Downbeat Magazine
May 2007
by Ken Micallef
Synth specialist Pete Levin has veered into organ
territory. The New York artist has a serious keyboard
resume (playing with the likes of John Scofield, Miles Davis
and Gil Evans), so you'd expect him to lay down some real
grease and gravy on Deacon Blues, his first album to
embrace the Hammond B-3. Levin and company play
it cool for much of the album, but when the
group catches fire, as on "Dragonfly" and "Uptown,"
Deacon Blues glows with purpose. Drummer Danny
Gottlieb floats like a bee on the circuitously flammable
"Dragonfly," which also features some of Levin's best B-3
work, and everyone smokes on "Uptown," a classic organ trio
cooker. The date's a mixed bag, but one that offers some moments of white-knuckled heat. |
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Jazz Times
May 2007Deacon Blues
Pete Levin
by Bill Meredith
Keyboardist Pete Levin has remained under the radar,
especially when compared to bass-playing brother Tony Levin
(Peter Gabriel, King Crimson), by playing as a sideman and
working in TV and film over the past 40 years. Deacon Blues
is a rare solo release, and features the synthesizer
specialist playing Hammond organ exclusively.
Early cuts, like covers of Steely Dan (the title track)
and the Beach Boys (“Sail On Sailor”) succeed through
Levin’s interplay with drummer Danny Gottlieb and guitarists
Joe Beck and Mike DeMicco. Brother Tony contributes bass on
a few tracks, freeing up the keyboardist from his
simultaneous bass pedals and resulting in the disc’s best
performance, a creative Levin arrangement of classical
composer Erik Satie’s “First Gymnopedie.” |
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Blue Railroad Magazine
May 2007Pete Levin: Deacon Blues
by Paul Zollo
He's one of the greatest studio cats around - he's played
synth and organ for a multitude of legends. Now here comes another
turn for Pete Levin to shine, this being his fourth solo
album, and it's a magical and soulfully swinging song cycle
that all fans of virtuosic jazz will seriously dig. Great
chops, great vibes, great time spent deep in the pocket of
the music. The man knows how to make a Hammond B-3 sing.
With about as solid of a crew of supporting players as any
musician could dream. This record cooks and
sizzles with high-life jazz intensity. |
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VINTAGE GUITAR MAGAZINE
HIT LIST REVIEWS
April, 2007
Levin is a keyboard specialist who for the past few decades
has played with the best in the business. On this set
for "Deacon Blues", he concentrates on
Hammond organ and lines up two of his favorite guitarists - Joe Beck,
one of the real giants of fusion, and Mike DeMicco, whose
original "Eclipse" is a hard bopper that finds him playing
around the changes about as well as anyone.
Overall, this is a hard-driving set that also features his
brother Tony on bass and drummer
Danny Gottlieb in a relaxed session that lets everyone show
their skills. - JH |
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Guitar World's BASS GUITAR
March 2007
by Bill Murphy
Hammond organist Pete Levin's slightly more famous brother
Tony joins him here on five-string fretless, and it's clear
from the opening strains of the Steely Dan title cover that
the two had a blast. An airy version of avant-garde composer
Erik Satie's "First Gymnopedie" is the arguable centerpiece,
with both Levins logging seamlessly sympatico performances. |
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Audiophile Audition
Pete Levin, B-3 - Deacon Blues - Motéma
A B-3-based album with a difference
May 2007
by John Henry
Pete Levin, B-3 - Deacon Blues - Motéma MTM 0008, 66 min.
*****
Since Levin has been doing all sorts of other musical gigs
in recent years and hasn't been performing regularly in a
typical B-3 trio format, he brings a fresh new approach to
his role as the band leader on this new disc. The tunes here
are not at all the typical ones you might hear on a B-3 trio
album. The 60s Blue Note sound is prominent in Uptown.
