Tim Ferguson: Press/reviews

June 29, 2010

CD Review: http://www.thisisbooksmusic.com/2010/06/28/review-stevens-siegel-ferguson-trio-six/

By John Book


Six (Konnex) is the sixth album Michael Jefry Stevens (piano), Jeff “Siege” Siegel (drums), and Tim Ferguson (bass) have recorded together as a 3-piece unit, even though they have done many other projects together in some combination for years. I know when I see any of their names, it’s in my mind a musical event, and together it means “stop what I’m doing, it’s time to listen to fantastic musicianship.”

As with previous albums together, they mix in their original songs along with classic jazz gems, in this case we have Thelonious Monk‘s “Straight No Chaser”, and the pop standard “It’s Only A Paper Moon” (made famous by, among many, Ella Fitzgerald and Nat King Cole). I think what I like the most about these three is the anticipation one has for their playing individually and as a unit, as if you’re friends of theirs and you’re encouraging them to a school yard battle. You don’t want to see them fight, but this battle is a must. You don’t care about who gets hurt, it’s about the goal of winning, and these three play as if there’s no tomorrow, but with such a spirit and dedication to jazz that you want to know when they’ll record or perform next. Think of any master of jazz, be it Phil Woods, John Coltrane, Charles Mingus, Dave Brubeck, Jack DeJohnette, or anyone, and you hear the echoes of them in Stevens, Siegel & Ferguson, whose reverberations on this album will soon be heard in the next generations of jazz to come.

http://www.midwestrecord.com/

STEVENS SIEGEL & FERGUSON TRIO/Six: Piano trio celebrates 20 years together with a new set for a new label. A warm and intimate set that covers the classics as well as originals in fine style, it leans toward the sitting down side of the ledger but over all, it’s a dandy audio getaway. When you’re together this long and you can still work together the simpatico washes over everything.

CHRIS SPECTOR, Editor and Publisher
Copyright 2010 Midwest Record

What’s Going On? Tom Dempsey, guitar and Tim Ferguson, bass.
This striking duo has been playing in and around New York City for some twenty years, and one can certainly recognize the result in both ease of performance and some deep musicianship. Primo selections include Billy Strayhorn’s “Isfahan,” Charlie Haden’s rarely heard ballad, “First Song” and some attractive arco bass playing on Mal Waldron’s classic, “Soul Eyes.”
City Tone Records, 2007, 64:11

CD Reviews - February 2008

CD Review: What's Going On?
Tom Dempsey and Tim Ferguson

Attention guitarists, this is how a recording should be put together. Spacious, lyrical, uncomplicated, yet filled with warm and embracing interplay. NYC based Tom Dempsey and bassist Tim Ferguson have been doing this kind of thing for almost twenty years; their mutual knowledge of music and each other after two decades is palpably evident on this fine release of (mostly) standards. Beautiful tunes like “Soul Eyes” and “Deep River” are given silhouette-like ambience. Sophisticated bop pieces like Hank Jones’ “Interface” and brother Thad’s “Three and One” are benefited by their jovial jousting. Selecting Marvin Gaye’s pop hit as a vehicle for improvisation was a selection of genius. Why do discs like this seem so easy, yet no one dares put them out? Look up this winner.


- George Harris

Get Out of Town
Stevens, Siegel & Ferguson | Imaginary Records

By Larry Taylor Get Out of Town features one of many unheralded groups out there which begs to be heard--three relatively unknown musicians in a trio setting who have been working together for some 18 years.
Michael Jefry Stevens on piano, Jeff Siegel on drums and Tim Ferguson on bass--veterans of the New York scene--make up this cooperative trio. Their time as a unit shows in the cohesive arrangements, which give each ample solo time to show off their talent.
Get Out of Town includes five standards, along with four originals, each displaying their compositional expertise.
The band's originality is heard immediately in both the hard-edged, spiky arrangement of “Get Out of Town,” and the catchy rendition of “Jeepers Creepers,” with its fugue-like beginning and ending, as well as Ferguson's standout bass.
Stevens' “The Last Embrace” features Ferguson’s probing bass again, along with Siegel's delicate cymbal work. Starting out languidly, Stevens contributes mightily on piano, effectively taking the piece to an exciting climax.
Ferguson’s “Momentum” gives his bass room to shine, as he puts down a Latin beat. Utilizing his consummate technique, his momentum steadily increases, buoyed by the steady piano and drums. Siegel’s “Stealth” again shows off his excellent cymbal work as he pushes Stevens' repetitive and hypnotic chordal progressions.
Siegel’s serene “Peaceful” is highlighted by Ferguson’s bowed bass, a solid pillar off of which Stevens bounces a filigree of notes. The delicately swinging standard “Beautiful Friendship” is a good choice to conclude the CD, displaying the group's subtle ensemble voice, each member doing his thing while contributing to a beautiful whole.


