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 Jerry
Bergonzi
Just Within
(Double Time Records) Dtrcd-127
Although this is a tenor-organ-drums trio, the music is much more
advanced than typical soul-jazz. Tenor saxophonist Jerry Bergonzi
ranges style-wise from Joe Henderson on the first few selections to
early John Coltrane on the later cuts. Organist Dan Wall shows more
versatility than the usual Jimmy Smith-inspired organist, and
drummer Adam Nussbaum is alert in support. The music is mostly
comprised of Bergonzi's advanced but fairly straight-ahead
originals, with the exceptions being a fresh rendition of "Our Love
Is Here to Stay" and a version of "Giant Steps" that has sections in
6/4 and 5/4 time. Everyone plays up to par on this excellent modern
post-bop date. — Scott Yanow
This album has a dark
quality-not menacing, but like a place where danger could appear.
Tenor saxophonist Bergonzi's trio (Dan Wall, organ; Adam Nussbaum,
drums) conveys a tough, business-like approach. The leader's tenor
suggests, at various times, Trane, Rollins, Shorter, Joe Henderson
and Charles Lloyd filtered though a modern, unsentimental, New York
attitude. Wall, akin to the late Larry Young, is someone who can do
more than play the Jimmy Smith party line, and Nussbaum is a
springy, sometimes lumpy, Elvin Jones-influenced drummer who is
plenty interactive.
Bergonzi squirms through a reharmonized "Our Love Is Here to Stay,"
dips into his staccato Rollins bag on "Maximum Propensity" and waxes
Trane-ish on "The Ray." (The latter two are Bergonzi originals.) On
his "Solar Return" the tenor man and company burn furiously, further
proving that when you step into these cats' den, get ready for the
all-practiced-up hard-core brunt of jazz. Ow! -Owen Cordle (Jazz
Times)
(Note: This session
was the first time all three of these cats had played together at
the same time!)
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 Jerry
Bergonzi
Lost in
the Shuffle
(Double Time Records) Dtrcd-142
Tenor saxophonist Jerry Bergonzi may not enjoy the same “marquee”
status as the Michael Breckers and Joe Lovanos; however, this
distinguished Boston based tenor saxophonist can hang in there with
the best of the lot. The Jerry Bergonzi Trio is yet another fine
release from Double-Time Records. The Trio comprises Bergonzi (tenor
sax), Dan Wall (B-3 Organ) and Adam Nussbaum (drums). Wall and
Nussbaum are outstanding in support of Bergonzi’s multifaceted
approach. Bergonzi can knock walls down with his hard blowing, yet
he often demonstrates articulate and luscious phrasing.
“Lost In The Shuffle” exemplifies Bergonzi’s band-leading prowess
while blowing through scales with effortless ease. Nussbaum smothers
the kit and at times sounds like two drummers. He accelerates the
pace prompted by Bergonzi’s fluctuating thematic statements and
crafty improvisation. Organist Dan Wall and drummer Nussbaum are
top-flight session musicians and spent several years with the great
guitarist John Abercrombie. Their collective expertise in cutting
edge jazz trio formats pays off huge dividends for Bergonzi.
“Invisible Light” is a gorgeous ballad heightened by Bergonzi’s
alluring and meticulous phrasing. On “Invisible Light” Bergonzi
exhibits a lush tone which is reminiscent of John Coltrane’s
legendary recording with vocalist Johnny Hartman several decades
ago. Richard Rodgers classic “Have You Met Miss Jones ?” is a
tour-de-force. A Powerful up-beat number, which contains plenty of
swing and features Bergonzi’s fluent and emotional attack on the
tenor. Here, Wall and Nussbaum stretch out in alternative fashion.
The Jerry Bergonzi Trio is a stalwart effort that features nine
wonderfully engaging Bergonzi compositions and one standard. Whether
you’re new to jazz or an ardent admirer of Bergonzi’s craftsmanship
this is a recording that should be heard. ~ Glenn Astarita
The
saxophone-organ-drums trio is an effective setting for saxophonist
and educator Jerry Bergonzi. In this context, Bergonzi's bold style
and noteworthy ability are afforded ample space to explore. Dan Wall
is both subtle and tasteful on organ, and Adam Nussbaum works
exceedingly hard in pulsing the music and the musicians forward.
