Category: Reviews

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AAJ review of David Gibson’s A Little Something


by Mark Corroto
Easily mistaken for a Blue Note session of the 1960s (and that’s just fine), the latest by trombonist David Gibson delivers a solid buoyant session of burners. Except for the classic “April In Paris,” all the music was written by the trombonist or a a band member. The presence of organist Jared Gold ramps up the energy considerably. His sound competes with each other instrument for space, forcing that macho bebop favored by trombonist Curtis Fuller, drummer Elvin Jones and trumpeter Lee Morgan.

Gibson is not adverse to the muscular attack. He and alto saxophonist Julius Tolentino manage a front line that sounds as if there were double the two horns heard. Perhaps it is their choice of this more audacious bebop that fuels the recording. They certainly go for popular attention with the funky “Hot Sauce,” which comes straight out of saxophonist Tom Scott’s bag of the late 1970s and jam-sound of “In The Loop.” But mostly this record is about solid swing and small group dynamics, all captured with a burning intensity.

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An AAJ Review of David Ashkenazy’s Out With It


by Mike Corroto

David Ashkenazy, the Southern California drummer now living in New York, creates a memorable session by way of the compositions selected and his combination of players. By placing the talents of the habitually underrated saxophonist Joel Frahm and guitarist Gilad Hekselman, who garnered acclaim on drummer Ari Hoenig’s disc Bert’s Playground (Dreyfus, 2008), he focuses on solid playing and interesting tunes.

The presence of Gary Versace on organ bridges the old with the new. Lennon/McCartney’s “I Want You” is updated, creating a jazz track to be remembered as a burning blues. The drummer chose Frank Foster’s “Simone” and Jimmy McHugh’s “Too Young To Go Steady” as traditional pieces to stretch out with solos by himself and band-mates. Each track displays an infectious sense of swing and drive. Besides Wayne Shorter’s “Children Of The Night” and Bill Frisell’s “Strange Meeting,” he pens two tracks here, “Dadi-Yo” and “Zoology,” both crafty and artful tunes that flow in rapport with the others.

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AAJ review of The Seeker

allaboutjazz.com

Track Listing: New York Vibe; You Don’t Know What Love Is; Oy Matze Matze; Dunavski Park; Jamie’s Decision; For All Intensive Purposes; I Will; I Remember You.

Personnel: Sean Nowell: tenor saxophone, clarinet, flute; Art Hirahara: piano; Thomas Kneeland: bass; Joe Abbatantuono: drums; Dave Eggar: cello; Nir Felder: guitar.

Style: Modern Jazz

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For All Intensive Purposes
Sean Nowell
The Seeker

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The Seeker
The group dynamic is a powerful force in jazz. Tenor saxophonist Sean Nowell recognizes that with The Seeker, a set of songs that demonstrate his abilities as a leader, songwriter and soloist, but doesn’t ignore those around him.

Nowell hails from Birmingham, Alabama. Versed in several styles of music, he has also traveled world-wide and has worked with musicians, actors, dancers and many others throughout his career. In addition to playing jazz in New York clubs, Nowell has scored films and served as musical director for a theater company. Accompanying him are pianist Art Hirahara, bassist Thomas Kneeland and drummer Joe Abbatantuono. Cellist David Eggar and guitarist Nir Felder also make appearances.

“New York Vibe” is aptly named. The high-energy pace, the momentary stops are like a night drive through the city. Abbatantuono’s hi-hat work is striking, with bass and piano also making their mark. Nowell leads on tenor sax, exploring its lower range on several phrases, but quickly bouncing back to the middle, occasionally stretching to the upper reaches, even screeching at one point. Hirahara follows with a solo and, after repeating the melody, Nowell finishes the song with a series of high-note wails.

The bass subtly begins “Oy Matze Matze,” soon joined by drums and piano. Nowell comes in, accompanied in counterpoint by Eggar. The song has a Far Eastern feel during the soft passage, but as the intensity picks up, it’s an unrestrained, no-holds-barred jam. After Nowell’s high-pitch grind ends his solo, Kneeland steps up for a solo, accompanied only by drums and piano. Nowell and Eggar blend during the closing sequence, which repeats the earlier melody but with greater intensity.

