Posted 1:55 AM by Neal
Happy New Year Everyone!!!!!!!!!!!!!!
Hope you are well... 2010 is a new year for everyone. I am starting off the new year by celebrating and introducing my new album "Neal Smith Quintet ...Live At Smalls (NYC)." This album features some of my good friends and music that music that means a lot to me. You may purchase this album through my website, cdbaby, amazon and various online sites. Enclosed is a review of this recording. Really hope you enjoy it. You may also hear a sample of the music if you go to the discography page on my website.

Neal Smith Quintet Live was recorded on August 23 and 24th, 2009. This recording features:

Steve Wilson; Soprano & Alto Sax
Eric Alexander; Tenor Sax
Mulgrew Miller; Piano
Mark Whitfield; Guitar
Dezron Douglass; Bass


This recording was a great success. All of my friends and family were extremely supportive during the entire process of making this album. The musicians (my friends) totally came with it... It was a great experience for everyone to say the least.



ArtsBeat

MUSIC REVIEW| NEAL SMITH GROUP

Gently, Gently, a Drummer Leads His Pack
By BEN RATLIFF

Published: August 25, 2009

Why are so many good jazz gigs led by drummers these days? Possibly it’s just labor logic: the star system has broken down, the circuit has shrunk and there are fewer high-profile working bands led by great front-line soloists — saxophonists, trumpeters, guitarists. The burden to be charismatic has drained away from jazz a bit, too, for better or worse. When a drummer leads a band, you no longer expect Buddy Rich or Max Roach buttonholing you with virtuosity or brilliant improvising and making a special case for why a rhythm-section musician should be setting the ordinance. You expect a lot of sublimation to the greater good.

Neal Smith, a New York drummer in his mid-30s who has played in Cyrus Chestnut’s band for the last 10 years, led a new group at Smalls on Monday, recording four sets over two nights for a live album. At the core of the band is the trio of Mr. Smith on drums, Dezron Douglas on bass and Mulgrew Miller, a wise elder, on piano. And then there were satellite elements, rotating in and out of the sets: the saxophonist Steve Wilson, the guitarist Mark Whitfield and the saxophonist Eric Alexander. Mr. Smith, calling the tunes, played no-nonsense post-bop rhythm, the hard center of jazz since the late 1950s. And he barely called attention to himself.

Mr. Miller, whose name helped pack the house on Monday, usually performs as a bandleader, going through his own tunes, exercising authority and range and occasional bursts of speed. But here, in the service of someone else’s set, his playing was a peaceable kingdom: unpretentious Southern serenity, hovering around the middle of the keyboard. Between Mr. Whitfield’s effortful, gestural guitar improvisations, which reliably wound up in chords and octaves, and Mr. Alexander’s period-perfect early-1960s solos, furious but caged, Mr. Miller seemed the most free.
He was the set’s golden mean, and in a couple of tunes especially — the gospel song “What a Friend We Have in Jesus,” in which Mr. Smith switched between swing and shuffle rhythm, and “Remembrances,” a stylish and mysterious ballad by the composer Wendell Logan performed only by piano, bass and drums — Mr. Miller was truly stunning, overwhelming you with restraint and quiet blues.
For the rest of the set, which included Quincy Jones’s “Tomorrow (Better You, Better Me)” and tunes by Mr. Douglas and the drummer John Farnsworth, Mr. Smith kept the swing strong and clear: staying constant on the ride cymbal in the manner of older drummers like Louis Hayes, working little variations on laid-back snare-drum fills. He wasn’t pushing an agenda about conserving an art form — there was no preciousness or anxiety in the music — but his set made you feel that jazz as a traditional language is safe and sound.


For Your Information:

Enclosed are a few reviews of my first two albums as a leader which I am very proud of. I thought it would be nice to share them with you. Please purchase both of my albums if you don't have them (1. Swingin' Is Believin' 2. Some Of My favorite Songs Are...) These albums are music for the soul. You can find them on my discography page. I would also like to add that I have two (2) more albums as a leader in the works which will be released in 2009. So please keep your eyes and ears open for them. In addition to the production of my albums as a leader I have also produced albums for other artists through my record label (NASMusic). These are the following projects which I have produced.

1. Gravy Train (NASMusic 2007)
Artist: Andrew Beals; www.andrewbeals.com

2. Cup O' Joe (NASMusic 2006)
Artist: Joe Friedman; www.joefriedmanjazz.com

Please visit their sites and check out the music. Most important ...buy their albums!!!!!!!!!



ALBUM REVIEWS...

"The title of the disc is appropriate: (SWINGIN' IS BELIEVIN') it really swings through the acceleration instilled by drummer Smith and his band. The opening piece, with alto saxophonist Beals, tenor player Burton, and trombonist Gardner in the front line, states the case in fast-paced terms established by the rules of Hard Bop. Added thrust comes from the percussion of Thoms. Thereafter, Smith breaks down the band into smaller units and alters the personnel while keeping constant the trio of pianist Germanson and bassist Hawkins. Hart on alto sax joins the trio on four selections to sustain the momentum, Gross on soprano drops in for a mood changing ballad, Beals returns for another quartet romp in the "Moanin" vernacular, and two other selections feature an expanded group with heavy emphasis on the drums.
Smith's winning formula stems from his ability to keep the music cooking with his assertive drumming and by allowing each of the musicians to do a bit of stretching, such as when Hart wails on Shorter's "This Is For Albert." The leader gets a big sound out of each configuration of musicians, but the selections featuring multiple reeds and brass display the biggest bang. Even the devotional "Lord I Give Myself To You" simmers. A bonus with this cd comes from being able to see the trio at work on a video track to witness Smith in action. Germanson's heavy comping pushes the music while Smith drives the film's message home."

