Category: Reviews

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Saxophonist Mike DiRubbo’s ‘Repercussion’

www.newsobserver.com

BY OWEN CORDLE – CORRESPONDENT
New York City alto saxophonist Mike DiRubbo studied with Jackie McLean at the University of Hartford. For fans familiar with the late McLean’s big, diamond-hard alto sound and angular lines, this should provide a reference point for hearing DiRubbo. But that’s not the entire story, for DiRubbo plays with more joy and lyricism in his sound and also incorporates some of John Coltrane’s inchworm-like multi-noted runs in his solos. These attributes appear throughout DiRubbo’s “Repercussion” (Posi-Tone), a quartet session that veers pleasingly from the mainstream favored by his age group. (DiRubbo was born in 1970.) The use of vibes, played by Steve Nelson, helps to set this album apart. Vibes accompaniment isn’t as heavy or dense as piano or guitar accompaniment can be, and this frees not only DiRubbo but also bassist Dwayne Bruno and the late drummer Tony Reedus. Nelson, who plays chorded as well as single-line solos, contributes much to the success of these performances. The title tune, a minor-key DiRubbo original that opens the album, and Dave Brubeck’s “The Duke,” which follows, establish hot and cool poles for things to come. Except for Burton Lane’s “Too Late Now,” the remainder of the tunes are DiRubbo originals. Alto, vibes, bass and drums — a different ensemble sound that hasn’t been done to death. Yeah.
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AAJ Review of Repercussion


by C. Michael Bailey

The immediate appeal of alto saxophonist Mike DiRubbo’s Repercussion is the replacement of the piano by the vibraphone as the rhythm section’s harmony instrument. Guitar-based and piano-less rhythm sections have made their way into the mainstream, leaving the vibraphone-based rhythm section still a novelty.

DiRubbo is certainly not the first to employ such a format. Trombonist Grachan Moncur III’s Evolution (Blue Note, 1963) had Bobby Hutcherson on vibes with no piano and saxophonist Wayne Escoffery’s Veneration: Live at Smoke (Savant Records, 2007) used Joe Locke to splendid effect. Drummer Ralph Peterson’s Fo’Tet Augmented (Criss Cross, 2004) pits clarinetist Don Byron against vibraphonist Bryan Carrott.

The vibraphone provides more wide open space when used in place of a piano, charging the remaining instruments the responsibility of carrying additional creative water. In this way it is perfect as a harmony instrument or for soloing.

But enough about vibes, they are not leading the date. DiRubbo is an alto saxophonist and a darn good one at that. A student of the late Jackie McLean, his tone is full-choked like Dexter Gordon and King Curtis’s tenor saxophones.

DiRubbo illustrates these characteristics on the opening original minor blues, “Repercussion.” Nelson lays down a skeleton riff that this picked up by bassist Dwayne Burno and drummer Tony Reedus (who passed away shortly after this recording). Nelson’s tone is sharp and close, like that of a marimba, and DiRubbo soars in an understated way through his serpentine head and solo.

Dave Brubeck’s “The Duke” is one of the two standards on the disc. It is presented coolly, not veering far from the song that enchanted Miles Davis’ Miles Ahead (Columbia, 1957) sessions. DiRubbo keeps his groove going through the remainder of the disc, providing a fully satisfying jazz offering.

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

Personnel: Mike DiRubbo: alto saxophone; Steve Nelson: vibraphone; Dwayne Burno: bass; Tony Reedus: drums.

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Jazz.com talks about Jamie’s Decision…..

www.jazz.com

SEAN NOWELL: JAMIE’S DECISION

TRACK

Jamie’s Decision

ARTIST

Sean Nowell (tenor sax)

CD

The Seeker (Positone 8049)

Buy Track

Musicians:

Sean Nowell (tenor sax),

David Eggar (cello), Art Hirahara (piano), Nir Felder (guitar), Thomson Kneland (bass), Joe Abbatantuono (drums),

. 

Composed by Sean Nowell

.

Recorded: Brooklyn, NY, March 2008

Sean_nowell--the_seeker 

RATING: 89/100 (learn more)

�Jamie�s Decision� is a fetching Sean Nowell composition that encourages repeat listening. The gorgeous melody allows Nowell�s rich saxophone timbre to lull you into its spell. Just when you start to get comfortable, he changes the time signature to bring you about. Eggar�s cello meshes nicely with Nowell�s saxophone and Hirahara�s piano, which gives the proceedings the quality of chamber jazz.. Abbatantuono produces a rich assortment of percussive sounds that fill in the lulls at precisely the right places and move the piece along without ever being brash. This is a little gem of a composition that is satisfyingly complete as it builds and releases tension with an accomplished air of subdued maturity.

