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Jason Rigby Detroit-Cleveland Trio: One

Read "One" reviewed by Hrayr Attarian

The stimulating One is saxophonist Jason Rigby's third release as a leader and the most accomplished addition to Rigby's discography. The sparse trio setting and the intimate ambience allow Rigby to showcase his multifaceted compositions and his superb improvisational skills. They also demonstrate the sublime synergy among the band members as well as Rigby's command of his instrument.The tense “Dorian Gray," for instance, opens with bassist Cameron Brown's nimble and swinging refrains. Drummer Gerald Cleaver brings a funky ...

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Jason Rigby: Detroit-Cleveland Trio: One

Read "One" reviewed by Dan McClenaghan

The saxophone/bass/drums format has its challenge: the lack of a harmonic instrument to add depth and structure to the sound. Sonny Rollins put out a classic of the form: A Night At The Village Vanguard (Blue Note, 1958). But he's Sonny Rollins, and all the other saxophonist aren't. Same thing with Ornette Coleman and his two At The “Golden Circle" Stockholm sets (Blue Note, 1965), wonderful and dynamic sounds that sit on the top of the heap of his form. ...

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Jason Rigby: One: Detroit-Cleveland Trio

Read "One: Detroit-Cleveland Trio" reviewed by Troy Dostert

Jason Rigby's first two releases as a leader, Translucent Space (2006) and Sage (2009), were widely acclaimed both for Rigby's sophisticated compositions and for his voice as an emerging saxophone talent. On these albums, the first with a nonet and the second with a quintet, Rigby evoked the sound of mid-to-late 60s Miles and early fusion, with arrangements that were disciplined and complex but which hinted at openness to the avant- garde. On One: Detroit-Cleveland Trio, Rigby's third ...

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Jason Rigby: The Sage

Read "The Sage" reviewed by Eyal Hareuveni

The sophomore release of New York-based saxophonist/composer Jason Rigby features him as a unique new voice that deserves wider attention. His deep, full-bodied tenor sound and his inside-outside jazz vocabulary reference sax greats such as John Coltrane and Wayne Shorter, while his elastic sense of time sounds closer to the fluid playfulness of Ornette Coleman. His nuanced compositions and compelling experiments in instrumentation enrich his jazz language with ideas and colors that hark back to composers Béla Bartok, Gustav Mahler ...

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Jason Rigby: The Sage

Read "The Sage" reviewed by Jerry D'Souza

Jason Rigby is a bold and adventurous composer and saxophonist. He blends styles artfully and gives them a tangent and direction that are out of the ordinary and. in doing so, he brings in a perspective that is as exciting as it is satisfying.

Rigby made his debut as a leader with Translucent Space (Fresh Sound, 2006). His second CD, The Sage, absorbs the spirit of his multifarious vision and brings his writing and playing into sharper focus.

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Jason Rigby: The Sage

Read "The Sage" reviewed by J Hunter

When purists maintain their Cheney-like insistence that nobody could have foreseen Miles Davis recording something as incendiary as Bitches Brew (Columbia, 1969), they reveal a blind spot the size of the Chrysler Building. The pre-Brew signs were as plain as the glasses on Stanley Crouch's face: First there was Filles de Kilimanjaro (Columbia, 1968), which codified changes referenced on Nefertiti (Columbia, 1967); following Filles was In a Silent Way (Columbia, 1969), which--once past the revelatory opening figure of Joe Zawinul's ...

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Jason Rigby: The Sage

Read "The Sage" reviewed by Troy Collins

New York-based saxophonist Jason Rigby's sophomore effort, The Sage, is the follow-up to his much-heralded premier as a leader, Translucent Space (Fresh Sound New Talent, 2006). Featuring the core members of his debut's nonet, this forceful quintet session traverses the exploratory electro-acoustic sound world of early fusion, the muscularity of hard bop, and the spacious freedom of the avant-garde.

A robust tenor/soprano stylist in the classic Post-War mold of John Coltrane and Wayne Shorter, Rigby also embraces the ...


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