Highlights abound on this set of Bergonzi originals (except for
"Have You Met Miss Jones?"). "Different Places Together" maintains a
breezy, slightly Brazilian feel. "Lost in the Shuffle" is aptly
named; the shuffle groove provides a background from which Bergonzi
and Wall extend interesting solos. "Wind Print" is notable for the
supportive interplay between Wall and Nussbaum. Those building a
library of Jerry Bergonzi's music would do well to begin with his
trio work in this format — especially this highly recommended
outing. — Brian Bartolini
Bergonzi's speech-like
tenor saxophone, Dan Wall's dark, smoldering organ, and Adam
Nussbaum's interactive drums are not your typical organ trio. The
sound is more reminiscent of the late drummer Tony Williams' 1969
trio Lifetime (with guitarist John McLaughlin and organist Larry
Young), although the guitar and the rock influences in that group
are absent in the Bergonzi group. Bergonzi can do almost anything
with the tenor: slithery, Lovanoesque runs; gruff overblowing;
climactic altissimo notes; swirling, Joe Henderson-like volleys;
plaintive lines and tones a la Charles Lloyd out of Coltrane; and
hot, Brecker-ish licks. Wall's oblique, chromatic approach is closer
to Young's style than to the bluesy, Jimmy Smith style. At times, he
is spare, subtle, and mysterious; at others, he bursts out with
busy, whirling lines or jackhammer runs. Nussbaum suggests a
combination of Max Roach and Elvin Jones. Except for "Have You Met
Miss Jones?" the tunes are Bergonzi originals. The performances are
a refreshing alternate to the usual fare from groups with this
instrumentation.
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 Jerry
Bergonzi
Tenor of the Times
(Savant) SCD 2074
Folks who know of Jerry
Bergonzi only as the successor to Paul Desmond in the Dave Brubeck
Quartet could be misled by that credential. In contrast to the light
and lyrical altoist, Bergonzi is a fiery tenor player out of the
John Coltrane school. And like such contemporaries as Michael
Brecker, he has internalized the Coltrane legacy and developed an
identifiable sound of his own. His even, expressive tone exhibits a
smoother, less stringent core than that of his peers and, with as
much technique as anyone playing today, he spins long, sequential
phases that exploit the instrument’s range. But although Bergonzi
can articulate complex phrases, his lines always make sense and
they’re rhythmically on the mark. Except for the uptempo standard
“You’re My Everything,” all the tunes on Tenor of the Times are
Bergonzi originals. They range from a dark, somber “The Tomb” to a
very bright and sparkling “Skull Shining.”
Bassist Dave Santoro and drummer Andrea Michelutti have played with
Bergonzi for many years. Veteran pianist Renato Chicco complements
them well, and the quartet constitutes a finely integrated unit.
-David Franklin (Jazz Times)
Jerry Bergonzi has long
been one of the top tenor saxophonists of his generation, though too
many critics have typically overlooked his work in favor of
major-label stylists on his instrument. Joined by a fine rhythm
section, including pianist Renato Chicco, bassist Dave Santoro, and
drummer Andrea Michelutti (all of whom are worthy of wider
recognition as well), Bergonzi also takes advantage of his first
date for Savant to feature his considerable skills as a composer.
His robust approach to tenor is immediately apparent in his catchy "Acookarache,"
a powerful post-bop vehicle with a Latin undercurrent. "Bob Berg" is
a driving midtempo tribute to its namesake, a fine tenor saxophonist
who died in a tragic holiday traffic accident a few years prior to
this session. Also enjoyable is "Stumbelina," a quirky, playful
theme that the musicians interpret flawlessly. The leader's
rapid-fire "Skull Shining" is a wild roller coaster anthem that
seems like a natural piece to expand for a larger ensemble. The one
standard of the date is a snappy treatment of "You're My
Everything." This rewarding effort is well worth acquiring.
Review by Ken Dryden
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 Jerry
Bergonzi
Tenorist
(Savant) SCD 2085
The New York Times Review by Ben Ratliff
Saxophonist Jerry Bergonzi’s credentials in the field of jazz
education are well documented. His qualifications, however, are
never more apparent than when he’s wielding his tenor with the kind
of harmonic ingenuity and rhythmic assurance heard on this pianoless
quartet session.
In the album’s liner notes, the veteran reedman points to guitarist
John Abercrombie as a key factor in shaping the album’s nine
performances, most of which are original pieces. Playing with
Abercrombie, he says, “is not like playing with just any guitarist.
You never know what sounds he’ll play, and you want to inspire him
and be prepared to be inspired.”
