PRAISE FOR One Peace

“Conservatory-trained August, whose career has embraced a mix of jazz, Latin and classical, came up with one of 2005’s most impressive debut albums, “Late August”. The follow-up is possibly even better and features the basic six-piece he’s been gigging with, playing ten very varied, challenging, sometimes Latin-tinged and occasionally Ornette Coleman-inspired arrangements, full of harmonic twists and turns, often veering off in unexpectedly different directions. His scoring gives the impression of a much larger front-line. Bailey is a striking section player and soloist, sometimes sounding a little like Ralph Alessi. Walden continues to stake his claim to being the most striking alto/soprano voice on the New York scene, playing with a passion only matched by Kenny Garrett. Yosvany Terry plays tenor instead of his more customary alto on five tracks, while the remainder feature yet another exciting, hard-edged newcomer in the Coltrane tradition named Stacy Dillard, who’s featured strongly in two of the CD highspots, the sombrely dynamic but boppish-lined ballad “In Dedication” (after a heart-breaking, low-register solo by Myron) and the tempo-varying “Change of Course”. The rhythm section plays an important role in August’s arrangements, with the brilliant Perdomo in more straightahead mode than usual, doubling on Rhodes, while EJ, who seems instinctively to know what every soloist is going to say, constantly keeps the cauldron boiling underneath.

“When last heard from, Gregg August's debut, Late August (Iacuessa, 2005), left listeners with a smile for the bassist/composer's bipolar emphasis on Latin and hard bop interests.

One Peace indicates a new direction for August. While Late August took advantage of a number of high profile guest musicians including saxophonist Frank Wess and percussionists Ray Barretto and Wilson “Chembo” Corniel, One Peace presents August's working group, featuring only two holdovers—trumpeter John Bailey and altoist Myron Walden. For this occasion, two tenor sax men—Stacy Dillard and Yosvany Terry—are added on selected tracks, with Ravi Coltrane's pianist and drummer Luis Perdomo and E.J.Strickland rounding out the core group. Bass clarinetist Mike Lowenstern is added for “Cascading.”

August's Latin side is gone entirely. The album consists of ten original compositions that provide a lot of solo time for the horns. Most impressive is Bailey's trumpet work, which seems to adapt well to both ballads and boppers. His melody and solo on “One for Louis” could have been lifted off on any number of albums during Blue Note's “golden age.” Walden picks up the soprano sax for the warm and soulful “Cascading.” August, as might be expected, gets in a fair number of bass solos, and his interaction with Strickland give a rousing pulse to these tunes."

- Michael P. Gladstone, All About Jazz

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“It always seems more real and fitting when a musician records his working band, and that is exactly what bassist-composer Greg August has done here.

Using the Duke Ellington model of writing compositions to suit individual band members, August successfully highlights their talents as well as his own compositional skills. The opener does just that with alto saxophonist Myron Walden claiming Hand to Mouth. Although trumpeter John Bailey is so prominent, August must have had him in mind as well.

In Dedication is my favorite. It has a classic feel with fine unison work and great tenor effort by Stacy Dillard."

- Dick Bogle, The Skanner

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PRAISE FOR Late August

“My little reviewing world has recently seen quite a number of debut CDs from bassists-cats who are seasoned sidemen and now are trying their hands at the bandleader role. Except they are not just assembling a band and laying down the bassline, they are composing, arranging and, in many cases, producing the recording, in addition to tackling the bass player gig, but what is really impressive is the high quality of these first efforts. Late August from Gregg August is a shining example of this.

This album has nine August originals, six of which are arranged for three horns (trumpet, alto and tenor saxes). The tunes are latin, swing, or a little of both, and are highly arranged, with tight ensemble playing, and are very enjoyable to listen to.

August's composing chops are rivaled by his arranging chops-his three-horn writing is great. The very first track, an Afro-Cuban 6/8 cooker called Sweet Maladie, sounds like a little big band, but it's just three horns, rhythm section and extra percussion. Three-horn writing is tricky, but August clearly has it mastered. Listen, too, to Melody in Black and Grey, another latin-flavored number with a cool melody delivered via a horn and bass soli, an excellent composition and arrangement-and, oh yeah, August plays some pretty killer bass, too.

Beautiful contrast to these hot numbers can be found in the ballad Treatments in Darkness and the solo bass offering Eulogy. Treatments features Myron Walden's alto sax artistry, which is terrific throughout the album, but particularly sweet here, conjuring Johnny Hodges at times. The tune itself has shades of Mingus' Goodbye Porkpie Hat, and the band creates a loose, floaty, and at times soaring feel behind WaldenÕs beautiful sax solo-a gorgeous track.

