Bob Mamet
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"In-depth inteview with Gary Heimbauer in Jazz Inside Magazine"

Jazz Inside: Hi Bob, Why don’t you first tell us about some of the things you’re excited to be doing these days? Also, please tell us about your new CD Impromptu, which is surely a change of pace for you, as it is an all trio record, if I’m not mistaken. How do you think it differs from things you’ve done previously?

Bob Mamet: That’s true, this is my first trio record and a bit of a departure for me. I always try to get inspiration from the players I’m working with, and on “Impromptu” that happened right out of the gate. I brought the compositions to Darek and Joe [bassist Darek Oles and drummer Joe La Barbera] and they immediately helped to shape the direction of where these tunes were going. The approach to several of the tracks was like that of a Jazz standard but with a modern twist thrown in here and there. Now that the album’s released, I’ve been putting a live show together, and it’s been exciting to work with the new tunes in that context and expand them a bit for live performance.


J.I: Can you talk about what it is like to be a T.V/Film/Advertisement composer? Do you find it enjoyable or stressful, or both? What is the process like, and how do you recommend a composer/musician break into and ultimately be successful in this industry?

B.M:For me it’s almost a left-brain right-brain kind of thing. The process for composing for film is regimented and cerebral whereas writing a Jazz composition usually comes from improvisation. When writing to picture, you’re thinking very specifically of the emotional response you’re trying to coax out of the viewer. When I’m composing a new Jazz tune I try not to think about anything at all. It always seems the best tunes are the ones that write themselves.


J.I: What are some of your artistic/career goals that you are working toward, or plan to begin working toward?

B.M: Well right now I’m looking forward to performing the tunes from the new album in a live context. I’ve also been working with some lyricists and vocalists to create vocal versions of compositions I’ve written over the years. And just recently I’ve been putting down some ideas for the next album, but right now that’s definitely in the embryonic stages.


J.I: What does “success” mean for you?

J.I: I think as musicians, most of us, first and foremost push ourselves to be successful artistically. In other words, is this my best tune or was that my best take. From there, your work might or might not be successful commercially, but at least we’ve done our best to put it out there. I’ve found that in the course of a musical career, you have surprising triumphs and unexpected disappointments, but if you stay creative then you’ll be a success more times than not.

J.I: What is the best compliment you have ever received as a musician?

B.M: Well I remember one of my favorite compliments was for a tune I didn't play particularly well. When I was first starting out I performed at a club in Long Beach, and one evening I played what I remember to be a somewhat shaky performance of "All of Me." After the performance this elderly woman comes up to me. She had just lost her husband and said “he used to play that tune on the piano.” She added that I played it exactly like her husband did and it just brought back fond memories. I asked her if her husband had played professionally, and she said "oh no, he was actually quite terrible!"


J.I: Was there a certain epiphany like moment for you when you made a choice to do music full time, or did it always go without saying?

B.M: I enrolled at Johns Hopkins University with the thought of maybe majoring in medicine while studying music on the side. I used to take the bus through Baltimore down to the Peabody Conservatory and attend music classes. In the hallways you had students playing their instruments with the kind a conviction that told me this wasn’t just a part time thing for them. I wanted to play with that kind of conviction so I enrolled full time. At night I’d go downtown and sit in with the Jazz musicians. They’d been a part of the Baltimore scene for years, and from them I probably got as much of an education as I did from the Conservatory.

J.I: What is it about this music that continues to inspire you and drive you forward day after day and year after year?

B.M: I would say that for me the musicians I’ve had the good fortune of playing with are a big part of the equation. A great player will always bring something special to the table. On my new album, for example- Joe La Barbera brings with him a living history of Jazz. He’s played drums with so many greats, including my personal idol Bill Evans. Joe helped shape the sound of those final years of the Bill Evans Trio. In the recording sessions for my album he was really amazing. He’d approach each tune with such an effortless and nuanced groove. It was an exhilarating thing to experience. Darek Oles as well. He was a protégé of the great Charlie Haden so you expect a certain level going in, but what he brought to this album was this rich, round tone from his bass that allowed me to actually play less and create a feel for each tune. A lot of it is pretty intangible until you get in there, but when it all comes together it’s an exciting thing.