That observation rings true time after time on Tenorist, whether the
band is moving slowly and slyly through the minor blues “Gecko Plex,”
with Bergonzi and Abercrombie weaving angular lines and intricate
designs, or swinging freely though “Reference,” an evocative salute
to Lee Konitz and Warne Marsh.
Stylistic references, it turns out, are often evident here. Benny
Golson’s harmonic language looms large on “Table Steaks,” inspired
by “Stablemates,” and there are fresh interpretations of Thelonious
Monk’s “Pannonica” and Kenny Dorham’s “La Mesha.” The Monk piece
shrewdly juxtaposes Bergonzi’s tart tone and Abercrombie’s muted
lyricism, while the Dorham contribution finds both players in nimble
sync with the shuffling swing pulse sustained by bassist Dave
Santoro and drummer Adam Nussbaum. Frequent collaborators, the four
musicians also sustain an air of spontaneity that carries from one
track to another and helps produce the tension and surprises that
Bergonzi set out to create.
-Mike Joyce
Jerry Bergonzi isn't the
most recognized tenor saxophonist on the planet, as he has spent a
long time in jazz education, though his discography as a leader is
extensive. But since making his mark as a member of the Dave Brubeck
Quartet in the mid-'70s and then going off on his own, he has
continued to grow as a player and developed a sound all his own. For
these 2006 studio sessions, he utilizes a different rhythm section
than on his first Savant CD, with guitarist John Abercrombie taking
the place of a pianist, Adam Nussbaum now on drums, and the return
of bassist Dave Santoro from the previous date. The music includes a
mix of old and new originals. Bergonzi revisits his quirky "Gecko
Plex," expressing himself with a solo bordering on avant-garde in
spots. The playful off-center Latin rhythm in "Czarology" proves
immediately infectious, while he overdubs a second tenor in "With
Reference," which invites obvious comparisons to the collaborations
of Lee Konitz and Warne Marsh. Bergonzi also has a sense of jazz
history. His loping treatment of Thelonious Monk's "Pannonica" is
fairly straight-ahead, while his playing takes on a bittersweet tone
in Kenny Dorham's neglected ballad "La Mesha." This remarkable CD is
well worth investigating.
Review by Ken Dryden
I suspect this is the
tenorman's best recorded work, enhanced by stupendous sonics.
Boston tenor saxist Jerry Bergonzi is reminiscent of a present day
Clifford Jordan. Two superlative technicians never truly gaining the
recognition so richly deserved. At least Bergonzi still has the
opportunity to change this situation and perhaps his signing with
the audiophile-conscious Savant label under Joe Fields might propel
things. Bergonzi's recording career began the in the late 1970s with
Dave Brubeck and he followed that up with a number of releases over
the years on various labels. Much of his time has been spent
teaching, but lucky Bostonians could always catch his weekly
Wednesday gig at the suburban Acton Jazz Cafe.
The inclusion of Abercrombie on guitar definitely results in
Bergonzi going a little further left/out than usual, which is
clearly shown in the program. Four reworkings of Bergonzi's tunes
from the past, three new originals and two standards. The first
track, "Gecko Plex", sets the tone for much of the session. Bergonzi
gets the first solo, followed by Abercrombie. The guitarist's
statement seems to inspire Bergonzi to reach further out during his
second solo - a nice development. This pattern remains during many
of the tracks.
In general, drummer Nussbaum begins with brushes and then goes to a
stick for the cymbals later in the tracks. His work throughout is
outstanding with nice variance and shadings through his mastery of
combo brushes and sticks. Bassist Santoro is very, very solid with a
nice assortment of solos. The other star of the session, as is the
case with so many jazz discs nowadays, is the magnificent
engineering job. The soundstage and capturing of dynamics is worthy
of five stars - state of the art, even on redbook.
But back to the songs. Monk's "Pannonica" is stately, with a fine
bass solo and Bergonzi's second solo after Abercrombie being mighty.
(And oh, the brushes and stick on cymbals is beautiful!).
"Simultaneous Looks" is a blues driven number that defines post-bop
jazz. This one actually contains a head to start things off. It also
includes perhaps Bergonzi's best playing on the album. I do wish
they hadn't faded it out as it seemed Bergonzi still had much more
to say.
