Terry Gibbs Albums (36)
'Findin' the Groove'
Release Date 9/12/2006
Tracks 13
Label Jazzed Media
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What The Critics Say
Recording prolifically in the first years of the 21st century, the octogenarian Terry Gibbs still delivers the fastest vibes in the West on this aptly named 2006 release Findin' the Groove. No tributes or concepts based on the past this time -- just straight-ahead, likeable, hard swinging workouts from a sextet that features the great flutist Hubert Laws on its front line. Gibbs and Laws had only played together once before -- when Laws sat in on piccolo unexpectedly on a Gibbs gig at Steamers in Fullerton, CA not long before this session. Yet they make a very graceful pair, their sound dancing with feather-light agility over the rhythm section, giving this ad hoc yet tight little band a special sound all its own. Laws isn't as visible on the recording scene these days as he once was -- and from hearing his sterling, swinging style and huge, golden tone on this date, you can't figure out why this should be so. Another big factor in this session's lightly shaded color scheme is Terry's drummer, son Gerry Gibbs, who propels the selections with the relentless yet never overbearing energy of his father. Terry wrote about half of the material, all of it appealing, including some journeys into samba "Samba Wazoo" and wistful bossa nova ("The House That Might Have Been, " with vocals by Joan Carroll). Amidst all of the up-tempo swingers, "Teach Me Tonight" is a relaxed breather in context, though these thoroughbreds seem reined in, just dying to gallop again. Alas, Jimmy Giuffre's irresistible "Four Brothers" doesn't really hit its stride until the solos kick in; the famous theme sounds uncharacteristically labored (yes, it's difficult). Mostly, though, a splendid session. ~ Richard S. Ginell, All Music Guide
'Feelin' Good: Live in Studio'
Release Date 6/28/2005
Tracks 12
Label Mack Avenue
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What The Critics Say
Vibraphonist Terry Gibbs invited select guest audience members into a studio for this recording, giving it the club date feel and interaction that usually pumps up the excitement quotient. Gibbs (age 80) also has added to his handpicked band the very exciting organist Joey DeFrancesco, adding more of the chitlin' circuit feel to the proceedings. With guitarist Dan Faehnle and tenor saxophonist Eric Alexander, this elevates the session further to a legitimate classic soul-jazz groove date. While vibes have been used before in this setting, and Gibbs is not the first, it is not typical in contemporary times. Many originals written by Gibbs, a few standards done differently, and the noticeable symmetry between the participants take these recordings to an even different plateau. The band works well together, and except for the sheer amplified volume level on DeFrancesco's organ, no one player dominates. There's some super hot hard bop here, starting with the soul-jazz flavored opener "Smoke 'Em Up" in a similar groove to "Got My Mojo Working," the 250 m.p.h. "Hot Rod" closer with its swirling, circular melody, and "Hey Jim," similar to Charlie Parker's fervent "Cool Blues" that organist Jimmy Smith did so well. "St. Louis Blues" is introduced by drummer Gerry Gibbs (Terry's son) in a bompity bomp Gene Krupa style, then swings out. The Brazilian classic of Antonio Carlos Jobim "Wave" is stripped of its bossa nova melody and replaced with a jazz swing, while conversely the bossa rhythm replaces the swing of "Sugar." The immortal Erroll Garner ballad "Misty" has its familiar time doubled, and trimmed in Latin dress via the conga playing of Ray Armando with all of the front line instrumentalists democratically playing a portion of the melody. Blues is never far from the equation, in a feature for DeFrancesco on the neat and clean take of "Things Ain't What They Used to Be," the relaxed and slow pace of "And That's Why They Call It the Blues," but the out of place, anxious solo from Gibbs during the vibe led version of "This Masquerade" has been done far too often (and boringly at that) to make this listless cover stand out. Feelin' Good is generally an apt title on this collection of tunes from a true all-star group of players, particularly the extraordinary Joey DeFrancesco, the excellent Eric Alexander, and the underrated and still improving Dan Faehnle. ~ Michael G. Nastos, All Music Guide
'52nd & Broadway: Songs of the Bebop Era'
Release Date 7/20/2004
Tracks 12
Label Mack Avenue
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What The Critics Say
