KZSU 90.1 reviews Eric Wyatt’s Look to the Sky “There isn’t a dull track in this set”

Tom McCarter
Reviewed 2017-11-24 
Reviewed: 2017-11-24
Genre: Jazz
FCCs: none
Review: straight ahead cooking contemporary bop. A few nods to the past. There isn’t a dull track in the set. Lessons learned & extrapolated on.
If You Like: Pharoah Sanders, John Coltrane, Freddie Hubbard, Herbie Hancock
Track Review (favorites denoted by*):
*1/ E-Brother (4:13) – piano starts> uptempo jam> rocking sax solo> trupet solo> jam> quick stop
2/ Look To The Sky-Sister Carol (8:31) – piano starts> uptempo jam> sax solo> piano solo> trumpet solo> soaring uptempo jam slows to fade
*3/ My Favorite Things (2:38) – piano starts> uptempo jam & song> sonic sax solo> swinging piano solo> song> long slow fade
*4/ Jolley Charlie (7:06) – drums start> fast tempo jam> sizzling sax solo> sax/drum duet> piano solo>
5/ A Psalm For Phennie (8:22) – piano starts> slow tempo jam swings to midtempo> sax solo> trumpet solo> piano solo> slow fade
*6/ One Finger Snap (4:32) – sax starts. fast tempo jam> spirited trumpet solo> lightning fast piano solo> sax solo> drum solo> fast jam> quick stop
7/ Afro Blue (8:01) – piano starts> midtempo swings into uptempo jam> sax solo> piano solo> uptempo jam> fade
*8/ Starting Point (6:51) – piano starts> uptempo jam> sax solo> swinging piano solo> bass solo> jam> crescendo end
9/ Tenderly(5:41) – piano starts> slow tempo jam> sax solo> fad


To see the original review, click here

To buy Look to the Sky, click here

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To get in the spirit of giving, Whaling City Sound gives away signed cds from the JazzWeek chart for the Holidays

As a way to say Happy Holidays to all of it’s supportive fans, Whaling City Sound is doing 3 different giveaways to ramp up the Holiday season. This means 3 chances to win a free autographed album from some of Whaling City Sound’s top artists.

On Facebook, the giveaway can be shared for a chance to win an autographed copy of Dave Zinno’s new album, River of January. If you want to better your chances of a free signed album this holiday, Whaling City Sound is also doing a giveaway on Twitter. The contest can be re-tweeted to be entered for a chance to win Eric Wyatt’s new Album, Look to the Sky, signed and sent by Eric Wyatt. Finally, Whaling City sound is doing a 3rd giveaway on Instagram, this time to win a copy of Alma Micic’s album, That Old Feeling, signed by Micic herself. All you need to do is like the picture and leave a comment. The contest runs now up until December 17th, a random winner for each contest will be selected the next day. Enter all 3 to maximize a free signed Holiday Album!

Click here to see the Facebook Giveaway

Click here to see the Twitter Giveaway

Click here to see the Instagram Giveaway






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Terry Gibbs’ 92 Years Young, named one of All About Jazz’s top picks of 2017

By: Dan Bilawski

Few things are a given, yet we can always count on a flood of new music making its way into the world over the course of a year. In 2017 some of the best jazz found its path by looking forward, doubling back, and/or branching out. In short, this music and the dedicated artists who make it continued to uphold a legacy paradoxically built on tradition, change, absorption, and refraction. I had the pleasure of listening to more than four hundred albums over the past year, and I covered approximately one hundred of them for All About Jazz. These twenty-five stood tallest in that crowd (Note: selections on this list are NOT ranked):


Terry Gibbs
92 Years Young: Jammin’ At The Gibbs House
(Whaling City Sound)

Here is what Dan Bilawski thought about 92 years young when it released back in June:

For a brief moment, put aside the fact that legendary vibraphonist Terry Gibbs is now ninety-two years old. Just listen to the YouTube video at the bottom of this piece—lyrical, swinging, and vibrant as any jazz out there—and take it in. It’s something beautiful, right? Nothing radical or groundbreaking at all, but most certainly jazz of the highest order. Now, go back to Gibbs’ age. At ninety-two, he’s at a point where most of his peers are either gone from this earth or lacking the vitality that served them well in their younger years. Few make it to that stage and far fewer have much to celebrate if they do. But Gibbs is that one-in-a-million man, loving life, smiling away, and still making his mark as one of the greatest vibraphonists of all time.

