Dan Dean Music

“Dan Dean – 251”

With pianists George Duke & Kenny Werner, organist Larry Goldings, and pianist/accordianist Gil Goldstein, Seattle bassist Dan Dean brings together some of the top keyboard talents in the world for an intimate set of duo performances, each displaying an abundance of spontaneity and spirited exchanges. With Goldings, the duo explores the bop of “In Walked Bud” to the funk of “I Feel Good.” Pianists Kenny Werner & George Duke take on standards such as “Stella By Starlight” and “S’Wonderful,” while Gil Goldstein adds accordian to the mix with a look at “Lover Man.” With the performer’s varied and singular styles, and the mix of instruments, there?s great textural variety and the emphasis is aways on musical conversation with a lot of deep interplay. For many years an award-winning composer and producer of music for film, TV and advertising, Dan Dean was always a remarkable bassist and has a rich history of performances with Shelly Manne, Howard Roberts, Ernie Watts, Dave Grusin, Eddie Harris and countless others.

Reviews

MUSIC REVIEW BY RICHARD LEITER, KEYBOARD MAGAZINE

Seattle-based bassist Dan Dean is no stranger to Keyboard magazine: His sample libraries have won 3 Key Buy awards and he’s played with piano heroes like Dave Grusin, Bill Mays, Joey deFrancesco and scores more. On “251” (think jazz changes) Dan invited four stellar piano buddies into the studio for a fantastic romp through ten standards and a George Duke original that will teach you how to play ballads, swing and funk duets with a bassist. Whether you play B-3 (like Larry Goldings on “Georgia”) accordion (like Gil Goldstein on “Lover Man”) funk piano (like George Duke on “It’s On”) or straight ahead jazz (Kenny Werner on “Dolphin Dance”) this uplifting album opens new doors to a classic collaboration.

MUSIC REVIEW BY KEN DRYDEN, ALL MUSIC GUIDE

Electric bassists aren’t all that common leading jazz record dates, but Dan Dean found a very unusual approach, which is playing duets with four separate keyboardists. Kenny Werner is a first-call sideman, leader, and soloist. His meeting with Dean in a superb take of the old warhorse “‘S Wonderful” is full of twists, turns, and outright surprises, and while their interpretation of “Body and Soul” is considerably more subdued, it nonetheless shimmers. George Duke usually plays electric keyboards (though he did stick to acoustic piano for his Muir Woods Suite), so it is a treat to hear him on grand piano. His funky “It’s On” is a catchy riff tune, while their dreamy setting of the standard “Stella by Starlight” reminds straight-ahead fans that Duke’s chops are still very potent. It’s particularly odd to hear an organ-electric bass duo, since the keyboardist usually handles the bassline by himself. Yet Larry Goldings and Dean work in tandem for an infectious take of “One Note Samba,” a soulful “Georgia on My Mind” (with a nod to Ray Charles), and a hip “In Walked Bud.” Dean and pianist Gil Goldstein meander into “All the Things You Are” via a side route before incorporating Dizzy Gillespie’s famous added introduction, then take it down a more familiar path. Goldstein switches to accordion for “Lover Man” with Dean carrying the melody, possibly one of the most striking interpretations of this jazz standard. While the veteran bassist is better known regionally than nationally, this top-drawer effort should open a few doors for him.

MUSIC REVIEW BY DOUG SIMPSON, AUDIOPHILE AUDITION

Electric bassist Dan Dean might not be well known by general jazz fans but he has extensive credits as a sideman for Ernie Watts, Diane Schuur and others; has contributed to television and film music; and is a music educator and an author of instruction books. Other artists, however, regard him with respect and four accomplished keyboardists are involved in Dean’s latest outing, 251, a series of bass/keyboard duets.

The album title alludes to an important harmonic pattern, 2-5-1, that is the root tone for many songs and the eleven-track excursion nods to the roots of jazz, with renditions of standards, jazz classics and more, including material by Gershwin, Herbie Hancock, James Brown and Thelonious Monk.

Although there have been other bass/keyboard duets they still remain infrequent. Dean provides several moods on his 78-minute album and teams up with George Duke on two tunes, works on four pieces with Hammond B3 organist Larry Goldings, plays on three cuts with pianist Kenny Werner and performs on two other songs with Gil Goldstein, who adds piano and accordion.

