As A Performer / As a Recording Artist / As an Educator / As a Composer
Reviews of "Live At The Kennedy Center" The Rufus Reid Quintet CD/DVD SET
Rufus Reid, bass; Rich Perry, saxophone; Freddie Hendrix, trumpet, fluegelhorn;
Sumi Tonooka, piano; Tim Horner, drums
Reid’s group performs seven of his originals plus four others on this set. The music is warm, inviting and uplifting. Reid is a melodic composer, and the horns respond in kind throughout the album. Reid leads and supports with firm bass lines. His demeanor and beat convey authority, not of the aggressive, Charles Mingus type, but of a steadier, more even temperament. This CD package is the most comprehensive portrait of the ever-instructive Reid we’re likely to get.
Owen Cordle, JAZZ TIMES MAGAZINE
November, 2007
Owen Cordle, JAZZ TIMES MAGAZINE
November, 2007
"This project is simply wonderful.
'The Peaceful Flame' is a moving and haunting performance of this Reid
piece and showcases the pianist Sumi Tonooka. A classic recording."
Paul Pearce, Bass World
Volume 31, 2007
"Known for his first call status, Reid consistently offers an earthy tone, flawless intonation and fluid fingerwork. It's a treat to hear Reid stepping back into the spotlight as bassist, bandleader and composer with a consistently appealing live set dominated by his own tunes (the two-disc set includes a DVD). For the leader's sole unaccompanied piece, he chooses something familiar, bringing Duke Ellington's 'Sophisticated Lady' to life with a richly humming reading of the melody, interjecting sliding 10th and stray harmonics, and emphasizing the bluesy dimensions of the song with a solo that has fingers snapping at the Kennedy Center."
Philip Booth, DownBeat
September, 2007
"Most of the music here is composed by Reid himself. The melodies and rhythms used in the likes of the hustling 'Celebration' and the gently pulsing 'Dreamgliding' are unusual and intricate. They allow space for some excellent individual work from the players and Reid holds it all together with his elegant playing. Collectively the band can blast like the Jazz Messengers or gently float through a lyrical piece like Billy Childs' 'heroes.' The DVD also includes on extra performance, 'The peaceful Flame,' a semi-abstract piece with a hushed, hesitant air that ends in a dramatic piano solo."
Jerome Wilson, Cadence
September, 2007
The Performer
“Reid's engagement leading his own group Tuesday night at the Jazz Showcase offered a rare opportunity to hear a formidable artist stepping to the forefront. The performance proved immensely appealing, though in often surprising ways. Reid led this band in an evening of sleek, sumptuous, exquisitely understated ensemble playing.
Shrewdly, Reid has chosen collaborators well-equipped to articulate his aesthetic for this group. Each of the musicians in this organization took his cue from Reid, who sounded as radiantly lyrical on this occasion as this listener ever has heard him. In solo statements, Reid produced phrases so delicately drawn and subtly nuanced as to suggest the work of a soft-spoken vocalist singing to an audience of one.
In Reid's new composition, "Come Out and Play," the rhythm players achieved a cohesiveness one doesn't regularly encounter.”
Howard Reich, Chicago Tribune
May 5, 2006
Shrewdly, Reid has chosen collaborators well-equipped to articulate his aesthetic for this group. Each of the musicians in this organization took his cue from Reid, who sounded as radiantly lyrical on this occasion as this listener ever has heard him. In solo statements, Reid produced phrases so delicately drawn and subtly nuanced as to suggest the work of a soft-spoken vocalist singing to an audience of one.
In Reid's new composition, "Come Out and Play," the rhythm players achieved a cohesiveness one doesn't regularly encounter.”
Howard Reich, Chicago Tribune
May 5, 2006
Rufus Reid’s playing epitomizes the conflicting faces the bass has presented to modern jazz. Ever since Oscar Pettiford and Ray Brown developed the technique that made the instrument a solo vehicle, it’s been torn between its traditional place as a rhythmic anchor and a spot in the front line. In the 70’s after graduating from Northwestern, Reid did as much as anyone to bridge that division, marrying old fashioned tone to newfangled virtuosity; in the process he influenced two generations of mainstream bassists, first with the Thad Jones-Mel Lewis Orchestra, then as an in-demand sideman, and later leading his own bands. Neil Tesser - The Reader's Guide, June 9, 2006
"The bassist Reid is the man to call for any musical situation that demands both the utmost skill and impeccable taste. A rare gig as a leader gives us the chance to hear how his lucious sound and bouyant swing can levitate an ensemble clear off the bandstand."
