Bar code: 8427328421775
"Rob Wilkerson is a generous musician with an ear for beauty. In quest of recognition or sustenance some musicians can forget what initially called them to this life-path: sound. Not Rob. Artistry and renown are not always aligned in our musical socioeconomy. But despite the impure state of the meritocracy, good music is still the best promotional device. An album full of promise such as Rob's reminds us all why we do what we do.
Every member of this ensemble deserves wider recognition. Over the long term each will achieve such recognition precisely because he is not living in its pursuit. Rob, Jesse, Adam, Bill, they make up a particularly fertile crescent of the Brooklyn underground; open-minded, acute, warm. Chris has long been one of our prime sources of inspiration, a beacon of sound, spirit and concept. The consequent circle possesses a unity of vision. Rob's decision-making on this first album is flawless, his writing imbued with graceful counterpoint and natural repose. The title track is pristine. Listen."
-Aaron Goldberg (from the liner notes
"Alto saxophonist Rob Wilkerson could hardly have chosen a more appropriate title for his debut album, as this is a dreamy journey that hangs together as a total work rather than a series of fine tunes.
But it is not the fine playing of Wilkerson or label mate Chris Cheek that sets the tone. That enviable chore falls to organist Jesse Chandler who, like Larry Goldings, takes the Hammond organ beyond the boogaloo and blues of its early jazz days.
With the rhythmic chores being handled so well by bass (Adam Thomas) and drums (Bill Campbell), Chandler imbuses Wilkerson's tunes with a tasty, shimmering array of colours and tones.
Only on "For Walt" and an off-kilter version of Charlie Parker's "Confirmation" does Chandler conform to historical expectations of what Hammond organ jazz can be."
Kenny Weir -Sunday Herald Sun (Australia)
"Eloquent post-post-bop saxophonist, sez he's influenced by guys like Mark Turner and Reid Anderson, so maybe we need a few more posts in there. Mostly mid-tempo improv, does a good job of developing his lines and a nice job of atmospherics, but runs the risk of getting stuck in the post-avant mainstream like so many others. Chris Cheek adds a bit of harmony, but isn't much of a jouster. Jesse Chandler acquits himself well on organ, which is nicely matched as a support instrument. B+"
Tom Hull -Village Voice