Reviewer: Ralph A. Miriello

 

 

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Skope Magazine Review of Sean Nowell “The Seeker”….

skopemag.com

Sean Nowell, The Seeker (Posi-Tone Records)
Apropos enough of an album title here; from leaving behind his Alabama a cappella choir in favor of the big east cities to bombing Kosovo with culture and jamming soundtracks with Stanley Clarke, Nowell’s life is officially a circus of art.  On this 2nd album for Posi-Tone as a leader, however, the surprise lies in the conventionality of his passion for small-combo 50s/60s avant-jazz/post-bop, here branching into uncommon ethnicities (the wizened Jewish flavor of “Oy Matze Matze”), subliminal bar-rock beats (“Dunavski Park”) and chicken soup for the gangster’s moll’s soul (“I Will,” a nice space for some Humphrey Bogart dialog).  “New York Vibe” is pure Blue Note oldschool, with Nowell taking a 3.5 minute solo he probably concocted while playing the Manhattan clubs in which he’s a resident; other sizzle is found between the fusion basslines and psychedelics of “For All Intensive Purposes.” The brain-blower comes last, in the warp-speed Coltrane-like closeout track “I Remember You.” Grade: A- [street date: 6/9/09]

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Blaine Fallis AAJ review of Ralph Bowen “Dedicated”….

www.allaboutjazz.com

Tenor saxophonist Ralph Bowen’s Dedicated is a project that was nurtured and produced by Posi-tone Records‘ founder Marc Free, who felt that Bowen was under-appreciated by the jazz public at large. Bowen has influenced hundreds of players through his teaching position at Rutgers, and many top jazz players know how skilled he is. Having heard him live several times, Free has long admired Bowen’s sound and technical ability on his horn, and wanted people to really hear how good he was.

This goal was accomplished by starting with the concept of basing the supporting ensemble around guitar, since Bowen’s previous recordings were often accompanied by organ or piano. Free and Bowen discussed several names before agreeing that Adam Rogers would be a good choice, due in part to the excellent working relationship Bowen already had with Free, the musical trust they shared, and Rogers’ ability to mix subtlety and intuition into an ensemble. The logical next step was to bring in John Patitucci (bass) and Antonio Sanchez(drums), since they had already played together with Rogers hundreds of times, both with Rogers as leader, and in other groups such as Chris Potter Underground.

The musicians rehearsed together for 2 weeks in the making of this recording, and it was mixed for another 2 weeks, which is rare in the world of all-star jazz recordings.

The well-matched timbre of the group’s sound reveals that the time and care put into this project paid off. Bowen has a mastery of his instrument not unlike Michael Brecker, cites John Coltrane as his main influence, but plays with more nuance and reserve than either. He travels through the music and chooses to become part of the fiber of the group-sound, except on “E.R.,” which is a solo piece that let’s him weave his own song, from long drawn out tones to 32nd-note runs, syncopated triplets and reflection.

That’s why the choice of sidemen on this recording is so important. The slightly reserved modern cool that each player is able to bring to the studio matches up with Bowen’s playing style, and Posi-Tone’s Free as producer and engineer Nick O’Toole serve as kind of sixth and seventh men on this project.

Sanchez, for example, has demonstrated in his career with the Pat Metheny Group and on his solo work as well that he can play with subtlety, and make it exciting at the same time. It’s not Elvin Jones-type crash and bang drumming; Sanchez often uses a light touch and many soft to medium cymbal strokes to bring out a more reflective artistic sound, but he enhances his playing by finding varied ways to communicate.

Rogers’ tone on guitar is also something that blends into the collective sound. His reserved style is modern, and full of potential sparks, leaving listeners keen to hear where he will go next. But he supports the songs, and is able to soar into several important solos that would only work if they were on par with Bowen’s tenor sax riffs, and they very much are.

John Patitucci is able fully to support the band by playing with a style that could be described as dark, full and round. He’s like a prominent tree trunk that allows the rest of the players to branch out and ascend.

Sean Jones adds trumpet to the mix on “Mr. Bebop,” playing counterpoint through the head, and taking off on a solo midway through, introducing a new sound to the ensemble at just the right time.

Dedicated consists of just six songs with a total recorded time of 42 minutes, a throwback to the days of Blue Note discs that tended to run short, but made up for it with quality. Each tune is dedicated to one of Bowen’s mentors (Keith Blackley, Pat LaBarbera, Jim Blackley, David Baker, William Fielder, and Eugene Rousseau).

“The recent passing of a close friend and mentor left me with the distinct awareness of my personal need to acknowledge several of my contemporaries for their support and influence on my own musical development. Dedicated is a musical message of gratitude to my mentors for their time, patience, wisdom, knowledge and friendship.” (Ralph Bowen)

“One way or another we all have to find what best fosters the flowering of our humanity in this contemporary life and dedicate ourselves to that.” (Joseph Campbell)
Tracks: Canary Drums; Pat; Qaiyam; Mr. Bebop; Prof.; E.R.