The New Yorker - July 15, 2002
“The musicians of the Rufus Reid Quintet consistently focus their energies away from self-aggrandizement and toward a serenely lyric, nearly transparent ensemble sound. To hear this band unfurl so much sonic beauty without a hint of ostentation or bravura is to be reminded what substantive musicmaking ultimately is all about. For although any number of more incendiary bands plays the Showcase week after week, the Reid Quintet reaffirms the power of profound understatement.
The New Yorker - July 15, 2002
“The musicians of the Rufus Reid Quintet consistently focus their energies away from self-aggrandizement and toward a serenely lyric, nearly transparent ensemble sound. To hear this band unfurl so much sonic beauty without a hint of ostentation or bravura is to be reminded what substantive musicmaking ultimately is all about. For although any number of more incendiary bands plays the Showcase week after week, the Reid Quintet reaffirms the power of profound understatement.
"For although the ample size of Reid's tone and the easy virtuosity of his technique is well-known from his work in other bands, in his own ensemble he produces a music of unexpected serenity, stylistic breadth and tonal sheen.”
Tribune arts critic (2004)-By Howard Reich
"Peter Ind celebrated his 75th Birthday, stating he is three quarters of the way there now, on the bandstand of the cutting-edge Chelsea club. The evening's high spot was Ind's double bass duet with US star Rufus Reid. Standing shoulder to shoulder, these veterans swapped counterpoint ideas on Body And Sould and Eddie Durhsm's old favourite, Topsy, with remarkable delicacy. An unexpected treat, it was like watching bull elephants tap-dancing."
Jack Massarik, The Evening Standard
"Reid, particularly, creates inimitable string bass rhythms and harmonies that he employs both within the ensemble and, in solo, without. On one number he may set up a simple, droning, repeated phrase (like Miles Davis' undercurrent of bass lines in his last years); on another, Reid can set up rhythms and rhythmic variations against which [Billy] Hart can improvise on his kit and Barron can use as a departure point for his own keyboard variations." (Review of Kenny Barron Quintet) Review of Kenny Barron Quintet at Yoshi’s
Philip Elwood, San Francisco Examiner - March 9, 2000
"His presence in this country is a rare treat, and his incredibly smooth walking bass lines provided an assured foundation for the London Jazz Orchestra’s arrangements. He has a tone rich enough to threaten the audience with the confessional - the pleasure of hearing it narrowly misses being one of the cardinal sins - and his solos are so melodic several of this reviewer’s discs are in danger of wearing out."
Sholto Byrnes , The Independent Newspaper, London, England - June 4, 2002
"Rufus is known for his ability to play with elastic strength. While the transcription accurately represents the notes and rhythms, you should listen to the solo to experience the organic feeling and sound Rufus draws out of his bass."
Transcription notes, "Embraceable You"
John Goldsby, Bass Player Magazine - March 1999
"Reid with his rich, solid bass sonority, plays marvelously musical choruses which are models of melodic, rhythmic and harmonic richness."
Review of The duMaurier Atlantic Jazz Festival
Stephen Pedersen, The Chronicle-Herald, Halifax, Nova Scotia - 1998
"So in a nutshell, the bass player’s job is really very simple: just play all the right notes in all the right places. Then after the other players have had their say, the bassist gets to solo, and nobody does all of those things better than Rufus Reid. And as if all that were not enough to occupy one busy bassist, Reid is a dedicated jazz educator."
Bob Bernotas, Jazz Player Magazine - Dec/Jan 1998
"Green and Reid play with a degree of subtlety, sensitivity and tonal polish that one rarely encounters in improvised swing music... Reid answered him with long and elegant lines, his legato touch so persuasive that one almost might have thought he was using a bow."
Review of Benny Green and Rufus Reid Duo at the Jazz Showcase
Howard Reich, Chicago Tribune - March 18, 1999
"Reid displayed a daunting mastery of the concerto’s shifting moods. He shored up the weaker transitions with deftly-woven glissandos. Both his presence and his playing gave the piece it’s spine."
Review of "Two Faces" Concerto by Benny Golson, Lincoln Center
Gene Seymour, New York Newsday - Oct. 23, 1992
"Reid is widely respected as both an educator in New Jersey by day and a partner to Manhattan’s top jazz musicians at night...Reid’s solos were cogently and forcefully argued. Even in his most widely intuitive fantasizings, he remained close by the tune. His harmonic explorations ranged wide, yet he never lost his audience or the band."
