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Dan Bilawsky’s AAj review for David Gibson’s A Little Somethin’….

Trombonist David Gibson arrived in New York in 1999 and wasted no time making his presence felt. Work with the Dizzy Gillespie Alumni Big Band,Slide Hampton, the Hot Pants Funk Sextet and a string of leader dates for Nagel-Heyer Records helped to cement his reputation in the New York jazz community and beyond. A Little Somethin’ is Gibson’s recording debut for Posi-Tone Records and features his working band, with the unique instrumentation of trombone, alto saxophone, organ and drums.

The nine tracks on this album are just as much of a showcase for Gibson’s writing as they are for his playing. Two Gibson originals start the album and set the tone. “The Cobbler” is an inviting, mid-paced tune with a swing-meets-Latin undercurrent that serves as a fitting introduction to this group. Gibson’s funk experience comes into play on “Hot Sauce,” as the quartet turns up the heat. Organist Jared Gold stirs this soulful musical stew while drummer Quincy Davis lays down some firm and funky beats behind him. Alto saxophonist Julius Tolentino takes the first solo and wastes no time making his mark. Gibson and Gold follow with some equally captivating responses.

“April in Paris” is the album’s lone standard. Tolentino takes the lion’s share of the tune after a quick run-through of the melody, with both horn players getting a chance to shine. Gibson and company choose to keep this one simmering rather than bringing it to a boil, and things quietly fade away in the end. Gibson’s “French Press” shines a spotlight on Davis as he trades eight’s with various members of the group toward the track’s end, while “The Seraph’s Smile” begins with a brief, gospel-inspired organ solo before the other musicians settle in for the ride. Gibson feeds off the vibe that the rest of the band creates as he contributes a captivating, soulful solo statement.

In addition to showcasing Gibson’s writing talents, A Little Somethin’features a pair of pieces from Gold and one from Tolentino. The brash, adrenaline-fueled funk of “In The Loop” begins with a wild organ riff and features some extroverted soloing from Gibson, and fun and farout organ soloing from Gold. Gold’s other contribution, “This End Up!,” is a mellow, hip-swaggering tune that prominently features Tolentino. Sandwiched between these tracks is the altoist’s “One for Jackie,” underscored by a gentle, lilting groove and hints of Brazil in the background. The album ends with the title track—a slow-cooking, swing tune that seems to give a nod toward organ groups of yesteryear and serves as a fitting finale.



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Edward Blanco’s review of A Little Something

With his fourth album as leader, New York-based trombonist David Gibson shows why he has become such a vital player and musical force, providing A Little Somethin’ to think about. This Thelonious Monk Award-winning trombonist also brings his skills as a composer and arranger to bear, delivering five creative originals among the nine-piece repertoire that features a wealth of musical styles, ranging from straight-ahead and funky to modern and a taste of classical.

Gibson shares the front line with alto saxophonist Julius Tolentino; the quartet is rounded out by drummer Quincy Davis and organist Jared Gold—the latter also releasing his own Supersonic (2009), on Posi-Tone Records. This is an actual working band, performing in various venues throughout the New York City area.

Gibson wastes no time in establishing the tone, opening up with his best composition, “The Cobbler”—a melody-rich, straight-ahead piece featuring a burning solo from Tolentino and follow-up solos from Gold and Gibson make this a “must listen.” The aptly titled “Hot Sauce” possesses a hard-driving percussive rhythm, providing plenty of heat. There is rather interesting take on the standard “April in Paris,” where Tolentino’s alto soars with wings provided by Gibson’s thick-toned trombone voice and Gold’s able organ phrasings.

The organist finally takes charge with a fine intro to Gibson’s “French Press,” grinding the keyboard and yielding to the leader for what is one of his finest solos on the recording. With Gold’s “In The Loop,” Gibson introduces a strong element of funk with heavy organ and drum interludes, as his trombone remains largely silent. The music shifts to modern mainstream for “One for Jackie,” returning to a more traditional approach on “This End Up!” and the closing title piece, completing A Little Somethin’—an album with a bit of something for everyone.

