Reviews

See what people are saying about Greg!

From: www.vortexjazz.co.uk

Given that the jazz world, without straining itself unduly, has managed to accommodate everything from harps and koras to steel drums and EWIs, in ‘fusions’ of all conceivable types, it was heartening to see manifest, in the person of saxophonist Greg Abate, proof that one of the music’s linchpins, the touring virtuoso soloist able to energise pick-up bands wherever he stops to  play, is alive and flourishing. Born just as bop was being established, and with an extraordinary wealth of live experience behind him (including a stint, replacing Eddie ‘Lockjaw’ Davis, with the Ray Charles Orchestra), Abate might be expected to embody the core jazz virtues (swing, imagination, resourcefulness, spontaneity), and his first selection, ‘Star Eyes’ (an alto staple over  the years, played by everyone from Charlie Parker to Art Pepper and Phil Woods) duly delivered all these qualities. His sound sweet but ebullient, pleasantly piercing yet pure-toned, Abate raced through the tune’s changes, not only effortlessly showing off his own technique but providing pianist John Donaldson, bassist Oli Hayhurst and drummer Matt Fishwick with the perfect warm-up vehicle. An original F minor blues, ‘Contemplation’, followed, and interspersed with the odd heart-on-sleeve ballad such as ‘Angel Eyes’  mid- and up-tempo jam-session staples (‘On  Green Dolphin Street’, Charlie Parker’s ‘Air Conditioning’, etc.) brought eloquent, agile, heartfelt and affecting solos from Abate and slightly more circumspect contributions from Donaldson and the rhythm section. Benny Carter’s 1930s classic ‘When Lights are Low’, and a contrafact of Billy Strayhorn’s ‘Take the “A” Train’ underlined the fact that players such as Abate operate with as much ease in the pre-bop repertoire as in out and out bop flagwavers, and overall, this was a thoroughly enjoyable performance from a consummate professional with a finely honed soloing gift and an engaging stage manner.

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Having been a fan of saxophonist Greg Abate’s recorded music for many years it was my good fortune in late 2008 to be able to bring him to Florida to perform for my organization, the Charlotte County Jazz Society. Before a full house of nearly 400 Greg gave a performance that did nothing to alter my belief that he is one of today’s most relevant, skillfull and passionate jazz artists.

The crowd we draw to our Artists Series is typically of retirement age and very eclectic in their musical preferences. Any artist that performs in these situations must sell not only themselves but their style of music, and bring something unique to the table.

Greg presented a well paced and varied program with familiar standards as well as some bebop era classics. For me some of the notable aspects to his presentation were the delightful and spontaneous musical interactions with other players on stage; the musical wit and humor; and the maturity, originality, and accessibility of his improvisational skills which are among the first rank in today’s international jazz scene. It also helps that Mr Abate is very personable and establishes an excellent rapport with his audience.

We look forward to his return engagement in 2010.

Mike Parmelee
Talent co-ordinator, Artists Series
Charlotte County Jazz Society
Port Charlotte, FL

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“Greg Abate is considered by jazz writers and aficionados to be one of the most exciting saxophone players out there today.”
Mike Joyce, Washington Post

“Abate’s musical style can be seen as a distillation of swing’s easygoing vibe and bop’s
more animated groove. He has developed a unique voice.
METRO San Jose, CA

“Greg Abate is an absolute powerhouse who will absolutely not let hard driving bebop die.
One of the most exciting players around today, Greg’s commitment to the music is total.”
W. Pickowitz, Jr., The Jazz Messenger

“Multi-saxophonist Greg Abate is a prime example of the ‘rear back and blow’ school of contemporary bop-based players. The tunes he writes or chooses are based on the kinds of changes that harmony-oriented jazzmen have favored since the beginning and he swings through them with and eager and easy virtuosity.”
David Franklin, Jazz Times

“Greg Abate is one of the most appealing saxophonists on the scene today. He is mature with an abundance of gentle self-confidence. The result is that he plays music with sweetness and daring.”
Jim Merod, New Jazz Recordings

