Description
Electric bassist Dan Dean might not be well known by general jazz fans but he has extensive credits as a sideman for Ernie Watts, Diane Schuur and others; has contributed to television and film music; and is a music educator and an author of instruction books. Other artists, however, regard him with respect and four accomplished keyboardists are involved in Dean’s latest outing, 251, a series of bass/keyboard duets.
Dean is an exceptionally articulate and resourceful electric bassist and throughout 251 he proves to be both a supportive role model as well as a soloist who deserves better recognition.
TRACK LISTING:
1. ‘S WONDERFUL 6:04
2. ONE NOTE SAMBA 5:17
3. ALL THE THINGS YOU ARE 10:39
4. IT’S ON 6:12
5. DOLPHIN DANCE 9:46
6. GEORGIA ON MY MIND 8:01
7. STELLA BY STARLIGHT 6:00
8. I GOT YOU (I FEEL GOOD) 4:23
9. LOVER MAN 7:52
10. IN WALKED BUD 5:04
11. BODY AND SOUL 8:15
PERFORMERS:
DAN DEAN – bass
GEORGE DUKE – piano (4,7)
LARRY GOLDINGS – hammond B3 organ (2,6,8,10)
GIL GOLDSTEIN – piano & accordian (3,9)
KENNY WERNER – piano (1,5,11)
PRODUCTION INFO:
Produced by Dan Dean
Recorded at Studio X, Seattle, WA
Engineered by Sam Hofstedt (1,5,11); Josh Evans (4,7)
Recorded at Fantasy Records Studio A, Berkeley, CA
Engineered by Jesse Nichols (2,6,8,10)
Recorded at Avast Studio A, Seattle WA
Engineered by Jay Follette (3,9)
Additional recording on all music at Studio DDP, Mercer Island, WA
Engineered by Dan Dean
Mixed in ProTools & Mastered in Magix Sequoia by Dan Dean
Photo by Luke McGuff
Cover design by John Bishop
GEORGE FENDEL, Jazz Society of Oregon
Hey now, when was the last time you read a real good review from me on a recording which includes Hammond B-3 organ on four tunes and accordion (!!!) on two? Maybe never. Well, hold your horses, ‘cause this one’s darn good! The leader on the date, Dan Dean, is the only participant new to me, but he joins forces here with pianists (different guys on different cuts) George Duke, Gil Goldstein and Kenny Werner. Goldstein doubles on squeeze box on two tunes, and Larry Goldings enters the fray on B-3 on four. So why does the album earn my praise? Because nobody goes for the jugular. Everybody keeps it strictly under control on dependable tunes like “’S Wonderful,” “One Note Samba,” “All the Things You Are,” “In Walked Bud” and two of our favorite ladies, “Stella” and “Georgia.” Interesting too that there’s no drummer in the vicinity. There’s some very pleasant musical conversation here among some players who rarely get in the midst of this kind of music.
BRUCE LINDSAY, ALL ABOUT JAZZ
Take 4 talented and creative keyboard players, one at a time, plus one original tune. Pick up your electric bass and join in. Enjoy. The result is 2 5 1, and immediately accessible and inviting album of keyboard and bass duets from Dan Dean and his guests.
Of course, the above plan only works if the bassist is as talented as his guest keyboard artists dash thankfully, Dean meets that requirement. He’s an experienced musician, and educator, a producer and the developer of the Dan Dean Sample Libraries dash his playing is dexterous and inventive throughout the album. All of Dean’s fellow musicians perform exceptionally. Larry Goldings’ Hammond organ is seriously funky, especially on an up – tempo, grooving, version of Thelonious Monk’s “In Walked Bud.”
George Duke’s performance on his own tune – “It’s On” is light, melodic and uplifting.
Kenny Werner playfully deconstructs the Gershwin’s “‘S Wonderful” before returning for a more reflective duet on Herbie Hancock’s “Dolphin Dance”. Dean moves seamlessly between his guests matching their inventiveness at every turn.
The most fascinating tune here – in terms of structure, instrumentation and sound – is Jimmy Davis’, Roger Ramirez’s and James Sherman’s “Lover Man”. Dean is joined by Gil Goldstein on accordion and the interplay between the two musicians is a delight. The accordion/bass guitar combination captures the songs pathos as first Dean then Goldstein take responsibility for the melody – then the two musicians decide to abandon the melody line for another piece of deconstruction, until Dean returns to it again in the closing seconds before, suddenly, it ends.