J.I: In order to lose yourself in the moment, and tap into pure creativity, do you have to practice this the same way you would practice scales? Have you done other things in your life outside of music to make you better able to fully express your creative self?

B.M: I’ve found lately skipping a day of practice often helps with creativity. Getting out and taking a walk in the middle of a session can usually get me out of a creative rut. Also, I found reading an interesting book or seeing a new movie or play can have a surprising effect on the way you approach things. I recently saw an incredible stage performance by my friend Ricky Jay. Ricky’s known as the foremost sleight of hand artist in the world and I came away from the show with a tremendous amount of creative energy. You never know where you’ll find new sources of inspiration.

J.I: Does it get easier or harder as you get older? Why so?
B.M: I remember seeing Dave Brubeck at the Bluenote in New York City almost 20 years ago. I gave him my first CD “Signs of Life” and he smiled and said “I look forward to hearing it, but you young kids our getting to be too much competition for me!” A few days ago I saw an advertisement for Brubeck’s upcoming performance headlining the Ottawa Jazz festival. So much for the competition- I think he’s about to turn 90 if I’m not mistaken. I don’t know if he’d say it gets easier but I would bet he’d say that Jazz keeps him young.
- Jazz Inside Magazine (starts at p.52)


"Review of "Impromptu" in Washington D.C. Arts Magazine"

This is an enjoyable album from the Bob Mamet Trio that could provide the necessary underpinning for a romantic evening. But then this is the perfect jazz music for just about any occasion. From the opening title track, "Impromptu" to "Cats on the Roof" followed by "Until Morning," there is no loss of praise for the songs on this album. Performers include Bob Mamet (piano), Darek Oles (bass), and Joe La Barbera (drums). - D.C. Hill Rag


"Featured article in JazzTimes Magazine"

Bob Mamet: An Interview
LA based pianist discusses his new CD "Impromptu" and composition.
SC- Bob discuss with us your new venture into the straight ahead side of jazz. I know past recordings were a little more on the modern side of jazz.. Your move into the straight ahead traditional stance is obvious to the listener.. why the change?

BM -I think it was a natural progression for me. My previous albums, while contemporary in nature, included an increasing amount of acoustic trio tunes. I guess I feel most at home with the trio format, and for this latest record I was looking for a more cohesive sound. (Drummer) Joe La Barbera and (bassist) Darek Oles had a lot to do with shaping that sound. When we got into the studio it took on a life of its own. They both have such a genuine feel, steeped in Jazz tradition, and I played off of that energy.

SC - As a composer is there anything that strongly influences your compositional approach?

BM - I feel that improvisation is always the key, even as it applies to composition. I’ll sit down and improvise for several hours and usually a line or two of composition will emerge. Occasionally I’ll come up with an entire tune in a few minutes if the mood strikes me, but that’s fairly rare. There are times I’ll be in the car and feel an idea coming on. When I get to the piano that idea might take shape and blossom into something big. Or just as likely it might fizzle out completely! There’s a device I use I call the change–¬up. If I’m stuck on an idea, I’ll take a walk around the block, and when I come back I’ll try to forget everything I just played or wrote in the recent past, and shoot for something completely different.

SC -How do you maintain the patience and persistence that is required in today’s crowded jazz recording world?

BM - Persistence is the easy part. I think many Jazz musicians will tell you they couldn’t put down their instrument if they wanted to. It’s a part of them. Patience is a little tougher. I think it’s important to be content in the here and now, while looking positively towards the future. In talking to friends and colleagues about getting ahead in today’s musical and economic climate, I notice it’s the small victories that get you through. They usually come when you least expect it.

SC - Tell us a little bit about your trio on the new recording... How did this group come about?