“For All Intensive Purposes” is as its title implies. Felder joins the ensemble for this near-frantic piece. Guitar and sax are as one during several phrases, splitting when appropriate. Nowell’s solo is loaded with stop-and-go action. While the background tempo remains the same, Nowell easily shifts from rapid notes in succession to sustained tones. Abbatantuono is in a zone on the cymbals during Hirahara’s solo. Felder fills during the melody, but again joins Nowell in a hard-charging end.

The Seeker is eight tracks of free-flowing music. Nowell, who wrote four of the songs, is the focus, but the supporting cast is deeply involved from start to finish, making for a solid group outing.

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AAJ review for Mike DiRubbo “Repercussion”….

www.allaboutjazz.com

Seven originals among nine songs usually means the music will be fresh. Originality and improvisation are key ingredients to saxophonist Mike DiRubbo’s Repercussion.

After playing clarinet in his early years, DiRubbo, a native of New Haven, Connecticut, switched to alto saxophone and later studied under Jackie McLean. His associations include Eric Alexander, Jim Rotondi and Michael Weiss. On Repercussion, he is supported by vibraphonist Steve Nelson, drummer Tony Reedus and bassist Dwayne Burno.

The title song is an upbeat piece where Nelson’s vibes function as a rhythm guitar. Burno’s bass line helps carry the piece, likewise with Reedus’ crisp work on the drums and cymbals. After DiRubbo’s lead, Nelson solos.

“Lunar” injects more energy. The quartet is sharp, with all players showing their chops, whether in lead or background. The alto is out front early, followed by Nelson. After DiRubbo’s brief lead, he and Nelson engage in an extended dialogue, setting up the song’s conclusion.

“Nightfall” is a more easygoing selection with Nelson, Reedus and Burno setting down a walk-in-the-park pace while DiRubbo leads. As he does throughout, DiRubbo makes it seem effortless, demonstrating several multiple-notes-per-second phrases, including one extended roll. Reedus mixes some rim shots with the cymbals during Nelson’s solo.

Though DiRubbo is the bandleader for this set, Nelson is as much of a force. The sax and vibes complement each other well and with Reedus and Burno providing the backdrop, Repercussion scores well.

 

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Woodrow Wilkins’ review of A Little Somethin’

www.allaboutjazz.com

To read or listen to some of the commentary about jazz and hear that this genre of music is dying; to read with cynicism that artists are either playing music that is 50 years old or they are playing something so “catchy” and “mainstream,” that it is a “stretch of the imagination” to even call it jazz. This is all over the place. One listen to trombonist David Gibson ‘s A Little Somethin’ serves as proof that the people who share that opinion of jazz aren’t looking—or listening—in the right place.

Gibson was a finalist in the first Thelonious Monk Competition that featured trombone. His debut as a bandleader was on Maya (Nagel-Hayer Records, 2003). His associations over the years include work with the Dizzy Gillespie Alumni Band, Slide Hampton, James Moody, Wayne Escoffery and Randy Brecker, among many others. On A Little Somethin’, he is accompanied by alto saxophonist Julius Tolentino , organist Jared Gold and drummer Quincy Davis.

“The Cobbler” is an upbeat, playful piece. Saxophone and trombone are in unison during the melody. Gold and Davis, the latter punctuating phrases with rim shots, back Gibson’s solo. The beat continues during Tolentino’s solo. Gold solo is as well, accompanied only by Davis.

“Hot Sauce” is as its name implies. This spicy selection features a duet lead by Gold and Tolentino, with Gibson providing fills early on. Davis goes solo briefly during the bridge. On the second pass, Gibson joins the lead. Tolentino delivers a funky, Maceo Parker -flavored alto solo. Gibson follows. Gold puts the organ through some stunning paces. At times, it is discordant, but it is intense throughout.

Gibson wrote five of the original songs, on this fine album, while Gold contributed two and Tolentino composed one. With upbeat tempos, perfect unison passages and spicy grooves. < em>A Little Somethin’ sure is new jazz with an old-school feel.

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Audiophile Edition review of Repercussion

by Jeff Krow

Mike DiRubbo – Repercussion – Positone Records PR8051, 55:10 ****:
(Mike DiRubbo, alto sax; Steve Nelson, vibes; Dwayne Burno, bass; Tony Reedus, drums)

Positone Records, a new jazz label out of Los Angeles, has certainly hit the ground running. They are signing some of the best young jazz talent, mostly in the bop and hard bop vein. We’ve previously reviewed Positone releases from trumpeter Jim Rotondi and saxophonist, Ralph Bowen. Positone just recently signed B-3 organist, Sam Yahel, as well. You can add alto saxist, Mike DiRubbo, to their roster and it’s an excellent move. DiRubbo, whose playing brings to mind Jackie McLean, previously recorded for Criss Cross and Sharp Nine.