Review of Fiesta Jazz Festival
Mike Greenberg, Express News, San Antonio, TX
"It was all highly uncompromising creatively challenging fare, especially for a mall concert before a general audience. Yet it must be judged successful, since hardly any of the audience departed during the long set. The high artistic level of the music, and the success it had in holding an audience, suggests that jazz can reach wider audiences and be appreciated without being adulterated or diluted."
Review of concert at Willowbrook Mall, Wayne, New Jersey
George Kanzler, The Star-Ledger, NJ
Tribune arts critic (2004)-By Howard Reich
"Peter Ind celebrated his 75th Birthday, stating he is three quarters of the way there now, on the bandstand of the cutting-edge Chelsea club. The evening's high spot was Ind's double bass duet with US star Rufus Reid. Standing shoulder to shoulder, these veterans swapped counterpoint ideas on Body And Sould and Eddie Durhsm's old favourite, Topsy, with remarkable delicacy. An unexpected treat, it was like watching bull elephants tap-dancing."
Jack Massarik, The Evening Standard
"Reid, particularly, creates inimitable string bass rhythms and harmonies that he employs both within the ensemble and, in solo, without. On one number he may set up a simple, droning, repeated phrase (like Miles Davis' undercurrent of bass lines in his last years); on another, Reid can set up rhythms and rhythmic variations against which [Billy] Hart can improvise on his kit and Barron can use as a departure point for his own keyboard variations." (Review of Kenny Barron Quintet) Review of Kenny Barron Quintet at Yoshi’s
Philip Elwood, San Francisco Examiner - March 9, 2000
"His presence in this country is a rare treat, and his incredibly smooth walking bass lines provided an assured foundation for the London Jazz Orchestra’s arrangements. He has a tone rich enough to threaten the audience with the confessional - the pleasure of hearing it narrowly misses being one of the cardinal sins - and his solos are so melodic several of this reviewer’s discs are in danger of wearing out."
Sholto Byrnes , The Independent Newspaper, London, England - June 4, 2002
"Rufus is known for his ability to play with elastic strength. While the transcription accurately represents the notes and rhythms, you should listen to the solo to experience the organic feeling and sound Rufus draws out of his bass."
Transcription notes, "Embraceable You"
John Goldsby, Bass Player Magazine - March 1999
"Reid with his rich, solid bass sonority, plays marvelously musical choruses which are models of melodic, rhythmic and harmonic richness."
Review of The duMaurier Atlantic Jazz Festival
Stephen Pedersen, The Chronicle-Herald, Halifax, Nova Scotia - 1998
"So in a nutshell, the bass player’s job is really very simple: just play all the right notes in all the right places. Then after the other players have had their say, the bassist gets to solo, and nobody does all of those things better than Rufus Reid. And as if all that were not enough to occupy one busy bassist, Reid is a dedicated jazz educator."
Bob Bernotas, Jazz Player Magazine - Dec/Jan 1998
"Green and Reid play with a degree of subtlety, sensitivity and tonal polish that one rarely encounters in improvised swing music... Reid answered him with long and elegant lines, his legato touch so persuasive that one almost might have thought he was using a bow."
Review of Benny Green and Rufus Reid Duo at the Jazz Showcase
Howard Reich, Chicago Tribune - March 18, 1999
"Reid displayed a daunting mastery of the concerto’s shifting moods. He shored up the weaker transitions with deftly-woven glissandos. Both his presence and his playing gave the piece it’s spine."
Review of "Two Faces" Concerto by Benny Golson, Lincoln Center
Gene Seymour, New York Newsday - Oct. 23, 1992
"Reid is widely respected as both an educator in New Jersey by day and a partner to Manhattan’s top jazz musicians at night...Reid’s solos were cogently and forcefully argued. Even in his most widely intuitive fantasizings, he remained close by the tune. His harmonic explorations ranged wide, yet he never lost his audience or the band."
Review of Fiesta Jazz Festival
Mike Greenberg, Express News, San Antonio, TX
"It was all highly uncompromising creatively challenging fare, especially for a mall concert before a general audience. Yet it must be judged successful, since hardly any of the audience departed during the long set. The high artistic level of the music, and the success it had in holding an audience, suggests that jazz can reach wider audiences and be appreciated without being adulterated or diluted."