Personnel: Ralph Bowen: tenor saxophone; Sean Jones: trumpet; Adam Rogers: guitar; John Patitucci: bass; Antonio Sanchez: drums.

 

 

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jazz.com write-up for Ralph Bowen’s “Canary Drums”….

http://www.jazz.com/music/2009/6/21/ralph-bowen-canary-drums

RALPH BOWEN: CANARY DRUMS

TRACK

Canary Drums

ARTIST

Ralph Bowen (tenor sax)

CD

Dedicated (Positone 8052)

Buy Track

Musicians:

Ralph Bowen (tenor sax), Adam Rogers (guitar), John Patitucci(bass), Antonio Sanchez (drums).

Composed by Ralph Bowen

.

Recorded: Brooklyn, NY, October 19, 2008

Ralph_bowen--dedicated 

RATING: 94/100 (learn more)

Ralph Bowen’s distinguished resum� includes extended work with Horace Silver, Michel Camilo and the group Out of the Blue. He has a beautifully manicured sound that pours out of his tenor in cascades of tonal beauty. His playing has exceptional fluidity without the slightest degradation of tone. It is filled with inventiveness and free from clich�. As an educator at Rutgers University, where he is a respected associate professor of jazz saxophone and director of the jazz ensemble, he undoubtedly inspires his students with his acumen.

On his CD Dedicated, a compilation of Bowen compositions dedicated to some of his mentors, he has assembled a group of master musicians. Their presence on this effort validates Bowen�s unheralded talents both as a composer and as an artist of exceptional taste.

�Canary Drums� is dedicated to the late Canadian drummer Keith Blackley. Bowen has composed a vibrant and harmonically dense piece of music, the complexity of which is masked by his deceptively laid back delivery. His ability to play sequential streams of sound in a flawless succession appears boundless. Rodgers is equally stealth-like in his understated multi-layered solo. Patitucci and Sanchez are so in tune to each other�s movements that you can feel them dance to the rhythm they create behind Bowen and Rodgers. A careful listen to Bowen�s command of tone and breath on his whispered, fluttering ending is worth the price of admission. With this tasty piece of post-bop music, Ralph Bowen commands wider recognition.

 

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jazzchicago.net review of “Dedicated”….

www.jazzchicago.net

Ralph Bowen – “Dedicated”
(Positone)
Wow, this cat can really blow. Where do these great, relatively unknown players come from. Apparently tenor saxophonist Bowen is well known around the NYC-area, where he co-led the ’80s “OTB-Out of the Blue” sextet, and is now an instructor at Rutgers U., but he was new to me. And a pleasure it is to make the musical acquaintance. Backed by the stellar cast of Adam Rogers on guitar, Antonio Sanchez on drums and John Patitucci on bass, Bowen shows himself to be not only be both a bold and creative player with monster chops, but also a fine composer as well. Each of the six songs is dedicated to a personal mentor and it is clear these men mean a great deal to the saxman, as evidenced by the care and precision taken with the playing and arrangements. I would venture to say that Bowen, like Donny McCaslin and Chris Potter, has studied his Coltrane (especially on the Giant-Steps-ish “Qaiyum”), Brecker and Rollins, but has fashioned a flavor of his own that is distinct – melodic and seemingly always in control. “Canary Drums” swings in the post-bop manner, with shifting moves, while Rogers exhibits some nice traditionalist soloing on the stately “Pat” and eleswhere. Standout may be the crackling “Mr. Bebop,” with Bowen pulling off Coltrane licks and young trumpeter Sean Jones stopping by with a superb Miles Davis flavored solo on this Wayne Shorter/Herbie Hancock-flavored track. Don’t be a stranger. Ralph.

 

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Listening Session With Ben Ratliff: Sam Yahel’s ‘Hometown’

www.npr.org

After reading Felix Contreras’ post, I’m looking ahead to my three-year old daughter hating jazz. I’m surprisingly okay with this possibility. I just want her to love music. That’s a good primer for eventually getting the jazz message.

I must say, in her defense, that my girl does love the trombone. She’s into wearing headphones and checking out tunes. She also loves to talk. I’m already advising against a career as a jazz journalist, radio personality or some chimera of the two. (But I’m all for women in jazz.)

This is supposed to be about Sam Yahel’s new record. I’m getting there.

I haven’t seen Sam Yahel since 2005’s Toast of the Nation, when we broadcast Joshua Redman‘s Elastic Trio with Brian Blade. I distinctly remember that time at Yoshi’s (the Jack London Square club in Oakland), and having to fill a minute of national airtime with him. We promoted the California broadcast to the rest of the country.

After Sam inventoried the keyboards and electronic effects at his ready, I asked, “So what you’re saying is this is not your father’s jazz?”

