Goebel (1301)_500

Greg Goebel – Rainy City

Product Description

Release date: August 20, 2013 (NINJAZZ 1301)

Praised by critics for “manifesting his ideas with the immediacy and sureness of a master craftsman” (Jazz Times) and as “a young musician with talent to make large waves” (Rifftides), pianist Greg Goebel shows himself as firmly rooted in tradition while simultaneously proving to be a unique voice among a new generation. Showcasing 9 diverse original compositions as well as one standard, Rainy City displays the rapport between players that only years of working together can bring. Joined by world class musicians Todd Strait (drums), Dave Captein (bass) and Rob Davis (tenor saxophone), this date features fiery blowing sessions, mixed meter grooves, songs with melodic pop sensibilities and moody ballads.

CD Information:
Greg Goebel (piano)
Rob Davis (tenor saxophone)
Dave Captein (bass)
Todd Strait (drums)

Track Listing:
1. Around Gamla Stan (Goebel)
2. The Road Home (Goebel)
3. 44 Hours (Goebel)
4. Rainy City (Goebel)
5. It Ain’t Necessarily So (Gershwin)
6. The Bucky Rug (Goebel)
7. Sleepyhead (Goebel)
8. Eastern Blue Ice (Goebel)
9. Lonely Hill (Goebel)
10. In the Red (Goebel)

Recorded January 11, 2012 at Crossroads Studios, Vancouver, WA, USA
Engineered, mixed and mastered by Nick Moon at Tone Proper, Portland, OR, USA
Produced by Greg Goebel
CD design by Greg Goebel
Photos by Cortney Erskine

Personal website: www.greggoebelmusic.com

Reviews

  1. :

    Published on Jazz Society of Oregon

    There’s a new generation of scintillating players in the process of establishing themselves right here in Portland, Oregon. One who is very much admired is pianist Goebel. And you’ll understand why when you listen to the nine original compositions and one classic on his new CD. Goebel surrounds himself with stellar colleagues in Rob Davis, tenor sax, Dave Captein, bass, and Todd Strait, drums. One aspect of Goebel’s writing seems to be that, at any tempo, he writes clever lines with wit, subtlety and movement. For example, the title tune (wonder what inspired that?) has a drone-like aspect, but at the same time, a hopeful feeling. The only standard is the Gershwin’s “It Ain’t Necessarily So,” one of many bright spots from “Porgy And Bess.” Goebel alters the rhythm a bit, but not so much as to suggest a “look what I can do” attitude. I don’t know where these song titles came from, but I liked the quirky energy of “The Bucky Rug,” “Eastern Blue Ice” and “In The Red.” Really, all the originals on the CD have something quite unique to offer. And Goebel deserves all the praise hereabouts. He’s a burner!

  2. :

    Published on CriticalJazz.com

    Have you seen this man? You will.

    Greg Goebel plays with attitude and the prolific talent to back it up. Rainy City includes nine original compositions guaranteed to put the world of modern jazz piano on notice.

    In the all to predictable arena that is modern jazz piano it is rare to hear such an original talent so firmly grounded yet artistically daring. There is a deceptively subtle rhythmic movement throughout Rainy City that marries tradition and innovation so incredibly well. Most piano ensembles of any size run the risk having the pianist as a somewhat pretentious leader accompanied by three after thoughts. Rainy City is a wondrous cohesion of harmonious thought, a perfect blend of a lyrical sense of purpose with colorful harmonics and a splash of contemporary sensibilities. Joining Goebel we find an A list lineup including Todd Strait on drums, Dave Captein on bass and the firebrand Rob Davis on tenor saxophone. The diversity in compositions as one begins to roll through the tracks are like pieces of a melodic jigsaw puzzle that contain a dynamic ebb and flow without venturing off into the pretentious abyss that so many young artists find themselves, never to be heard from again.

    The one cover is the George & Ira Gershwin classic “It Ain’t Necessarily So.” The arrangement is spot on and fresh without mangling the main theme. Occasionally Goebel will venture off the harmonic path with some odd metered gems but the difference here is that Goebel apparently does not feel the need to pitch a tent to simply prove a point.

    Greg Goebel is one of about half a dozen pianists that are redefining the instrument, the literature and the useful purpose of the piano and doing it with the skills of a master.

    5 Stars!

  3. :

    Greg has that gentle but self-assured touch. His solos are always measured very wisely – much to say yet never a worn out welcome. He has the gift of groove and advanced harmony, but it is this particular combination of calm and wisdom that sets him apart for me.

  4. :

    Greg Goebel’s new CD Rainy City firmly places him in a small handful of world class improvisers that have taken the language of the jazz masters and combined it with the new emerging landscape of rhythmic sophistication characterized by the generation of jazzers in the new millennium. Here is a force that is stretching known boundaries and moving the music into new territory.

