Tag: Jared Gold

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Words like “funky” and “groovy” are often bandied about by musicians, reviewers and fans alike. Once upon a time they represented the heights of popular musical achievement; today, they’re a little anachronistic, their use more ironic than laudatory. Then something comes along that epitomizes both terms, and reclaims them as badges of honor. Trombonist David Gibson’s End Of The Tunnel is such a recording, a quartet album of music that reminds the jazz world just how great funky and groovy music can be.

This is a straight-ahead album, no doubt. But it’s straight-ahead with enough twists and turns to ensure a freshness and vibrancy to the music. Partly, this is due to most of the tunes being originals: five from Gibson and two from organist Jared Gold. But it’s also due to the musicians’ performances, which sparkle with life and invention rather than merely reproducing the styles and ideas of others.

The interplay between these four musicians is superb—innovative, swinging, fun. On “Wasabi,” for example, the quartet weaves up-tempo patterns in and out of each others’ lines with ease. When things slow down, the players are just as adept at creating evocative musical moods. “Sunday Morning” is underpinned by Gold and drummer Quincy Davis’ relaxed but slinky rhythms, while Gold’s “Splat” and “Preachin,'” are both fairly gentle, mid-tempo, shuffles. Gibson’s “The In-Whim” is the standout tune, with some jerky, jagged rhythm playing from Gold and Davis, and intriguing unison passages from the trombonist and alto saxophonist Julius Tolentino.

The originals are bookended by Herbie Hancock’s “Blind Man, Blind Man”—Gold and Davis providing a seriously cool groove—and Jackie McLean’s “Blue Rondo,” with Tolentino and Gibson trading phrases over Gold’s stabbing organ chords and Davis’ driving percussion. The choice is well-made, a reminder of the music that inspires and inhabits both Gibson and Gold’s writing. But it’s the original compositions that add a real spark of innovation and good-time grooves to End Of The Tunnel.

Track Listing: Blind Man, Blind Man; Wasabi; Sunday Morning; End of the Tunnel; A Place of Our Own; Splat; The In-Whim; Preachin’; Blue Rondo.

Personnel: David Gibson: trombone; Julius Tolentino: alto saxophone; Jared Gold: organ; Quincy Davis; drums.

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“End of the Tunnel” is the second Posi-Tone release for composer/trombonist David Gibson. It’s also th second to feature his quartet of Julius Tolentino (alto saxophone), Jared Gold (organ, bass pedals), and Quincy Davis (drums).  The 9 tracks move from the “soul-funk” of Herbie Hancock’s “Blind Man, Blind Man” to the Crusader’s influenced “Wasabi.”  Davis’s drums snap and crackle on the latter, providing plenty of push for the soloists.  Tolentino stays away from cliche on his solos (no David Sanborn clone, he), rarely, if ever, overplaying – his solo on Gold’s “Splat” is filled with creative twists-and-turns while the fire he displays on “The In-Whim” inspires Gold and David to really dig in.  On the same track, Gibson dials down the heat for the first few choruses before he, too, kicks it in.

But the emphasis is on the soulful side on the majority of the tracks.  Gibson steps up on Gold’s “Preachin’“, a tune drenched in a gospel feel, with a wonderfully understated solo while the composer grooves beneath him and Davis hits hard. One can imagine the “amen corner” shouting “hallelujah” during the excellent organ solo, egged on by the Davis’s righteous drumming.  “Sunday Morning“, too, has that gospel but filtered through the Crusaders and Joe Zawinul’s “Mercy, Mercy, Mercy.”  The quartet plays off the “in-the-pocket” drumming and full organ chords, especially in sweet trombone solo. The CD closes with a driving take of Jackie McLean’s “Blue Rondo” with its cleanly executed boppish theme. Gibson and Tolentino trade choruses for the first 75% of the tune before Davis rocks and socks it to the reiteration of theme and a quick out.

“End of the Tunnel” won’t challenge the listener with multi-sectioned compositions or “free” playing but seduce one with the crisp drum work, the rolling organ lines, and the fine interplay and solo work of all involved.  For more information, go to www.jazzbone.org.