This pretty much sets the tone for the rest of this superbly
recorded disc. However, the quartet does offer up a wonderfully
played slow ballad on Kenny Dorham's "La Mesha". Also, Bergonzi
overdubs his tenor on track 7, a very cool change-up which gives the
tune a feel of a reed section for a nice change of pace. This is a
basic masterpiece all around. To show just how good this release is,
I would pay full price for this one if I had to - and snap up some
of Bergonzi's other discs used. Yeah, I suspect this is the
tenorman's best recorded work, enhanced by stupendous sonics. Seek
it out!
- Birney K. Brown (Audiophile Audition)
We all make our choices
in life, and perhaps saxophonist Jerry Bergonzi’s desire to
teach—which has resulted in a position at the New England
Conservatory of Music in Boston as well as several acclaimed books
on improvisation—explains why he does not have the name recognition
(and big major label contract) of some other tenors. Judging from
this Savant release, Tenorist, it sure ain’t the music.
This disc is full of strong tunes and exciting playing, but alas and
alack for the marketing wings of said major labels—no “startling use
of electronics,” no Radiohead covers, and no edgy political
statements. Just modern jazz of a high order, which, if there is any
justice in the world, will be enough to gain the listeners Bergonzi
deserves.
Tenorist is boosted from “good” to “great” by the presence of the
always-interesting guitar of John Abercrombie, who alternately
supports and spars with the leader on seven Bergonzi originals,
Thelonious Monk’s “Pannonica,” and Kenny Dorham’s “La Mesha.” Things
get off to a good start with the loping “Gecko Plex,” which sounds
something like a classic bop theme played at the 16 rpm setting on
some old turntable, which gives it a film “noir” gumshoe flair.
Bergonzi can work into the nooks and crannies of a melody like Sonny
Rollins, a gift that is most clear on the abovementioned Monk tune,
which also features a nice solo by bassist Dave Santoro.
The shuffling “Table Steaks” and the off-kilter Latinized twitch of
“Czarology” swing hard, the latter featuring some gasp-inspiring
simultaneous guitar-and-sax soloing over excellent playing by
longtime Bergonzi drummer Adam Nussbaum. The overdubbed harmony sax
theme of “With Reference” recalls Warne Marsh and Lee Konitz more
than anything, but the tune quickly enters the modern world with
long and exhilarating solos by Abercrombie and Bergonzi. Fans of the
guitarist can do no better than his work on “Creature Feature,”
which goes out against some tight and tense grooving by Nussbaum and
Santoro. Great stuff, one and all.
For the many who know of Jerry Bergonzi only vaguely, Tenorist will
be a revelation. It serves as a potent reminder that this tenor man
belongs in the top rank, and that straight-ahead jazz, minus the
gimmicks, has still got it.
By Joshua Weiner (All About Jazz)
Ronnie Scott's,
London
John Fordham
Saturday November 10, 2007
The Guardian
There's nothing to entertain the unconverted except sheer musicality
when it comes to the Boston saxophonist Jerry Bergonzi. He and his
band don't talk much, nor move any muscles other than the ones that
unleash a sound, and look as if they would be more at home leaning
on a bar discussing the Sopranos than playing in front of one. But
Bergonzi is one of the most remarkable jazz saxophonists left on the
planet after the premature loss of Michael Brecker.
Bergonzi played with Dave Brubeck in the 1970s, but his tenor sound
has a rough, crackling quality now, and between the twisting,
dry-toned runs he hammers home a dramatic punctuation of snorting
Coltrane-like split-notes and startled cries. He's a supreme
spontaneous melodist, however. The sound effects of free jazz are
markers on compellingly logical yet constantly diverted journeys.
His regular partners (Renato Chicco, piano, Dave Santoro, bass,
Andrea Michelutti, drums) operate in a crisp but unobtrusive manner,
sometimes sounding a little sober against the leader's restlessly
varied lines. But Bergonzi carried all before him, sometimes with a
Rollins-like force, sometimes with an enigmatic Wayne Shorteresque
airiness.
Kenny Dorham's La Mesha began as a yearning theme that Bergonzi
developed into a flurry of lateral figures after Santoro's early
bass solo. He opened each sax break with a startling new motif,
which jacked up the sense of anticipation every time he came to the
microphone, and his unaccompanied coda here was astonishing.
Cookarache was a Latin groover that started smooth and got wild,
Thelonious Monk's Pannonica rattled with alternative Bergonzi
stories, and a fast Who Cares? found him in an effortless stride of
skidding, wriggling phrases resolving in whoops. The set closed on a
stunning postbop melody-conundrum - it was called Stumbelina, but
nobody faltered for an instant.
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Jerry
Bergonzi
Jerry
Bergonzi