Reviews for Sack Full of Dreams Onaje Allan Gumbs Sack Full of Dreams (18th & Vine/Allegro) The term “journeyman musician” is an often misunderstood and unjustly maligned one. Rather than its “jack of all trades, master of none” connotation, in the sphere of music it more often refers to artists who seamlessly straddle multiple genres while retaining their individual voices no matter what the style. Pianist Onaje Allan Gumbs may well be the definitive journeyman musician, having worked with everyone from Woody Shaw to Gerald Albright and Ronald Shannon Jackson. His own records have been equally diverse, and yet there’s always been a fundamental combination of confidence and humility that’s made every record a gem, regardless of where they land stylistically. Sack Full of Dreams is a marked departure from the more heavily produced Remember Their Innocence (Ejano, 2005). Recorded in only a few days, it bears the unequivocal feel of a “live in the studio” project that literally bursts out of the speakers. Only the core trio of bassist Marcus McLaurine and drummer George Gray appear on all tracks (with the exception Gumbs’ elegant solo reading of the classic “Try to Remember”). Still, this is no large cast but, instead, a smaller cadre of players who ensure consistency throughout. Remember Their Innocence had its own cohesiveness, but it was more through Gumbs’ overriding vision. Here there’s no less vision, but there’s a greater chemistry across its 65 minutes. A funky reworking of Herbie Hancock’s “Cantaloupe Island,” McLaurine’s bossa-vibed “Destiny” and Gumbs’ own soulfully grooving “Stank You Very Much” are fleshed out to a quintet featuring guitarist Bob DeVos and percussionist Gary Fritz, while Mark Shim adds some late-night, smoky ambiance to Gumbs’ bittersweet ballad “Lament” and a burst of added energy to the swaggering “Nitelife.” An experienced producer, Gumbs knows just how much instrumental breadth is required for each tune—no more, no less. Regardless of context Gumbs has always been a player for whom melody comes first, and his solos here truly sing. That’s not to suggest his playing lacks depth, fire or, at times, complexity. Underneath it all, however, is an ever-present desire to go beyond the impressive (which it is) and enter the realm of the meaningful. Even “The Fishin’ Pond” (better-known as the theme to the 1960s television series, The Andy Griffith Show) coyly swings hard, demonstrating that in the right hands, anything can be grist for compelling interpretation. The title track may be by Gary McFarland and Louis Savary, but with guest Obba Babatunde’s heartfelt vocal it’s brought right into Gumbs’ spiritual and philosophical universe. Gumbs is a gracious and humble man, qualities that comes through in his selfless approach. But that doesn’t mean there isn’t complete confidence, whether he’s executing staggering two-handed phrases or sharply accented chords beneath DeVos or Shim. Sack Full of Dreams is a fine mainstream record whose unassuming honesty is felt from the first note to the last. -- John Kelman, All About Jazz Check out the March 2007 interview with Onaje Allan Gumbs from All About Jazz... CLICK HERE! Onaje Allan Gumbs Sack Full of Dreams (18th & Vine/Allegro) This acclaimed pianist/arranger/composer usually makes records in a meticulous manner over many a month. However for this scintillating new disc, he did things the old fashioned way – over two days, all the way live in the studio. Whether having a ball with a comfy old favorite like "Up Jumped Spring," inviting actor and little known singer Obba Babatunde to revisit the Grady Tate classic "The Windmills of Your Mind," and taking a wistful stroll through a quaint old TV theme known in hipper circles as "The Fishing Pond," or reaching back to two pieces he composed from very profound mental spaces in 1972 on "People and Love" and "Lament," Gumbs brings heart and immediacy to the works. The pieces are played in trio and quartet assemblages (often lifted by the percussion of Gary Fritz), and feature guest players Mark Shim on tenor sax, Bob Devos on guitar, Marcus McLaurine on bass and George Gray on drums. A. Scott Galloway, Urban Network