Gibbs essentially went into retirement around the time that he gained nonagenarian status, but when a one-off jam session at his house yielded a YouTube video that went viral overnight, the idea of making another album surfaced. Whaling City Sound’s Neal Weiss approached him about it and, despite the fact that Gibbs had declined Weiss’ offers to record in the recent past, he agreed. There was just one condition: the vibes legend didn’t want to go into a studio, so he offered up the idea of recording a jam session in his own home. Weiss was game for that, the plans were put together, the music was recorded and mastered, and here we have it—or about half of it, anyway. Over the course of four days in 2016, Gibbs and his band for the occasion—John Campbell on piano, Mike Gurrola on bass, and son-labelmate Gerry Gibbs on drums—recorded thirty-one songs. Gibbs picked the performances he liked best, and that’s what made it onto the album.

When taken with the aforementioned information, what makes this recording all the more remarkable is the fact that there were no written arrangements and most everything was done in a single take. In the end, musical self-assuredness coupled with spontaneity helped to create pure perfection. That’s apparent in Campbell’s smart juxtaposition of a familiar bebop strain against Gibbs’ “Back Home In Indiana” melody line, the vibraphonist’s classy and glowing cadenza at the tail end of “What’s New?,” some playfully traded fours between both Gibbs men in various spots, and the interlaced piano and vibraphone streams on “Yardbird Suite.” And that’s merely a handful of bright moments on an album overflowing with them. Time may remain an unbeatable adversary for all mankind, but it’s beautifully clear that Terry Gibbs has yet to acknowledge and accept that inevitable truth. Long may his mallets move.

To buy 92 Years Young, click here
To see Dan Bilawski’s other top picks for 2017 click here
To see the original review of 92 years Young, click here
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“A modernist burner with an abundance of Pat Martino-like chops” Sheryl Bailey reviewed by The New York City Jazz Record

By: Elliot Simon

This reviewer first saw guitarist Sheryl Bailey blow apart the old club Tonic almost two decades ago with an electrifying plugged-in performance. Now a respected educator and at the top of her profession, Bailey still rocks out when the setting calls for it and with her chordal mastery, technical ability and overall knowledge she has become the reigning mistress of styles and stylings. Recently, she and veteran bassist Harvie S partnered to form the duo Plucky Strum. The latter is likewise a musician’s musician and on Departure he matches Bailey’s speed, maintains a firm rhythmic underpinning and contributes his own originality—no easy task in this very intimate setting. S’ opener “Sublime” is an in-tandem bopper that appears written with the duo in mind whereas Bailey’s “Old and Young Blues” (an allusion to the duo’s ages?) is a beautifully structured sonic reflection. Bailey enjoys reframing ‘60s and ‘70s tunes (witness her Hendrix project) and here both Joni Mitchell’s “The Hissing of Summer Lawns” and Stephen Stills’ “Suite: Judy Blue Eyes” are explored. The melody of the latter is reimagined through lovely acoustic guitar work and vivid arco while the former morphs from its original dreamy musing into a commanding electric statement. Bowed bass also sets up “Song of the Guitar”, Bailey’s touching acoustic tribute to her instrument. Bailey channels and challenges her partner’s deep Latin associations with the gorgeous acoustic ballad “Sabado Con Mi Amor” before his own ballad, “Now I Know”, equally inspires Bailey’s elegant touch. Bailey and S are back to bopping with the clean lines of “What She Said” and in the pocket with “Good Ole Days”, which features Bailey’s chords and improvisation over walking bass. The sleepy pathos of “Alone” closes things out but the jointly composed “Cranshaw” potentially charts a gratifying future direction. Its open setting provides the duo with their largest sonic space and in that context they are at their most inventive. For more information, visit This project is at Mezzrow Dec. 19th. See Calendar.


To buy Sheryl Baileys new album, click here

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