Gross's uncanny ability to move in and out of key center, constructing off-center phrases that are both logical and eerily lyrical, is beautifully in evidence . . . the result is a single chorus of sheer beauty . . Gross' brooding sound, warmed by an almost imperceptible vibrato . . . is pervaded by a sense of loss, but there is not a trace of sentimental self-indulgence. This is mature music of quiet power that will get to you if you let it . . .This music has depth, discipline, passion. There is not one phony note, not one plastic sound. -- Stafford Chamberlain, L.A. Jazz, 1991.
A phenomenon of knowledge and experience . . .some staggering as well as innovative . . he's a survivor and one of the most meaningful players on the scene, he plays his life on the horn. - Tim Price, Saxophone Journal, 1994
A phenomenon of knowledge and experience . . .some staggering as well as innovative . . he's a survivor and one of the most meaningful players on the scene, he plays his life on the horn. - Tim Price, Saxophone Journal, 1994
John Gross’ penchant for intimacy and wit by way of the trio format surfaces in a new group with pianist Dave Frishberg and drummer Charlie Doggett. The tenor saxophonist who startled people with his audacious avant-garde playing in Shelly Manne’s Outside quintet and the mainstream pianist who worked early on with Al Cohn and Zoot Sims meet on the common ground of an intriguing repertoire. Gross is as stimulating as ever in his calm delivery of solos that burn with convincing ideas. Frishberg is an ideal accompanist, a foil for Gross’ daring excursions, a soloist blessed with strength and whimsy. The CD has tunes by Thelonious Monk, Al Cohn, Jack Sheldon, Miles Davis, Gary McFarland and Bob Brookmeyer, with a substantial helping of Ellington and Strayhorn. Gross and Frishberg solo brilliantly on “This Strange Feeling,” a rarely performed piece of Ellingtonia. In their reflective treatment of Monk’s “Ask Me Now,” Frishberg’s accompaniment often intertwines as a countermelody to Gross’ line. This collection will remind many listeners that Frishberg, the writer and singer of droll songs, is a pianist of skill and originality. The absence of a bassist is beside the point. Frishberg rarely uses walking bass chords; his left hand has more subtle ways of doing the job. Decades younger than his trio mates, Doggett is in the company of kindred souls. Together, these three have the zest of teenagers and the leavening wisdom of experience. This is a compelling program... Jazz Times
. . . an overlooked masterpiece . . . - Dan McLennahan, All About Jazz, 2013
Saxophonist Gross has worked with the Stan Kenton Band, Toshiko Akiyoshi, Lionel Hampton, and Shelly Manne; while drummer Mintz—who wrote all the tunes here—has recorded with Eddie Daniels and Bobby Shew, and has toured with Charles Lloyd and worked for six years with Alan Broadbent. But Beautiful You represents a different approach than the resumes might suggest. A free-sounding session, moody and contemplative, with Gross's sax blowing into the introspective route mostly, with sections where he goes "out," wailing like a bandsaw cutting through a knotty oak plank. Mintz' drumming roils and rumbles like gentle thunder, with churning textures punctuated by flashes of cymbal lightening. Free but still structured, the atmosphere never falls apart. - Dan McLennahan, All About Jazz, 2004
Saxophonist Gross has worked with the Stan Kenton Band, Toshiko Akiyoshi, Lionel Hampton, and Shelly Manne; while drummer Mintz—who wrote all the tunes here—has recorded with Eddie Daniels and Bobby Shew, and has toured with Charles Lloyd and worked for six years with Alan Broadbent. But Beautiful You represents a different approach than the resumes might suggest. A free-sounding session, moody and contemplative, with Gross's sax blowing into the introspective route mostly, with sections where he goes "out," wailing like a bandsaw cutting through a knotty oak plank. Mintz' drumming roils and rumbles like gentle thunder, with churning textures punctuated by flashes of cymbal lightening. Free but still structured, the atmosphere never falls apart. - Dan McLennahan, All About Jazz, 2004