An
unexpectedly welcome tune to my ears is Ralph Towner's
vehicle for the band Oregon, Icarus. Two Jimmy Giuffre
compositions grace the CD - another brave foray by Levin
into challenging compositional territory, but beautifully
handled. The whole CD
has so much more depth and density than the typical B-3 trio
album that most of the competition pales in comparison. |
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Progression Magazine
March 2007
by Eric HarabadianPete Levin should
certainly be counted among the Hammond Organ’s modern masters
as he has served as a session artist and touring sideman for
decades. On “Deacon Blues” he comes center stage with a post-bop
oriented agenda that highlights swinging original
compositions, empathic players and a great overall vibe. |
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Daily Freeman
Kingston, NY
March, 2007
by David MalachowskiVenerable musician Pete Levin has played with a dizzying
array of superstars, but with
Deacon Blues, he has a lot to say himself, and we should all
stop and listen.
Bringing in the heavyhitter soloists certainly makes this
outing a real treat, but make no mistake, Levin is never
overshadowed here, he in fact is the reason why the others
are able to soar, and he does himself time and again.
A true master musician, Levin is never shackled by genre or
form, if he thinks it, he can play it. But Deacon Blues is a
real jazz record and all you have to do is listen, and
smile. |
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Sea of Tranquility
February 12th 2007
by Pete Pardo
Score: * * * *
Normally known for his synthesizer prowess, Levin's Hammond
skills are upfront and center here on Deacon Blues. Listen
to him add his smoky tone alongside the smooth as silk
trappings from ace guitar veteran Joe Beck. Mike DeMicco
also gets room to shine, dueling with Tony Levin's slippery bass
lines on the laid back "Sad Truth", and laying down liquid lines
on "Eclipse".
Despite all this guitar wizardry, this is really a vehicle
for the great Hammond playing of Pete Levin, which is
probably no more stunning than on the wonderful "First
Gymnopedie", where he really digs in and stretches for some
sumptuous lines that would make the late Jimmy Smith proud.
B3 lovers get ready-Deacon Blues is a feast for the ears,
and a super treat for Hammond fans. |
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Poughkeepsie Journal
Indulge in Levin's love of jazz
February 23, 2007
By John BarryPete Levin undulges his love of jazz
on his new CD, "Deacon Blues." He really tears it up, rips it apart
and sews it all back together on the Hammond organ.
His training ranges from classical to rock and jazz, with short
shops at banjo bands and weirder, but his love of jazz keeps bringing him back to
that genre, where he's very well known, having played live with
many groups, and recorded with even more. So it's good to
see Pete choosing the material he digs and 'giving it some'
on the Hammond B3. The sound is classic, and his playing is
terrific. But he seems to have always gotten his
biggest musical kicks while performing live. And the music
he loves to perform live is jazz. |
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Blog Critics Magazine (online)
Music Review: Indie Round-Up
March 02, 2007
by Jon SobelThe new CD by Pete Levin, the venerable New
York synthesizer and Hammond organ specialist is a set of
pleasant, energetic Adult Contemporary jazz with occasional
bursts of fusion energy.
Levin's solid, tasty touch on the Hammond is the
constant, while longtime collaborator Danny Gottlieb's
pastel-colorful drumming anchors the group. |
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goodsound.com
March 1, 2007
By Shannon Holliday
Musical
Performance |
|
Sound
Quality |
|
Overall
Enjoyment |
|
Keyboardist Pete Levin breaks
new ground in this release, highlighting his skills on
Hammond B-3 organ. He is abetted by a talented selection of
musicians that includes guitarists Joe Beck and Mike
DeMicco; Levin’s bassist brother, Tony; percussionists
Carlos Valdez and Ken Lovelett; and drummer Danny Gottlieb. The contemporary
jazz produced by this group is exploratory and
improvisational.
