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Chicago guitarist Tony do Rosario displays a traditional, hard-swinging style on The Welcoming, an engaging quartet recording with organist Dan Kostelnik, vibraphonist Behn Gillece and drummer Bob Shomo. The session highlights the Atlantic City, New Jersey-native's fluid guitar style and solid compositional skills.
The bouncy 6/8 opener "Childhood Memories" and the Latin-insprired "Another Time" introduce Rosario's progressive approach; mindful of the past, yet eager to push forward. The guitarist's greasy, single-note lines evoke the feel-good soulfulness of 1960s Blue Note sessions with guitarist Grant Green and organist Larry Young. A highlight of the recording is the classic Green piece "Jean De Fleur," featuring graceful, chops-heavy lines by Rosario, Kostelnik and Gillece. Kostelnik keeps things grounded throughout with a firm command of the organ combo tradition, evoking the sounds of Young, Big John Patton and Jack McDuff.
The bluesy toe-tapper "Easter Sunday," up-tempo title track and dreamy ballad "Waiting Alone" emphasize Rosario's penchant for patient melodic build-up, developing themes that are logical and stylistically sound. The closing "Simone," driven by the intensity of Shomo's drumming, brings satisfying closure to a well-conceived session.
The Welcoming will appeal to fans of soulful, guitar driven jazz. The music is honest and heartfelt while Rosario's talent as a composer and improviser shines through from start to finish.
Track Listing: Childhood Memories; Another Time; Jean De Fleur; Easter Sunday; The Welcoming; Waiting Alone; Simone.
Personnel: Tony do Rosario: guitar; Bob Shomo: drums; Behn Gillece: vibraphone; Dan Kostelnik: organ.
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...