“Greg Abate plays for keeps. Having played with him in the Ray Charles Orchestra,
I had the pleasure of hearing Greg night after night. He is a musical delight.”
Tony Horowitz, former lead trumpet with Ray Charles

JAZZ TIMES, March 1999 issue, cd reviews, page 103
GREG ABATE, Broken Dreams, Seaside SSBD 144 (70:17)

Multi-saxophonist Greg Abate is a prime example of the “rear back and blow” school of contemporary bop-based players. The tunes he writes or chooses are based on the kinds of changes that harmony-oriented jazzmen have favored since the beginning and he swings through them with an eager and easy virtuosity. The effect is that much of his playing is double-time, the relatively even note values interspersed with catchy melodic phrases. Abate is joined in the front line on four tracks by Frank Tiberi, the longtime Woody Herman tenorist.

Tiberi’s typically serpentine lines are even more consistently multi-noted than Abate’s. Characteristic of his style, Tiberi’s phrases consist of seemingly endless strings of lightning fast notes tumbling effortlessly from the bell of his horn. His breathless perpetual motion solo on his own adaptation of Ralph Burns’ classic “Early Autumn” is alone worth the price of the record. But that’s not to take anything away from Abate and his excellent rhythm section.

There’s no energy letup when pianist Mac Chrupcala, bassist Dave Zinno, or drummer John Anter solo. And they accompany admirably as well. –David Franklin

“Abate has recorded a number of albums as a leader and he always shows himself to be a hard swinger who gets all over his horns with ease.”
Jazz Times June 2006

“Whether on alto or tenor sax or flute, Abate always rides the hard-bop edge, and fans of his style will be please that he continues that tradition here.”
Berman Music Foundation Jazz March 2006

“Without reservation, I came to the scary conclusion that Monsters is one of the pure jazz albums I’ve had the pleasure of listening to. One blood-curling monster performance by Abate and his graveyard crew.”
Edward Blanco All About Jazz

The “Prince of BE-Bop” gives you a taste of post be-bop that makes you feel as though you are a wealthy music producer, and can hire the best when money is no object.

CD Baby Review of Monsters in the Night

Greg Abate is considered by jazz writers and aficionados to be one of the most exciting saxophone players out there today. Mike Joyce of the Washington Post describes Abate as “…dedicated to uncluttered, uncompromised, unswerving jazz.
If there really is an energizer, here he is, Greg Abate. He has that invisible objective that few people have. Charlie Parker had it, Paul Desmond had it. Both James Dean and Marlon Brando had it. It is virtually indefinable, but you know it when you see or hear it.
With Greg Abate you can see and hear it at his performances, and on his recordings you can hear it and see it in your mind’s eye.
Greg is known as “The Prince of Be-Bop” throughout the club scenes in this country and in Europe. Greg brought his unique jazz styling to Moscow, and introduced Russian jazz clubs to what is happening in the states. Abate is the perfect good will ambassador for the USA. Greg’s performances and compositions are very logical and melodic. Greg knows that when playing you must be yourself, but you must also play melodic. There is no other way to play.

Out of the books and movies came the monsters. One by one they brought their magic into our lives and gave us an adrenaline rush. Now, Greg Abate and his Monsters in the Night Band bring the monsters right into your living room. A story is told in music taking you from “Into the Woods at Night” to Transylvania.
Inspired by the stories of the individual monsters, Abate wrote compositions that are just as awesome as anything ever written by a bop musician.
Greg is still at least one step ahead of his contemporary saxophonists. You sense this from his live concerts, but that sense also flows from his many CDs as leader and also as featured for two years with Ray Charles and the Artie Shaw Orchestra under the direction of Dick Johnson.
Monsters In The Night has a theme and it shows that monsters have heart and soul in their world. Many people think that music for monsters would be loud and frightening, but Abate knows that monsters can love and enjoy music with soul. Yes, Frankenstein and his bride danced when they were married. They wouldn’t dance to disjointed music, they danced to a melodic theme similar to the one Greg wrote for them. In fact, most monsters do enjoy melodic music; even a phantom loves melodic music. That is what is on this disc. From start to finish we can enjoy the energy of bop that the monsters listen to when they are abnormal.

