New York-based trombonist David Gibson digs deep into the soulful side of 1960s-era jazz with End of the Tunnel his second recording for Posi-Tone Records. With the aid of organist and label mate Jared Gold, Gibson delivers an enticing quartet set of funk grooves and driving swing.
Gibson seems to thrive on patience, shaping his solos with sparse ornamentation, waiting for the opportune moment to fill space with a meaningful barrage. This take-your-time approach works exceptionally well on the dirty funk of Herbie Hancock’s “Blind Man, Blind Man” and Gibson’s own gospel-like composition “Sunday Morning.” Refreshingly unafraid to swing hard, in the style of an elder statesmen like Slide Hampton, Gibson shines on Gold’s medium toe-tapper “Splat.”
The Oklahoma native contributes a handful of his own tunes, from the down-home funk of “Wasabi,” to the unrelenting dirge of “A Place of Our Own,” to the hypnotic intensity of “The In-Whim,” featuring drummer Quincy Davis’ keen awareness.
The front-line sound of trombone and alto saxophone, handled by the fiery Julius Tolentino, is a somewhat uncommon combination creating thick, dark textures. Combined with the organ, this brings unmistakable warmth to the proceedings, giving attention to the strength of the ensemble over any one individual. There is, however, no shortage of exceptional blowing throughout.