Terry Gibbs has left an indelible mark on the jazz world since 1947. With more than 65 albums to his credit and as the creator of over 300 compositions, the vibist continues to impress his fans with the addition of 52nd & Broadway: Songs of the Bebop Era to his repertoire. Gibbs pays homage to the jazz artists and their timeless standards with the accompaniment of an excellent rhythm section, a string section, and guest soloists James Moody, Nicholas Payton, Sam Most, and Tom Ranier. The 12-track recording opens with Monk's "Round Midnight," which Gibbs treats as a bossa nova. With two superior solos and sublime call and response from Gibbs on vibes and Payton on trumpet, this song is both reflective and buoyant. On Lester Young's blues "Jumping With Symphony Sid," tenor saxophonist master James Moody and Gibbs compliment each other with their bouncing bebop elements and share that personal quality so essential in great jazz. No homage to the Bebop Era would be complete without "Groovin' High," one of the signature songs from the time period. Great soloing from Gibbs, Payton, and Moody (now playing alto saxophone) makes this song a keeper. While Dizzy Gillespie and Charlie Parker played the song at a blazing tempo on most occasions, Gibbs' tempos get many different treatments. Further, his ability to swing pretty on "Night in Tunisia" is one more reason to cherish this rendition. One of the many highlights is his rendition of Billie Holiday's big hit "Lover Man," as an affecting ballad with additional colors from Sam Most's alto flute. 52nd & Broadway: Songs of the Bebop Era belongs in every serious jazz collection. ~ Paula Edelstein, All Music Guide
'From Me to You: A Tribute to Lionel Hampton'
Release Date 2/25/2003
Tracks 14
Label Mack Avenue
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What The Critics Say
Early in his career, vibraphonist Terry Gibbs was encouraged by Lionel Hampton, who actually asked him to join his band (though Hamp's wife, Gladys, nixed the deal). Many decades later, Gibbs pays tribute to Hampton on this enjoyable set. Using a band of Los Angeles musicians including tenor saxophonist Pete Christlieb, organist Joey DeFrancesco, guitarist Anthony Wilson, and pianist Mike Melvoin, Gibbs performs a variety of songs associated with Hampton, plus four basic originals that the older vibraphonist would have enjoyed jamming. Gibbs is more boppish than Hamp, but their styles are not that dissimilar and he was quite familiar with all of the Hampton standards. The musicians clearly had a fun time, with singer Barbara Morrison guesting on "Evil Gal Blues," Gibbs taking a few rare vocals, the vibist playing some two-fingered piano (like Hampton) on "Two-Finger Boogie Shuffle," and the band romping on "Flying Home" and "Hey Ba-Ba-Re-Bop." ~ Scott Yanow, All Music Guide
'Dream Band, Vol. 6: One More Time'
Release Date 6/18/2002
Tracks 14
Label Contemporary
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What The Critics Say
In August 2001, Terry Gibbs was digging around in one of the closets of his Los Angeles home when came across about 25 boxes of old reel-to-reel tapes. As it turned out, some of those tapes contained previously unreleased Dream Band recordings of 1959 gigs in Hollywood. So Gibbs contacted Fantasy about the possibility of putting out some of that live material -- which had remained in the vibist/bandleader's private collection for over 40 years -- and the result is Dream Band, Vol. 6: One More Time (a generally excellent CD that Fantasy decided to release on Contemporary). In 1959, Gibbs' Dream Band was exactly that; it boasted the cream of the West Coast crop, and the L.A.-based heavyweights who Gibbs employs on these hard-swinging performances include trumpeter Conte Candoli, pianist Pete Jolly, tenor saxman Bill Perkins, and drummer Mel Lewis. Most of the material is instrumental, although singer Irene Kral has pleasing spots on the standards "Moonlight in Vermont," "Sometimes I'm Happy," and "Lover, Come Back to Me." Thankfully, the sound quality is, by late-'50s/early stereo standards, quite good. So why did recordings of this quality remain in the can for so long? Quite often, musicians will record their live shows, place the tapes in their vaults, and forget about them -- which is obviously what happened with these 1959 recordings. Gibbs had forgotten about them but was pleasantly surprised when he came across the old reel-to-reel tapes in the summer of 2001. Although generally excellent, One More Time falls short of essential; nonetheless, Gibbs' hardcore fans will be thrilled to see these recordings become commercially available after remaining in the can for so long. ~ Alex Henderson, All Music Guide
'Plays Steve Allen'
Release Date 6/29/1999
Tracks 13
Label Contemporary
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What The Critics Say