Harvey Siders’ humorous liner notes offer more than enough information about the musical technicalities behind this album’s title, as well as giving some useful track by track insights but the tunes and the performances speak for themselves. The Electric Bass may not historically be the first-choice instrument for a jazz rhythm section, but 251 places it center stage and, in the company of four superb keyboard players, Dean’s playing creates some fresh and entertaining takes on the jazz songbook.
DAN McCLENAGHAN, All About Jazz
Bassist Dan Dean is no stranger to the format of the intimate duo. His teaming with vibraphonist Tom Collier on the superb and aptly titled “Duets” Origin Records, 2005), was a bright sparkling gem of a recording. On 251, he goes for a broader exploration of that sound pairing up with four of his favorite keyboard players.
The generous set, coming in at nearly 80 minutes, opens with the tried-and-true American songbook jewel “‘S Wonderful” full. Kenny Werner sits in the piano chair for an effervescent
take on George Gershwin’s familiar melody, the piano bubbling and bouncing Dean’s bass is deep and tight and groove, laying the foundation for a joyously implacable momentum.
The generous set, coming in at nearly 80 minutes opens with the tried-and-true American Songbook jewel,” ‘S Wonderful”. Kenny Werner sits in the piano chair for an effervescent take on George Gershwin’s familiar melody, the piano bubbling and bouncing. Dean’s bass is deep and tight in the groove laying the foundation for a joyously implacable momentum.
Antônio Carlos Jobim’s “One Note Samba” introduces Larry Goldings on Hammond B3 organ, injecting some soul into the bossa rhythms The choice of Goldings is an inspired one period his B3 work on 4 tunes that are shuffled in with seven other piano workouts, mixes up the sound and keeps the music interesting. The organist takes things down south on “Georgia on My Mind”; he also gets seriously soulful on James Brown’s classic “I Got You/I Feel Good” and turns Thelonious Monk’s “In Walked Bud” into a cool breeze romp.
The set is something of a jazz standards/Great American songbook 101 class. On the perennially familiar “Lover Man”, a classic vehicle for Billie Holiday and Charlie Parker, Dean teams with Gil Goldstein whose accordion gives the Jerome Kern and Oscar Hammerstein’s “All the Things You Are” opening in a spare, space-laden reverie until Dean and Goldstein borrow Charlie Parker’s riff from his take on the tune cranking the sound into a bright and extroverted atmosphere.
George Duke contributes the only non-classic to the set with his “It’s On” – it’s a funky conversation between his piano and the leader’s Bass, with some flourishes in the style of Oscar Peterson thrown in. Duke displays his supple touch on “Stella by Starlight” injected with dazzling runs and a playful exuberance. Kenny Werner meditates on “Body and Soul” to close out the show. Dean’s Bass is just a whisper, a gentle heartbeat behind the pensive melody. It’s a perfect close to a wonderful set of duets.
LARRY TAYLOR, JAZZREVIEW.COM
Bassist Dan Dean shows his talent and versatility on the superb 2 5 1. This CD takes its title from the familiar turnaround that is a key element in the harmonic progression of many classic songs. The 11 numbers here include ten standards and one George Duke composition. They all utilize this musical pattern, but listeners can ignore the technical and just enjoy the music.
Each track is set in a duo concept with various top musicians on piano, keyboard or organ, coming in to join Dean’s virtuoso playing on electric bass. All contribute mightily, but standing out among partners is pianist Kenny Werner who appears on three tracks, including a delightful version of Gershwin’s “S’ Wonderful.” On this, the opening number, Dean’s prowess is displayed immediately as he gives “walking” on the bass a new meaning. The two supplely turn the melody inside out. It’s a delight.
From the jaunty “S’ Wonderful, “to the soulful “Body and Soul,” it makes for a pleasing contrast. Dean’s bass becomes a vibrant purr to accompany Werner’s soulful flutter of notes.
Larry Goldings on B-3 Hammond organ joins in on four numbers. He is particularly good on the gritty R&B rouser, James Brown’s “I Got You (I Feel Good),” and a bluesy “Georgia on My Mind,” performed in a Ray Charles vein. Here, Dean’s low-down bass most effectively takes part in the emotional conversation.
Pianist George Duke, appearing twice, stands out on “Stella by Starlight.” His flashy piano runs are complemented by Dean’s complex solo, which features a fulsome vibrato.
Certainly, a further highlight is the collaboration with pianist Gil Goldstein, producing the most inventive arrangement on the date: “All the Things You Are.” Delightfully, they take the familiar melody in entirely new directions, finishing with a lilting unison passage.
On “Lover Man,” Goldstein switches to accordion which proves the perfect background for Dean’s throbbing bass, a real showcase for Dean’s prowess. This, and all numbers considered, may persuade die-hard upright fans to see the virtues of electric bass.