Deacon Blues is one album to turn up loud and listen to
in awe -- at a group of jazz masters having fun. |
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A new stage
Times Union, Albany, NY
March 29, 2007
By Greg Haymes
Levin is gearing up to promote his new disc "Deacon Blues" on the
Motema Music label; it's his first CD as a bandleader in
years. Backed by an ace band of musicians – including
guitarists Joe Beck and Mike DeMicco, drummer Danny Gottlieb
and his bassist brother Tony – Levin has crafted an elegant,
eclectic album on the Hammond organ. Despite the wide range of song sources, the album positively
hums along. |
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jazzreview.com
april 2007
by Thomas R. Erdmann
Keyboardist and synthesist Pete Levin is one of the more
interesting musicians working today. On Deacon Blues,
Levin’s ninth recording as a leader, Levin performs solely on the Hammond
B-3, rocking immediately and throughout. From the opening
of the first tune, a workout of Donald Fagan’s “Deacon
Blues,” to the last note of the standard “Mean To Me,” Levin
and his cohorts not only don’t stop to take prisoners, they
run roughshod over the terrain leaving behind burned out
husks of life where their path tread. On each and every tune, all
the musicians just as supportive and hard-driving as the
leader. On the guitar chair, Beck is more percussive and
punctuating in his guitar style and matches Levin precisely
on “Deacon Blues” and Ralph Towner’s “Icarus,” while DeMicco
seeks to splash more with extended chordal layering, each to
brilliant effect. With the addition of the drummers and
percussionists, who serve to work up an astounding implosive
drive on each and every tune, there just isn’t a bad cut on
the disc. |
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Rochester City Newspaper
Apr. 4th, 2007
By Ron Netsky
Organist Pete Levin has been a vital force in the jazz and
pop music worlds since the 1970s. Deacon Blues features
Joe Beck and Mike DeMicco on guitars, soloing beautifully at every turn. But the obvious
star is Levin who, aside from providing some original
soul-jazz tunes (notably "Uptown"), takes the Hammond B-3
for wild rides on rock classics like Steely Dan's title
track, Brian Wilson's "Sail On Sailor," and a classical
classic, Erik Satie's "First Gymnopedie." |
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Nashville City Newspaper
March 23, 2007
RIFFS, By Ron WynnIt was Pete Levin's ability on
synthesizer that was featured during his stints with Gil
Evans, Paul Simon and Annie Lennox, but he sounds right at
home on organ throughout his new CD Deacon Blues (Motema),
whether doing slow grooves, moving into bop territory or
doing contemporary pieces like “Once Lost.” |
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Cadence
The Review of Jazz & Blues: Creative improvised music
June, 2007
lf you're heavily into the music of Gil
Evans then you should know veteran keyboardist Pete Levin. For
his latest endeavor, the synthesizer whiz returns to one of
his primary loves, the organ, and seems
to immensely enjoy this return to his roots. A nice
diversion from an always interesting musician. |
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Elmore Magazine
On The Record
June 2007
Pete Levin: Deacon Blues
by Robin The Hammer
What we have here is a disc full of great
playing by masters of the trade. Pete is known as a
synth wizard and an electronic visionary, but here he is
doing what he loves to do; playing the Hammond B-3.
The approach to the tunes is varied and skillful.
Levin lays back and features his players - the mark of a
good leader. The whole thing Swings. All in all,
a treat for fans of intimate, thoughtful jazz. |
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The Working Musician
More Sugar, March 2007
CD review by Roger-Z (01/20/07)
Pete Levin
"Deacon Blues"
Motéma Music MTM-0008 (release date 03/20/07)
Pete Levin made his name as a synthesizer
specialist with The Gil Evans Orchestra, Miles Davis, Paul
Simon, and Annie Lennox. He gets back to his roots on this
album. The guitar duties fall to Joe Beck and Mike DeMicco.
Danny Gottlieb handles most the drum tracks with Ken
Lovelett picking up the slack. The band
grooves incomparably. The music breathes and you can feel
the space.
The Levin penned
"Uptown," features tasteful, Wes Montgomery inspired
octave playing by Joe Beck. I always loved The
Beach Boy's "Sail on Sailor" but almost didn't recognize it
when I heard this bluesy arrangement featuring Mike DeMicco's stinging, single-note
solo. The magical first notes of Erik Satie's classic "First Gymnopedie" immediately grab
attention. Then suddenly, it shifts into a swing section
propelled by Danny Gottlieb's drums. Jimmy Giuffre's "Dragonfly" jumps out in full Mahavishnu
Orchestra mode, then segues into a swing section full of
intricate twists and turns. The atmospheric
"Might Have Been" features mighty organ waves and
Joe Beck's
searing guitar. Finally, the 1929 standard, "Mean To Me,"
features a wonderful "talking" solo by Levin and a great
"chording" improv by Joe Beck.
This beautifully packaged CD includes a comprehensive review
of each tune written by "Jazz Times" and "Jazziz"
contributor Bill Milkowski. This CD swings old school - real
musicians playing real music in real time. And where can you
find that nowadays?
©2007 Roger-Z |
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