BM -I approached Joe La Barbera about playing on it a while back. He’s been one of my favorite drummers ever since his days with the Bill Evans Trio. Joe’s a legend to many of us who came up listening to every note of those later Bill Evans records. I asked Joe who he might recommend on Bass and without hesitation he suggested Darek Oles. Darek has this round, warm tone, and brings a sophisticated harmonic sense to his bass lines. The album [“Impromptu”] is basically 10 original compositions so it was up to Darek and Joe to interpret each one as they heard them. I was amazed at the ease in which they settled into the material, and once they got comfortable with the arrangements that’s when it really kicked into gear. The success we’ve had on this record I owe in large part to them.

SC - A question I have been asking all jazz artists in this profile column…. Right now there are two schools of thought when it comes to the question “What is the current state of Jazz” Some believe it’s very healthy and some believe its worse than ever.. What is your take on this question and what are some of your current views of Jazz music today.

BM - I believe that Jazz, as a true art form, is healthier than ever. I think we have to separate Jazz from the rest of the music industry when analyzing its viability. Jazz has never been measured strictly by the numbers, and it’s survived for a hundred years. Pop music trends come and go. You don’t see a lot of Bing Crosby tunes on the Top 40 nowadays, but a Jazz album of standards from the 30’s, like the one Keith Jarrett and Charlie Haden put out this year, can (and did) become a worldwide sensation. Jazz is timeless. And I think today there are more people in more countries playing, learning, and listening than ever before. I feel that given the enthusiasm still out there for Jazz, the future is bright.

SC - As far as influences on the piano - who would you say influenced you the most?

BM - When I was younger, I think artists like Chick Corea and Joe Zawinul had a big influence on me, as I felt they spoke to my generation at the time. I’ve always counted Bill Evans and Keith Jarrett among my favorites, because of their uncanny ability to coax a unique melody out of a tune you’ve heard a hundred times. Recently I’ve rediscovered Bud Powell. I bought a bunch of his L.P.’s on vinyl that I couldn’t find on C.D. I don’t think I fully realized what a true genius he really was. So I’m not sure yet if he’s an influence or if I’m just a fan- we’ll have to see if anything rubs off!

SC - What do you have planned for the future on the writing and recording side?

BM - I just started writing tunes for the next record, as well as some new arrangements of standards for my live show. I’ve also been working on a project with some songwriters here in L.A. putting lyrics to some of the tunes I’ve written and recorded throughout the years.

SC - Bob if you had one artist you could record with - who would it be?

BM -I would probably say Sonny Rollins. He’s such a great artist and I’ve always been inspired by his story. He went out on a bridge and stayed there honing his craft every day until he got it right. As Jazz musicians, I think so many of us can relate to that. On a daily basis we’re metaphorically out on that bridge, sometimes on firm footing and sometimes dangling off the edge. To this day you can hear the history of Jazz in Sonny’s playing.
- Jazz Times Magazine


""Day into Night" Review for Rovi"

Review
In the 1990s, the easiest way to enjoy airplay on jazz stations was to be as bland, predictable, and mindless as possible -- and sadly, a lot of instrumentalists were quite willing to record nothing but dreck if it meant enjoying more airplay and selling more albums. Bob Mamet, however, wasn't one of them. If you like Contemporary Jazz that is accessible yet creative, you can't go wrong with the Brazilian-flavored "Calabay," the Chick Corea-ish "Jazzhouse," or the gospel-minded title track. The clever "Woodpecker," in fact, has a Thelonious Monk influence, and is arguably the most straight-ahead thing on the album. At his best, Mamet doesn't shy away from improvisation -- he digs in, stretches out, and doesn't quit soloing until he has said what needs to be said.