Review of concert at Willowbrook Mall, Wayne, New Jersey
George Kanzler, The Star-Ledger, NJ
"Linear Surroundings" Performance
Ravinia, Highland Park, IL
Rarely has a jazz or classical composer merged the two worlds as seamlessly in a chamber-music setting as Reid has in "Linear Surroundings," which evokes the radiant spirit of Samuel Barber's "Knoxville, Summer of 1915," though steeped in a jazz-blues sensibility. To hear vocalist Dana Hanchard pooling long, sensuous phrases that were echoed and embellished by seven instrumentalists -- each drawing on classical and jazz techniques -- was to encounter a nearly ideal performance of a translucent, musically substantive score.
Howard Reich, Chicago Tribune, June, 2006
The Composer
"Rufus Reid not only has elevated his song writing to a new level, he has broadened the scope and deepened the dimensions of postbop with his extraordinary sense of movement."
Lloyd Sachs, Chicago Sun Times
"It's a beautiful set, one gigantic musical passage after another; there's a potpourri of rhythmic stylings and pulses. Really, there's just a lot of great musical stuff here that will keep you listening repeatedly."
Jon W. Poses, Columbia Daily Tribune
Jon W. Poses, Columbia Daily Tribune
"Our decision was unanimous. 'Skies Over Emilia' is an impressive work, and reflects the high standards of the Jazz Composers Workshop."
Dan Morganstern, speaking on behalf of all the judges Charlie Parker Jazz Composition Prize August, 2000
Dan Morganstern, speaking on behalf of all the judges Charlie Parker Jazz Composition Prize August, 2000
"Rufus Reid is a stalwart of the bottom line, having played on seemingly countless albums and tours. His newest album as a leader, appropriately titled 'The Gait Keeper' (Sunnyside) could additionally establish his credentials as a composer of note. The original tunes on this quintet session manage to be both visceral and thoughtful, and they provide ample fodder for improvisational variation."
Review of "The Gait Keeper" (Sunnyside)
Nate Chinen, JazzTimes
"It has been said that a true craftsman never stops creating. This is certainly true of Rufus Reid's latest masterpiece. 'Celestial Dance' is perhaps the most unique piece included in this palette by the bassist. After almost four decades of playing and touring, Rufus has found yet another fresh challenge - this new quintet and his writing. Congratulations on this most recent project and outstanding recording."
Review of "The Gait Keeper" (Sunnyside)
Paul Pearce, Bass World, Journal of the ISB
"'The Meddler' is a kind of groove-based blues that's infectious and playful, showcasing everyone in a kind of cast call. The album's closer, "Seven Minds," opens with alternately juicy and impressionistic arco bass playing from the leader and closes the show with a great theme that leaves you wanting more."
Review of "The Gait Keeper" (Sunnyside)
John Ephland, Downbeat Magazine
"Bassist Reid has never been known as a composer, so it's a very pleasant surprise to find him leading this quintet in a program of original pieces. One of the differences between this date and most quintet outings is that the rhythm section is much more of an equal voice in this ensemble. There's a sense of space with this group that allows even the trickiest piece to appear familiar. Tenor saxophonist Rich Perry is a standout soloist, pianist John Stetch is excellent and drummer Montez Coleman makes the varied and often complex forms seem natural."
Review of "The Gait Keeper" (Sunnyside)
Jim's Top 10 CDs of 2003
The Cat's Meow
Eugene, OR
"'The Gait Keeper' exemplifies not only his giant technical prowess but his sensitivity and energy. Reid has put together a top-flight five-piece group, one that can move and shake, knows how to examine and investigate and offers a respectful nod to its predecessors. It's a beautiful set, from the reggae-tinged "The Meddler" right through the final note of "Seven Minds." There's a potpourri of rhythmical stylings and pulses, really, there's just a lot of great musical stuff here that will keep you listening repeatedly."
Review of "The Gait Keeper" (Sunnyside)
Jon W. Poses, Columbia Daily Tribune, Missouri
"Featuring a selection of newly composed works within the context of his handpicked intergenerational group, "The Gait Keeper" opens a new passage into Reid's evolving musical persona. Always the master mentor, Reid has made certain that a tight quintet is on hand to interpret his original compositions. The soulful "You Make Me Smile" features Rich Perry's full tenor tone and the tasteful trumpet vibrato of Fred Hendrix. John Stetch's piano stands out on both "Ode To Ray" and the capricious "Whims of The Bluebird." The complex title piece has drummer Montez Coleman at the helm as the ensemble jointly navigates through its distinct compositional divisions. His solo on "The Meddler" allows the bass to reach its full potential with an intricate melodic line rooted within the greater rhythmic contour. Reid assures that everyone is in step on the suitably titled Gait Keeper.