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David Gibson, END OF THE TUNNEL (Posi-Tone)

A lot of individualistic trombone virtuosos emerged during the ‘70s and ‘80s—George Lewis, Steve Turre, Ray Anderson, Robin Eubanks, Conrad Herwig, Frank Lacy, Gary Valente…I could go on. But outside of Wycliffe Gordon, Clifton Anderson, Ronald Westray, and one or two others, trombone players don’t pop immediately to mind when you think of interesting slide improvisers over the last two decades. Maybe we’re in for a new wave. I’ve dug Marshall Gilkes in recent years, and Gibson has a similarly gorgeous sound and a solo conception that’s thematically cogent and also kinetic through a range of late 20th century food groups. Many dates that draw on the various mid-’60 Blue Note genres sound contrived and stale, but this one has a fresh feeling, as though the participants were recording something fresh contemporaneously — not unlike some of the bebop-oriented improvisers who’ve used Smalls as a base over the last 15 years.  In any event, Gibson dialogues throughout with the excellent alto saxophonist Julius Tolentino, his front line partner; organist Jared Gold, himself a leader on few Posi-Tone dates, combines point guard distribution duties with intelligent shot selection, laying down apropos comp and basslines but also creative solos; drummer Quincy Davis, an A-lister in my book, works the grooves with energy and taste.

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David Gibson’s A Little Somethin’ (Posi-Tone, 2009) had a lot to offer, the trombonist garnering attention for its vibrant swing, soul and funk-laced jazz, but it wasn’t a one-man show. He had some help from a stellar support crew, and the same musicians that assisted in fleshing out his vision there return for another go-round on End Of The Tunnel.

While saxophonist Julius Tolentino proves to be a simpatico frontline companion on this outing, Gibson’s main foil is organist/label mate Jared Gold. Gold uses his own distinctive sound palette to dress each piece up in different aural attire that always seems to be perfectly tailored to fit the trombonist. Gold adds alien allure to the hip, head-nodding funk of “Wasabi,” provides rhythmic uncertainty and stagnation-of-sorts on “A Place Of Our Own,” and blends well with both horn men on the head of “Splat.”

While Gibson explores a variety of styles on this album, the strongest performances are nestled within soulful surroundings. Gibson saunters over a relaxed rhythm section with supreme confidence and spirit on his own “Sunday Morning,” and sells Jared Gold’s “Preachin'” with a trombone sermon replete with churchy overtones.

The program’s two non-originals are both connected to the same label and time period—Blue Note in 1963—but they’re vastly different vehicles. Herbie Hancock’s “Blind Man, Blind Man” is Grade A soul-jazz with Tolentino’s slyest soloing, while Jackie McLean’s driving “Blue Rondo,” features some aggressive work from drummer Quincy Davis. Gibson’s decision to use these pieces as the entrance and exit music for an album that largely highlights original music is a bit odd, but it can be seen as a tip-of-the-hat to those artists and to two different musical manifestations—soul and fire—that live within many of Gibson’s performances on End Of The Tunnel.

Track Listing: Blind Man, Blind Man; Wasabi; Sunday Morning; End Of The Tunnel; A Place Of Our Own; Splat; The In-Whim; Preachin’; Blue Rondo.

Personnel: David Gibson: trombone; Julius Tolentino: alto saxophone; Jared Gold: organ; Quincy Davis: drums.

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Trombonist David Gibson has paired together with Marc Free of Posi-tone Records to release “End of the Tunnel.” Gibson is joined by Julius Tolentino on alto saxophone; Jared Gold on organ and Quincy Davis on drums. The release date is set for May 31, 2011.

“End of the Tunnel” features several compositions by Gibson and Gold as well as a couple songs by Herbie Hancock and Jackie McLean. The ensemble appears to play mainly traditional, straight-ahead jazz set to the backdrop of an organ trio. However, they often break from tradition to embark on more adventurous excursions.

Blind Man, Blind Man begins as a funky organ groove. Gibson and Julius Tolentino do the less common pairing of trombone and alto saxophone well here. Tolentino’s sound and bluesy lines are familiar, yet not derivative of one particular player. It is particularly interesting to note that the melodies as well as solos are relatively concise throughout “End of the Tunnel.” The solos are short, sweet and straight to the point. The collective musicians don’t seem to waste a single note nor meander in one place too long.

Funky Wasabi takes us to a familiar place somewhere between The Jazz Crusaders and Tower of Power. Tolentino on alto saxophone solos first followed by Gibson on trombone. Tolentino’s sound is clear, neither bright nor dark – just a great alto sound. His lines are interesting and never overstated. Gibson shows great dexterity and rhythmic interest on his trombone. Jared Gold solos last, demonstrating his wonderful command of the Hammond B3 and it’s funky capabilities.

The relaxed and aptly titled Sunday Morning first features Gibson on trombone followed by Gold on the organ. The group never becomes overly excited, rather opting to just lay it down. Trombone and alto join in behind Gold’s chorus, which leads back into the final melodic statement.

