Jazz Articles
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Pete Robbins: Pyramid
by Glenn Astarita
New York-based saxophonist, composer Pete Robbins has been on a fast- track, surging to the upper echelon of global jazz talent. And Pyramid rekindles impressions of drummer, composer John Hollenbeck's early 2013 release Songs I Like A Lot, where specific pop and rock songs from yesteryear, inspire the artists to execute a personal reinterpretation or refresh via the essence of modern jazz frameworks. Moreover, Robbins reaps the positive benefits of a superstar-like supporting band, including the recent recipient of a ...
read morePete Robbins Transatlantic Quartet: Live In Basel
by Mark Corroto
Like most modern jazz players, alto saxophonist Pete Robbins works in multiple bands, playing varying styles and disciplines of this thing called jazz. Sounds reasonable, yes? But, thirty years ago this wasn't possible. Musicians, listeners, and jazz critics (let's not leave them out) had to take sides, choose categories and labels to classify and compartmentalize their music. You were either a traditionalist, a fusion advocate, or an avant-garde specialist. Neither the twain shall meet. Sound like politics in America today?
read morePete Robbins: siLENT Z Live
by Mark F. Turner
Since his 2002 debut, Centric (Telepathy Records), saxophonist Pete Robbins has charted a centrifugal trajectory, moving outward from traditional boundaries. His previous releases--Waits & Measures (Playscape, 2006) and Do The Laugh Hate Shimmy (Fresh Sound New Talent, 2008)--incorporated elements of jazz, rock and electronics with thought-provoking writing and improvisation. Incessantly stirring the creative juices in any number of projects/ensembles, this release documents Robbins' siLENT Z band, at New York's Cornelia Street Cafe and would prompt the question of how his ...
read moresiLENT Z: siLENTZ
by Elliott Simon
Downstairs at the Cornelia Street Café in the Village is one of the more intimate places to see live jazz in the city. The program there is intentionally eclectic and siLENT Z Live, from altoist Pete Robbins, captures his angular group in those comfortable environs. All other things being equal, the make or break for a live recording is the extent to which the performances thus immortalized remain fresh enough to endure repeated listening. Is the spontaneity ...
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