I have to begin this review by complimenting Positone Records. Every CD this company has sent to me reflects a high quality of jazz artists. It’s been a joy listening to each and every one of them. David Gibson is no exception to this course of excellence. “Inner Agent”, the title tune, is an original composition by Gibson and sets the mood for this entire project. It’s Straight Ahead, no nonsense jazz, just the way this reviewer likes it. Using a quartet of horns to thicken the musical brew, Gibson graciously shares his stage with a group of seasoned musicians. He lets each one solo and sparkle like jazzy jewels. Hendrix is compelling on trumpet, drawing the listener in with big bold tones and dynamic technique. Doug Webb always brings tenor madness to the studio, playing from the heart and Caleb Curtis on alto is a saxophone force to be enjoyed and celebrated. This is my first time hearing Theo Hill on piano and he’s impressive, innovative and skilled, knowing just how to comp and support the artist, then stretching out with solos that make you pay attention. Abadey on drums is powerful and relentless, giving this band the push and rhythmic inspiration they need to spiral up and over his percussive chops. However, it is Gibson’s trombone voice that bathes in the glow of a singular spotlight. They say that trombone is the closest instrument to human vocals and Gibson sings with emotional dexterity and polished technique. He’s an accomplished composer as well as a musician and offers four original tunes on this project. One is “The Scythe”, a high-powered, Be Bop tune that burns with fiery energy with Gibson’s solo floating solidly atop the rhythm section. You can hear Abadey’s drums throughout, egging the band on like a matador’s cape in front of an angry bull. I love the mix on this recording. Bassist, Alexander Claffy, has written “AJ”, a moderate tempo ballad that allows Gibson to set the melodic theme along with his horn section, sometimes harmonically but mostly in unison. If I were to have any criticism, it would be that Gibson’s improvisational solos are way too short. Gibson tackles two compositions by my Detroit home-boy, trombonist Curtis Fuller; “The Court” and “Sweetness”, where he shows admirable technique and self-expression. This is an album of music to be treasured in any collection. Perhaps Curtis Fuller said it best when he gave Gibson this dynamic compliment:
“Out of all the young players I hear in the music today, David is one of very few who speaks the language of jazz.”