-Alex Henderson, Rovi - Allmusic/Rovi


"Jazziz Magazine Excerpt"

Mamet is a brilliant composer who gives his players an intelligent, thoughtful, and dynamic landscape in which to work. The album takes the listener through a vibrant program where the tunes evolve and flow from a sublime whisper to a full-on joyous flourish. The musicianship is impeccable throughout and the lyrical twists and turns keep you engaged the whole way through. - Jazziz Magazine


"Album Review- "Impromptu""

What's there to say? A killer piano man, Bill Evans' drummer and a bass ace that's an MVP get together for a piano trio date where they just have fun, swing and kick out the jams. In a word, it's FUN and nothing more. Without a wasted note in the bunch, this crew serves up classic jazz trio work without making it sound like old man jazz. A great listening date in any setting, this set has it all on the ball and mainstream jazz fans can use it as a cudgel to beat naysayers over the head when they turn up their nose at the notion of mainstream. This is a winner throughout. -Chris Spector, Midwest Record
- Midwest Record


"Bob Mamet Trio Review"

Artist: Band:Bob Mamet Trio
Album: Impromptu
Label: Counterpoint Records
Website: http://www.counterpointrecords.com/
Genre: Jazz
Technical Grade: 10/10
Production/Musicianship Grade: 10/10
Commercial Value: 10/10
Overall Talent Level: 10/10
Songwriting Skills: 10/10
Performance Skill: 10/10
Best Songs: Venice Waltz, At Play, Until Morning, Illinois Road
CD Review: Impromptu, the new release from The Bob Mamet Trio is smart, sexy, and definitely one of the most listenable albums of the year. The trio consists of Bob Mamet on piano, Darek Oles on bass, and Joe LaBarbera on drums but the sum is more than the parts. Mamet provides a dazzling array of tunes and the band swings. Every song is a joyful work of art.

The cool Impromptu kicks of the CD with Mamet's smooth piano and a very memorable tune. Mamet's flair for melody is quickly evident. Cats On A Roof sounds just like it's name, cool and quick-footed. Oles and LaBarbera's rhythm section cooks like a hot tin roof and Mamet's piano line bounces crazily. Venice Waltz is a 3/4 time, moody jazz piece with one of Mamet's smoky evocative melodies. It's easily one of my favorite tunes on the album. At Play is hot jazz with Oles laying down a hard bass line and LaBarbera beating out 16th beats on the highhats. Needless to say, it swings. Until Morning is sweetly tender and again Mamet shows himself as the master of melody. This melody is so beautifully written that it's instantly memorable.

Impromptu is a remarkable album from a very talented composer. I will be listening to this again and again and my wife has already asked to borrow it. This is jazz at its best. I can't recommend Impromptu from the Bob Mamet Trio highly enough. It's one of the best albums I've heard this year.
-Don Sechelski

- The Muse's Muse


"Bob Mamet Trio Review"

I have been listening to a lot of jazz lately and the latest to cross my desk is the new release by the Bob Mamet Trio entitled Impromptu. His latest effort is a richly melodic CD of piano led contemporary jazz and is one of the easiest CDs to listen to I have had the pleasure of hearing this year.

Mamet was born in Chicago and studied music at the Peabody Conservatory before moving to Los Angeles where he began his musical career. He has released a number of albums and has worked with many artists including Larry Carlton, Gerald Albright and David Benoit. This is first effort as the Bob Mamet Trio.

Mamet has come out with a fabulous CD that harkens back to a more innocent time when classic jazz trios were all the rage and jazz was at its peak. It is refreshing to hear a modern jazz trio playing with so much melody and class. The CD consists of ten songs all in the three to four minute range. The melodies come quickly and often making Impromptu as memorable as it is enjoyable. Mamet is an excellent piano player which he so ably demonstrates song after song. His playing is both subtle and lyrical, filled with emotional nuance. Complimenting Mamet are Darek Oles on bass and Joe La Barbera on drums and both excel on their chosen instruments.

The album begins with the title track, a song steeped in the tradition of classic jazz. Complimenting Mamet's melodic piano lines is the daft cymbal work of Barbera. His skillful touches on the drum kit can be light as a feather or much more forceful as he demonstrates on "Keziah" where the rhythm section really cooks up a storm. Other highlights include "Cats on the Roof", a melodic piece of jazz that really swings and the lovely romantic ballad "Until Morning", a contemplative listen reminding me of days gone by with another pretty piano melody.