  5. :

    Published on longplayrecenzje.blox.pl
    [Polish Jazz Site]

    Kunszt młodego pianisty Grega Goebela dostrzeżony został w ostatnim czasie przez wielu wpływowych krytyków jazzowych z prestiżowymi łamami Jazz Times na czele, a także samych muzyków jak choćby zachwyceni Goebelem: Larry Koonse i Gino Vanelli. Niemal wszyscy piszący bądź wypowiadający się na temat muzyki Grega Goebela ulegli sile jego śmiałych manifestacji własnych pomysłów interpretacyjnych i swoistej pewności w grze, dotąd przynależnej największym mistrzom jazzowej klawiatury.

    Debiutancka płyta Pianisty zatytułowana ”Rainy City” to dziewięć własnych kompozycji młodego wirtuoza oraz wyjąkowa interpretacja gershwinowskiego tematu z Księgi American Songbook: ”It Ain’t Necessarily So”.

    Artyście towarzyszą wyśmienici instrumentaliści: saksofonista tenorowy Rob Davis i sekcja rytmiczna: Dave Captein (kontrabas) i Todd Strait (perkusja).

    Każdy z muzyków kwartetu stanowi w nagraniach zgromadzonych na płycie współistotne ogniwo scalające poszczególne utwory.

    Doskonałym przykładem wzajemnej interakcji każdego z muzyków jest blisko dziewięciominutowa kompozycja ”The Road Home”, podczas której mamy okazję zasłuchać się poza fortepianem Goebela, również w pełne finezji solo kontrabasu, emanującą doskonałym kunsztem warsztatowym pracę perkusji, a przede wszystkim w rozległą i pełną zakamuflowanych, improwizowanych motywów partię tenorową saksofonisty.

    Długie, improwizowane solo kontrabasu Dave’a Capteina zwieńczone soczystym solem perkusji Todda Straita jest także wyjątkowo estetycznym ornamentem impresyjnego tematu ”44 Hours”.

    Wyjątkową ”perłą” całego albumu jest przepiękny utwór tytułowy o ”bolerowej” specyfice. Subtelne akordy fortepianu i przejmujace partie tenorowe stanowią o wyjątkowej sile tej kompozycji. Również tutaj nie sposób nie dostrzec doskonałej pracy sekcji rytmicznej.
    Kolejnym mocnym punktem całości wydaje się urocza i klasycyzująca ballada ”Sleepyhead” ozdobiona finezyjną partią wspaniałego Dave’a Capteina.

    Muzyka wypełniająca krążek robi wrażenie mocno zakorzenionej w tradycji, jednocześnie zaszczepiając w kanoniczne struktury utworów wyjątkową świeżość mieniącą się wielobarwnym wachlarzem dźwięków. Niemal ”piosenkowa” architektura melodyki niektórych utworów przeciwstawiona jest na ”Rainy City” subtelnym motywom pełnym delikatnej wrażliwości i nastroju, charakterystycznych dla harmonii najwspanialszych jazzowych ballad.

  6. :

    Published on kcjazzambassadors.com

    Oregon native Goebel starred at the University of Oregon, winning four major awards for performance and composition while a student, including the 2002 Downbeat College Award in Jazz Composition. U of Oregon lauded Goebel’s achievements and spirit, writing, “Greg has personally done more to elevate the performance level of our jazz students than any other person, graduate or undergraduate, who has attended U of O in the last fifteen years.”

    Since school, Goebel has toured extensively in the US, Canada, Europe, and Japan, and has performed with a list of impressive musicians, including John Handy, Dick Oatts, Terrell Stafford, Larry Koonse, and Pete Christlieb. Currently recording and touring with singer Gino Vannelli, Goebel’s contributions can also be heard on the Vannelli CD The Best and Beyond.

    A representative tune from Goebel’s new album, “44 Hours,” with its sparse, syncopated melody intro kicks, sounds reminiscent of Monk’s “Evidence,” but with a lighter, Chick Corea-like touch. And while Monk’s tune is rooted in swing, Goebel’s is rooted in Latin jazz, with that light piano approach found on Now He Sings, Now He Sobs. Strait’s drumming is a perfect groove elixir for Goebel’s tune: deft, light, precise, clean. With a Paul Wertico-like cymbal feel, lightly mining a deep variety of cymbal sounds, Strait grooves this click-click-click tune, his snare drum comping so light and precise you might mistake that too for cymbal work.

    Davis’s sax work is upbeat, bright, and consummate, and Captein’s understated bass work grooves hard in the way Gary Peacock’s does. Strait and Davis stay right in the rhythmic pocket, even in busier, fiery sections; they make a good pairing for this album: Davis sparse, dark, meditative and Strait intricate, contrapuntal, busy, mezzo piano (mp.)

    Goebel’s range of compositions – he wrote all but the Gershwin tune on this album – impresses. The swift, but plausible, shifts Goebel sometimes makes during the solo or procession of a tune remind of Schumann’s character pieces, brilliant musical conversation. More like Corea than Mingus in this aspect, Goebel’s tunes ring with originality and freshness, with the unexpected.

    This is an album to enjoy and savor. Energetic and satisfying, it’s full of postmodern groove. Plus, it’s a way to keep up with Strait, what he’s up to now.

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