The title cut sets off with a short statement of the melody followed by another fascinating and energetic solo by Gold. Gibson then improvises with short bursts on the trombone. By contrast, Tolentino weaves together a tapestry of flowing lines on the alto sax. Behind all solos drummer Quincy Davis supports and pushes from behind the drums. Ultimately, Davis gets a ride of his own, peppered with rhythmic pads from Jared Gold on the organ. Davis’ displays his quick hands just before and abrupt end to End of the Tunnel.

A Place of Our Own is a slow and sustained anthem that offers a distinct contrast from the otherwise funky, grooving or swinging cuts found elsewhere on “End of the Tunnel.” Gibson and Tolentino moan musically as Gold and Davis percolate in the background – eventually fading out.

The slick triplet figures on the inaugural melodic statement of Splat lead into a disjointed swing behind Gibson’s trombone solo. Tolentino’s again strings together a series of flowing lines over a somewhat swinging rhythm section. It seems Gold and Davis never completely engage Tolentino in his lines. Gold solos last before the appealing triplet figures of the melody return. The group collectively states some bluesy figures and kicks leading up to the final fermata.

The unison and harmony of Gibson and Tolentino announce the arrival of In-Whim. The arrangement here seems well calculated however the improvisational nature of the ensemble allows great freedom for all within it. Tolentino takes it out with more energy and angst than previously heard. Things all but come to a stop prior to Gibson’s initially restrained trombone solo. Gibson later visits the outer limits as he explores more experimental sounds and reaches higher and higher in the register of the trombone.

Preachin’ slowly swings along and brings the group to more familiar territory. The group maintains a nice balance between remaining true to the “preachy” groove and taking things to a more experimental and improvisational level. This is evident in both solos by Gibson and Gold. The final vamp evokes images of New Orleans jazz and Gospel music at the same time – quite an interesting mix.

Fast and swinging is Blue Rondo, which allows for brief solo exchanges by Davis, Tolentino and Gibson. Gold accompanies beautifully. The group is obviously taking us on a musical journey however the destination may be unclear. Davis again demonstrates quick hands and feet before the short repeat of the melody.

As with many of the current offerings from Posi-tone Records, David Gibson’s “End of the Tunnel” showcases a cast of highly talented jazz musicians creating fresh, new music. The overwhelming characteristic here seems to be the way in which this ensemble is able to make their complete statements so concise. Barely a note is wasted. The melodies and solos are relatively short for a jazz recording. Certainly each member of the group is capable of taking chorus after chorus to make their point – they just don’t have to.

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The second release for trombonist David Gibson’s quartet,End Of The Tunnel, is a return to the ever popular soul-jazz genre. As with his previous disc, A Little Somethin’ (Posi-Tone, 2009), Gibson and organist Jared Gold share a love for that infectious 1960s organ combo sound.

This disc also continues with the same lineup, and why not keep going? The music just feels so good; a sound that began in African-American churches but was ultimately incorporated into night clubs acts by the likes of Jimmy Smith, Big John Patton, Jimmy McGriff, Baby Face Willetteand Jack McDuff.

Soul-jazz music also had an influence beyond clubs, as this recording reflects. The opening track,Herbie Hancock’s “Blind Man, Blind Man,” sizzles, with Gibson playing the role of trombonistGrachan Moncur III from the original. The band has a flair for the slow burn, and Gibson follows up with a piece of Head Hunter groove, mimicking Hancock’s “Chameleon” with his own “Wasabi.” The quartet keeps one foot in the ’60s, the other steps in territory currently held by Stanton Moore’s funk band Galactic.

Gibson’s writing and arrangements bring the music back to the sanctified with the balladic “A Place Of Our Own” and serves up a mini-tribute to Horace Silver on “Preachin.” Giving the nod to Julius Tolentino on “The In-Whim,” the alto saxophonist takes an impressive outward pass at the track, before the band quiets down for the Gibson’s soulful turn taken.

The disc ends with Jackie McLean’s “Blue Rondo,” as Gibson once again picks up Moncur’s trombone line and trades licks with Tolentino before drummer Quincy Davis’ solo on a disc filled with plenty of sizzle and pop.

Track Listing: Blind Man, Blind Man; Wasabi; Sunday Morning; End of the Tunnel; A Place of Our Own; Splat!; The In-Whim; Preachin’; Blue Rondo.

Personnel: David Gibson: trombone; Julius Tolentino: alto saxophone; Jared Gold: organ; Quincy Davis: drums.

Record Label: Posi-Tone Records | Style: Straightahead/Mainstream

Mark Corroto / All About Jazz