Impromptu is a timeless listen of the highest order. Highly recommended for all fans of piano centered jazz. Heck, all jazz fans need to hear this CD, period.
-Jon Neudorf

- Sea of Tranquility


"Bob Mamet Trio Review on All About Jazz"

No gimmicks. No trends. All business. The Bob Mamet Trio gets straight to the point with Impromptu.

Chicago-born Mamet studied at Peabody Conservatory before moving to Los Angeles, where he has worked a composer and session musician, showing his versatility in television, film, advertising and performance. Associations include Alex Acuna, Larry Carlton, Eric Marienthal, Gerald Albright and David Benoit. For Impromptu, Mamet is accompanied by Darek Oles on bass and Joe La Barbera on drums.

The title song has a Benoit/Guaraldi feel to it. Mamet carries the lead in playful fashion. During the song's climax, he scores a series of descending rolls.

"Venice Waltz" is a charming piece. La Barbera adds some extra flavoring with cymbal slides and soft strokes on the snare. Oles steps out front briefly during a bridge that sets up the closing.

Oles and La Barbera are more involved on "At Play," an upbeat, free-spirited song. Bass and piano are in unison during the introduction. The bass continues the stair-step rhythm while the piano moves on to the melody. La Barbera gets to lick his chops in a call-and-response with Oles. The trio is sharp throughout.

Any time you get a collection of all-original compositions performed by a solid group of jazz musicians, you're likely in for a treat. Impromptu delivers on that promise in a stylish, albeit brief (under 40 minutes total), set. Although Oles and La Barbera don't get to stretch out much, they complement Mamet perfectly. Even in the background, they present integral parts of the performance.
-Woodrow Wilkins, All About Jazz - All About Jazz


"Review of "Impromptu" by Ed Blanco, Radio Host- WDNA"

Bob Mamet is an internationally recognized pianist and composer from Chicago with several albums to his credit and with Impromptu, celebrates his very first release using a standard piano trio format. Mamet calls upon Polish-born Darek Oles, one of the most in-demand players in L.A. and once voted “Best Acoustic Bassist” in Europe, to anchor the trio with jazz luminary and drumming sensation Joe La Barbera guiding the steady beat to complete the Bob Mamet Trio.


An accomplished composer of music for both TV and film, the pianist takes his inspiration—and models the lyrical approach to the music for this album—from the soundtrack and musical score of the movie “Lakeboat.”

The ten-piece all-original repertoire for this album kicks off with the up-tempo title piece featuring Mamet's lighting speed finger dance on the keys. He follows the energetic opener with another brisk burner on “Cats on the Roof.” When you first hear the introduction to “Venice Waltz” you may think you're listening to a Leonard Bernstein “West Side Story” composition but in fact its only a few bars that resembles the melody. Of one of those songs. Mamet's next piece “At Play” comes out of the gate with confident swagger and develops an aggressive texture complete with tasteful solos from both Oles and La Barbera.

The music turns light and beautiful on the charming “Until Morning” with La Barbera on the brushes as Mamet proceeds to deliver a soft and delicate musical statement with this piece. The group enters the blues landscape on the delicious “Bob's Blues,” which provides more space for Oles to show his appreciable chops on the acoustic bass while also highlighting more of the pianist's gorgeous lines. Rounding out the set are the Latin-shaded “Danzon Allegretto” and “Keziah,” two pieces demonstrating another side of the pianist. Clearly no ordinary album, “Impromptu” reveals a well crafted and executed musical project from talented pianist Bob Mamet and his stellar trio band mates. Essentially, there's actually nothing impromptu about this recording, this album was done with a purpose in mind—to please the listener with excellent music and unquestioned musicianship—and to this end, is quite successful, a chart-topping CD for sure.
-Edward Blanco, Radio Host, WDNA - E-Jazz News


"Allmusic Review for iTunes"