Track Listing: Get Out of Town; Crazy He Calls Me; Jeepers Creepers; The Last Embrace; Momentum; I Loves You Porgy; Stealth; Peaceful; Beautiful Friendship.
Personnel: Michael Jefry Stevens: piano; Jeff Siegel: drums; Tim Ferguson: bass.

Guitarist Tom Dempsey and bassist Tim Ferguson have released this superb duo recording of fine originals plus tunes written by Thad Jones, Marvin Gaye, Hoagy Carmichael, Mal Waldron and others.
It’s extremely difficult to pick a favorite tune when such material as “Isfahan,” “Stardust,” “What’s Going On,” and “Soul Eyes” are included.
Even the originals like Dempsey’s “As Spring Begins” and Ferguson’s “Julie’s Tabouleh” are unique compositions performed here in a lush and melodic manner.

Tidy Trio Sounds Fine
The new album "Triologue" (Imaginary Records) could have possibly made the jazz trio a major discovery for the new century. The group's fourth album contains material that's enticing and vastly entertaining. With the simple assembly of piano, bass and drums, Stevens, Siegel & Ferguson shows that they're ready for the big time.

The cooperative group has no leader; they equally share the billing.

"Triologue" contains a varied and enticing list of songs. The album opens with the Rodgers and Hammerstein classic, "Some Enchanted Evening." Ferguson's composition, "Vernazza," receives a spectacular rendition. Billy Strayhorn's "Bloodcount" comes as a welcome surprise for discerning jazz ears.

Listeners who go for the trio sound should love every minute of "Triologue."

My Foolish Heart
Don Friedman | SteepleChase Records (2003)
http://www.allaboutjazz.com/php/article.php?id=11617

By Derek Taylor
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Many modern jazz fans consider the 1960s as the creative apogee of the music. The abundance of top-flight musicians, coupled with a near continuous stream of boundary breaking innovations, made for a creatively explosive combination. The downside to this artistic boon was that many high caliber conceptualists got lost in the deluge.

A case could easily be made for counting Don Friedman among this number, as his early '60s albums for Riverside offered some of the most ingenious variations on the piano trio format of the era. Sadly, they were largely overshadowed by more overtly provocative offerings of artists like Cecil Taylor, Thelonious Monk and Dave Brubeck. Careful listening to Friedman’s early albums reveals that his relegation to the fringes was completely undeserved. Rather than compromise his creativity, he teamed up with guitarist Atilla Zoller and decided to go even further out. The decision ultimately didn’t help his career, but it did result in some of the most adventurous piano-driven jazz of the decade.

Over the years Friedman’s remained active, and while his fame hasn’t risen much beyond the niche community that is creative improvised music, he’s sustained a remarkably high standard of quality in his music. Uniting with a crew of younger players for this latest outing, Friedman’s form sounds undiminished by nearly five decades in the jazz life. The quartet balances four originals with four thoughtfully chosen standards making for a program ripe with both the fresh and familiar. Levy’s “Positivity” gorgeously reflects the sentiment of its title in musical terms. Ferguson has an early shot at the spotlight and his strings practically sing in the crystalline sonics of the studio. Friedman adds delicate accents, eventually regaining the lead in a sparkling outpouring of chords. Ferguson’s fluid breaks beat a soothing path to an elegant recapitulation of the theme by Levy’s effervescent tenor.

The saxophonist sits out on “My Foolish Heart,” and his absence allows for even more intimate interplay between Friedman and his rhythm section mates. After peeling off lush scalar runs down his keyboard, the pianist lays out, leaving room for another contemplative pizzicato foray from Ferguson. Jobim’s “Desafinado” gains a minor harmonic facelift, but still retains its signature beat. Levy sails breezily through the changes, sounding at first slightly like Desmond might have if he had embraced the tenor horn. His tone later hardens, but his melodically infused lines retain relaxed buoyancy in phrasing above the counterpoint of his partners.

Friedman’s “Memory of Scotty,” dedicated his long departed colleague Scott LaFaro, pays balladic tribute to the bassist and acts as a cleverly conceived vehicle for Ferguson’s own strings, both arco and plucked. Bechet’s “Petite Fleur” finds Levy on uncredited soprano, in deference to the composer. His translucent tone on the straight horn fits snugly into the Latinized structures of the arrangement. Friedman’s graceful accompaniment and eventual solo further contributes to a feeling of reposeful calm. The upbeat rhythms of the pianist’s “Almost Everything” presage the session’s impending end, but the quartet still has space for a final stretch through regions of warmly voiced lyricism.

Sweeping accolades and fame may not be in the cards for Friedman, but based on the strengths of this session the situation doesn’t seem to matter much. He’ll keep doing what he does best, whether there’s a widespread audience or not. For that, listeners in the know should be grateful.

Steeplechase on the web: http://www.steeplechase.dk

He plays with a woody and warm sound, and his solos are tasteful,
balanced and never overplayed.

Great time, feel and tone.

He discovers and converses with the innermost revelations of his instrument.