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Raul D’Gama’s AAJ review for Steve Davis “Images”…

www.allaboutjazz.com

It is easy to mistake trombonist Steve Davis for an aesthete—which he is, possessing an undying sense of lyricism to show for it. But he is a deeper musician than one who merely subscribes to the aesthetical philosophy. Each of Images‘ ten compositions far transcends warmth and lyrical beauty, standing out as astute forms of modal music that recall the finest of their kind. Davis’ ability to enrich the tonal palette of the trombone is commendable. He may not bend and twist the voice of perhaps the most human vocal-like instrument, as Roswell Rudd does. He may not reach into the thin upper registers of the instrument, as Bill Watrous does. Even though he stays fair and square within a comfortable zone— relying, if anything, on an innate bias for the bass register—Davis adorns the sound of the instrument with a husky sensuousness. He caresses, rather than simply playing, the notes. He constructs his solos with breathtaking curvilinear phrases that melt into one another, sometimes holding a note like a spinning top, before letting a cascade of others in a new idea fall on the B side of a solo.

Images has something else to offer. This fine album is played as a loosely connected suite of music dedicated to some fine aspects of Hartford, Connecticut, the trombonist’s home and a place which offers him a slew of memories from which to draw. The interesting aspect of drawing on them for a musical tribute is that the narrative in each pays close attention to the characters that drive each story. As a result, there is a distinctly individual flavor to each part of this suite.

“Nato” is breathless and fluid, “The Modernist” is almost a clinical expression derived, no doubt, from the academic character of the Museum Curator, Chick Austin, of whom the music sings. “Twain’s World” is by turns, impish and provocative. Similarly, “J Mac’s Way” is blasé and harder hitting in parts, aptly describing both character and music of the late alto saxophonist/composer Jackie McLean. “Mode for Miantonomoh” is the high point of the work, a work of exceedingly beautiful melody and harmony. And so on, until “Kenney’s” and “Club 880,” which, like the best final movements in suites classic and modern, sound like a breathtaking climax and, written in their so-called jazz idiom, are fine jams that pulsate with excitement, closing this fine piece of work.

With Images, Davis builds upon his fine legacy of thought-provoking lyricism, as one of the finest trombonists playing today.

 

 

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Audiophile Audition review for Steve Davis “Images”…

www.audaud.com

Steve Davis – Images – Posi-Tone PR8066, 56:13 ****½:
(Steve Davis, trombone; Mike DiRubbo, alto sax; David Bryant, piano; Josh Evans, trumpet & Flugelhorn; Dezron Douglas, bass; Eric McPherson, drums; Kris Jensen, tenor sax on “Club 880”)

Steve Davis graduated from the University of Hartford in 1989, where he studied under the tutelage of the master, Jackie McLean. After graduation, Davis soon hit the road with Art Blakey. He returned to Hartford in 1992, and has resided there since. On Davis’ latest Posi-Tone release Steve honors his home town on Images -The Hartford Suite. What appears to be the Hartford skyline graces the front cover of the CD. Inside, with the limited liner notes, is a mini-map of the town.

Images contains my kind of jazz – straight ahead classic hard bop, which retains its luster through repeated listening. Like a Jazz Messengers band, Davis’ group blends cohesively, with standout drummer Eric McPherson, like Blakey, driving the beat with cymbal work. Once again producer Marc Free, and engineer Nick O’Toole, have done a righteous job in getting the sound mix just perfect. There is an audiophile quality warmness that fills the soundstage with  near-SACD quality that will be appreciated on a stereo system that highlights midrange acoustics.

You will find something to like on every track, whether it be the horn blend on “Nato” before Davis takes his solo; the relaxing sweetness of “The Modernist,”; the unheralded work of David Bryant on piano and Josh Evans on trumpet and flugelhorn; or the “visits” to the neighborhoods in town described by Davis in his liner notes. Steve honors Nat Reeves on “Nato”, Jackie McLean on “J Mac’s Way”, and jazz clubs Kenney’s and Club 880.

A reviewer’s dilemma in critiquing a CD like Images is that every track pleases and it is difficult to not describe every track in an overly long review. So, I’ll just say that if you love 1960s Blue Note horn-driven hard bop (and most any true jazz LP collector fits into this category), you can’t go wrong taking in the “Images” that Steve Davis brings to the table in his paean to his home town. Now if he only had time to run for mayor. “No new taxes, and jazz on every corner…”

TrackList: Nato, The Modernist, Twain’s World, J Mac’s Way, Mode for Miantonomoh, Rose Garden, Tune for Calhoun, Park Street, Kenny’s Club 880

– Jeff Krow

 

 

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Peter Hum review for Steve Davis “Images”…

communities.canada.com

From New York trombonist Steve Davis come two CDs — the hardbopping Images…

Images is a set of crisp, well-executed originals from Davis, who turns 43 this year but who began his career nearly two decades ago as a sideman in Art Blakey’s Jazz Messengers, that quintessential hardbop band. Just as Davis as stayed true to his stylistic preference in jazz, he’s been associated throughout his career with the the Hartt School of Music at the University of Connecticut in Hartford Hartford in Connecticut — he graduated from that school before joining Blakey, joined the school’s faculty a few years later, and Images includes compositions from Davis’ Hartford Suite.