Bob Mamet showed considerable promise on his debut album, Signs of Life, which could easily be described as "pop-jazz with a brain." This 1994 release is hardly the work of a jazz purist or a bop snob; the pianist/keyboardist combines jazz with elements of pop, rock, and R&B, and he has been heavily influenced by the electric work of Chick Corea, the Yellowjackets, and Joe Sample. But at the same time, anyone who claims that Signs of Life is merely instrumental pop doesn't give Mamet enough credit -- the pop elements are strong, but so are the jazz elements. Mamet brings an improviser's mentality to the table, and he enjoys a real dialogue with well-known guests like guitarist Larry Carlton, saxman Sam Riney, and Yellowjackets members Jimmy Haslip (bass) and William Kennedy (drums). Another guest is saxman Richard Elliot, and here's the ironic part: Elliot's playing is a lot more substantial and meaty on Signs of Life than it is on his own albums. Elliot has recorded more than his share of brainless elevator Muzak, but he sounds pretty good on Mamet's debut. Meanwhile, Mamet detours into straight-ahead jazz on Miles Davis' "Nardis," which finds him forming a traditional piano trio with Haslip and Kennedy. ~ Alex Henderson, All Music Guide - All Music Guide


"Jazz Inside Magazine Interview (Preview)"

Jazz Inside Magazine: How do you think the quality of curiosity has an impact on one's development as a musician? Do you believe there may be a downside to having lots of curiosity?

Bob Mamet: If there is a downside it might be the tendency to divert one's focus. When we're curious about too many things it can take us away from what we're trying to create right now.

For example, on my latest album "Impromptu" I experimented with some musical styles that I found interesting and curious, but ultimately I had to abandon for the sake of cohesiveness.

That doesn't mean you have to forego that curiosity altogether- just save it for the next one! - Jazz Inside Magazine


"Feature article- Chicago Sun Times"

In a Family of Artists Bob Mamet Is `The Natural'

Bob Mamet comes from a family of piano players - a family that began in this country with his immigrant grandfather, who, the story goes, proudly polished a piano he couldn't play, a possession always in danger of being repossessed. A family that continued with his lawyer-father, who was, in his soul, a music man, and with brothers and sisters who carry the gene.

Still, Bob's the musician whom the Mamet family calls "the natural."
High praise from such a creative clan. There's brother David, the famous playwright. Sister Lynn, the producer/screenwriter. Brother Tony, the singer/songwriter and actor.

It took Bob Mamet a decade to finish his first jazz record, called "Signs of Life," released on the Atlantic Jazz label. A Sunday-morning jazzman with a Saturday night edge, he spent his 20s working the bugs out of his compositions while doing anonymous L.A. studio work.

"I always knew I would get the album out. I just didn't know it was going to be quite such a . . . process," says Mamet wryly.
His brother Tony, who collaborated with Bob on "Signs of Life," never doubted that Bob would hit the mark: "My earliest memories are of Bob playing the piano - just instinctively playing it, before he'd had lessons. He was the one who brought out the family musical talent. I can't imagine that he would have ended up doing anything else. It was just meant to be."

So it was. "I started out on an academic track. I went to Johns Hopkins with the intention of becoming a doctor . . . or something," recalls Bob, a Francis Parker alum who grew up in Wrigleyville as part of his father's second family. (David, 15 years older, is his half-brother.) "But by the end of the first year I was taking most of my classes at the Peabody Conservatory. I was just drawn to music, and I couldn't resist. I didn't want to resist."
Nights, Mamet took to sitting in at Baltimore's seedy rock and jazz clubs.
"Being out there in the real music world was a revelation," he remembers. "It was probably then that I made the conscious choice to do this. It just felt right to be out of the academic loop and in the clubs."

At 19, he headed west, got a degree from a California music school and started working for the entertainment industry, playing club gigs in his spare time.
Though his father at first discouraged his musical aspirations, "One night he heard me play in one of the jazz clubs around Baltimore - jazz was what he liked to play and what he listened to - and he said, `You know, you were good,' " Mamet says. "After that, I think he realized how serious I was about music, and he respected it."