Sam Yahel

 

Listening to Sam Yahel makes you wanna shout the two syllables of his last name in reverse order. Courtesy of the artist.

Sam Yahel recently released Hometown, a piano trio recording. Most jazz nerds know that Sam is a tremendous Hammond B-3 organ player, but the piano? How positively acoustic! This could be something that dads might like too. (Who doesn’t like a nice John Lennon cover … I mean, other than a backwards masking of “Revolution 9”?)

Ben Ratliff, music critic for the New York Times, shared his perspective on Sam Yahel during our most recent edition of The Checkout. Feel free to listen with us.

I wrote all this simply to say that this is a record I’m digging, and now that I’m a dad, I think about what a stupid question I asked Sam. “Your father’s jazz” — pfft. Blame it on my youth.

See, I recently introduced my daughter to Sam Yahel’s take on “Blue Pepper,” originally from Duke Ellington’s Far East Suite. Technically, she was listening to “her father’s jazz,” but I wasn’t about to tell. She was far too busy enjoying it on the headphones.

Happy Father’s Day.

 

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AAJ review of Sam Yahel “Hometown”….

www.allaboutjazz.com

Sam Yahel has made the grade. His signature Hammond B3 sound—appearing on both his own work and on recordings by Joshua Redman, Bill Frisell, and Norah Jones—has identified him as one of the players that will take Jimmy Smith‘s favorite instrument deep into the 21st century. So what does Yahel do on Hometown, his fifth disc as a leader? He puts the organ in the closet and does a piano-trio record, which believe it or not, is a good move.

Yahel is not unfamiliar with the piano; in fact, it was his original instrument. He considers himself to be “a much more natural organ player than a natural pianist,” and admits he really has to work hard to reach the level of quality he expects from himself. Given that Hometown has echoes of piano aces like Horace Silver and Jacky Terrasson, Yahel must have worked really, really hard here.

Hometown opens with a 21st-century standard—John Lennon’s “Jealous Guy.” Ben Allison covered this on Little Things Run the World (Palmetto, 2008), though Allison went a lot farther in re-interpreting Lennon’s protagonist. Yahel starts out in the clear, seemingly ruminating over past liaisons that didn’t work well, and then he slides right into a cool, almost balladic take on the tune, as if to say, “Hey, that’s just how I roll—no need to stress about it!” Bassist Matt Penman and drummer Jochen Rueckertbuild Yahel a backdrop as he expands on his theme with well-placed bursts of notes, before switching to longer, more definite runs as he gets more comfortable.

Yahel doesn’t stay in the comfort zone long, jumping head-first into a runaway version of Thelonious Monk‘s “Think of One.” A steady groove starts to take hold, but Yahel’s complex opening figure swallows it whole as he attacks his solo with extreme relish. There’s more living dangerously on “Blue Pepper” as Yahel moves from 60s-era Blue Note soul-jazz into free exploration that has everybody working in zero gravity. Yahel momentarily loses his minimalist approach on “River Song” in favor of a more dangerous tack, while the melody on Chet Baker‘s “My Ideal” gets chucked at the outset as he starts improvising immediately and never stops.

Penman qualifies for another MVB (Most Valuable Bassist) award as he gives Yahel’s music a second solo voice. Penman’s bookend solos on “Oumou” are stark and pulsing as Yahel and Rueckert pen a tone poem behind him, and on “Moonlight in Vermont,” he matches Yahel’s heretofore-unknown talent for lyricism. Rueckert’s out-solo on “Think” is one hellacious exclamation point, and his extended tradeoffs with Yahel on the ebullient title track give him much-deserved spotlight time, after dwelling mostly in shadow.

The fact that Yahel believes piano is not his “best” instrument speaks volumes about the brave choice to makeHometown a piano date. Still, they say hard work eventually pays off, and it sure paid off here.

 

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Zan Stewart on Yotam Silberstein “Next Page”…

www.nj.com

Next Page
Yotam Silberstein
Posi-Tone Records

Israeli-born guitarist and composer Yotam Silberstein’s new CD is part spiffy organ grooves, part smart modern jazz feel. The exemplary organist Sam Yahel, drummer Willie Jones III and creamy-toned tenor saxophonist Chris Cheek are the welcome others. The leader’s “Borsht” is a comely waltz, with Silberstein displaying his warm, gleaming sound and weaving well-constructed lines into flowing musical stories. Yahel and Jones back with aplomb; the organist, especially, is another beguiling improviser.

A dancing lilt underpins Silberstein’s “Blues for 007,” a blues waltz, as well as his pretty “Jalastra.” “Weekend in Mizpe” is tender and sweet, with emotive Silberstein and Cheek; Jobim’s “Ligia” is likewise heartfelt. Charlie Parker’s “Cheryl” shows off the leader’s bebop acumen, and includes some riveting chordal passages.
-Zan Stewart