His new CD, Repercussion, is made up of a quartet featuring the great vibist, Steve Nelson, a regular member of Dave Holland’s group, and bassist Dwayne Burno. This 2008 recording also featured drummer, Tony Reedus, who sadly passed away last year from an embolism at the young age of 49. It was a terrible loss for the jazz community as Reedus was a first call New York drummer, who had several CDs as a leader for Criss Cross. It’s hard enough to lose our jazz favorites at older ages, but to lose one such as Reedus, in the prime of his life, is especially devastating.

The sympathetic pairing of vibist Nelson with DiRubbo makes for a great interaction. On the title cut, DiRubbo brings to mind Coltrane, and Nelson’s vibes provide an intriguing foil to Mike as they brighten up the mix. Engineer, Nick O’Toole, has done a great job bringing out the full flavor of ring of the vibe tones.

DiRubbo wrote seven out of the nine tracks on this CD. Brubeck’s The Duke is one of the two tracks Mike adds to his own compositions. It shows off Mike’s lyrical abilities, and Nelson again comps nicely. Lunar follows and you can feel the drive that Reedus brings to the quartet, with Mike bringing some great bop lines. Highbridge Lullaby, is very special and at only 3:38, one wants a bit more of this lullaby.

Nightfall and Déjà Vu continue in this warm vein, as DiRubbo combines both warmth with a keening searching edge that was a specialty of Jackie McLean. Both invite close listening. Nelson is always right there to provide fills and sparkling solos. Too Late Now is a ballad in which the simpatico of Mike and Steve is shared. It would make great late night listening. Nelsonian, written by DiRubbo for Nelson, lets Steve have free rein and he brings to mind Milt Jackson, with his command of his instrument.
I’m hopeful that DiRubbo will keep the vibraphone in his future recordings – (an invitation to Joe Locke?) – as Repercussion has such a great alto/vibes communication. This CD keeps the winning Positone streak alive.

TrackList: Repercussion, The Duke, Lunar, Highbridge Lullaby, Nightfall, Déjà vu, Too Late Now, Nelsonian, Pisces Rising

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another jazzreview.com review for Mike DiRubbo “Repercussion”….

www.jazzreview.com

Year: 2009

Record Label: Posi-Tone Records

Style: Straight-Ahead / Classic

Musicians: Mike DiRubbo (alto saxophone), Steve Nelson (vibraphone), Tony Reedus (drums), Dwayne Burno (bass)

Review:

Not only does everybody have to be someplace, everything comes from someplace. Getting specific, NYC alto saxophonist Mike DiRubbo is an acolyte of the late great alto icon Jackie McLean—but he’s no imitator/knockoff, or one of these 1980s-type “jazz suits” that’s intent on reliving an idealized past (i.e., Blue Note and Prestige circa 1954-1966). DiRubbo has a wide, hearty sound and a tart, acidic tone similar to/inspired by that of McLean, but his style of spinning-out elegance, yet pointed improvisations, is closer to that of Art Pepper (Ah, imagine if McLean and Pepper had recorded together…but I digress). Also, DiRubbo has a touch of “the romantic”—McLean was a lot of (great) things, but I don’t think he’ll go down in history as one of thegGreat romantics of the sax—just listen to the way he caresses the melody (occasionally adding just a touch of joyful swagger) on the too-short “Highbridge Lullaby.” (Why’d it fade-out so soon?) DiR can get edgy with ease (without going all histrionic), such as on the controlled burn of “Nightfall.”

Another thing making Repercussion stand out from hundreds of other assorted hard/post bop releases is the absence of piano. Instead, Steve Nelson plays vibes with a slightly brittle, more-dense, less-buoyant tone, with faint echoes of Milt Jackson and Blue Note–era Bobby Hutcherson. The rhythm team of Dwayne Burno and the late Tony Reedus is tight, forceful (without being overbearing) and on-the-money throughout. Further, DiRubbo & company doesn’t trot out the same old overdone standards they could’ve played in their sleep—this set of nine tunes contains seven memorable DiR originals. While not a masterpiece, Repercussion is one darkly dazzling gem of an album.

