Gene Ess - Sandbox and Sanctum
author: Cindy McLeod
From beginning to end this recording is filled with delightful surprises in context, substance, and passionate expressiveness. There isn’t a single moment when one isn’t completely enthralled with the musical virtuosity, superb composition, and stunning production values, the whole of which transcends the music and takes the listener to another graceful dimension.
Understated and exquisite, Ess has brought these four masters together to fuse their individual voices into one glorious masterpiece. Highly recommended.
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Gene Ess Review
author: Scott Yanow
Guitarist Gene Ess' Sandbox and Sanctum features eight of his complex originals performed by a top-notch quartet. It is post-bop jazz influenced but not derivative of John Coltrane. Ess, who recalls John Abercrombie in spots, is a fine player.
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Sandbox and Sanctum Review
author: H. Allen Williams
Throughout Sandbox and Sanctum, Ess displays a unique approach to the guitar. Ess's use of thoughtful voicings and eloquently chromatic lines definitely grow out of the rich soil of the likes of John Coltrane and the post be-bop era. Ess is a highly recommended guitarist to keep an eye and ear on for the future of jazz guitar.
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Sandbox and Sanctum
author: Wayne Zade
While a listener might think of Pat Metheny or John Abercrombie or even Grant Green now and then, Ess here really sounds like no one else on guitar: he is his own man. In his solos, his front line playing with the very fine tenor and soprano saxophonist Donny McCaslin (next time: more soprano!), and his comping, Ess is a full-fledged master of taste and touch. His solos are model essays of eloquence and compression. His very special moments occur on acoustic guitar on “Ballad for a Swordsman” and a very electric rock-ish “Sun Matsuri.”
Just as John Coltrane thrived on a dynamic collaboration with drummer Elvin Jones (as well as Rashied Ali), Ess and drummer Gene Jackson share an intense chemistry on this album. Check out “Baptisma Pyros” and “Ask the Guru” for evidence of their bond. Jackson manages some fine calypso rhythms in the album’s closer, “Kerama Processional” as well.
Gene Ess was personally involved in every production detail for Sandbox and Sanctum, and the labor of the love behind the album truly shows. Along with bassist Harvie S (this “S” stands for solid and supple), these musicians play like they’ve been together as a band for a long time. May they continue to play together for a good long time.
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