In addition to Greg, there are four other brilliant musicians on this disc;
Artie Montanaro Trombone
Artie has worked with the Artie Shaw and Buddy Rich big bands.He has recorded with the John Allmark big band and the Northstar Jazz Ensemble. All reviewers of Monster have given Artie suberb reviews for his work on Monsters.

Paul Nagel Piano
Paul Nagel is absolutely awesome on every track on this CD. He has played and recorded with Dave Liebman, Kitty Margolis, Sonny Stitt,Bobby McFerrin and many other greats.
Bill Miele Electric Bass
Bill has worked with the John Allmark big band and his bass adds a great deal to the quintet. He also does a great deal in the educational field. You will be certain
to hear more from him.
Vinny Pagano Drums
Vinny also has performed with many greats including Clay Osborne. If you never thought of the drums as a musical instrument, just listen to any track on Monsters and hear a terrific musical instrument called drums.

This CD was produced by music critic and writer, Arthur Bourassa. Arthur says that when he first heard Greg, he was mesmerized and he just had to produce a recording with him.
As it turned out Greg is great, but the quintet makes this a collectable recording. I am asking you to buy it, and you will be glad you did.

Edward Blanco Review of Monsters in the Night

Jazz master and multi-saxophonist Greg Abate, long known as the “prince of bebop,” has thirteen previous recordings as a leader to his credit. Harnessing his physical style of play and combining it with his versatility on the saxes and flute, he has made one hair-raising and jaw-dropping album with Monsters In The Night, whose nine tracks are dedicated to the monsters we’ve all come to love and fear.

Given this collection of original compositions with titles like “Dracula” and “Frankenstein,” I frankly did not know what to expect. But after only one listen, I was shaken by just how good the disc really is. Abate is the major player, not only on alto (with which he is primarily associated), but also a mean tenor and flute as well. An unselfish leader, Abate provides enormous space in his arrangements for the members of his quintet to make their mark.

Hailing from the Boston and Providence, Rhode Island area, the Greg Abate Quintet consists of pianist Paul Nagel, trombonist Artie Montanaro, bassist Bill Miele and drummer Vinny Pagano, all talented players. They play modern, high-octane mainstream/bebop material. This is immediately evident from the opening “Dracula,” a rapid-paced score featuring a fine tenor/trombone front-line sound with fangs. “Frankenstein” follows (naturally) with a jazzy waltz highlighting incredible statements by Abate (on alto) and pianist Nagel.

The title track, “Monsters In The Night” tones down the music in a slower, melodic fashion with a solid solo performance by trombonist Montanaro, who gives way to Abate on screaming tenor. Watch out for “Dr. Jekyll/Mr. Hyde,” or you may fall into their embrace on this super swinging number, which moves all over. The leader makes another passionate alto expression, but pianist Nagel makes one hell of a scary impression.

When one thinks of the “Bride of Frankenstein,” the picture of a gentler monster comes to mind, which Abate confirms with his flute foray on this sweet harmonic piece. The program rounds out with the very boppish “Transylvania 6-5000″ a full ten minutes of punch; “Pentagram, The Wolfman” ; and the Latin-shaded percussive piece “Igor’s Revenge,” where Abate demonstrates his versitility on alto and flute.

Without reservation, I came to the scary conclusion that Monsters is one of the best pure jazz albums I’ve had the pleasure of listening to. Energizing, harmonious, melodic and full of fire, with enough electric sparks to bring the Frankenstein creature back to life. One blood-curling monster performance by Abate and his graveyard crew.

