Guitarist, Bob Dee’s impressive resume provides ample proof of his rather divergent credentials. Whether scoring for TV and the big screen or past performances with trumpeter Dave Douglas, pianist Cyrus Chestnut, and others, Dee boasts a well-rounded musical persona. However, this new release featuring his “Cosmosis” band highlights the artist’s penchant for merging some early jazz-fusion style nostalgic elements, with hip, cutting edge modern jazz interplay. Moreover, Dee possesses enviable chops to complement his obvious comfort zone with exploring various angles and tricky time signatures amid his bands’ propensity to teeter on the red zone. On pieces such as, “Chef of the Future” and “The Preacher,” the quartet often rekindles notions of the late Tony Williams’ renowned “Lifetime” unit, as Dee and organist/pianist, Adam Klipple engage in a blazing fury coupled with the rhythm sections’ limber yet undeniably, brawny attack.
The ensembles’ brisk approach is focused upon Klipple’s swirling keys, fluent right hand leads and Dee’s electrifying direction as the musicians also inject free jazz, gospel, and bluesy elements into the program. Otherwise, Dee’s artfully conceived compositions and the musicians scorching fireworks offer quite a bit more than the norm. (Four stars and three cheers for Bob Dee’s Cosmosis!)
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone. Feet in the dirt, or barefoot on a stage with sequins--it's soul beats in my chest.
I was first exposed to jazz while others listened to surf music in the '50s and '60s, it was Monk, Miles, Satchmo and Ella, Rosemary Clooney and Julie London followed. Margaret Whiting, Les McCann, Willie Bobo, Andy Simpkins, Snooky Young, Bill Basie and Helen Humes. The first time I heard Topsy, Take 2, I about passed out at the age of ten.
I've hung with Les McCann who more than 30 years after our first meeting became my duet partner on my CD, Don't Go To Strangers. Karen Hernandez from the start, Jack Le Compte on drums, Lou Shoch on bass, Steve Rawlins as my arranger and pianist, Grant Geissman - guitar genius, Nolan Shaheed, Richard Simon, and more. The big boys. My Red Hot Papas. The best show I ever attended was...
I met Helen Humes first back in 1981 and helped turn one Playboy Jazz Festival night into her tribute, bring the Basie Band to stage, her joy boys. Before she took the stage for the last time to sing, If I could Be With You One Hour Tonight thousands of copies of the newspaper I wrote for carried her story. It was kismet, her being held by Joe Williams backstage. Soon in my life were the great Linda Hopkins who told me I sang the song she wrote better than her, which floored me of course, the energizing Barbara Morrison and the stellar Marilyn Maye who guided me professionally.
My advice to new listeners... let your backbone slip and feel your body stripping back the barriers that prevent us from being one with the music.
Remember none of us are strangers, we just haven't met yet.