Record Label Website: https://www.posi-tone.com

Artist’s Website: http://www.mikedirubbo.com

 

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honesttune.com review of Mike DiRubbo “Repercussion”…

www.honesttune.com

Mike DiRubbo : Repercussion PDF Print E-mail
Written by Fred Adams
08/09/2009
On his latest release, Repercussion, Mike DiRubbo steps out from his frequent roll as sideman and unleashes a flurry of ambitious original material, serving notice that the time for the world to recognize his vast talent is now at hand.  From the opening title track through the last note of the set closing “Pisces Rising,” DiRubbo’s rich alto sax sound is reminiscent of two of the instruments’ most famous purveyors, Charlie Parker and Jackie McLean.

A straight-forward jazz player, DiRubbo is joined on Repercussion by his long time rhythm section of Tony Reedus (drums) and Dwayne Burno (bass), as well as Steve Nelson on vibraphone. In addition to DiRubbo’s original tracks, the quartet also offers a delightful take on Duke Brubeck’s classic jazz standard “The Duke.”

 

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jazzreview.com write-up for Mike DiRubbo “Repercussion”….

www.jazzreview.com

CD Title: Repercussion

Year: 2009

Record Label: Posi-Tone Records

Style: Straight-Ahead / Classic

Musicians: Mike DiRubbo (alto saxophone), Steve Nelson (vibraphone), Tony Reedus (drums), Dwayne Burno (bass)

Review:New York City-based alto saxophonist Mike DiRubbo is a busy session artist, recording for the Criss Cross and Fresh Sounds record labels. He’s also performed and recorded with trombonist Steve Davis and many others of note. Here, on his second solo effort, DiRubbo transmits an authoritative presence and enjoys a fruitful relationship with fellow frontline soloist and vibist Steve Nelson.

From the opening moments of the first piece “Repercussion,” it becomes evident that DiRubbo possesses a get-up-and-go demeanor via his buoyant line of attack, spiced with verve and a robust tone. Coupled with fluent lines and a few technical nods to John Coltrane, the artist snags your attention, and sails through these largely, original pieces with equal doses of fire and grace.

Nelson often bobs and weaves around the saxophonist’s fluent lines. They trade hearty fours and venture into bop territory as well. No doubt, the twosome generates an abundance of expressive and at times, yearning choruses as the leader frequently executes tension and release statements. However, the quartet softens the flow with the standard “Too Late Now,” sparked by DiRubbo’s drifting and smoothly crafted notes.

DiRubbo is very impressive on this sprightly 2009 studio date, featuring bassist Dwayne Burno and the late drummer Tony Reedus. You won’t find any filler material or wanton soloing jaunts. It’s more about music with a purpose, due to the band’s tightly focused gait amid DiRubbo’s lyrically resplendent theme-building applications.

Record Label Website: https://www.posi-tone.com

Artist’s Website: http://www.mikedirubbo.com

Reviewed by: Glenn Astarita

 

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Posi-Tone Records: More Home Runs with Mike DiRubbo, Ralph Bowen, Sean Nowell

www.allaboutjazz.com

If Posi-Tone Records was a major league baseball team, it would be at the top of its division. So far in 2009, the label has had big wins with Sam Yahel‘s piano trio debut Hometown and guitarist Yotam Silberstein‘s overall debut Next Page, not to mention former Ray Charles sideman, trumpeter Jim Rotondi‘s heartfelt tribute to his former leader, Blues for Brother Ray.

Now Posi-Tone sends three sax players—two tenors, one alto—to the plate, and the result is back-to-back-to-back home runs.
Mike DiRubbo
Repercussion
Posi-Tone Records
2009

Choosing vibraphonist Steve Nelson for a primary foil may not be exactly traditional, but Mike DiRubbo (the aforementioned alto player) most certainly is. That’s not surprising, given that his mentor and instructor was Jackie McLean. There’s never a sense of struggle or angst in DiRubbo’s approach, even though lively originals like “Lunar” and the title track offer opportunities for such expressions. Instead, DiRubbo projects a marvelous sense of self-assurance as he happily shares space with Nelson. In turn, Nelson practically glows with lyricism on Dave Brubeck‘s “The Duke” and takes a well-deserved spotlight on the soaring “Nelsonian.”