Cadence Magazine
Frank Rubalino
July 2005





"Neal Smith’s wonderful release is a perfect example of what playing in the tradition should be all about. The disc’s title is reminiscent of the Ray Brown series, “Some Of My Best Friends Are...,” and the tunes (except the Germanson original “Jill’s Song,” and the one-off Blues at the end) will probably be recognized, if not named, by most veteran listeners since the composers are Walton, Tyner, Henderson, Hancock, and Dorham. The core trio is totally in sync, with Washington and Smith being simultaneously as solid and fluid a rhythm section as I’ve heard. At the same time, however, they manage to be unassuming, almost reticent— especially Smith—and allow Germanson to be as free as he wishes. This does not mean that Germanson plays “free” over a supple, yet dependable rhythm section. On the contrary, Germanson is the star of the record precisely because he keeps in touch with Washington and Smith, yet plays ahead, behind, and every other relation to the beat, constantly surprising with his inventiveness, all done without much “daring”; the closest comparison I can think of is Teddy Wilson, who spun pearls. Where has Germanson been hiding? The difference between someone like Germanson, who is deeply living the tradition, and Whitfield, who plays in a traditional style from the past, is striking. This record is a pure joy to listen to, easily bears repeated hearings, and will definitely be on my short list for 2005. Highly recommended..."

Cadence Magazine
Frank Rubalino
July 2005




Swingin' Is Believin'
Neal Smith | NASMusic (2005)

Swingin’ is Believin’ is evidence that Neal Smith is well aware of the Indian proverb “A good drummer listens as much as he plays.” Not to say that Smith is a wallflower. Au contraire, he has that much-desired talent of solidifying an organized sound while driving the music in interesting directions. Coupled with an obvious connection to pianist Rick Germanson and bassist Michael Hawkins, Smith, pianist Cyrus Chestnut’s first-call drummer, has elected to share the spotlight with no less than five hornmen to present a session that swings and bops as well as any in recent memory.

“Reality of the Hidden Truth,” composed in the wake of the shocking Amadou Diallo killing, opens things up with an all-out assault of hot polyrhythmic complexity as the great Latin percussionist Renato Thoms mixes it up with Smith and Hawkins. Germanson’s percussive piano work promotes the piece’s intensity, as do Abraham Burton’s quickly moving tenor solo and the reverent horn voicings from altoist Andrew Beals and trombonist Vincent Gardner. In addition, two other Smith originals, “Salt Fish,” with its march-like rhythm and somewhat out Hart alto work, and the triple horn delight of “Twice More Once” reveal Smith’s impressive composing.

Germanson and altoist Antonio Hart swing it to perfection on the pianist’s “Game Theory,” while Beal’s alto sweetly caresses the smoky nooks and crannies of Germanson’s other contribution, the bluesy “In the Cut.” Mark Gross lends a touchingly pensive soprano sax to the lovely piano ballad “I Have the Feeling I Have Been Here Before” and Gardner’s t-bone drenches the gospel piece “Lord I Give Myself to Thee” in the blues.

“Bop Like” is a multi-part adventure that has Hart’s alto burning against a full speed rhythm until Hawkins and Smith combine with Germanson for the essence of understated cool. Hart’s alto lovingly pays homage to Bud Powell on Wayne Shorter’s “This is for Albert,” and a bonus video brings NYC’s hip Smoke venue into your home.

Cadence Magazine
Frank Rubalino
September 2005


Some of My Favorite Songs Are...
Neal Smith | NASMusic (2005)

Debut recordings can give a deceptively strong impression of a leader, since his or her best hour of material is showcased. Many an artist can’t match that initial effort and fall prey to the dreaded sophomore jinx. Drummer Neal Smith has confounded that scenario by releasing his second recording along with his first—and when they are taken together, one is left stunned by a multifaceted drummer who is at home in a variety of milieus. While Swingin’ is Believin’ was a horn fest of bop and swing, Some of My Favorite Songs Are... has Smith joining bassist Peter Washington and pianist Rick Germanson for deep in-the-pocket interpretations of the leader’s best loved tunes.

Although there is a soulful bluesy feel running through these interpretations, Smith’s hard bop leanings are evident in his choice of music. Songs that are better known for versions from larger horn based groups are recast here for a more intimate look. Such is the case on the trio’s delightfully melodic presentation of the Tom McIntosh-composed Dizzy Gillespie standard “The Cup Bearers” and the tight, straightahead version of tenor man Joe Henderson’s “A Shade of Jade.” On four cuts, the crystal clear guitar stylings of Mark Whitfield expand the trio to a quartet for some of the program’s more muscular material.

The opening “Holy Land” refries a Cedar Walton tune into a cooker as Whitfield turns up the gas with brilliant guitar work; and Herbie Hancock’s “Driftin’” has everyone playin’ the blues. Trumpeter Kenny Dorham’s “Blues for Jackie” finds Smith and Washington setting the pace for an uptempo homage to altoist Jackie McLean, fueling some impressive guitar runs; Germanson and Whitfield’s interplay recall Buddy and Wes on a deliciously juicy take on the younger Montgomery’s “Bock to Bock.” With these two solid first efforts, Smith has left no doubt that he is a drummer and leader of the first order.


All About Jazz- New York
Elliott Simon
2005