The musically and emotionally weighty Eulogy features August playing solo bowed bass. More in the classical music style, it is beautiful writing and playing, full of double stops, chords, and the pathos one might expect from a tune named Eulogy.

The recording wraps up with a good, clean swinger-for the most part (the latin influence is never far away from August)-titled Work in Progress. A happy tune guaranteed to put a smile on your face, check out August's nice walking bass sound, solid feel, and his soulful solo. Early spring or the dead of winterÑany time is a good time to check out Late August."

-Chris Kosky, Bass World

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“I know next to nothing about bassist/composer Gregg August, "and that's...OK," so I have no preconceived notions about his music. After several listens, I still don't know what stylistic "bag" to put him in and that's even better (even if it makes my job tougher). There are Afro-Cuban and Spanish influences, but more in the melodies than rhythms (which swing like crazy, btw), though "Melody in Black and Grey" utilizes a deceptively simple, stripped-down Cuban-style drive. There are undertones of Charles Mingus (circa late 1950s), but more compositionally (well-thought, pensive, forlorn tunes rich with a very human "cry") and the way the soloists seem to "push" themselves, though August sounds nothing like Chas on bass. There's some "out" wailing and thorny, cathartic dissonances, yet it's not "avant-garde" or free jazz.

There're some snazzy arrangements a la Gil Evans and Frank Zappa with lots of shifting meters and swift tempo changes that sound beautifully uncontrived. The closest comparison this writer can make: Late August recalls the thoroughly integrated eclecticism of the fine Massachusetts inside-out, mini-big band Either/Orchestra. (What, youÕve never heard them and their interpretations of tunes by King Crimson and Julius Hemphill?!?)

"Work In Progress" references the more adventurous aspects of the 50s West Coast Cool sound (i.e., Jimmy Giuffre, Chico Hamilton, Shorty Rogers), yet without one iota of "retro" baggage. The sound August achieves out of a tentet (give or take a fellow) is alluringly full but makes a nice (as in "judicious") use of space (what you don't play is as important as what you do play). This set is SO listenable on the surface one might not notice all the warm, witty, personable, sharp creativity present throughout. Maybe I got to this one too late to put in my Top 10 for 2005 list, but if I were permitted a Top 12 list, August's maiden voyage (as a leader) would be mos def present & accounted-for. Watch for this guy."

-Mark Keresman, JazzReview.com

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“Groups of various size participate in the August project ranging from a solo bass performance by the leader up to an octet selection. The music from the larger sextet/septet/octet groups takes on big band characteristics promoted by the tight ensemble work and strong soloing from numerous in the cast. There is a sense of 1950's nostalgia in the music, but the arranged and improvised execution remains fresh in today's terms. The opening piece with an octet featuring Ray Barretto on congas, and a solid front line in trumpeter John Bailey and saxophonists Myron Walden and Donny McCaslin swings to a Latin Jazz beat but springs off into a post-Bop repertoire of mixed genres. August and several others are given solo opportunities here and elsewhere. It is all tied together by the skillfully designed compositions of August, who wrote the nine pieces on the disc.

Swing and the Blues combine on several cuts that breathe openly when the soloists spring forth. August favors a changing tempo pattern within his tunes, which use recurring theme statements by the ensemble to bridge the various solo segments by the ensemble to bridge the various solo segments. The two reeds plus brass alliance found on six of the songs produces a warm sound; the musicians glide smoothly through highs and lows in dynamics, tension and pace. August is front and center on two pieces, one of which pairs him in a short encounter with conga player Corniel and the other where he goes it alone.

His arco solo on the mournful "Eulogy" is particularly compelling. Added rhythmic impetus from guitaris Hart lets " Deceptions" fly high while Wess lights it up on tenor.August pays tribute on this recording to an endearing era of Jazz, but he dresses it in modern-day wear. Numerous stars shine on this delightful session but none more brightly than the composing/arranging skills of August."

-Frank Rubolino, Cadence Magazine

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“Gregg August, a conservatory-trained double bassist and composer, did his real-life graduate studies jamming with Latin-jazz masters Ray Vega, Ray Barretto and Paquito D'Rivera.

Here he steps forward with his own ensemble, showcasing nine original compositions crackling with kinetic energy, bright harmonies, crisp melodies and subtly shifting meters.