Reviews for Remember Their Innocence

"With a resume that includes lengthy stints with singer Betty Carter, trumpeter Woody Shaw, and drummer Ronald Shannon Jackson, not to mention opportunities to support a variety of R&B and pop artists, pianist Onaje Allan Gumbs' diversity could be considered a double-edged sword. An advantage because he's worked in so many contexts that there's an undeniable verisimilitude to virtually any project he tackles. A disadvantage in that he runs the risk of losing his own voice amidst such a diversity of musical interests. Fortunately, when left to his own devices, he manages to retain a sense of self even as he draws from that breadth of styles. "While the focus of Remember Their Innocence is clearly in the jazz mainstream, there are hints from other sources. With its lush string pad and Lenny Argese's classical guitar, the title track might have something of a smooth jazz vibe, but there's an organic sense that keeps it from falling into that style's more programmatic nature. Similarly "All I Hear (Quiet Passion)", has an easygoing ambience and catchy bass figure-a hip-hop feel but somehow lighter-over which Sharrif Simmons' recitation is appropriately called spoken word instead of rap. "There are hints of Brazil on "Sol Brilho" and the slow bossa of "Virgo Rising," both featuring a tasteful and melodic Gregoire Maret, currently a member of the Pat Metheny Group and a harmonica player who seems to be showing up everywhere these days. But for all the guests on the album-and there are many, including drummer Billy Kilson, saxophonists Roger Byam and Sadao Watanabe, and bassist Kenny Davis-and as much as the album is more about the music and less about instrumental showboating, Gumbs still comes through as the primary voice, with a selfless approach that is always in service of the song. Even on the solo piece "Playtime," where Gumbs demonstrates his roots in Art Tatum and Erroll Garner with a taste of Monk's obliqueness, there's no grandstanding, only interpretation. "Innerchange," with its trumpet/tenor front line and George Gray's vibrantly swinging drumming working in tandem with Kenny Davis' walking bass line, hearkens back to vintage Art Blakey. "Healing Zone" is, at least at first, a more relaxed affair with a catchy two-chord vamp that sits in between the body of the tune, giving it an elegant tension-and-release, ultimately resolving in a characteristically powerful drum solo from Kilson. "Crystal Images" is an engaging jazz waltz with a Woody Shaw-esque trumpet solo from Eddie Allen, a name that should be more known. "Gumbs demonstrates the light touch, sensitive accompaniment, and lyrically intuitive soloing that have made him an in-demand player amongst a wealth of musicians. And yet he somehow manages to elude "household name" status. With albums as accessible and instantly appealing as Remember Their Innocence given the right amount of visibility, there's no reason why that shouldn't change.

John Kelman, AllAboutJazz.com

"Onaje Allan Gumbs took his wide experiences as a musician into the studio for his latest recording and came up with a winning combination in Remember Their Innocence. There is strong testimony to his passion for jazz, just as there is for the blues, some soul, a Brazilian tune, and a bit of what is known as contemporary jazz. The last category is not watered down by the hose of blandness, instead elevated by the soulful Dennis Collins, whose remarkable voice on "Your Love" gives the lyrics a deep strength of emotion. Credit should also go to Gumbs. His arrangements get the best out of a song, witnessed here in his gentle accompaniment on the piano, the shimmering strings that waft from his synthesizer, and the bluesy harmonica of Gregoire Maret. On another strong performance, "Maybe Next Year," Branice McKenzie sings with a sensitivity, intonation, and eloquence that mark her as a fine exponent of jazz in song. "Plenty of good music comes along the mainstream. Gumbs brings swing into his "Healing Zone," first vented by Roger Byam on the soprano saxophone before he widens the sphere, kindling the flame with crisp abandon. On a softer note comes the beautifully modulated "Virgo Rising." The mood is tranquil, yet it has a refreshing crispness. And if that brings about its own resolution, so does "Sol Brilho (Sunshine of Dreams)," where the harbingers are the lilt of Romero Lubambo's guitar and the swish of Café's percussion. The Brazilian rhythm is catchy and so is the melody, two aspects that make this a winner, further cemented when Sadao Watanabe comes in. He adds to the sway and when he begins his explorations, the song absolutely lights up."

Jerry D'Souza, AllAboutJazz.com

Reviews for Return To Form: Live at the Blue Note

"Onaje Allan Gumbs is a highly acclaimed pianist among his fellow jazz musicians, though it is surprising that this veteran has not recorded as a leader more often. This 2000 live set taped at the Blue Note finds him in great form, accompanied by Marcus McLaurine (one of Clark Terry's first call bassists), Payton Crossley drummer, Gary Fritz percussionist, and on some tracks, Rene McLean saxophonist. Gumbs' innovative approach to John Coltrane's "Equinox" is marvelous; it's set to a Latin rhythm, substituting the bass line vamp from "A Love Supreme" while also quoting several other works by Coltrane in a tense chart. His shimmering trio arrangements of the "Daydream" (a gorgeous ballad by Billy Strayhorn and Duke Ellington) and Henry Mancini's "Dreamsville" are also not to be missed. But Gumbs also makes his case as a composer. "First Time We Met" is a post-bop chart full of sudden twists. The lyrical quality of "Palace of the Seven Jewels" comes through even though it's an instrumental. Rene McLean's tenor sax comes on strong over Gumbs' funky piano in "Left Side of Right" while the jaunty "A Breath of Fresh Air" suggests a brisk stroll in the park on a sunny spring afternoon. The intimate sound of this highly recommended CD gives one the feeling of having a front row center table at the club."

