January 14, 2011
To: Listings/Critics/Features
From: Jazz Promo Services
Press Contact: Jim Eigo, jazzpromo@earthlink.net
http://jazzpromoservices.com/
http://www.universityofthestreets.org/
Thoroughly explaining the Julliard-trained Bob Gluck would be an exhaustive analysis. An accomplished composer of electronic music, a Rabbi, an educator and historical writer, he ventured deeper into jazz with Sideways (FMR Records 2008). Only Gluck himself remains from that recording’s trio, a customary piano trio configuration but with Gluck’s various synthesizers included. Something Quiet presents saxophone and bass to compliment Gluck’s piano on a solely acoustic outing. It is a highly original and brilliantly creative collection of free jazz and somewhat more ordered modern jazz. From the set’s opener, “Waterway,” it is apparent that Gluck’s approach is to accentuate melodic textures rather than musical lines. His playing style is full of inner mechanics that quietly sparkle and then dramatically shatter. Tension is a critical factor throughout the piece. Saxophonist Joe Giardullo tackles the challenging task of playing lines along the full range of the soprano. Bassist Christopher Dean Sullivan plays with a natural looseness, easily adapting to the great variety of prevailing directions of the tune. Herbie Hancock’s “Dolphin Dance” follows; the only song not written by Gluck. A departure from all-out free style, it has a more structured chord progression within its improvisational approach. ”October Song,” like its namesake month, is full of mercurial changes. At some points there are preset chords; at others, the music is free of harmonic limitations. Giardullo’s lines alternately bounce and flow, but always stay connected to the main theme. Similarly, Gluck employs unconventional organization throughout the piece, giving it the consideration that would be applied to a classical movement. “Going Away” is a bit of improvised melancholy that is reminiscent of Chick Corea’s ability to create tranquility in free form environment back in the days of A.R.C. (ECM, 1970). The remaining three tracks demonstrate more of Gluck’s unpredictable compositional, each containing elements of beautifully melodic music and almost vehement force, seamlessly layered and luminously performed. As a composer and player, Gluck ranks with the likes of Andrew Hill and Cecil Taylor. The model for Something Quiet incorporates structure, power and the lack of restrictions. Without alienating traditionalists, Gluck extends the range of sounds and broadens the scope of compositions, but not to the extent of being atonal. Like the best free jazz, it can only be “free” to a certain degree. The role of each player needs to intersect, as well as possessing the flexibility to break from convention. Something Quiet is completely original, artistically spontaneous, and intellectually challenging. CD Review By Doug Simpson Audiophile Audition
Something sometimes quiet but certainly not restrained or inhibited.
Bob Gluck has had an intriguing arc leading to his first entirely acoustic effort, the trio release Something Quiet. Gluck may be best known for electronic realizations combining avant-garde inclinations with his interest in electric jazz (Miles Davis, Herbie Hancock and Weather Report are some of his influences) as well as progressive jazz (Ornette Coleman and Keith Jarrett are two other inspirations). During the past decade Gluck returned to piano while continuing to fuse electronics into his aesthetic. On his new 67-minute excursion Gluck omits electronics to focus on his original acoustic music while showing his abiding attraction to abstract jazz with a unique trio approach: Gluck on acoustic piano, Joe Giardullo on soprano saxophone and Christopher Dean Sullivan on standup bass; as well as a broad stylistic scheme that merges chamber jazz with tempo changes, differing tonalities, varying volume and a musical tapestry where anything can and often does happen. The threesome excises expectations on “Waterway,” a reinterpretation of a tune Gluck introduced on his previous album, Sideways. The extended piece begins with Gluck’s soft painterly piano notes with a hint of dissonance similar to Cecil Taylor’s harmonic maneuvers. Giardullo’s soprano sax enters to provide a lyrical pattern that becomes a solid polished layer that Gluck and Sullivan – who undertakes a brief but potent bass spotlight – use as a base for their shifts in phrases, improvisations and free jazz designs. The trio also tackles the title track from Sideways, offering a more angular rendering than Gluck formerly presented. The new arrangement is a conduit of contrasts: Gluck and Giardullo commence with a melodic duet aided by Sullivan’s single bass lines. Before long, piano and sax head off into almost opposite directions, with Sullivan often the only sonic connection between Gluck and Giardullo’s contrary courses. Gluck’s aquatic framework carries on with a reharmonized version of Hancock’s “Dolphin Dance,” the sole cover, done as a bass/piano duet. This rendition has a subtle shape that reinforces Hancock’s original objective while including chordal and melodic adaptations that deliver a distinct edge to Gluck’s translation. While Gluck is in the limelight most of the time, Sullivan supports with underpinned emotive interaction. “Still Waters,” the longest track, takes a separate but parallel path to “Waterway,” with Giardullo again contributing strong melodic statements while Gluck and Sullivan carve out rhythmically individual moments that actively diverge in volume, tempo and harmonics. The most varied pieces are “October Song,” prompted by Hancock’s “Sleeping Giant,” and “Lifeline.” Like