August's works run emotional extremes, from celebratory to somber. On the sunny side, "Sweet Maladie" is Afro-Cuban joy unbounded. With August's bass booming and horns rocking, Israeli-born pianist Alon Yavnai breaks into a surprising, surreally smooth passage over simmering percussion. Barretto, in a sparkling guest appearance, cooks on congas.

On the dark side, a melancholy, eloquent composition called "Eulogy," August bows a moving a cappella solo that would fit perfectly on the soundtrack for Ingmar Bergman's angst-ridden "Cries and Whispers."

August and his sidekicks, including trumpeter John Bailey and saxophonists Donny McCaslin and Myron Walden, rejoice on "M's Blues" and "Melody in Black and Gray." "Treatments in Darkness," a reflective tone poem, slows the adrenaline. Most often, however, the pulse rate soars, as in the exciting duet between August and conga player Wilson "Chembo" Corniel. The heat also rises when guests tenor saxophonist Frank Wess and guitarist John Hart play nothing but the truth on "Deceptions."

If this sure-footed debut is a sign of things to come, August may march toward becoming a man for all seasons."

- OWEN MCNALLY, Hartford Courant

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“There have been some really impressive debut albums this year and here's another that I've been playing for pleasure repeatedly. August is an outstanding and immensely versatile bassist, whose background has embraced a mix of jazz, Latin and classical. After achieving his Masters at Juilliard, August worked in Barcelona, Paris and then Havana, where the music turned his head around. Back in the States, he joined Ray Barreto's New World Spirit and later Ray Vega's group. The music here crosses many boundaries, but most of it is a mixture of swing, which then melts seamlessly into exciting authentic Latin sections. The cleverly voiced arrangements for the three-horn front line create the impression of a little big band. The compositions themselves are extremely varied and include a simply gorgeous ten-minute ballad called "Treatments in Darkness", in which Myron Walden shows off his sensitive side, an animated bass and congas conversation ("Las Dos Cotos") and a solo electric bass track ("Eulogy") played arco, where his classical skills are heard to telling - and moving - effect.

Walden is excellent in section as well as solo work, while McCaslin, definitely one of the New York scene's most underrated players, solos heatedly in that special low-key style of his, while Bailey, a former classmate of August's, impresses with some restrained melodic solo statements that at times recall Freddie Hubbard. Pianist Yavnal, from Israel, is a very sympathetic accompanist and is remarkably fluent in the Afro-Cuban sections, where the congas and McPhearson generate so much excitement. There's also one track by a quartet with Wess (another of August's employers) and guitarist Hart. ÊBut the star is Gregg August. A remarkable musician and a composer/ arranger whose album deserves maximum exposure."

-Tony Hall, Jazzwise

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“More and more we seem to be witnessing a cross-pollination of musicians trained in one form of music, but ultimately actively engaged in another. Bassist Gregg August majored in classical performance when he attended the Eastman School of Music, but he also studied jazz forms with Bill Dobbins-another artist whose career has coexisted in both worlds-and composition/arranging with Rayburn Wright. While he spent the early part of his career dichotomously working the New York jazz scene and taking the bass chair in La Orquesta Ciutat de Barcelona in Spain, he quickly realized his more compelling calling.

His strong attraction to Afro-Cuban music led to high-profile gigs with Ray Vega, Ray Barretto, and Paquito D'Riviera, and so it's no surprise that his debut recording, Late August, is filled with fiery Latin rhythms. But you are the sum of your experiences, and August also brings to the table a rich sense of orchestration, giving the sextet that dominates much of the disc a vivid sound that often feels bigger than it is. And, like the music of other contemporary artists including Luis Perdomo and Edward Simon, the Latin elements are tightly fused with unassailable swing, shifting meters, and imaginative harmonic invention-a complex blend handled in de rigueur fashion by his well-known compatriots, including saxophonists Donny McCaslin and Myron Walden and trumpeter John Bailey.

The program of August originals kicks off with "Sweet Maladie," where the leader quickly establishes a preference for a bright sound and detailed arrangements that change tempo on a dime, yet flow effortlessly. The core of "Sweet Maladie" is an altered Afro-Cuban blues, with Israeli-born pianist Alon Yavnai demonstrating a firm grasp of displaced rhythm, while McCaslin's unhurried sense of development creates a kind of understated simmer.

August's open harmonies and gentle punctuations give the theme of "Four Two K" an attractive foundation that further expands into the middle section, where Walden and Bailey solo confidently over deceptive changes that challenge them to find connecting melodic threads. The columbine blue "Treatments in Darkness" has a Gil Evans-like ambience, the horns winding in and out of unison to broader harmonies, while drummer Eric McPhearson plays a more textural role featuring dramatic mallets and understated brushwork.