One of the highlights is hearing Duke on grand piano, stepping away from his usual forays with electric keyboards. Duke and Dean do a funk-fried reading of Duke’s “It’s On,” which has a catchy riff and a gospel shading. Duke fans may recognize the tune from Duke’s 1998 release After Hours, but on this setting Dean and Duke reinterpret the selection with a stronger blues feel. Duke’s skills are even more notable on a potent and sincere take of “Stella by Starlight.” As Duke spins out harmonic comps and improvisations, Dean furnishes a loose walking bass line with deep vibrato.

However, for fervent funk Goldings and Dean cannot be beat. The twosome echo Ray Charles as well as a bit of Jimmy Smith during a lengthy cruise through “Georgia on My Mind,” and what a ride it turns out to be. While listeners could conceivably conjure the picking of peaches Dean picks out some delicious bass lines as Goldings reaps some fluent and witty organ runs. Things get greasier on James Brown’s “I Got You (I Feel Good),” where the pair swings with a mix of grooving fusion and boogaloo. Dean displays some Stanley Clarke-esque rhythmic vamps that pop and snap.

The project’s most striking combination comes during “Lover Man,” with Dean accompanying Goldstein’s accordion. During the extended version the two continually switch tempos, giving the oft-covered composition an unrestricted almost experimental nature: accenting the number’s curious character, the spontaneous rhythm is never resolved.

Dean is an exceptionally articulate and resourceful electric bassist and throughout 251 he proves to be both a supportive role model as well as a soloist who deserves better recognition.

MUSIC REVIEW BY BRIAN SORGEL, JAZZTIMES

The Seattle counterpart of Steve Swallow, bassist Dan Dean is able to swing persuasively, comp authoritatively and improvise melodically on electric bass. O the series of intimate duets he is showcased walking, chording, and soloing freely in the company of four decidedly different keyboard stylists. With Larry Goldings on Hammond B3 organ, Dean explores Thelonious Monk’s “In Walked Bud,” james Brown’s “I Got You (I Feel Good),” Jobim’s “One Note Samba” and Hoagy Carmichael’s “Georgia On My Mind”; pianist George Duke is featured on a swinging “Stella by Starlight” and his own gospel-flavored “It’s On”; Gil Goldstein alternates between accordion (“Lover Man”) and piano (a wildly inventive take on “All the Things You Are”); and Kenny Werner extrapolates in daring fashion on “‘S Wonderful,” “Dolphin Dance” and “Body and Soul.”

MUSIC REVIEW BY BRIAN SORGEL, JAZZTIMES

MUSIC REVIEW BY LARRY TAYLOR, JAZZREVIEW.COM

Bassist Dan Dean shows his talent and versatility on the superb 2 5 1. This CD takes its title from the familiar turnaround that is a key element in the harmonic progression of many classic songs. The 11 numbers here include ten standards and one George Duke composition. They all utilize this musical pattern, but listeners can ignore the technical and just enjoy the music.
Each track is set in a duo concept with various top musicians on piano, keyboard or organ, coming in to join Dean’s virtuoso playing on electric bass. All contribute mightily, but standing out among partners is pianist Kenny Werner who appears on three tracks, including a delightful version of Gershwin’s “S’Wonderful.” On this, the opening number, Dean’s prowess is displayed immediately as he gives “walking” on the bass a new meaning. The two supplely turn the melody inside out. It’s a delight.

From the jaunty “S’Wonderful,”to the soulful “Body and Soul,” it makes for a pleasing contrast. Dean’s bass becomes a vibrant purr to accompany Werner’s soulful flutter of notes.

Larry Goldings on B-3 Hammond organ joins in on four numbers. He is particularly good on the gritty R&B rouser, James Brown’s “I Got You (I Feel Good),” and a bluesy “Georgia On My Mind,” performed in a Ray Charles vein. Here, Dean’s low-down bass most effectively takes part in the emotional conversation.

Pianist George Duke, appearing twice, stands out on “Stella By Starlight.” His flashy piano runs are complemented by Dean’s complex solo, which features a fulsome vibrato.

Certainly, a further highlight is the collaboration with pianist Gil Goldstein, producing the most inventive arrangement on the date: “All the Things You Are.” Delightfully, they take the familiar melody in entirely new directions, finishing with a lilting unison passage.

On “Lover Man,” Goldstein switches to accordion which proves the perfect background for Dean’s throbbing bass ? a real showcase for Dean’s prowess. This, and all numbers considered, may persuade die-hard upright fans to see the virtues of electric bass.