All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
To coincide with an extensive tour of the northeastern US, Brooklyn-based alto saxophonist Pete Robbins has issued his second effort as a leader. And it offers a rock-solid glimpse of his artistry, chops and interesting methodology, all steeped within copious jazz-related genres. Simply stated, Robbins is a style master who sets himself apart from many of his peers.
Spanning hip, jazz-funk motifs and multidirectional currents, Robbins orchestrates a dense, tight-knit and capacious sequence of overtures on Waits & Measures. Eliot Krimsky's dirty Fender Rhodes piano and Mike Gamble's slightly fuzzed-out electric guitar lines impart a jazz-fusion edge in various spots. However, Robbins' fluent alto sax lines and cagey arrangements generate a buoyant musical vista, complete with power-packed cadenzas and off-kilter shifts in momentum.
The band sustains interest by maintaining a sense of evolution and drama; rapidly paced funk or bop grooves often blossom into climactically oriented unison passages. Gamble sports a hard rock sound and demeanor on "Cankers and Medallions," where Robbins and saxophonist Sam Sadigursky execute ominous undercurrents that eventually segue into capricious movements. In sum, Robbins should win over a horde of admirers with this outing, which conveys asymmetrical parts chops, gusto, funk, fusion and a clear-sighted view of the jazz canon.
Track Listing: Inkhead; Waits and Measures; Candy To the Crowd; Why Not Us; There There; No One Cares About Your Dreams Unless You Dreamt About Them; Cankers and Medallions; Rodil; Amadelia.
Personnel: Pete Robbins: alto saxophone, clarinet; Sam Sadigursky: tenor saxophone, bass clarinet; Eliot Krimsky: nord electro, Fender Rhodes, glockenspiel; Mike Gamble: guitar; Thomas Morgan: bass; Dan Weiss: drums.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.