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Road Songs 2 (2017) {digital booklet} 
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Tim Gemmill {Wikipedia} YouTube: {Proteus 2} {Moog Blues} {Groove On} {Domo Arigato} {Super Cool} {A Little Something} {Can You Read My Mind?} |
Road Songs (2013) {digital booklet}
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YouTube: {Drone} {Zigzag} {Proteus} {Pine Siskin} {Invention No.13 in A Minor} {Blues for Ralph} {Empire in Quest} {No Na Me} {Fugue} {Red Valley} |
Voyage... (2011) {digital booklet}
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Cozzetti & Gemmill {Wikipedia} Recorded in NYC (1977) YouTube: {Cousin Mary} {Red Valley} {Intro to Voyage} {Voyage of the Mummy} |
Timeless (2010) {digital booklet}
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YouTube: {For the Rock Artist} {Cyclops} {Captain Pike} {Blue Jay} {Soft Flower in Spring} {Tree Leaves} {Contemplating Raindrops} {Concerto for Padré} {Colony Four} {China} |
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28 June, 2017 "Saxophonist-keyboardist Tim Gemmill is best known for his many projects with trumpeter-keyboardist Bob Cozzetti and for being an important part of the Seattle jazz scene for quite a few years. While Cozzetti is co-producer of Road Songs 2, as with the original Road Songs, Gemmill plays all of the instruments and wrote all but one of the songs." "Through overdubbing and expert use of such keyboards as the UltraProteus, the Memorymoog, the Prophecy, the Kawai, a drum synthesizer and inventive samplers, Tim Gemmill creates a digital orchestra. In his playing, one can hear not only keyboards but a guitar, powerful bass lines, drums, percussion and, on "Can You Read My Mind," wordless voices. The colorful music has a spontaneous feel yet was obviously well planned." "All in all, Road Songs 2 is a colorful and consistently intriguing set that spotlights Tim Gemmill's compositions and talents as a keyboardist, growing in interest with each listen." - Scott Yanow {full review} |
04 Aug, 2014 "Meet Tim Gemmill, a unique artist paving his way in the electronic era. Recently releasing the record, Road Songs, Gemmill provides his own version of electro laced music that will intrigue the listener from the very beginning. The ten track record is a stunning collection of songs like you have never heard before. Gemmill's use of synthesizers and Memory Moogs fill Road Songs with a harmonious and delightful surprise." "Opening the album is the noteworthy piece "Drone." The longest song on the record, which clocks in at seven minutes, takes you on a musical journey, as the instruments provide the narration. Bright synthesizer pianos are prominent throughout, creating a beautiful soundscape. Up next is "ZigZag," a funky digital piece that has the feel of an old video game soundtrack. The movement of the synths ignite a stunning instrumentation which flows throughout the track." - Melissa Nastasi {full review} |
14 Oct, 2014 "Jazz enthusiasts got a taste of how successfully jazz and Middle Eastern music could be combined when Duke Ellingtons orchestra first recorded Caravan back in 1936, but it was with the modal post-bop explosion of the late 1950s and early 1960s that the use of Middle Eastern, Indian and North African elements became such a high priority in the jazz world. Modal jazz, as envisioned by trailblazers like trumpeter Miles Davis, tenor/soprano saxophonist John Coltrane and tenor saxophonist Yusef Lateef, involved the use of modal or scalar playing (which is what one finds in traditional acoustic music from the Middle East, North Africa and India as well as parts of Eastern Europe). And that modal influence continued in the jazz world in the 1970s. Some post-bop of the 1970s was totally acoustic (McCoy Tyners work, for example), while other post-bop reflected fusion and soul-jazz use of electric instruments. Voyage of the Mummy is a pleasing example of the latter." - Alex Henderson {full review} |
14 Oct, 2014 "When tenor and soprano saxophonist Tim Gemmill and acoustic pianist/electric keyboardist Bob Cozzetti were living on the East Coast during much of the 1970s, the instrumentalists co-led a jazz quartet called Rorschach (which also included Wes Jensen on drums and the late Midge Pike on acoustic and electric bass). Cozzetti & Gemmill lived in Hackensack, New Jersey but frequently performed in nearby New York City, where Rorschach had both acoustic and electric gigs. But Cozzetti and Gemmill moved back to Seattle, which marked the end of the Cozzetti/Gemmill/Pike/Jensen lineup. However, Cozzetti & Gemmill performed in Seattle clubs for awhile in the early 1980s with new lineups they initially billed as Rorschach. And they ended up changing the name of their group to the Cozzetti & Gemmill Quartet and later, simply Cozzetti & Gemmill. They recorded two vinyl LPs during that period (1981s Concerto for Padr and 1983s Soft Flower in Spring), and Timeless is an hour-long CD containing material from those two albums." - Alex Henderson {full review} |
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