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Zan Stewart reviews Jared Gold – Supersonic….

Jared Gold

Jersey-based organist Jared Gold’s new CD packs plenty of musical bounty. Teaming with guitarist Ed Cherry and drummer McClenty Hunter, Gold — happily, a disciple of groundbreaking Newark organist Larry Young — deftly balances his affinity for choice-noted lines delivered with no-nonsense swing and his ideas that lean a little forward, which open up the proceedings a tad. On Gold’s percolating “Makin’ Do,” both of these aspects are handsomely displayed. The track also boasts Hunter’s crisp beat and Cherry’s enticing guitar. “Times are Hard on the Boulevard” reveals Gold’s considerable blues acumen, and he finds grit and gold in pop songs like John Sebastian’s “Welcome Back” and Lennon and McCartney’s “In My Life.”

— Zan Stewart


Posted on reviews for “Uptown” and “Supersonic”…

Wayne Escoffery
Posi-tone Records

Jared Gold
Posi-tone Records
By George W. Harris

The studio used by Posi-tone must have some vintage Hammond B3 stuck in
the corner, because it seems everything put out on this label has this
great sounding organ lurking in the back or foreground. These two
releases are no exception.

Tom Harrell saxist Wayne Escoffery teams up with Gary Versace/B3, Avi Rothbard/g and Jason Brown/dr for a varied disc that goes from bluesy swing like
Ellington’s “I Got It Bad” to aggressive hard bop like Rothbard’s “No
Desert.” Escoffery’s gut a muscular sound on tenor, and he uses it
well, particularly on the gentler pieces like “You Know I Care.”
Versace’s B3 gets a nice workout on “Road To Eilat” while Rothbard’s
guitar is nice and sinewy on “Nu Soul.” The joyous funk of his “Easy
Now” shows that the leader likes to keep the back beat moving. Good
times here.

Jared Gold leads the way on the B3 with drummer McClenty Hunter and
Gillespie alumnus Ed Cherry on guitar for some good old fashioned
bluesy boogie. He gets the tubes warmed up quickly with some cooking
takes of a couple of ringers; “Welcome Back” (from the 70’s TV show)
and “Can’t Take My Eyes Off You” are filled with funky turns and spins,
while Coldplay’s “Sparks” and Gold’s own “Battle of Tokorazawa” push
the Hammond fans to its limit. A lovely reading of The Beatles’ “In My
Life” and a haunting “Angel Eyes” show why you can never go wrong with
the good old Hammond. Like Noah and the Ark, some things like the B3
trio are destined to be remembered for all time.


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Brad Walseth reviews “Supersonic”….

Jared Gold – “Supersonic”
The B-3 is the thing here with very few frills. A primarily pretty traditional organ trio outing from Jared Gold, backed by guitarist Ed Cherry and drummer McClenty Hunter, “Supersonic” is an album with some solid playing and interesting song choices. John Sebastian’s TV theme “Welcome Back” opens and proves a surprisingly good tune in Gold’s hands. Having just come through the “Jersey Boys” experience, I already had “Can’t Take My Eyes Off You” playing through my head, and this fine version (with Cherry taking the bluesy lead) set me back a few more weeks in trying to remove this catchy number from my internal loop. All three members are estimable players, with Gold an expert of all the nuances, swells, squawks and trills that the organ has to offer. On the Gold original “Times Are Hard on the Boulevard,” he stretches out a bit more into some savory modern funk, while the quirky (and somewhat obligatory) Beatles cover (“In My LIfe”) continues the fun. The manic “Battle of Tokorazawa” is a highlight, while I also throughly enjoyed the band’s take on the standard “Angel Eyes.” An entertaining recording from a promising young artist and one that fans of organ trios should enjoy.




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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.


Posted on review of DAVID GIBSON: THIS END UP



This End Up


David Gibson (trombone)


A Little Somethin’ (Positone 8054)

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.



Posted on 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


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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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Woodrow Wilkins’ review of A Little Somethin’

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.