"MOVE" CD Reviews:
Review by: John Gilbert
"Blues For Jo" A blistering piano solo by Oscar Perez sets the table for Christian Tamburr's dynamic vibe message. This tune gets off the ground in a hurry. The timing by all is exact and the ideas run rampart in this penning by Tamburr. This piece is the hallmark of this album.
The ballad side of Tamburr is beautifully demonstrated on "Taking A Chance On Love" A whisper of Milt Jackson is evident in Christian Tamburr's solo with an occasional mention of Dave Pike but the delivery is all Christian Tamburr.
"That's All" sashays along most gracefully and swings like the proverbial porch glider. This solid rendition is a fitting finale to a super album.
There is a bit of 'fretteration' in the bass playing that takes away from an otherwise top notch recording. There is a bit of feedback 'slapping' through on the bass throughout.
Christian Tamburr is a vibist to be reckoned with on the jazz scene. 4 Stars
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Review by: Don Williamson
Review: Though just 24 years old, vibraphonist Christian Tamburr has amassed accomplishments, in realms of both performing and teaching, that belie his age by at least a decade. From his studies at the University of North Florida under Bunky Green, Tamburr proceeded directly into a jazz career that has taken him all over the country and work with the likes of Slides Hampton, Mark Murphy, James Moody and Clark Terry. Many of those opportunities arose from Tamburr's work with the Noel Friedline Quintet, which allowed him to perform for Julia Roberts' birthday party in New York and to play regularly at Las Vegas' Bellagio Hotel. Now, Tamburr finally has taken some time out to record his first CD.
Seven of the ten pieces on Move are his original compositions, and they vary from the vibes-driven tango allusions of “Chief,” reminiscent of some of Gary Burton's work, to the contrasting moods of “The Waltz” as Tamburr on piano alternates from tender evocation to blues-driven resolution of the theme. Tamburr plays piano on “Spaghetti & Meatballs Of Sullies” mostly to set up the quarter-note rhythm chords behind bassist Elisa Pruett on a song apparently influenced by Nat Cole, especially his “Frim Fram Sauce.” Interestingly, Tamburr is one of the few vibists who appears to be as proficient on piano than on vibes, even though Burton describes his approach as pianistic, rather than horn-like in the tradition of Milt Jackson. And Tamburr's emphasis upon dynamics and attaining a more orchestral sound from the instrument places him more in Burton's tradition than that of the swing or bebop vibists like Lionel Hampton or Jackson.
“Dae La,” for example, involves a series of suites that come together to form the entire piece propelled by a rumba feel, which pianist Oscar Perez particularly brings to life. “Esqué,” similarly, comprises a complex arrangement that includes Elisa Pruett's bass lines, some like “Day Tripper's,” but moving into unexpected modulations embellished by glissandos, swelling dynamics and stop-on-a-dime pauses.
And when Tamburr plays standards, he reinterprets them. “That's All” started with a pedal point stated on piano before gliding into the medium swing of the song itself over Pruett's walking bass. More unconventional, though, is Tamburr's approach to “Softly (As In A Morning Sunrise),” which assumes a minor-keyed, African-percussion-based circular vamp under the the relaxed presentation of the melody. Jazz vibraphonists are almost like a fraternity, so few are their number, and it's gratifying to see that the instrument is carrying on in the capable hands of a versatile musician who creates intriguing compositions as well as engaging music.