Late August may primarily focus on August the composer/arranger, but he's not a slouch as a performer. "Los Dos Cotos," a duet with Wilson "Chembo" Corniel on congas, may be but a brief interlude, but August's elliptical style and ability to suggest changes with a rare sleight of hand reveal plenty. The solo "Eulogy" provides the most direct link to August's classical background, with a rich arco tone that makes even the most dissonant harmonies of the piece appealing.

Artists traditionally associated with Latin music are increasingly broadening their horizons these days, embracing the tradition but assimilating it into a greater cosmopolitanism. Late August may lean heavily towards the Afro-Cuban tradition, but it does so in a way that expands the music beyond its confined borders, making for an impressive and auspicious debut."

- John Kelman, All About Jazz

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“In case you've been wondering what other bassist besides Dave Holland is making adventuresome big band recordings, wonder no more. Bassist Gregg August has just released his first disc as a leader-and what a honey of a big band achievement it is. His nine original tunes, and ensemble playing showcasing eleven musicians of extraordinary skill and ardor, equal the best of Holland's big band efforts. Quite a praise for a young upstart-but wholly deserved.

August has played for years in a number of Latin jazz units, most recently Ray Vega's. And that comfort with boiling Latin orchestration is clear on the boisterious opening tune, "Sweet Maladie," which sounds like a modern version of a "Machito Meets Mingus" jam. Saxophones and trumpet play a neverously edgy riff over some lovely conga playing by Ray Barretto, still crazily talented after all these years, and nimble bass lines by August.

Mingus is clearly a key influence on August's original tunes. I hear strong traces of "The Black Saint and the Sinner Lady" in August's "Treatments in Darkness"; it features a similar wailing blues with an extraordinary richness of texture supplied by crying horns and singing bass declaring a deep dirge. But August is able to mine the Latin vein that Mingus never took to the max, and his compositions are unlike anyone else's, past or present.

Seven of these nine tunes are thickly arranged pieces for the band, all of whose members shine in their solos. But we are also treated to "Eulogy," a bravura tune for solo bass, and a tantalizingly brief snapshot of a duet for bass and congas between August and Wilson "Chembo" Corniel.

August has established himself as a bassist and composer to track seriously. This disc is a rousing surprise and a timely broadening of the field of Latin jazz."

- Norman Weinstein, All About Jazz

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“All right........let's have a hearty, sincere round of applause & confidence for the 'new kid on the block' who happens to play what can be verbalized as killer upright bass.

Jazz bassist Gregg August also knows who to hang with as well, assuring a tight, crisp CD project........Having luminaries like the great reedman Frank Wess, & trumpet-teer John Bailey on each their respective axes, qualifies the disc as a no-brainer 'something you must listen to.'

Gregg is a player who seems to have the capability to re-invent a traditional harmonic instrument (bass) into a sensuous melodic 'voice' as he plies his talent with his finely honed articulation.......Certainly his artistic ability as well. Last, may I suggest that his grasp of the jazz idiom is nothing short of new & unusual."

- George W. Carroll/The Musicians' Ombudsman, ejazznews.com

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“Gregg August brings a diverse blend of elements to Late August, his debut recording as leader. The bass player finds a groove for Afro-Cuban music and mainstream jazz alike. While six of the nine tracks feature his sextet, he adds percussionists Ray Barretto and Wilson "Chembo" Corniel on the first tune and goes in for a duet with the latter. The disc also features a quartet take with a different lineup and a solo turn. Now that the background check is over, on to the record.

There is plenty of good music on Late August. While all the musicians make individual impressions, Myron Walden and Donny McCaslin add to the dynamic with some prime inflections. The band gets off to a hot start on the Afro-Cuban "Sweet Maladie." While percussion and drums add the underlying layers of head-spinning rhythm, Alon Yavnai brings an interesting conception to his harmonization, and the swaying lines of the horns stir the pot. Another fiery swing comes with "Ma's Blues." August gets the adrenaline flowing, shaping changes on the bass. John Bailey scoots in on high momentum, laying down a wealth of lyrical ideas that Yavnai scoops up and takes into a melodic gallop.

The mood is quieter, but the swing is still in full flow on "Deceptions." The quartet setting is compact for this boppish outing spearheaded by Frank Wess, who balances quick changes with long catapulting notes. But some of the finest moments are defined by John Hart, his guitar loquacious and lush with emotion. At the end of it all, Gregg August stands up as a welcome new voice."