Repercussion was the last session Tony Reedus worked before his untimely death in 2008, and the drummer couldn’t have left a better impression. His foundation work and interplay with bassist Dwayne Burno is flawless, and Reedus’ out-solo on the title track rolls and thunders over Nelson and Burno’s relentless vamp. DiRubbo’s been playing and recording for over 15 years, so he’s no rookie. That said, there’s a youthful exuberance underlying DiRubbo’s classic approach, and that’s the kind of spark jazz needs to keep moving in the 21st century. Repercussion has no frills—that is, there is no wasted motion or unnecessary histrionics. It’s just good clean jazz, and the 21st century needs that, too.

Ralph Bowen
Dedicated
Posi-Tone Records
2009

Ralph Bowen‘s best quality as a tenor player is said to be his “casual perfectionism.” Maybe that’s true, but there’s nothing casual about Dedicated, a collection of musical shout-outs to the mentors that helped shape Bowen’s sound and career—a roster that includes Eugene Rousseau (one of Bowen’s instructors at the University of Indiana) and legendary saxman (and fellow Canadian) Pat LaBarbera. Rousseau’s tribute, “E.R.,” features Bowen in the clear, playing mournfully longing saxophone guaranteed to break hearts, while “Pat” has bassist John Patitucci flying acrobatics as drummer Antonio Sanchez serves up a juicy counter to Bowen’s cascading solo. That this music is about people that matter to Bowen can’t be disputed; “casual” doesn’t enter into the equation.

Bowen’s foil—guitarist Adam Rogers—evokes Charles Lloyd‘s partnership with John Abercrombie in the late 1990s. Rogers eschews laser-guided effects in favor of a traditional approach that buoys the session. His passion on “Canary Drums” accentuates Bowen’s estimable presence; and Rogers jumps and shouts on “Qaiyam” while Patitucci thoroughly crushes the hard-bop bass line. Bowen teams with trumpeter Sean Jones on the appropriately titled “Mr. Bebop” to bring sparkling colors to the best track on the disc. Unfortunately, while all the music on Dedicated is terrific, Jones’ cameo on “Bebop” begs the question whether he could have made the other tracks sound even better.

Sean Nowell
The Seeker
Posi-Tone Records
2009

Instead of The Seeker, Sean Nowell could have used “New York Vibe” as the title for his second Posi-Tone disc. The blistering opening track oozes Big Apple attitude, though not from the current century. The feeling is closer to a mid-20th century Apple, with Checker cabs flying across the Brooklyn Bridge and candle-lit supper clubs thick with cigarette smoke. Nowell’s bold, snarling tenor could have easily come from that era, and Art Hirahara’s percussive piano is just as muscular. Together they bring an uncompromising East Coast mindset to flame-throwing Nowell originals and timeless standards.

It’s not all strolls down the sidewalks of Noo Yawk. Cellist Dave Eggar sends the East Coast vibe into a Middle Eastern direction with a mystical version of the Yiddish traditional “Oy Matze Matze.” Eggar also brings out the loss in a melancholy opening section of Lennon & McCartney’s “I Will,” and contributes exquisite harmony to to Nowell’s own “Jamie’s Decision.” (Nowell takes the harmony a step further by double-tracking himself on flute.)The Seeker is like a Mariano Rivera fastball: it flies right down Broadway, daring anyone to try and lay a bat on it. That won’t happen, because there’s nothing to do but nod in admiration as the ball flies by, straight and true.

Tracks and Personnel

Repercussion

Tracks: Repercussion; The Duke; Lunar; Highbridge Lullaby; Nightfall; Deja Vu; Too Late Now; Nelsonian; Pisces Rising.

Personnel: Mike DiRubbo: alto sax; Steve Nelson: vibes; Dwayne Burno: bass; Tony Reedus: drums.

Dedicated

Tracks: Canary Drums; Pat; Qaiyam; Mr. Bebop; Prof; E.R.

Personnel: Ralph Bowen: tenor sax; Adam Rogers: guitar; John Patitucci: bass; Antonio Sanchez: drums; Sean Jones: trumpet (4).

The Seeker

Tracks: New York Vibe; You Don’t Know What Love Is; Oy Matze Matze; Dunavski Park; Jamie’s Decision; For All Intensive Purposes; I Will; I Remember You.

Personnel: Sean Nowell: tenor sax, clarinet, flute; Art Hirahara: piano; Thomas Kneeland: bass; Joe Abbantantuono: drums; Dave Eggar: cello (3, 5, 7); Nir Felder: guitar (6).