L.A. Times Review of Horace is Here – Scott Yanow

Best known as a bebop-based altoist, Greg Abate is also an excellent tenor-saxophonist and flutist. Horace Is Here is a tribute to the music of Horace Silver that is comprised of eight of Silver’s tunes plus a pair of Abate originals in the Silver style.
With fine contributions from trumpeter Claudio Roditi, pianist Hilton Ruiz, bassist Marshall Wood and drummer Artie Cabral, Abate brings back the sound of Silver’s classic quintet without merely copying the past. While the saxophonist emphasizes his tenor playing more than usual, he did not require Ruiz to copy Silver’s funky style and many of the vintage pieces are modernized through reharmonization. So while the spirit of the classic Horace Silver Quintet is felt and hinted at, these treatments have something of their own to offer.
Among the best performances are “Filthy McNasty,” “Nica’s Dream,” “Song For My Father,” a moody version of “Peace” and the boppish “Quicksilver.” Throughout, Abate, Roditi and Ruiz play inventive solos with Wood and Cabral offering swinging support.
What’s not to like? This date is easily recommended and available from Koko Jazz Records, P.O. Box 18311, Sarasota, FL 34276-2311.

Dan McClenaghan Review of Horace is Here
If a new jazz listener asked me about hard bop sounds, I’d probably have to send them off to listen to recordings by drummer Art Blakey and the Jazz Messengers–and pianist Horace Silver, too, on his brief collaboration with Blakey’s unit, as well as their separate subsequent careers apart. These two musicians, along with drummer Max Roach and trumpeter Clifford Brown, practically invented the hard bop genre.

Or I could steer the inquisitive listener to saxophonist Greg Abate’s Horace is Here, where Abate revisits the classic sounds of Horace Silver with an inspired reverence and spark. The group–all-stars all, in abilites if not the sense of having high profiles–get inside some of Silver’s most famous songs, along with a couple of Abate originals that serve as Silver tributes.

The sound here is quintessential hard bop; you might think you’ve stumbled onto a forgotten Blue Note album from the early sixties on your first listen. The front line–Abate on tenor sax, alto sax, or flute; and Claudio Roditi on trumpet–blows clean and crisp, while the rhythm section bounces along on that line between flexible and tight grooves. Pianist Hilton Ruiz, sitting in Silver’s chair, sounds particularly inspired, whether in accompaniment or solo mode, going deep into the music while maintaining an ebullience and bounce, adding a distincitive zing to the proceedings.

The group goes after some of Silver’s best known compositions, including “Filthy McNasty,” “Song for My Father,” “Nutville,” and “Peace.”

Clean lines, driving horns, with a propulsion by turns relaxed and urgent… this is hard bop at its best.

Greg Abate Quartet at The Puffin Cultural Forum – David A. Orthmann – All About Jazz

“Bird never played one note of bullshit,” Barry Harris once said about Charlie Parker. Harris’ salty aphorism came to mind at the conclusion of Greg Abate’s incendiary performance at the Puffin Cultural Forum. Although he’s a stylistic descendent of Parker, by way of Sonny Stitt, Phil Woods, and Cannonball Adderley, during a five-song set the alto saxophonist rose above the influences and evinced a fervent, individualistic streak. Fronting a tight and youthful ensemble responsive to his every move, Abate integrated exhilarating risk-taking with a reassuringly steady, comprehensible course. And in doing so he produced vigorous, emotionally-rich sounds that radiated joy and energy.

“Buddy’s Rendezvous,” Abate’s composition based on the changes of Benny Carter’s “When Lights Are Low,” was a straightforward way to begin the set. As the band settled into a medium tempo, the leader played the melody without benefit of amplification. Climbing high on the horn then falling abruptly into the lower register, his solo interspersed angular bebop phrasing and sweet cries. Pianist Drew Pierson, who met Abate for the first time only minutes before the concert, was a perfect foil to the adventurous Abate. Highly organized and assertive in a poised manner, he played off of drummer Carmen Intorre and bassist Matthew Rybicki’s strong pocket. Staying in the middle of the keyboard for long stretches, Pierson made an impression by dropping a bulky chord in the midst of sensibly positioned lines.

Intorre’s solo introduction kicked off an up-tempo version of Kenny Barron’s “Voyage.” The percussionist began by going from drum to drum in an abrupt, somewhat halting manner, as if casting out mere pieces of a longer, coherent message. Gradually morphing into straight jazz time, Intorre exhibited an impressive command of the bop drumming vocabulary. Consistently putting ideas together in novel ways, Abate’s turn was passionate and exciting. One slurred note was stuck into the middle of a jarring run. High squeals and shrieks coexisted with familiar, repetitive motifs.