Ken Dryden, All Music Guide Review/4.5 stars/2004

"Onaje Allan Gumbs Returns to Form--and Some" When pianist/composer Onaje Allan Gumbs voices his distaste for musical categories, it might be one of many lessons he acquired from his mother, who recently joined the ancestors. "Throughout her life, she had an appreciation for all kinds of music, and it had nothing at all to do with categories," he told The Black World Today. "She listened to everything, and the only thing that mattered for her was whether she liked it or not. Like her, I'm not into putting music into compartments." Listen to Gumbs latest release Return to Form (Blue Note Records) and you'll hear sizable portions of his eclecticism, his wide ranging expanse of musical references and preferences. One of my favorites is "A Breath of Fresh Air", which I first him do live at a club in Brooklyn with bassist Avery Sharpe and drummer Winard Harper. It's a pleasant and enduring melody that's easy to the memory and one that begs for lyrics. In his liner notes, Gumbs, who was born in Harlem and raised in Queens, New York, says the melody first came to him when he was 13. "I was getting into Horace Silver and Wynton Kelly and that kind of stuff. The way I play it conceptually is pretty much consistent with how I wrote it back in 1963. "On Return to Form, recorded live at the Blue Note, Gumbs and his quintet--Marcus McLaurine on bass, Payton Crossley on drums, percussionist Gary Fritz and special guest, tenor and soprano saxophonist Rene McLean--are an extremely tight unit with an expressive edge that has earned them lots of air time on local radio shows. The repertory is a delightful mix of originals and some standards that haven't been worked to death, particularly Mancini's "Dreamsville", Strayhorn and Ellington's "Daydream" and Coltrane's "Equinox." Gumbs told writer Ted Panken of Downbeat that he still has a lot of growing to do as an artist. But in my estimation the only remaining pinnacle is somewhere in the stratosphere of accomplishment, which is well within his considerable reach."

Herb Boyd (Managing Editor), The Black World Today ( www.tbwt.org )/Jan. 12, 2004

"The weeks from Thanksgiving until the end of the year often mark a time for homecomings. In Return to Form (Half Note), pianist Onaje Allan Gumbs makes his way back to straight-ahead jazz from the land of R&B and smooth jazz, where he had spent much of the 1980s and 1990s. During the nine-song set, he plays with a comfort and joy that had the crowd at the Blue Note murmuring and applauding in appreciation. Coltrane's "Equinox" and "Daydream," the Ellington/Strayhorn chestnut, are among the highlights on the disc. Rene McLean is in fine voice on tenor and soprano saxophones. Bassist Marcus McLaurine, drummer Payton Crossley and percussionist Gary Fritz offer some delicious accents, as they keep time and pace with Gumbs. But it's Gumbs' sterling work on piano that carries the day."

Jeff Rivers, ctnow.com ( Connecticut )/Dec. 4, 2003

"Gumbs, renowned as an ultra sensitive musician's musician, releases his first album as a leader in over a decade. The pleasant surprise is that after a couple of well received contemporary jazz albums, he delivers a straight ahead jazz album, recorded live at the Blue Note in New York. The nine songs are primarily in the classic trio format with guest saxophonist Rene McLean sitting in on several numbers. "Though every song here is given Gumbs' attentive touch, the highlights include lovely revisions of his Quiet Storm classics: "First Time We Met" and "Quiet Passion", a cool driving piece inspired by Les McCann and Eddie Harris titled "Left Side of Right". Onaje's muse Henry Mancini's "Dreamsville", and a 12 minute exploration on John Coltrane's "Equinox".

Scott Galloway (Music Editor), The Urban Network Magazine (Los Angeles)/Nov. 2003

*(This review is amongst 9 CDs picked by Mr Scott as year end favorites) "Return To Form reunites Gumbs with the music that inspired him as a child - straight-ahead jazz. This is his first recording leading a hardcore jazz ensemble. He has a versatile vocabulary that flows like an exciting composition of bold, swinging rhythms, impressive phrasing and rich, melodic lines. Six of the nine tunes are Gumbs' compositions. On this live, riveting affair, special guest Rene McLean accompanies him on soprano and tenor saxophones, plus bassist Marcus McLaurine, drummer Payton Crossley and percussionist Gary Fritz. Gumbs is a talented composer and an exciting pianist who is consistently taking his music to greater horizons. Take a listen."

Ron Scott, Amsterdam News (New York)/Dec 11-17 2003

* * * "From the opening bars of the funk, highly energetic No Question, pianist Gumbs makes it clear he's not interested in peddling corn...Gumbs delivers instrument R&B with a bite. Funk-driven bass lines pound under throbbing drum beats and Gumbs' two-fisted solos. He's equally comfortable in be-bop jazz."

USA Today

"This extraordinarily gifted musician's song First Time We Met has been in heavy nighttime rotation around my apartment . As a supreme keyboardist and composer, Onaje's touch amazingly soothes and invigorates the listener all at once."

A. Scott Galloway, Urban Network Magazine

Other Reviews

"Sprightly "No Question" (from Dare to Dream) with its interweaving sax lines goes down smooth...Onaje turns in a relaxed vital set"

Billboard

"Onaje - meaning the "sensitive one" - demonstrates again why this ubiquitous sideman-turned-leader chose to add the Nigerian word to his given Afro-American name. This is truly an album for life's romantic interludes, be they every night or few and far between. Lush, relaxing tracks, mainly in slow and medium tempos, show the twin influences of Urban Pop and mainstream jazz in the keyboardist's background. Whether on acoustic piano or synthesizers, Gumbs' devotion to lyricism and attention to the details of composition, arrangement and performance mark his work with a feeling of quiet passion across all tracks."

Bill Quinn, Black Radio Exclusive

"There is something elegant in his style, a confident, yet subdued air."

Richard Thorpe, The Boston Globe