Listening to the old Dutch Sinterklaas songs, you might wonder why they have not been recorded by major platinum selling artists. Many great American recording artists have acknowledged the great quality of their Christmas songs. Because of the wonderful melodies of the Dutch songs, New York based Jazz pianist Robert Bosscher decided it was high time to change the situation. In the wonderful Tedesco Studio in New Jersey he recorded a Sinterklaas Jazz Album with his all-star New York Quartet. Hopefully this will not cause too much tension this Holiday season, since the album turned out beyond expectations. I'm afraid the release of this album will only worsen the already very competitive relationship between Santa Claus and Sinterklaas. ~ CD Universe
Eddie Gomez collaborated with five Italian musicians to produce this 2009 session, which primarily focuses on original ballads. The veteran bassist, recognized as a major player since his 11-plus years working with pianist Bill Evans, is in top form, providing an inventive foundation in the rhythm section. The sole standard is an unusual "Stella by Starlight" with tenor saxophonist Marco Pignataro (who also doubles on soprano sax) and flautist Matt Marvuglio alternately playing the lead and harmony, with the pulsating rhythm section that includes Gomez, pianist Teo Clavarella, and drummer Massimo Manzi. The bassist's warm ballad "Arianna" glistens with its early morning, spring-like air, showcasing its composer playing both arco and pizzicato, with him chanting softly along with his solo. Gomez's new version of his "Forever" (premiered on his 1987 CD Power Play) is an elegant affair with potent solos by Pignatano, Clavarella, and Marvuglio. The pianist's "Pops and Alma" has the flavor of progressive chamber music, while Marvuglio's extended "Why Cry?" is an emotional affair, with powerful playing by Pignatano (who switches to soprano for his solo) and the composer in a lush setting. Pignatano's somber ballad "Homesick" is beautifully voiced, with Gomez's haunting arco bass setting the mood, followed by the miniature bass solo in his "Epilogue." ~ Ken Dryden