Abate began every saxophonist’s requisite standard, “Body and Soul,” alone. Although you could sense the arrival of a ballad, he was in no hurry to get there. A series of long guttural sounds suddenly careened upwards. When the melody finally appeared, it was as much caressed as played. The instrumentalist’s absolute mastery of his horn and material came through as much in his interpretation of the tune as in his heated improvisations. The sharp, biting sounds and blues patterns in the solo that followed were played as if his life depended on it. Next it was Pierson’s turn. As Abate cheered him on from the wings, the pianist began a solo in which everything was carefully weighed. When the band broke into double-time, he drilled a longer series of notes before moving to a conventionally melodic climax.

After exchanging the alto for a soprano sax, Abate briefly sketched out his composition, “The Bride of Frankenstein,” to the band. Intorre’s single shots to the snare and toms were in stark contrast to the wistful tune in three-four time. Spurred by Rybicki’s firm walking line, Pierson rapidly began to build up steam, mixing McCoy Tyner-like interludes and some dissonant-sounding chords. As the band came way down in volume, Abate sprayed long streams of notes before finding simpler melodies. The drummer’s turn next, Intorre started his solo on brushes, the bass drum responding to every few strokes with a fat, resounding hit. Briskly switching to sticks, he became even more rhythmically complex and expressive, repeating an intricate pattern between the snare and tom-tom, as well as some polyrhythms suggestive of the influence of Elvin Jones.

Abate dug into Dizzy Gillespie’s “A Night In Tunisia” like he owned it. Once again on alto, he took a bullet train break at the end of the head and without pausing launched a solo. His buzzing phrases burst into flames and then evolved into a snippet of the theme. Later on, a couple of the soloist’s choice notes seemed to incite imaginative leaps from the horn. Cool and collected by comparison, Pierson tapped a few notes repeatedly, before moving to long swelling lines and an odd, discordant interlude. Abate’s ending cadenza was a brilliant, free-form ramble that somehow managed to cohere.

Review by Bob Protzman – Jazz Erie

Perhaps you have heard about all those jazz musicians who cannot get gigs, are underpaid and over worked when they do, are underrated by critics and unappreciated by audiences.

If so, please do not count veteran saxophonist Greg Abate (a-BOT-ay) in their numbers.  “I don’t want any of those “starving artist’ stigmas,’’ he says. “I’m living my dream. I have my own home, a family. I’m recording and playing regularly with some great musicians. I’m a jazz educator. I regard myself as a successful artist.’’

In fact, he believes many jazz musicians in this country are having similar success doing things the same way as he.

A big part of the 59-year-old Abate’s approach to an artistically satisfying and financially rewarding career is travel—and more travel—about an average of 130 to 150 days a year.

His slogan could be: Have Saxophones and Flute; Will Travel.

In fact, when reached by phone, Abate, who lives in Rhode Island and speaks with a broad Boston-New York combo accent, was on his cell in  car heading from Milwaukee to Madison in the great state of Wisconsin.

Usually, he explains, he will fly to the nearest airport, and then rely upon the people who’ve hired him to provide automobile transportation to the clinic and/or performance destination.

Is it a drag? On the contrary, he says. “I enjoy life on the road, yes, I do.’’

By his count, Abate—considered by most critics and aficionados to be one of the best alto players on today’s scene–has been to 48 states (all but Oregon and Hawaii), plus Canada, Russia and other European countries, and Japan.

At least a couple times a year, he makes the short trek to New York City to play clubs like the Blue Note and Birdland. In fact, his first album as a leader was a live date at Birdland with some outstanding sidemen—the late pianist James Williams, bassist Rufus Reid and drummer Kenny Washington. “I do better playing outside New York, however,’’ he says.

Abate’s travels will bring him to Erie and the papermoon (Ed. This is how papermoon wants its name spelled) Saturday night for one of what Erie drummer Joe Dorris hopes will be a series of bookings of nationally known jazz musicians at the restaurant/jazz club. Vibraphonist Steve Hobbs is set to play there on March 18.

In preparation for visiting musicians, and for the benefit of its regular weekly performers, the papermoon has built a stage, attempting to solve a serious sightline problem.