Review of "The Gait Keeper" (Sunnyside)
Elliott Simon, All About Jazz-New York
"The Gait Keeper sees the bassist shift his compositional attentions to the type of small group setting in which he is most used to performing. The Gait keeper is a masterclass in imaginative and hip, in-the-pocket swinging jazz."
Review of "The Gait Keeper" (Sunnyside)
Matthew Simpkins, Double Bassist - Autumn 2003
"This delightful session is sure to thrill admirers of both Ind and Reid and this evident labour of love is a joy to recommend."
Review of "Your And Mine" Rufus Reid/Peter Ind CD (Wave Records)
David Lewis, Cadence Magazine - September 2000
"Moore's luminous tone and stunning solos, complemented perfectly by Reid's more deliberate approach, have perhaps never been better captured on record. At once firmly rooted in tradition, yet entirely fresh and contemporary, this is music which transcends the limitations of its format and should appeal not just to bassists, but to anyone with open ears and a love of good jazz."
Review of "The Intimacy of The Bass" Rufus Reid/Michael Moore CD (Double Time)
Simon Wolff, Double Bassist Magazine (UK) - January 2000
"Moving from peak to peak like a skilled mountaineer, Rufus Reid maintains firm section control without being domineering and turns out solos that always put emotion above his unassailable technique."
Review of "The Best of The Last Ten Years, Passing Thoughts", TanaReid (Concord)
Richard Johnston, Bass Player Magazine - January 1999
"Reid has been a quiet force on the jazz scene for years. anchoring groups from Dexter Gordon to Bobby Hutcherson. His most obvious strong suit has been the deep-grooved swing, but the live "Corridor To The Limits" makes it clear there are several more equally important sides to Reid."
Review of "Corridor To The Limits", Rufus Reid Trio with Harold Land (Sunnyside)
Bob Young, Jazziz Magazine - January 1991
"Reid possesses a warm, round sound, an extraordinary technique and an expansive music sensibility, a combination that has made him one of the day's most sought-after bassists."
Review of "Seven Minds", Rufus Reid Trio (Sunnyside Communications, Inc)
Chuck Berg, Lawrence Journal World - Dec. 29, 1985
***** (5 stars) "...the album (Perpetual Stroll) is clearly a showcase for the superb playing of Rufus Reid. His work here is a virtual catalog of modern bass technique, tempered by his infallible musicianship. The man has taste...Reid has mastered the art of packing tremendous intensity into a few well-chosen notes. All of Reid's solos begin with articulate melodic statements that are logically developed and extended..."
Review of "Perpetual Stroll", Rufus Reid Trio (Sunnyside Communications)
Jim Roberts, DownBeat Magazine - December 1981
"Rufus Reid is simply one of the most brilliant specialist of the instrument."
Review of "Mirth Song", Rufus Reid/Harold Danko Duo CD (Sunnyside)
Alain Gerber, Jazz Magazine (France)
"The double-bass solo can be a thing of glory--Rufus Reid's solo on Stan Getz's album Anniversary is one of the most sensuous sounds imaginable."
Sholto Byrnes, The Independent Arts and Books Review, London
"The (Stamm/Soph Project) session has a palpable sense of enjoyment to it. (This, by the way, is due in large to the presence of Reid, whose energy always comes through loud and clear.) Reid is fabulous throughout, combining light melodicism with heavy bottom end."
Review of "The Stamm/Soph Project" CD (Marstamm)
Jason Bivins, Cadence - August 2001
"With his surehanded sense of time, great feel and big, round sound, Reid lifts any project he takes on."
Review of "Sunup to Sundown" Kenny Burrell CD
Richard Johnston, Bass Player Magazine
Review of "The Gait Keeper" (Sunnyside)
Nate Chinen, JazzTimes
"It has been said that a true craftsman never stops creating. This is certainly true of Rufus Reid's latest masterpiece. 'Celestial Dance' is perhaps the most unique piece included in this palette by the bassist. After almost four decades of playing and touring, Rufus has found yet another fresh challenge - this new quintet and his writing. Congratulations on this most recent project and outstanding recording."