Recently, Bob came home to Chicago, where his mother still lives and the family sometimes gathers. Though he still travels frequently to perform - he works with a network of about two dozen musicians around the country - his home base is a rehabbed North Side bachelor apartment that sports a huge Yamaha piano where most people have dining tables and a downstairs room crammed with keyboards.
"I saw a simmering music scene here that was ready to boil, and I wanted to be part of it," he says.

Observers say he is. He's "a local talent who's been out in the world . . . a guy with a headful of new ideas," believes Mark Ruffin, a producer-announcer at WNUA-FM. "He took the time and did it (his album) the right way.
"He's a smart guy, and many musicians aren't. He didn't rely on his name. It helps. But it's talent that really counts, and he's got that."

Though his rising profile has brought him a spate of recent offers, Mamet always tries to make time for family projects. The latest, a movie version of David's first published play, "Lakeboat," is in pre-production. It will bring together the playwright, who has adapted the 1970 work for the screen, and both of his little brothers - Tony will play the lead and Bob will do the score. (Family friend Joe Mantegna will direct the series of vignettes about a young man who takes a job on a Great Lakes hauler.)

Meanwhile, the hobbies Bob used to indulge - tennis, golf, sleep - are mostly on hold, he admits.
"I'm focused on the music," he says. "Now, and 20 years from now, that's where I want to be.
-Mary Gillespie, Chicago Sun Times

- Chicago Sun Times


"Jazz Society of Oregon Review"

A Chicagoan turned Southern Californian, Mamet writes and plays swinging, attractive melody lines on a recording of ten original tunes. Sometimes his very airy and fresh style reminded more than a little bit of another LA swinging piano cat, the late Pete Jolly. Like Pete, Mamet likes melody lines in the piano’s higher register. For this outing, Mamet employs two of Smogland’s best in Darek Oles, bass, and Joe LaBarbera, drums. If the timeless sound of a stylish piano trio is your bread and butter, then here’s your appetizer.       
-George Fendel, JazzScene Magazine (The Jazz Society of Oregon)
- JazzScene Magazine


"San Francisco Chronicle column"

On his latest CD, pianist Bob Mamet's true love for Jazz is evident on every track. He's a master of melody and structure, with a sound that's vibrant and melodic. His brother David is a renowned playwright famous for his ear for dialogue, but Bob is a true talent in his own right, blending classic Jazz within a modern compositional foundation. Check him out!

David Wiegand
- San Francisco Chronicle


"MSN Review of "Adventures in Jazz""

David Benoit must have enjoyed the recollection of his early days offered him by co-producing Bob Mamet's simple, direct and extremely hooky tunes on Adventures in Jazz. Benoit is a perfect partner/mentor for the up-and-coming Mamet, since Mamet specializes in the same type of angst free "happy jazz" Benoit began his career with - even to the point of putting Eric Marienthal's sax center stage on the choruses of sweet confections like the title track and the friendly "Conversation at 29th St.," on which Benoit's synth strings enhance Mamet's melancholy reflections. One could spend all day harping on the similarities, but, fortunately, it's a case of following in the footsteps of the best; like Benoit, Mamet is a masterful pianist and melody maker, as adept at traditional jazz as fluffy pop. If taken literally, the title Adventures in Jazz seems like a misnomer until companion tracks "Six Stories 1-3" and "Six Stories 4-6," in which Mamet swings away from the almighty hook and engages bassist Derrick Murdock and drummer Johnny Friday on a colorful acoustic trio exploration. The solo piano closer "Nightsong" is as pure and direct as anything new age sensation Jim Brickman has ever produced. Sure, Mamet takes cues from other, more renowned pianists, but irresistibly so, creating one of the most enjoyable contempo outings of the year. ~ Jonathan Widran, All Music Guide - MSN


"Jazz Times Review of "Signs of Life""

Pianist Bob Mamet, brother of the famed playwright, shows he’s no stanger to drama, mystery and wit on “Signs of Life” (Atlantic Jazz 826 16-2). An understated player who digs into the meaningful refrains rather than the flashy runs, Mamet offers adventurous, challenging compositions which evolve and change, while remaining accessible.