Joining Davis are alto saxophonist Mike DiRubbo, young and fleet-fingered pianist David Bryant, the gutsy bassist Dezron Douglas, drummer Eric McPherson, trumpeter Josh Evans and, on the final track, Club 880,  tenor saxophonist Kris Jensen. With his core sextet, Davis has basically assembled a special forces unit of swing, with crack players who fulfill their duties with utter clarity and efficiency. Each track is crisply conceived and utterly in-the-pocket in terms of its execution. I especially like the catchy Twain’s World, with its swirling intro, modern Messengers feel and snazzy arrangement, and the expansive, waltzing Mode for Miantonomoh. The classic-style ballad Rose Garden makes me think of Billy Strayhorn’s writing. Cumulatively, there might be a feeling that there’s either not enough soloing at length or too many tunes, But each track sounds just fine in its heat of the moment.

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A nice multi-album review piece “Posi-Tone Saxophones” by writer Joel Roberts taken from this months issue of AAJ-NY….

www.allaboutjazz.com

by Joel Roberts

Giving underappreciated jazz artists their due is one of the perks (and responsibilities) of writing about the music. The frustrating thing is the sheer number of outstanding musicians flying under the radar of most listeners. These three saxophonists, all New York-area players recording for the LA-based Posi-Tone label and all checking in at various places along the post-bop continuum, are prime examples.

Canadian-born tenor saxophonist and educator Ralph Bowen is the elder statesman of the three, with a recording career dating back to the ’80s. Like his previous Posi-Tone release Dedicated, Bowen’s new one, Due Reverence, features tributes to friends and mentors, including the austere opener “Less is More,” written for guitarist Ted Dunbar, and the soaring, exuberant “This One’s for Bob,” fêting saxophonist Bob Mintzer. While he’s no stylistic trailblazer—the influence of modern masters like Coltrane, Shorter and Michael Brecker is evident in his playing—Bowen is a commanding soloist with exceptional control of his instrument. Backed by a hard-hitting quintet (trumpeter Sean Jones, guitarist Adam Rogers, bassist John Patitucci and drummer Antonio Sanchez), Bowen proves he’s near the top of the tenor sax heap.

Mike DiRubbo emerged on the New York scene about a decade after Bowen and has carved out a place for himself as one of the top straight-ahead alto saxophonists. Repercussion is a strong effort that highlights DiRubbo’s sharp alto tone and intense approach, both of which recall his former teacher, the late, great Jackie McLean. The album’s standout track, the title tune, with its simple bluesy riff leading into enticing solos by DiRubbo, vibraphonist Steve Nelson and the late drummer Tony Reedus, wouldn’t sound out of place on one of McLean’s vintage Blue Note sides. DiRubbo also excels on the jaunty Dave Brubeck tune “The Duke” and on a heartfelt reading of the ballad chestnut “Too Late Now.” Nelson’s contribution is notable throughout, particularly his scorching improvisations on “Nelsonian.”

Although he’s active in a host of other styles, including funk and fusion, tenor saxophonist Sean Nowell’s The Seeker follows a direction similar to DiRubbo and Bowen. The Alabama-born Nowell, who also plays clarinet and flute, proves himself a forceful improviser on the energetic “New York Vibe” and the rollicking klezmer tune, “Oy Matze Matze,” which features some lovely work from cellist Dave Eggar. Nowell also shows he has a subtle hand with ballads on covers of the Beatles’ “I Will” and the standard “You Don’t Know What Love Is.” It’s a fine outing by yet another undervalued performer.

Tracks and Personnel

Due Reverence

Tracks: Less Is More; This One’s for Bob; Phil-Osophy; Mr. Scott; Points Encountered.

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

Repercussion

Tracks: Repercussion; The Duke; Lunar; Highbridge; Nightfall; Déjà vu; Too Late Now; Nelsonian; Pisces Rising.