Abate and the Erie players hosting him have never met, let alone played together, so there will be some getting used to one another, personally and musically.

That’s the kind of situation Abate faces constantly, so one wonders how he deals with it, and how things generally go.

“I know it’s going to be what it’s going to be. Most of the time, it’s good. Sometimes it’s bad when certain people are not that good on their instrument,’’ he says.

Not a bandleader at home (“players can’t sit around and wait for me to show up from my travels’’), Abate feels, however, that he’s a leader when the guest artist.

“I call the tunes and count the tempos, so I guess in that respect I am the leader. But everyone in my group has equal time. I don’t like to be the main focus. Everyone can stretch out as much as they want.’’

Abate revels in the freedom of expression allowed by jazz, especially the harmonically sophisticated style known as be-bop. “There’s nothing like playing bop. I like to do things spontaneously. I hate to rehearse. I like to get up there and play the real thing in the moment. I like to take chances.’’

Abate has had brushes with reaching even a higher level of success.

His 2004 album “Evolution’’ made the Grammy ballot in four different categories, but failed to get a nomination, and he has had several of his dozen or so albums make the popularity and/or airplay charts (as high

as No. 3) in different publications.

Down Beat used to have a poll category called Talent Deserving of Wider Recognition that, today, would fit Abate perfectly, because just about everyone who hears him is knocked out, including peers like the late baritone saxist Nick Brignola, who called Abate “a star.’’

The highly regarded website allmusic.com describes him as a “superior bop player,’’ and most critics have been very positive. “Dedicated to uncluttered, unswerving, uncompromised jazz,’’ said Mike Joyce in the Washington Post. Ken Franckling in JazzTimes magazine praised Abate’s “wonderful intensity.’’ “An absolute powerhouse…one of the most exciting players around today,’’ said a Hartford, CT reviewer.

Abate, who grew up in Woonsocket, RI, began playing clarinet at 5. His interest in jazz blossomed in high school (also the alma mater of the late pianist Dave McKenna).

“Paul Desmond on Dave Brubeck’s ‘Take Five’ was the first alto player I ever heard, and I loved him right away,’’ recalls Abate, who quickly switched horns. “Then I got into Cannonball (Adderley) and Stan Getz, and was on my way.’’

His next major developmental step was to enroll at the highly regarded Berklee College of Music in Boston for a stint, and then he was off to the West Coast to start playing as a pro. He worked five-six nights a week and built up his “chops’’ or technique, he says.

He went back to Berklee to finish his formal training, and returned to the West Coast, where at age 28, he auditioned successfully for the legendary Ray Charles Orchestra, replacing the great Eddie “Lockjaw’’ Davis, who had just left.

He says being with Charles was a terrific learning experience. For one thing, he added flute to his arsenal of alto, tenor, baritone and soprano. In the manner of be-bop sax icon Sonny Stitt, Abate is a strong tenor player, although he regards alto as his main instrument. He will have alto and soprano with him at papermoon.

Abate left Charles after two years (1973-74) because he wearied of playing the same songs (even though the “book’’ contained arrangements by such noted folks as Quincy Jones and Bill Holman) and one too many solos only a single chorus long.

Illustrative of the respect Abate commanded even 30 years ago is the story about his attempt to get Mr. Charles to fire him rather than quitting the band. “I burned some (wooden) reeds onstage during a rehearsal. Ray called me to his hotel suite, but let me know he knew what I was up to and he was not going to accommodate me. ‘I’m not going to fire you,’ he said. Then he gave me a raise.’’

In 1986, with the Artie Shaw ghost band directed by the superb clarinetist Dick Johnson, Abate again picked up some valuable lessons. “I really learned a lot of standards, and to feel the pulse of the music with a swing band,’’ he says. Again, playing the same repertoire repeatedly and limited to solos as short as 8 bars, he soon said adios.

“I don’t go after glory or even compliments, though people give me a lot of praise,’’ Abate says. “I have my own style and sound. I do feel that I am worthy of more recognition, but I’m proud to have the ability to play my horn the way I do.’’