On such relaxed jaunts, this group proves a most joyful listening experience. With its rubato chord-melody introduction and mid-tempo, Latin feel, “Bokserboym” also plays well despite Ashkenazy’s chatty snare work.
Besides such minor performance flaws, Out With It reveals its leader’s knack for picking interesting material and presenting it in a gripping way. With time, Ashkenazy will harvest the fruits this winning formula has to offer.
Tracks: Children Of The Night; Dadi-Yo; Simone; I Want You; Bokserboyn; Zoology; Strange Meeting; Too Young To Go Steady.
Personnel: David Ashkenazy: drums; Joel Frahm: saxophone; Gary Versace: organ; Gilad Hekselman: guitar.
jazz.com review of DAVID GIBSON: THIS END UP
DAVID GIBSON: THIS END UP
Recorded: New York, June 25, 2008Musicians:
David Gibson (trombone),
Julius Tolentino (alto saxophone), Jared Gold (organ), Quincy Davis (drums)
Composed by Jared Gold
RATING: 78/100 (learn more)
Trombonist David Gibson, a graduate of the Eastman School, supplemented his musical education with on-the-job training, including a six-year stint with a sextet at the New York City club �Smoke�. On �This End�s Up� we hear Gibson�s controlled, precise tone on this Jared Gold-penned composition. The music is derivative of a time past and competently played. Gibson is a talented player, but I would have preferred a gutsier edge to his playing than what he shows here. Accompanied by the swinging, soulful organist Jared Gold, whose Hammond sound is reminiscent of Jimmy Smith , Gibson�s trombone has a deliberate, soulful feel that is promising but restrained. Tolentino�s alto is crisp and bright and provides an uplifting sense of flight. Gold manipulates the sound of his B3 and plays with great abandon. Davis and Gold together keep the rhythm steady as the melody fades away.
Woodrow Wilkins AAJ review for Ralph Bowen “Dedicated”…
Many new releases seem to follow one stringent formula or another—whether to deliver cookie-cutter music to the masses, in hopes of getting noticed by commercial radio, or to adopt a certain trend, be it the traditional piano-led trio or covering standards. With that in mind, it’s rarely, if ever, a bad thing when an artist or group just plays. That’s the approached used by saxophonist Ralph Bowen for Dedicated.
Bowen was co-leader of the sextet, OTB—Out of the Blue—a sextet based in New York. During that time, he associated with Kenny Garrett, Steve Wilson, Rene Rosnes and others. A performer in clubs, concert halls and at festivals, Bowen is joined on this date by guitarist Adam Rogers, bassistJohn Patitucci and drummer Antonio Sanchez.
“Canary Drums” features Bowen’s sunny lead, subtly aided by the rhythm section. Rogers, Patitucci and Sanchez are in a groove, expressing themselves both as a unit and individually. Meanwhile, the tenor explores upper and lower reaches of its range, at times at a fiery pace, with Rogers also contributing a solo.
Trumpeter Sean Jones joins the ensemble for “Mr. Bebop,” playing the melody in unison with Bowen. Bowen then takes off on a solo, at times punching into high squeaks, elsewhere shifting to low-end, high-speed riffs. Jones follows with a spirited solo of his own, as does Rogers. After a repeat of the melody, Bowen and Jones split into freestyle play as the song slowly winds down.
Pattitucci starts “Prof. 9:23,” setting up a duet between Bowen and Rogers. During his solo, Bowen puts the tenor through a series of high-speed rolls, powerfully emotive throughout. Rogers, however, tones it down a little during his solo; still expressive, but mellower than Bowen. The tenorist returns at a slower pace but with more power, followed by a guitar solo even subtler than the previous one; accompanied only by bass and drums, it’s an effective way to bring the song to a close.
Though Bowen is out front most of the way during Dedicated, the music never loses its group sense. Patitucci and Sanchez don’t offer any solos, but their accompaniment is top notch. All six songs were written by Bowen and are dedicated to his mentors, including Keith Blackley, David Baker and William Fielder.
A review from Examiner.com
by Layla Macoran
Release date: August 4 on Posi-tone Records
Producer: Marc Free Personnel: Joel Frahm-Saxophone; Gary Versace- Organ; Gilad Hekselman- Guitar; David Ashkenazy- Drums
Out With It is an album that starts one way and quickly proves to be something more. Moving from the classic Shorter tune ”Children of the Night” to the Beatles’ “I Want You” within three tracks is a sign of a thinking man’s jazz combo.