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

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

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Alto saxophonist Mike DiRubbo receives a nice AAJ review for his “Repercussion” CD…

www.allaboutjazz.com

Repercussion
Mike DiRubbo | Posi-Tone Records (2009)

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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OK, for once we’re simply speechless…. Please check out this article about our three latest releases that just came in from All About Jazz….

www.allaboutjazz.com

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

by J Hunter

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.

dedicatedRalph 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).

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Heres another review from the same website of “Outlook” by trombonist Steve Davis…


100greatestjazzalbums.blogspot.com

Rhombus / Posi-tone

Release date: September 30th 2008 / March 24th 2009

Availability: CD, MP3 Download, iTunes

Steve Davis has been making great ensemble jazz in live performance, with the sextet ‘One For All’ and with a sequence of albums as leader with the seemingly obscurantist Criss Cross label. So, it is good to see that Posi-tone have released “Outlook” and that this album will hopefully reach a wider audience.

The inspiration that Jackie McLean brought to The Jazz Institute that he founded at Hartt School at Hartford University has been bearing fruit – alumni include Jimmy Greene, Tony Leone, Wayne Escoffery, Mike DiRubbo, Dezron Douglas as well as Steve Davis and Eric McPherson, who both also serve as Faculty members there.

The band on “Outlook” – Steve Davis (trombone), Mike DiRubbo (alto sax), David Bryant (piano), Dezron Douglas (bass) and Eric McPherson (drums) – draws on much of this talent as it presents five original compositions and three covers.

It is not surprising to hear that Mike DiRubbo studied alto sax with Jackie McLean. His playing is exemplary throughout with more than a hint of the acid sharpness of his great mentor, particulary on his own composition “Line Of Flight” and on the closing track, a fine reading of Cecil Payne’s “Bosco”.

The three Steve Davis Compositions – the opening title track, “Smooth” and “Mission” – make full use of the potential of the quintet to deliver interesting harmonization and involving soloing. The take on Duke Ellington’s “I Got It Bad (And That Ain’t Good)”, featuring the leader’s trombone playing extensively, is a master class in silky, after hours jazz.

Douglas Dezron contributes the oddly titled “Lord Davis” which again features fine alto sax work from Mike DiRubbo.

The only track that could have been dispensed with is the version of Bill Withers’ pop platitude “Lovely Day”. Perhaps there are some tunes that no amount of chord substitution could ever revive.

That should not distract from what is a fine album with strong performances all round.

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Alto saxophonist Mike DiRubbo receives a nice online review for his brand new CD “Repercussion”…

Mike DiRubbo – Repercussion

album review

Posi-Tone

Release date: July 7th 2009

Availability: CD, MP3 Download

 Mike DiRubbo: Repercussion cover

The rise and rise of vibes based jazz continues with this fine release by alto saxophonist Mike DiRubbo partnered by Steve Nelson.

Mike DiRubbo studied with Jackie McLean at Hartt School, CT, but is more than a disciple of the great man; much of the playing on “Repercussion” appeals more to the lyricism of John Coltrane than to acid tone and approach of his teacher.

Steve Nelson, who has played and recorded with Jackie McLean – and also with jazz greats Grant Green, Kenny Barron and Johnny Griffin amongst many others – brings a strong Milt Jackson derived influence to his perceptive vibes playing. As recent releases by Christian McBride and Ken Fowser have reminded us, the rewards from the more open sound and approach achieved by replacing piano with vibraphone in the classic sax led quartet are considerable, an approach trailed by Milt Jackson and then, in great partnerships with Joe Henderson and then Harold Land, by Bobby Hutcherson.

The quartet is completed by Dwayne Burno on bass and Tony Reedus on drums, a very effective combination on one of the best jazz albums of the summer.

 Mike DiRubbo photo Mike DiRubbo

There are nine compositions by Mike DiRubbo, the two non-originals being Dave Brubeck’s “The Duke” and the Burton Lane standard “Too Late Now”.

The uptempo material – “Repercussion”, “Lunar”, “Nelsonian” (written as a feature for Steve Nelson)- produce great jazz with inventive solos and great rhythm support.

“Nightfall”, “Highbridge Lullaby”, “Pisces Rising” and “Too Late Now” are evocative and contemplatory with wonderfully long and involving soloing from both of the principals.

“The Duke” and “Déjà Vu” are successful mid tempo pieces.

An album of great quality.

If Posi-Tone maintains the quality of its recent releases, it will be laying claim to the Criss Cross mantle as the label producing the best “Blue Note” jazz of the decade.

In memoriam: Tony Reedus died in 2008 shortly after this recording was made

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Another AAJ review for Mike DiRubbo “Repercussion”….

www.allaboutjazz.com

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 RotondiJoe 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.

 

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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 AlexanderJim 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.