Review of "The Gait Keeper" (Sunnyside)
Paul Pearce, Bass World, Journal of the ISB
"'The Meddler' is a kind of groove-based blues that's infectious and playful, showcasing everyone in a kind of cast call. The album's closer, "Seven Minds," opens with alternately juicy and impressionistic arco bass playing from the leader and closes the show with a great theme that leaves you wanting more."
Review of "The Gait Keeper" (Sunnyside)
John Ephland, Downbeat Magazine
"Bassist Reid has never been known as a composer, so it's a very pleasant surprise to find him leading this quintet in a program of original pieces. One of the differences between this date and most quintet outings is that the rhythm section is much more of an equal voice in this ensemble. There's a sense of space with this group that allows even the trickiest piece to appear familiar. Tenor saxophonist Rich Perry is a standout soloist, pianist John Stetch is excellent and drummer Montez Coleman makes the varied and often complex forms seem natural."
Review of "The Gait Keeper" (Sunnyside)
Jim's Top 10 CDs of 2003
The Cat's Meow
Eugene, OR
"'The Gait Keeper' exemplifies not only his giant technical prowess but his sensitivity and energy. Reid has put together a top-flight five-piece group, one that can move and shake, knows how to examine and investigate and offers a respectful nod to its predecessors. It's a beautiful set, from the reggae-tinged "The Meddler" right through the final note of "Seven Minds." There's a potpourri of rhythmical stylings and pulses, really, there's just a lot of great musical stuff here that will keep you listening repeatedly."
Review of "The Gait Keeper" (Sunnyside)
Jon W. Poses, Columbia Daily Tribune, Missouri
"Featuring a selection of newly composed works within the context of his handpicked intergenerational group, "The Gait Keeper" opens a new passage into Reid's evolving musical persona. Always the master mentor, Reid has made certain that a tight quintet is on hand to interpret his original compositions. The soulful "You Make Me Smile" features Rich Perry's full tenor tone and the tasteful trumpet vibrato of Fred Hendrix. John Stetch's piano stands out on both "Ode To Ray" and the capricious "Whims of The Bluebird." The complex title piece has drummer Montez Coleman at the helm as the ensemble jointly navigates through its distinct compositional divisions. His solo on "The Meddler" allows the bass to reach its full potential with an intricate melodic line rooted within the greater rhythmic contour. Reid assures that everyone is in step on the suitably titled Gait Keeper.
Review of "The Gait Keeper" (Sunnyside)
Elliott Simon, All About Jazz-New York
"The Gait Keeper sees the bassist shift his compositional attentions to the type of small group setting in which he is most used to performing. The Gait keeper is a masterclass in imaginative and hip, in-the-pocket swinging jazz."
Review of "The Gait Keeper" (Sunnyside)
Matthew Simpkins, Double Bassist - Autumn 2003
"This delightful session is sure to thrill admirers of both Ind and Reid and this evident labour of love is a joy to recommend."
Review of "Your And Mine" Rufus Reid/Peter Ind CD (Wave Records)
David Lewis, Cadence Magazine - September 2000
"Moore's luminous tone and stunning solos, complemented perfectly by Reid's more deliberate approach, have perhaps never been better captured on record. At once firmly rooted in tradition, yet entirely fresh and contemporary, this is music which transcends the limitations of its format and should appeal not just to bassists, but to anyone with open ears and a love of good jazz."
Review of "The Intimacy of The Bass" Rufus Reid/Michael Moore CD (Double Time)
Simon Wolff, Double Bassist Magazine (UK) - January 2000
"Moving from peak to peak like a skilled mountaineer, Rufus Reid maintains firm section control without being domineering and turns out solos that always put emotion above his unassailable technique."
Review of "The Best of The Last Ten Years, Passing Thoughts", TanaReid (Concord)
Richard Johnston, Bass Player Magazine - January 1999
"Reid has been a quiet force on the jazz scene for years. anchoring groups from Dexter Gordon to Bobby Hutcherson. His most obvious strong suit has been the deep-grooved swing, but the live "Corridor To The Limits" makes it clear there are several more equally important sides to Reid."
Review of "Corridor To The Limits", Rufus Reid Trio with Harold Land (Sunnyside)
Bob Young, Jazziz Magazine - January 1991
"Reid possesses a warm, round sound, an extraordinary technique and an expansive music sensibility, a combination that has made him one of the day's most sought-after bassists."
