The long-awaited fourth release from Naama Gerber, a jazz vocalist born in Beersheba, southern Israel, and currently based in New York. This album features a quartet of Peter Bernstein (g) and Glenn Zaleski (p), providing great support. Naama showcases a lovely and sophisticated vocal style that firmly follows the tradition of white female vocalists. This is a classic vocal work in which great standards are delicately interpreted with an elegant voice and clear phrasing.
Peter Bernstein's second CD as a leader reunites him with pianist Brad Mehldau and once again features him in a quartet. However, both Bernstein and Mehldau had grown quite a bit as soloists during the previous two years (the pianist really tears into "Nobody Else but Me") and this time they are joined by the virtuosic bassist Christian McBride and drummer Gregory Hutchinson. In addition, the songs (five Bernstein originals and four standards) are stronger and challenge the soloists to play at their best. Among the highlights are "Jet Stream," "Jive Coffee" (Bernstein's sly revision of "Tea for Two"), "Will You Still Be Mine," and a tasteful "My Ideal" in addition to "Nobody Else but Me." An excellent effort.
For his third Criss Cross release, guitarist Peter Bernstein leads an all-star organ combo that also includes tenor saxophonist Eric Alexander, trombonist Steve Davis, organist Larry Goldings, and drummer Billy Drummond. Some of the music that the quintet performs is typical for this type of hard bop/soul-jazz group, including a hot minor-toned blues, "Means and Ends," and Percy Mayfield's blues ballad "Danger Zone." However, a few of the other selections (particularly Bernstein's four originals) are more complex and serve as evidence that the music was being performed in 1996, not 1966. The musicians all play up to their capabilities and Goldings shows that he was one of the most inventive organists of the decade.
Here’s proof that guitarist Peter Bernstein, Hammond B3 organist Larry Goldings and drummer Bill Stewart excel at the art of the slow burn. Tempos aren’t rushed. Solos aren’t feverishly pitched. Call-and-response exchanges aren’t overheated. Instead, the trio shrewdly hews to a series of organ-combo grooves, turning this Manhattan club date into a simmering, soulful delight.