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From Head To
Soul
- Bob Dee's
COSMOSIS
(UNika
002)
All About
Jazz -
Glenn
Astarita
...Moreover, Dee
possesses enviable chops to complement his obvious comfort
zone with exploring various angles and tricky time
signatures amid his bands' propensity to teeter on the red
zone. On pieces such as, "Chef of the Future" and "The
Preacher," the quartet often rekindles notions of the late
Tony Williams' renowned "Lifetime" unit, as Dee and
organist/pianist, Adam Klipple engage in a blazing fury
coupled with the rhythm sections' limber yet undeniably,
brawny attack.The ensembles' brisk approach is focused upon
Klipple's swirling keys, fluent right hand leads and Dee's
electrifying direction as the musicians also inject free
jazz, gospel, and bluesy elements into the program.
Otherwise, Dee's artfully conceived compositions and the
musicians scorching fireworks offer quite a bit more than
the norm. Four stars and three
cheers for Bob Dee's Cosmosis!
- Cadence
Magazine - Robert
Iannapollo
Finally, if guitar
pyrotechnics are your betenoir, then look no further than
FROM HEAD TO SOUL by Bob Dee's COSMOSIS. Although Dee sounds
like he can out-gonzo even the most excess laden guitarists
in rock, he rarely gets into that mode. He seems to prefer
focusing on improvisations that, while maintaining a fiery
veneer, still maintain a strong center in the Jazz and Blues
traditions...All in all, a satisfying record.
- Cosmosis at the Mad Mountain Tavern, VT.
Bob's performance was great...he is one of the best guitar players I've heard in many years. Vermont or New York.
Douglas Yewdell - Mad Mountain Tavern
Double
Talk -
Bob Dee Band
(UNika
001)
JazzTimes Magazine -
Hilarie
Grey
Versatile
composer/guitarist Bob Dee fronts an unusual, skilled
quartet on Double Talk (UNika UN 001; 51:31). From the
offbeat, off-kilter funk-fusion of "Innuendos" to the
blithely swinging, jazzy colors of "Sorcerer," Dee reveals a
bold, aggressive voice that is comfortable in a number of
styles. He's technically impressive as well as entertaining
on tracks like "Sweet Pea," which finds his lighter-toned,
lithe harmonies riding a big-beat 6/8 run. The wiry,
blues-feel piece "Sahara" is another highlight - Dee's
fuzzy-toned guitar stops to squeal, as the hesitant tempo
and bass line evoke the feeling of walking through sand. Dee
receives rock solid support throughout, with tricky rhythms
grounded by drummer Grisha Alexiev and bassist Takashi
Otsuka, and vibraphonist/percussionist Diana Herold adding
unique accents - most notably on "Head Circus," here the
vibes add a resonant and unexpected layer to Dee's creeping
guitar melody. These efforts combine to make Double Talk a
varied and interesting collection from start to finish - and
an indie worth seeking.
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- Cadence
Magazine - Jason
Bivins
On a program of
all-originals, Dee and his band play hard-edged,
M-BASE-influenced fusion as their main course but expand
outward to include a number of styles...they juice it up
like a brainy bar band, with some pedestrian funk vamps, and
lots of licks-based soloing. "Innuendos" has plenty of space
and odd syncopation, enough to push Dee into the sound world
of Wayne Krantz or Mike Stern (two mainstreamers who aren't
that far afield of what Dee is up to).
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- Green Mountain Jazz
Messenger - Eric
Nemeyer
...Double Talk definitely
offers an eclectic mix of music, and Bob Dee demonstrates
accomplishment as a soloist and composer.
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