Review of "Seven Minds", Rufus Reid Trio (Sunnyside Communications, Inc)
Chuck Berg, Lawrence Journal World - Dec. 29, 1985
***** (5 stars) "...the album (Perpetual Stroll) is clearly a showcase for the superb playing of Rufus Reid. His work here is a virtual catalog of modern bass technique, tempered by his infallible musicianship. The man has taste...Reid has mastered the art of packing tremendous intensity into a few well-chosen notes. All of Reid's solos begin with articulate melodic statements that are logically developed and extended..."
Review of "Perpetual Stroll", Rufus Reid Trio (Sunnyside Communications)
Jim Roberts, DownBeat Magazine - December 1981
"Rufus Reid is simply one of the most brilliant specialist of the instrument."
Review of "Mirth Song", Rufus Reid/Harold Danko Duo CD (Sunnyside)
Alain Gerber, Jazz Magazine (France)
"The double-bass solo can be a thing of glory--Rufus Reid's solo on Stan Getz's album Anniversary is one of the most sensuous sounds imaginable."
Sholto Byrnes, The Independent Arts and Books Review, London
"The (Stamm/Soph Project) session has a palpable sense of enjoyment to it. (This, by the way, is due in large to the presence of Reid, whose energy always comes through loud and clear.) Reid is fabulous throughout, combining light melodicism with heavy bottom end."
Review of "The Stamm/Soph Project" CD (Marstamm)
Jason Bivins, Cadence - August 2001
"With his surehanded sense of time, great feel and big, round sound, Reid lifts any project he takes on."
Review of "Sunup to Sundown" Kenny Burrell CD
Richard Johnston, Bass Player Magazine
The Educator
“It was so great to hear you play on many occasions and watch you interact with the students during the last two weeks. You sounded fantastic as always. Your ability to "say it with less" is remarkable. You continue to evolve and inspire me in so many ways. I cherish your friendship.”
All the best,
Lynn Seaton, July 11, 2005
“Rufus Reid is the evolving bassist. His 30-plus-year career has been a journey through many roles, and he’s always looking for new ways to spread his influence as a bassist, teacher, composer, and bandleader. Reid’s books The Evolving Bassist and Evolving Upward have long been indispensable guides for aspiring jazzers, and his inspired instruction at jazz clinics worldwide has reached countless players. Reid has earned a reputation as one of our most consistent, creative, and adaptable jazz bassists.”
John Goldsby, Bass Player Magazine, March, 1999
”Your commitment to the students was very obvious and I have received very positive feedback from your presentations. Your acknowledged reputation in this area became very evident throughout the event.”
Pat Crichton, Artistic Director
‘JAZZ AUSTRALIA’ Perth, Australia
“I, of course, had known that you are a great musician, but knew nothing of your educational expertise. You certainly proved yourself. Your upbeat personality and constant energy were a joy to watch. Five minutes with you and my students stopped feeling nervous. I learned that you are a fine arranger and composer on top of all your other attributes.”
John Paddon, Lyndon Institute, Lyndon Center, Vermont
“While Rufus’ energy outdistanced that of the students, they would have enjoyed spending even more time with him. His considerable experience teaching, his fantastic artistic gift and his genuinely caring personality endeared him to the students and enabled them to accomplish much in a short time. He showed us just how much depth could be realized from his compositions.”
Matthew McGarrell, Brown University, Providence, Rhode Island
“It is very difficult to find world-class musicians who can actually teach and relate to students and other teachers. As an active participant/organizer for 26 years of festivals, I can honestly say that you were one of the best we have had the pleasure of hosting.”
Ron Keezer, Associate Director, University of Wisconsin-Eau Claire
All the best,
Lynn Seaton, July 11, 2005
“Rufus Reid is the evolving bassist. His 30-plus-year career has been a journey through many roles, and he’s always looking for new ways to spread his influence as a bassist, teacher, composer, and bandleader. Reid’s books The Evolving Bassist and Evolving Upward have long been indispensable guides for aspiring jazzers, and his inspired instruction at jazz clinics worldwide has reached countless players. Reid has earned a reputation as one of our most consistent, creative, and adaptable jazz bassists.”
John Goldsby, Bass Player Magazine, March, 1999
”Your commitment to the students was very obvious and I have received very positive feedback from your presentations. Your acknowledged reputation in this area became very evident throughout the event.”