Gluck’s other material, “October Song” opens peacefully but rapidly intensifies, hammered along by Gluck’s percussive piano changes suggestive of Don Pullen’s dense solo fluctuations. Just as quickly the work moves back to a lyrical development that initiates a narrative attribute brought forward at times by piano, sax or bass, each player effortlessly adjusting from accompanist to soloist and back. This expansive improvisational tactic is echoed on the concluding “Lifeline,” which is episodically written to emphasis mood alterations, modifying rhythmic motifs and both pensive and dramatic ideas. Some jazz fans prefer listening to music that is familiar and recognizable. With Something Quiet, Gluck delights in surprise, uninhibited structures and thoroughly modernistic art that can be difficult for those critical of free or avant-garde jazz but is tailor-made for adventurous ears. CD Review BY Michael ‘Jazzofonik’ Edwards
Pianist Bob Gluck has assembled a strong trio (Christopher Dean Sullivan on bass and Joe Giardullo on soprano sax) for this, a gently insistent and compelling collection for which the term "rewards repeated listenings" is definitely apt. The sound is potent yet expansive and open-ended. Beginning with the crystalline cascade of "Waterways" the listening experience is quite broad. On song after song, notably the by turns haunting and uplifting "October Song" Gluck & Co. keep the listener delightfully off-balance; tinkling sequences give way to percussive piano runs, with the plaintive wail of the soprano both counterpoint and accompaniment. This is music for those who want a little more – heck a lot more – than the comfort of familiar melodies and chord changes. Gluck recognizes that dissonance – applied judiciously – can result in an illuminating musical experience, given the presence of excellent and committed players.
From: Jazz Promo Services
Press Contact: Jim Eigo, jazzpromo@earthlink.net
http://jazzpromoservices.com/
Bob Gluck (Piano), Joe Giardullo (Soprano Saxophone,) and Christopher Dean Sullivan (Bass)
Tuesday, March 29, 2011, 8pm. At University of the Streets, Muhammad Salahuddeen Memorial Jazz Theatre, 130 East 7th Street, New York City.
http://www.universityofthestreets.org/
NEW CD
Bob Gluck “Something Quiet” (FMR Records FMR CD 294) Street Date January 1, 2011
Bob Gluck-piano, Joe Giardullo-soprano saxophone, Christopher Dean Sullivan-Bass
http://www.electricsongs.com / http://www.fmr-records.com/
Live Review for NEIL ROLNICK’s Le Poisson Rouge appearance featuring Bob Gluck:
“Faith,” a free-spirited concerto for piano and computer, was composed for Bob Gluck, a rabbi who gave up his pulpit and become an accomplished jazz pianist. Mr. Gluck performed it with virtuosic fluidity and maintained a lively give-and-take with Mr. Rolnick’s tactile, almost orchestral computer part.
ALLAN KOZINN New York Times (January 13, 2011)
Thoroughly explaining the Julliard-trained Bob Gluck would be an exhaustive analysis. An accomplished composer of electronic music, a Rabbi, an educator and historical writer, he ventured deeper into jazz with Sideways (FMR Records 2008). Only Gluck himself remains from that recording’s trio, a customary piano trio configuration but with Gluck’s various synthesizers included. Something Quiet presents saxophone and bass to compliment Gluck’s piano on a solely acoustic outing. It is a highly original and brilliantly creative collection of free jazz and somewhat more ordered modern jazz. From the set’s opener, “Waterway,” it is apparent that Gluck’s approach is to accentuate melodic textures rather than musical lines. His playing style is full of inner mechanics that quietly sparkle and then dramatically shatter. Tension is a critical factor throughout the piece. Saxophonist Joe Giardullo tackles the challenging task of playing lines along the full range of the soprano. Bassist Christopher Dean Sullivan plays with a natural looseness, easily adapting to the great variety of prevailing directions of the tune. Herbie Hancock’s “Dolphin Dance” follows; the only song not written by Gluck. A departure from all-out free style, it has a more structured chord progression within its improvisational approach. ”October Song,” like its namesake month, is full of mercurial changes. At some points there are preset chords; at others, the music is free of harmonic limitations. Giardullo’s lines alternately bounce and flow, but always stay connected to the main theme. Similarly, Gluck employs unconventional organization throughout the piece, giving it the consideration that would be applied to a classical movement. “Going Away” is a bit of improvised melancholy that is reminiscent of Chick Corea’s ability to create tranquility in free form environment back in the days of A.R.C. (ECM, 1970). The remaining three tracks demonstrate more of Gluck’s unpredictable compositional, each containing elements of beautifully melodic music and almost vehement force, seamlessly layered and luminously performed. As a composer and player, Gluck ranks with the likes of Andrew Hill and Cecil Taylor. The model for Something Quiet incorporates structure, power and the lack of restrictions. Without alienating traditionalists, Gluck extends the range of sounds and broadens the scope of compositions, but not to the extent of being atonal. Like the best free jazz, it can only be “free” to a certain degree. The role of each player needs to intersect, as well as possessing the flexibility to break from convention. Something Quiet is completely original, artistically spontaneous, and intellectually challenging. CD Review By Doug Simpson Audiophile Audition
Something sometimes quiet but certainly not restrained or inhibited.
