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reviews of a viberatto / a
by david malachowski - daily freeman (6/2010)
What happens to old rockers?
They trade their guitar for a vibraphone, and get a bunch of other rock players to make a really cool record!
Not too long ago, musician, producer Jimmy Goodman fled New York City for the peaceful solitude of Stone Ridge, and that informs this delightful new work by his group A Viberatto, recorded at his very own Leopard Studios.
His first release “Beautiful,” (an EP) was a small ensemble, this one is expanded to include some of the best musicians in the area; the legendary Garth Hudson and Tony Levin join in as well as the renowned Ross Rice on keyboards, and Jane Scarpantoni (cello).
The results are stunning, that said, how could you go wrong with Hudson, Scarpantoni, Levin and Rice all on the same track? (Can anyone say million dollar band?)
Goodman’s trademark one-word song titles continue here, starting with “Polar,” where Goodman’s vibe rings crisp, crystal clear and pure, the melody almost child-like. Soon Hudson’s accordion enters the room, and everything changes. “River” starts out with the aforementioned accordion, and slides effortlessly into a clever melody double by the majestic cello.
While “Beautiful” is more pared down — just Goodman and Scarpantoni — the lush, luxurious “Now” and “Rooster” could be out-takes from the Beach Boys’ “Pet Sounds.”
“East” sounds almost excited, festive, and maybe would be fitting for holiday music (insert your own holiday). “After” sounds as if came before, “Night” is appropriately dark, while “Road” leads to “Painting,” which is more abstract, with plenty of space and free use of time.
No one can accuse Goodman of copying, borrowing or being derivative here, he is pioneering his own territory here, and is the undisputed king of this yet unnamed genre.
Well done.
by peter aaron - roll magazine (12/2008)
Leopard Studio's personal release “Beautiful” by the Group Viberattto was released on August 17, 2008. Featuring primarily acoustic instruments, this ambient chamber rock group is captured on this five song EP. After playing jazz, reggae, funk, trip/hip hop, and rock in Boston and the Lower East Side and engineering the Strokes’ major-label debut, musical maven Jimmy Goodman relocated to Stone Ridge, where he opened his increasingly popular Leopard Recording Studio. Perhaps best described as a kind of jazz/ambient/chamber ensemble, Goodman’s Viberatto project features the leader on vibraphone, synthesizers, piano, and programming, along with a hand-picked crew of his accomplished upstate friends: cellist Jane Scarpantoni, bassist Chris Maccia, percussionist Scott Hanna, guitarist Nat Russell, and our own Ross Rice on additional piano.
The outcome as heard on this well-named EP is five tracks of cool, fragile, crystalline loveliness akin to the Modern Jazz Quartet jamming on the “ice palace” set of Dr. Zhivago. The opening title cut and the Far Eastern-tinged “Glacier” (again, perfectly named) float like soft lullabies in the arctic air, while the driving “Flight” works in clubby drum ‘n’ bass rhythms to hypnotic effect. And, in a seeming nod to this music’s partial electro roots, “After” hijacks Suicide’s “Che,” laying swirling vibes and lines over the top until everything melts into a gorgeous whirlpool of transfixing translucence. The only complaint about this release is that at 16:19 it’s just too damn short. No worries, though: Goodman is currently at work on next year’s follow-up.
Every once in a while (okay, hardly ever) something really different shows up on my desk, and this is a fine example. Though Jimmy "Lonesome" Goodman has done his time in the trenches in rock bands, here he wields the vibraphone, as well as piano, bass and drums. Recorded in Leopard Studio (Goodman's studio) in nearby Stone Ridge, fine musicians Jane Scarpantoni (cello), Ross Rice (piano), Chris Macchia (bass) Scot Hanna (percussion) and Nat Russell (guitars) all chime in here. Goodman offers a series of one word-titled songs. "Beautiful" has the simplest short theme, haunting vibes, with the piano taking the melody this time. "Flight" sounds fuller and even has a drum kit bashing out a backbeat. The slowly melting "Glacier" is a highlight. "After" is dark and mysterious, sneaking around the alleys after midnight, while "Night" has a timeless jazz sensibility that transcends expectations. A great effort that can call no comparisons, Goodman has outdone himself here. -David Malachowski