Pat Crichton, Artistic Director
‘JAZZ AUSTRALIA’ Perth, Australia
“I, of course, had known that you are a great musician, but knew nothing of your educational expertise. You certainly proved yourself. Your upbeat personality and constant energy were a joy to watch. Five minutes with you and my students stopped feeling nervous. I learned that you are a fine arranger and composer on top of all your other attributes.”
John Paddon, Lyndon Institute, Lyndon Center, Vermont
“While Rufus’ energy outdistanced that of the students, they would have enjoyed spending even more time with him. His considerable experience teaching, his fantastic artistic gift and his genuinely caring personality endeared him to the students and enabled them to accomplish much in a short time. He showed us just how much depth could be realized from his compositions.”
Matthew McGarrell, Brown University, Providence, Rhode Island
“It is very difficult to find world-class musicians who can actually teach and relate to students and other teachers. As an active participant/organizer for 26 years of festivals, I can honestly say that you were one of the best we have had the pleasure of hosting.”
Ron Keezer, Associate Director, University of Wisconsin-Eau Claire
Rufus Reid, bass, with Mulgrew Miller, piano and Lewis Nash, drums
Warner Brothers Music, #905699
There are quite a few educational or instructional DVD’s on the market, and there will no doubt be many more as players, educators and fans realize what a great medium this is. As an avid reader, I would never say a bad thing about a book, but given the oral and aural tradition of Jazz, it seems obvious that a DVD offers advantages in sight and sound. When one can have a veteran teacher and great bassist like Rufus Reid in one’s home, at any time--one can hear and see him speak, play, and sing--that is tremendous. A wonderful product from the original Evolving Bassist.
Chris Kosky
ISB Magazine
...lately I was searching for something new to keep my approach fresh, and I've found the book to be just the thing to keep things happening. Thank you for contributing to my search.
Andy Raciti, Assistant Principle Bass
The Sydney Symphonic Orchestra
I am going to encourage every bass player I know to get the DVD (Like the book, it's too valuable a resource to lend it to anyone.)
Dan Sagraves
I watched and listened intently anticipating a highly intellectual monologue on the finer points of double bass playing...leaving me hopelessly out of depth...but it never happened. Instead here was this really sweet...kindly man who came across in the most non threatening manner...to captivate and interest the student with wonderful ideas and thoughts about bass playing...It would have been nice if you also taught Thermo Dynamics, Calculus etc. I think I would have done a lot better at night school. Your ability to simplify the process of bass playing is just marvelous.
Steve Colin-Thome
I wanted to compliment you on your excellent instructional DVD which I got a
few days ago. A first class set of lessons! Even though I have been
playing jazz jobs for several years, I still got a lot of things to think
about from your lessons.
Thanks,
Warner Brothers Music, #905699
There are quite a few educational or instructional DVD’s on the market, and there will no doubt be many more as players, educators and fans realize what a great medium this is. As an avid reader, I would never say a bad thing about a book, but given the oral and aural tradition of Jazz, it seems obvious that a DVD offers advantages in sight and sound. When one can have a veteran teacher and great bassist like Rufus Reid in one’s home, at any time--one can hear and see him speak, play, and sing--that is tremendous. A wonderful product from the original Evolving Bassist.
Chris Kosky
ISB Magazine
...lately I was searching for something new to keep my approach fresh, and I've found the book to be just the thing to keep things happening. Thank you for contributing to my search.
Andy Raciti, Assistant Principle Bass
The Sydney Symphonic Orchestra
I am going to encourage every bass player I know to get the DVD (Like the book, it's too valuable a resource to lend it to anyone.)
Dan Sagraves
I watched and listened intently anticipating a highly intellectual monologue on the finer points of double bass playing...leaving me hopelessly out of depth...but it never happened. Instead here was this really sweet...kindly man who came across in the most non threatening manner...to captivate and interest the student with wonderful ideas and thoughts about bass playing...It would have been nice if you also taught Thermo Dynamics, Calculus etc. I think I would have done a lot better at night school. Your ability to simplify the process of bass playing is just marvelous.
Steve Colin-Thome
I wanted to compliment you on your excellent instructional DVD which I got a
few days ago. A first class set of lessons! Even though I have been
playing jazz jobs for several years, I still got a lot of things to think
about from your lessons.
Thanks,
Steve Menegaz, Houston, Texas
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