-Jerry D'Souza, All About Jazz

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“Those who have their allegiances with the Messengers or 50's Mingus have a friend in bassist Gregg August. His recent release "Late August" is laden with classic post bop mixed with a healthy dose of intricate rhythms.

August displays his artistry in a multitude of settings. Dark and mournful on the arcing solo "Eulogy", he is also percussive and dancing in a lively duet with Corniel on the Congas ("Los Dos Cotos"). Aggressive Latin-tinged bop (with Ray Barretto) is thick and rich. August keeps the mix interesting by varying the size of the band with each song.

But it is the shifting moods and meters on pieces like "Treatments in Darkness", "Deceptions" (with Wess guesting on tenor) and "Work in Progress" that deserve the cudos. With McClaslin harkening to Booker Ervin, "Darkness" is a major thought-provoking and complex work. "Deceptions" and "Progress" while appearing straight-forward, have enough shifts and turns to keep the listener on the edge. Hopefully this is a portend of things to come.

Lots of interesting ideas and some great lines for upcoming bass players."

- George W. Harris, jazzweekly.com

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CHOSEN AS ONE OF THE TOP TEN ALBUMS OF 2005
“Bassist Gregg August is one of the most exciting and innovative musicians on the scene today. Having performed with such luminaries as Chico O'Farrill, Paquito D'Rivera and Steve Wilson, August continues to blaze new trails on what seems to be a never ending journey. Late August is a testament to his intriguing compositions and adventurous playing style. Every selection was written by August.

"Sweet Maladie" is an intense number rife with suspense and changes. Heavy on the rhythm with liberal use of the horns, August creates an invigorating tapestry that at times leaves one breathless. Yavnai's pulsating piano adds another dimension along with McCaslin's creative tenor. August is all over his bass, with passion and conviction. A tour de force of power, depth and beauty.

With a tip of the hat to famed Cuban bassist, Cachao, August creates a brief moment of exuberance and grace on "Los Dos Cotos." Subtle percussion adds to the moment, bringing another dimension to the mix.

Yavnai and August work together on "M's Blues" blending various colors and accents with support from the horn section. As the intensity mounts, so does the creativity. Yavnai's spirited piano is back for another round, with August hot on his trail. McCaslin's digs deep with a searing sax that lifts the spirit and soothes the soul.

"Eulogy" showcases another side of this multi-dimensional bassist. August's hauntingly beautiful bowing is a moment to be treasured.

Using complex rhythmic patterns, August creates a seductive, and captivating vehicle on "Melody In Black And Grey." Bailey and McCaslin stretch out with mind numbing solos, sending the melody into orbit. August and Corniel are featured as well, with solid efforts.

"Deceptions" swings like crazy. Hart plays his heart out with some inspiring chops. Wess is always on the mark with his smooth sounding sax. This seasoned veteran has a keen ear for what sounds right and how to integrate it into the blend.

August is at one with his bass, and a first rate composer to boot. There are many high points on Late August that require repeated listening. The band works so well together, bouncing ideas and having fun along the way. Watch out for August's next release. He is a man on a mission."

- Randy McElligott, jazzreview.com

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“I have to say that over the last few weeks there have been a plethora of really good new releases that have come in. From the outstandinginterpretations of the familiar to the thought provoking forward thinkers.....it's here.

Tim Coffman, Ezra Weiss, Phil Nimmons "Portrait" release out of Canada with the big band (Not sure how I got this or if any others on the list received it) but I'm sure glad we got it.....The Ben Thomas Group, Hornheads, John La Barbara Big Band, Buddy Charles, Bucky Pizzeralli/Frank Vignola, Gregg August - fantastic writing and arranging - Dan Cray Trio,Jeremy Pelt, Eric Alexander/Vincent Herring, Wynton's release swings it's you know what off - Kenny Barron Trio and others. Rarely in my opinion do we see this volume of great releases in over this short amount of time. Makes me glad to be a programmer."

-JaeSinnett WHRV FM, Norfolk VA

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“Groups of various size participate in the August project ranging from a solo bass performance by the leader up to an octet selection. The music from the larger sextet/septet/octet groups takes on big band characteristics promoted by the tight ensemble work and strong soloing from numerous in the cast. There is a sense of 1950's nostalgia in the music, but the arranged and improvised execution remains fresh in today's terms. The opening piece with an octet featuring Ray Barretto on congas, and a solid front line in trumpeter John Bailey and saxophonists Myron Walden and Donny McCaslin swings to a Latin Jazz beat but springs off into a post- Bop repertoire of mixed genres.

