Dave Lobenstein: Press

JazzReview.com

CD Title: Triple Play

Year: 2004

Record Label: Independent

Style: Straight-Ahead / Classic

Musicians: Dave Lobenstein (bass); Steve Salerno (guitar); Rob Garcia (drums)

Review: Dave Lobenstein’s trio is composed of some top-notch talent who have performed with a who’s who of New York jazz musicians, including those spanning the spectrum from traditional to avant-garde groups, even though they have not yet established themselves with major labels or publicists for top-of-mind recognition. But that doesn’t matter. What matters is the music, and the three of them make more music than some groups double their size. What’s more, Lobenstein’s compositions show different aspects of their playing, and they vary the repertoire, to the extent that they continue to capture the listener’s imagination through all forty minutes of Triple Play.
It’s obvious that Lobenstein has devoted a great deal of attention to the CD’s arrangements, rather than just getting everyone together to jam, because even drummer Rob Garcia nails the rhythmic accents of “Triple Play’s” melodic lines that Lobenstein wrote as either he or guitarist Steve Salerno play them. With percussive acuity and harmonic complexity, some of which is achieved through implication as much as through exposition—the notes they choose to omit communicating as effectively as those they play—Lobenstein’s trio is entirely on the mark as they take up Garcia’s street march beat on “No Moe,” which gives Lobenstein the opportunity to animate the tune with his bass work. “Song For Aidan,” on the other hand, gives Lobenstein a chance to set the mood for the tune with his rubato introduction and then quiet expression arising from immersion in the shifting outlines of the melody. The trio plays “Gone With The Wind” with breezy intensity, rolling up their sleeves to dig into the tune after a minute-long ostinato rumination because the break into the song.
As a trio of equals, Lobenstein’s group allows for the spontaneity of in-the-midst-of-the-song ideas as well as elaboration upon them during the extension of his compositions through successive choruses. Garcia being as melodic as Salerno is percussive, Triple Play involves the give and take, and the camaraderie among friends, that distinguish Lobenstein’s trio as one that deserves a listen beyond the New York City clubs where they have developed their own following.

Tracks: Triple Play, No Moe, Double Secret, Gone With The Wind, Chainsaw A Love Ballad, Song For Aidan, Single Malt

Artist's Website: http://www.davelobenstein.com

Reviewed by: Don Williamson

Cadence Magazine:

(3) Dave Lobenstein is a bassist who has
associated himself with some adventurous players,
including Wadada Leo Smith and Roscoe Mitchell,
among others, and has studied with Charlie Haden.
Don’t let that fool you, though, for although he
plays with personality and a certain amount of
panache, Triple Play draws on more popular influences
in creating a quilt of confident performances.
While the sound quality is generally somewhat
sub-par, the performances are not, in large part
due to the hard-hitting, exciting work of electric
guitarist Steve Salerno, who continues to impress
with creative solos, and who plays the role of horn.
He brightens almost every track with thoughtful
statements, playing his strings with a singular
focus. Lobenstein often stays in the background,
but his considerable writing skills range from the
popcorn-drenched “Triple Play” to the weird and
spacy “Chainsaw, A Love Ballad” (What a title!) to
the memorable and wistful “Song For Aidan,”
named for the bassist’s son and on which
Lobenstein waxes beautifully, the trio in perfect
synchronicity. The instrumentation of bass, guitar,
and drums may be limiting, but these three don’t let
that deter them, as there is considerable diversity of
palette, a case in point being the splendid “Double
Secret,” which offers complex interaction between
bass and guitar. Lobenstein’s few solos, for example
on the opening “Triple Play,” are largely competent
but mostly prosaic, while drummer Rob Garcia,
the final piece of the triangle, is given considerable
solo space on the same piece, which he uses to
powerful effect. At its best, the trio swings forcefully
and coherently, with individual solos kicking
hard. For those who enjoy the sounds of acoustic
bass, electric guitar, and drums played in a challenging
setting, this may be worth hearing.

By Dan McClenaghan

This one came in with no words attached—no press release, no liner notes—not the recommended mode. So you know only that it's a trio affair, bass/drums/guitar, the leader of the set being bassist Dave Lobenstein.


So it goes on the stereo, and it passes the five second test: if the first five seconds of a set's sound grabs you, chances are very good that it's a winner. The five second test proves true once again.


The Dave Lobenstein Trio falls into that “ensemble of equals” category, with a propulsive sound, three intrumentalists going at each other, sort of like a sonic Roller Derby, pushing, jostling, elbowing each other for position, while gliding forward in an intriguingly contentious synchronicity.


They're loud—if the Bad Plus can get credit for that, why not Lobenstein and crew. And they're rambunctous. The leader's bass asserts itself, filling space with dense washes; while drummer Rob Garcia hits your ribs with a fist...


I was surprised to read from a review clip on Garcia's web site that his drumming was ”unobtrusive.” Maybe on the set in question there, but not on this one. Everyone's obtrusive here; and it works.


Steve Salerno's guitar can sting, or ring out resonant organ-like chords. Another surprise was finding out he's that involved in classical music as well as jazz. A versatile guy; here he's sharp-edged, sometimes jagged and in your face.


Prickly grooves—Lobenstein's “Single Malt” and “Triple Play”; quirky soul—Sonny Rollins' “No Moe”; ominous abstraction—Lobenstein's “Chainsaw: A Love Ballad”; an oddly folksy and almost mainstream feeling—”Song for Aidan.”


This is one fine debut!