Swing-to-boppers Gibbs (vibes) and DeFranco (clarinet) love playing unison melodies, and the sonorities of those two instruments coming together provides the springboard for this swinging music. It's all based on the witty compositions of Steve Allen, songs the general public have rarely heard. The combination fits all of the participants to a T. This is mainstream jazz at its current best, but unless you're a hard core fan (or Steve Allen himself, ) you'd be hard pressed to say you know this material intimately. There are some familiar sounds, "Until I Left Chicago (I Never Had The Blues)" is similar to Louis Jordan's "Is You Is Or Is You Ain't My Baby," while "Alabama Baby" strikes a pose akin to "Comin' Home Baby." Up numbers "I Used To Think That I Was Crazy," "Mr. Moon," "Playing The Field" and "In The Morning When The Sun Comes Up" are nods to Benny Goodman and Charlie Parker for their classic head melodies. Ballads and blues are sprinkled in, the ethereal "Night In Madrid" is quite different from the rest of the program, and one wonders how Allen got the inspiration for the hard boppin' "Seven Come Eleven" variation "South Dakota." All in all this is a delightful CD, a great idea laced with extraordinary playing from these masters. Gibbs and DeFranco have never beeen in better form, and having worked together for many years shows. No slight to Tom Ranier, who is an excellent jazz player when called upon, check out his extended piuonao intro on "One Little Thing." It just seems that using old Steverino at the 88's would have put the perfect cherry on top of this rich chocolate sundae, displaying his marvelous playing as well as his writing, of which this CD only scratches the surface. ~ Michael G. Nastos, All Music Guide
What The Critics Say
Terry Gibbs and Buddy DeFranco always create a special spark when working together, which they have done off and on since they first joined forces on-stage in 1979; that's still the case during these excerpts from several live sets during a 1997 cruise aboard the SS Norway. DeFranco, who is easily the most important bop clarinetist, is a compelling soloist, while Gibbs has the energy and enthusiasm of Lionel Hampton on vibes. They are joined by three talented youngsters: pianist Aaron Goldberg, bassist David Oles Oleszkiewcz, and drummer Gerry Gibbs, the vibraphonist's son. The opening track, "Wham," is not the old Eddie Durham tune but an original by Terry Gibbs that kicks off the set in high gear. He also contributed six other songs to the CD, including the upbeat, but mellow, "Take Your Time," the samba-flavored "Rebekah," and the furious "Go Get 'Em." Tenor saxophonist Flip Phillips joins the quintet for a swinging take of "Sweet and Lovely." Highly recommended. ~ Ken Dryden, All Music Guide
'The Latin Connection'
Release Date 6/25/1996
Tracks 9
Label Contemporary
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What The Critics Say
Vibraphonist Terry Gibbs sounds fine on this Latin jazz date, which also includes altoist Frank Morgan, pianist Sonny Bravo, bassist Bobby Rodriguez and three percussionists, including Tito Puente playing timbales on three of the nine numbers. Most of the tunes are bop and swing standards (such as"Scrapple From the Apple," "Groovin' High," "Good Bait" and "Sing, Sing, Sing") and have excellent spots for Gibbs, Morgan and the percussion section. A fine date. ~ Scott Yanow, All Music Guide
What The Critics Say
Vibraphonist Terry Gibbs and clarinetist Buddy DeFranco have collaborated on many fine recordings; adding guitarist Herb Ellis to the mix for this series of live dates at Kimball's East (in tribute to Benny Goodman) just added some extra spice to an already simmering musical stew. The supporting rhythm section is an important ingredient as well, with pianist Larry Novak, bassist Milt Hinton, and drummer Butch Miles. There's a certain effortlessness to the performances, as if this sextet had been together for years, but that doesn't mean that everyone isn't playing his respective heart out on every number. Highlights include Ellis' bluesy opening solo in "Soft Winds," a lively jam of "Just One of Those Things," and a lyrical take of "The Man I Love." There are no real surprises within this release because these musicians have all proved themselves many times over throughout their long careers. Swing fans will definitely want to acquire this warmly recommended CD. ~ Ken Dryden, All Music Guide
'Play That Song: Live at the 1994 Floating Festival'
Release Date 10/23/1994
Tracks 9
Label Chiaroscuro
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What The Critics Say
The most unusual aspect to this Terry Gibbs quartet date (which was recorded live at the 1994 Floating Jazz Festival on board the S.S. Norway) is that seven of the nine selections are originals by the vibraphonist-leader. Of these, the most memorable are "Play That Song" (which has a catchy rhythm enthusiastically played by Terry's son Gerry on drums), "Penthouse Groove" (a hard-swinger that lets pianist Uri Caine show off his Oscar Peterson influence), the strong melody of "Sweet Young Song Of Love" and the medium-tempo blues "The Fat Man" which inspires Terry Gibbs' most exciting playing. Also in the "cooking" category are the quartet's renditions of Artie Shaw's "Moon Ray" (the clarinetist's most famous original) and "Limehouse Blues." It does seem a bit odd how the theme of "The Beautiful People" is very similar to "What's New" but that is the only real fault to this swinging set. Gibbs and Caine blend together well while never getting in each other's way while bassist Boris Koslo and drummer Gerry Gibbs are excellent in support. Recommended. ~ Scott Yanow, All Music Guide