Bob Gluck has had an intriguing arc leading to his first entirely acoustic effort, the trio release Something Quiet. Gluck may be best known for electronic realizations combining avant-garde inclinations with his interest in electric jazz (Miles Davis, Herbie Hancock and Weather Report are some of his influences) as well as progressive jazz (Ornette Coleman and Keith Jarrett are two other inspirations). During the past decade Gluck returned to piano while continuing to fuse electronics into his aesthetic. On his new 67-minute excursion Gluck omits electronics to focus on his original acoustic music while showing his abiding attraction to abstract jazz with a unique trio approach: Gluck on acoustic piano, Joe Giardullo on soprano saxophone and Christopher Dean Sullivan on standup bass; as well as a broad stylistic scheme that merges chamber jazz with tempo changes, differing tonalities, varying volume and a musical tapestry where anything can and often does happen. The threesome excises expectations on “Waterway,” a reinterpretation of a tune Gluck introduced on his previous album, Sideways. The extended piece begins with Gluck’s soft painterly piano notes with a hint of dissonance similar to Cecil Taylor’s harmonic maneuvers. Giardullo’s soprano sax enters to provide a lyrical pattern that becomes a solid polished layer that Gluck and Sullivan – who undertakes a brief but potent bass spotlight – use as a base for their shifts in phrases, improvisations and free jazz designs. The trio also tackles the title track from Sideways, offering a more angular rendering than Gluck formerly presented. The new arrangement is a conduit of contrasts: Gluck and Giardullo commence with a melodic duet aided by Sullivan’s single bass lines. Before long, piano and sax head off into almost opposite directions, with Sullivan often the only sonic connection between Gluck and Giardullo’s contrary courses. Gluck’s aquatic framework carries on with a reharmonized version of Hancock’s “Dolphin Dance,” the sole cover, done as a bass/piano duet. This rendition has a subtle shape that reinforces Hancock’s original objective while including chordal and melodic adaptations that deliver a distinct edge to Gluck’s translation. While Gluck is in the limelight most of the time, Sullivan supports with underpinned emotive interaction. “Still Waters,” the longest track, takes a separate but parallel path to “Waterway,” with Giardullo again contributing strong melodic statements while Gluck and Sullivan carve out rhythmically individual moments that actively diverge in volume, tempo and harmonics. The most varied pieces are “October Song,” prompted by Hancock’s “Sleeping Giant,” and “Lifeline.” Like Gluck’s other material, “October Song” opens peacefully but rapidly intensifies, hammered along by Gluck’s percussive piano changes suggestive of Don Pullen’s dense solo fluctuations. Just as quickly the work moves back to a lyrical development that initiates a narrative attribute brought forward at times by piano, sax or bass, each player effortlessly adjusting from accompanist to soloist and back. This expansive improvisational tactic is echoed on the concluding “Lifeline,” which is episodically written to emphasis mood alterations, modifying rhythmic motifs and both pensive and dramatic ideas. Some jazz fans prefer listening to music that is familiar and recognizable. With Something Quiet, Gluck delights in surprise, uninhibited structures and thoroughly modernistic art that can be difficult for those critical of free or avant-garde jazz but is tailor-made for adventurous ears. CD Review BY Michael ‘Jazzofonik’ Edwards
Pianist Bob Gluck has assembled a strong trio (Christopher Dean Sullivan on bass and Joe Giardullo on soprano sax) for this, a gently insistent and compelling collection for which the term "rewards repeated listenings" is definitely apt. The sound is potent yet expansive and open-ended. Beginning with the crystalline cascade of "Waterways" the listening experience is quite broad. On song after song, notably the by turns haunting and uplifting "October Song" Gluck & Co. keep the listener delightfully off-balance; tinkling sequences give way to percussive piano runs, with the plaintive wail of the soprano both counterpoint and accompaniment. This is music for those who want a little more – heck a lot more – than the comfort of familiar melodies and chord changes. Gluck recognizes that dissonance – applied judiciously – can result in an illuminating musical experience, given the presence of excellent and committed players.
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