August and several others are given solo opportunities here and elsewhere. It is all tied together by the skillfully designed compositions of August, who wrote the nine pieces on the disc. Swing and the Blues combine on several cuts that breathe openly when the soloists spring forth. August favors a changing tempo pattern within his tunes, which use recurring theme statements by the ensemble to bridge the various solo segments by the ensemble to bridge the various solo segments. The two reeds plus brass alliance found on six of the songs produces a warm sound; the musicians glide smoothly through highs and lows in dynamics, tension and pace.

August is front and center on two pieces, one of which pairs him in a short encounter with conga player Corniel and the other where he goes it alone. His arco solo on the mournful "Eulogy" is particularly compelling. Added rhythmic impetus from guitaris Hart lets " Deceptions" fly high while Wess lights it up on tenor.August pays tribute on this recording to an endearing era of Jazz, but he dresses it in modern-day wear. Numerous stars shine on this delightful session but none more brightly than the composing/arranging skills of August."

-Frank Rubolino- Cadence Magazine, September 2005

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“For someone to pay good money and spend their night listening to a band led by an acoustic bass player, you have to be a somewhat savvy listener, and more than likely think that music, specifically jazz, matters.

It helped that Gregg August is a Schenectady native, though he has since spent years in Barcelona, Paris, Cuba and New York City. But that's not necessarily enough to have kept a full house listening for two-plus hours Friday night at Schenectady's First Unitarian Society to open the season for "A Place for Jazz."

But what definitely was enough were August's smooth, sometimes complex, compositions executed modestly by his five band members.

Occasionally aggressive and always on the go, August is mostly subtle - he's a bass player after all. You might not always hear him during the song, but you feel him. If the group made weather, he'd be the shade.

From the start, during "Crescent Moon," he played a brainy solo that soon grew emotional, drummer E.J. Strickland alongside him like a pacesetter.

John Bailey followed with an interesting trumpet solo, wooing the rhythm section to fill in his large spaces, almost like a dare.

Once they took the bait after a full chorus, Bailey seemed to chase them back. Sometimes to lead is to follow.

Drummer Strickland was a madman all night, making endless sounds with a wonderfully pitched cymbal that he rode all night with his right hand, his three other limbs raining down on his set of percussion to create constant movement.

August called "In Search of a Title" a ballad, and it started and ended soft and sweet enough. But Myron Walden's alto sax solo created fist-clenching tension, followed by Greg Tardy's solo which established its own edgy discomfort.

Lucky for August no slowdancers stood up when he announced the ballad.

"Nastismo," as in nastier than nasty, was one of the faster, jumpier tunes that got away from the group in a couple of spots, but, all of them skilled at their instruments, consciously reined it in when necessary.

While August as a leader is far from controlling, his sound creates a pervasive presence that the band or listener cannot escape.

The three horns together had the force of a full brass section. But they never punched like a big band or like the horns on his latest CD. Rather they sought to make smooth harmonies and melodies that worked more appropriately in the room.

The music had little in common with August's latest release, "Late August," a collection of largely upbeat Afro-Cuban tunes.

Instead, the night was filled with several methodically layered songs that required chart-readings from the members, and a few medium-speed off-beat jazzy runs that never swung but jerked in fits and starts, like "The Sixth Finger."

A quality night of serious musicians playing high-quality music for listeners up for the challenge."

-DAVE SINGER, Daily Gazette (Schenectady, NY)

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“An excellent debut recording by a very versatile musician. Gregg August will be around for a long while..."

-Branford Marsalis

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“Gregg August is one of the most versatile bassists in the business today, and his creativity and good taste, as well as his command of various musical styles is evident on this valuable collection of nothing but good music."

-Paquito D'Rivera

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“Every once in a while, from down a side road you've forgotten to keep an eye on, a musician will breeze in and captivate you with a reshuffling of all jazz elements you love: hard swing, deep groove, intrepid blowing, inspired charts...

Greg August arrives with a knack for blending the above in way that sets him apart from the crowd of young bandleaders doing business in New York at the start of the millennium. The Caribbean informs his sound, as it does the best of the city's modern improvisers. And as he and his Late August squad milk the clave for all it's worth, it becomes clear that a valuable new voice is active among us.

I can't wait for him to get a string of club gigs under his belt- his book is jammed with material that's just waiting to be busted apart on stage."

-Jim Macnie

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