Organist extraordinaire Gary Versace adds his spice to the album, particularly on “I Want You.” The swordplay between he and Frahm is intense and muscular. Ashkenazy keeps the beat going for the music to build and rest. The lovely and emotional Alberstein composition “Bokserboym” (reduced from “Ikh Shtey Unter A Bokserboym”) receives a meaningful interpretation from Hekselman. The set ends with “Too Young to Go Steady,” sounding bubbly and fresh.
Out With It takes the listener on an experimental but safe journey, never veering so far away that the melody is sacrificed. The song selection is incredible, and kudos to producer Marc Free for apparently giving the equally gifted musicians a frame and a lot of paint to splatter and splash. The end creation is a fine work of art.
Key Tracks: Dadi-Yo; I Want You; Bokserboym
examiner.com review of David Gibson “A Little Somethin'”…
David Gibson: A Little Somethin’
- August 27th, 2009 8:10 pm ET
Courtesy Posi-tone Records
Release Date: June 23rd Posi-tone Records
Producer: Marc Free Personnel: David Gibson– Trombone; Julius Tolentino– Alto Saxophone; Jared Gold– Organ; Quincy Davis– Drums
Bringing a sound that must surely please Mr. House of Swing himself (Wynton Marsalis to the rest of us), David Gibson’s A Little Somethin’ is a nine song total package. Gibson and crew are New York City jazz staples, and as a band they complement each other’s strengths quite well. Starting with the pleasant familiarity of the first track, The Cobbler, the group plays with elements of swing, contemporary, jam and soft bop throughout the CD. Gibson, who wrote five of the nine tracks, shows great skill in crafting compositions full of melodic dips and dives.
Organist Jared Gold really stands out on several tracks including his self-penned This End Up! The quartet successfully brought the essence of live, improvised force to the whole thing; one wonders how this will sound in a venue with the confines of studio playing out of the way.
A Little Somethin’ is a solid set that is worthy of steady rotation.
Key Tracks: Hot Sauce, French Press, In the Loop
AAJ Review of The Seeker
It would be foolish to describe saxophonist Sean Nowell as a 21st century schizoid tenor man, but two distinct strands characterize the New York-based player’s work. On the one hand, Nowell is active in funk and post-fusion styles, with the Kung-Fu Masters and his own MonAtomic groups, among other line-ups. On the other hand, he’s a precociously talented straight ahead player, with a gritty and exuberant approach displaying traces of such illustrious forebears as Dexter Gordon, John Coltrane and Michael Brecker.
The two strands overlap, of course, as do the personnel of the bands. But so far, under his own name, Nowell’s studio focus has been on straight ahead performance, first with Firewerks (Posi-Tone Records, 2007), and now with The Seeker, on which he moves between the fierce and forceful and the lush and voluptuous to devastating effect.
On Firewerks, Nowell led a two-saxophones and rhythm section quintet. On The Seeker he fronts a quartet, with pianist Art Hiraha and drummer Joe Abbatantuono held over from the earlier album and joined by new bassist Thomas Kneeland. There are cameo roles for two guests, cellist Dave Eggar and guitarist Nir Felder, whose brief appearances, Eggar’s especially, are quite wonderful.
As the opening track title suggests, The Seeker’s predominant vibe is a modern day re-energization of the East Coast hard bop of the 1950s and 1960s. Nowell stays mainly on the “inside,” Hiraha veers closer to Andrew Hill or Cecil Taylor than he does to Sonny Clark or Wynton Kelly, and Abbatantuono and Kneeland attack with a hard bop vigor dusted with successive decades’ rhythmic dalliances, including funk, jazz-rock and fusion. The result is a chilli-hot stew of galvanizing intensity.
Nowell, the chief soloist, also turns his hand, with sumptuous effect, to a couple of ballad covers, Lennon and McCartney’s “I Will” and the particularly gorgeous, Don Raye and Gene De Paul composed “You Don’t What Love Is.” Eggar’s cello, in lovely counterpoint with Nowell, states the themes of the traditional klezmer tune “Oy Matze Matze,” Nowell’s astringent “Jamie’s Decision” and “I Will.” It’s on these tracks that the muscular balladeering of Dexter Gordon comes to mind.
The album closes with a galloping reading of Victor Schertzinger and Johnny Mercer’s “I Remember You.” Written in 1941, its pace and attack here are totally 2009 and Nowell and Hirahara’s solos range further “out” than they do elsewhere. A reminder, if one were needed, that style categorization remains an inexact science.