While album opener “Three Sides” may be the best example of Mamet’s easy swings in color and tone, “On Track” kicks in a sparkling Latin- tinged groove, breaks down into a meditative phase and kicks effortlessly back.

“Riverside Anthem” is quietly joyful, yet harbor’s bluesy, almost mysterious qualities in Jerry Hey’s distant trumpet.

Mamet’s compositions also work well in diverse instrumental configurations, from the playful setting of “Nardis” (with the “Yellowjacket’s” rhythm section of Jimmy Haslip on bass and William Kennedy on drums) to the full band and horn compliment of the somewhat dark and funky “South for the Winter.” Throughout “Signs of Life” remains a melodic and intriguing song cycle.

- Hilarie Grey
- Jazz Times Magazine


"Jazz Times Review of "Impromptu""

Pianist Bob Mamet, a Chicago native and brother of noted playwright David Mamet, joins former Bill Evans drummer Joe La Barbera and ubiquitous L.A. bassist Darek Oles for some swinging originals.

Highlights include the sparkling title track, the vibrant and quirky "Cats on the Roof" and the Vince Guaraldi-esque "Venice Waltz." The surging "At Play" features a crisp, accomplished drum solo from La Barbera, who also contributes some sublime brushwork on the affecting ballad "Until Morning."

The diverse program includes the loose-walking "Bob's Blues," the Latin-flavored "Danzon Allegretto," the heartland melody "Illinois Road" and the breezy "Keziah."
-Bill Milkowski - Jazz Times Magazine


"Jazz Times Magazine Review of "Adventures in Jazz""

Packed with lightly urban grooves and notably radio-friendly melodic hooks, Bob Mamet's Adventures in Jazz (Atlantic 83035-2; 40:14) may be his most "mainstream" contemporary jazz outing yet-but the talented pianist's musicianship, and propensity for splashing his compositions with warm acoustic colors, keep his work above the level of the pack. Mamet's freewheeling acoustic piano figures on the urban-tinged pieces (including "News From the Blues" and Citysong," which features Eric Marienthal on a charming alto sax melody) keep things elegant and non-cliched. David Benoit is a collaborator here, and his stickier style turns up on "Conversation at 29th Street" and "At Midnight"-but Mamet's surprises stand out: like the marching, bluesy piano jam on "Austin Bound," and the explorative suite, "Six Stories" (separated into parts one-three and four-six) which covers Mamet's many moods-from swinging, to contemplative-in the album's jazziest (and most adventurous) settings.
-Hilarie Grey - Jazz Times Magazine


"Jazz Chicago Review of "Impromptu""

Pianist Bob Mamet was born and raised in Chicago, before he set off for the West Coast and Los Angele,s where has made his name as a studio musician and composer for T.V., film and advertising. He also released a number of albums which received acclaim and considerable airplay - including Greenstreet which topped the charts for 7 weeks. Mamet's latest - Impromptu - is a trio outing with fellow west-coast first call musicians drummer Joe LaBarbera and bassist Darek Oles. Mamet has a reputation as a masterful and melodic player and composer and this talent is clearly on display here. His style reminds me of Vince Guaraldi, with some Bill Evans colors, but perhaps a touch more energy. Of course, it helps having LaBarbera (a member of Evans' trio) driving the music - and the veteran sounds as vital as ever. Oles, meanwhile, is considered one of the best bassists on the West Coast and is strong in support here. Mamet's songs are crafted with the care and skill of an expert - and fans of jazz trios will thrill to numbers like the spicy title track, the swinging "Cats on the Roof," "Venice Waltz" and the burning "At Play" (with great LaBarbera solo). "Until Morning" is a nice ballad that recalls "In the Wee Small Hours of Morning" and shows Mamet's ability to play it slow and light as well. "Danzon Allegretto" may be the most experimental piece, while "Bob's Blues" is an Evans-ish take on the blues. "Illinois Road" is wonderful slice of Americana paying tribute to his home state, while "Keziah" offers a bit of Latin flavor. Strong work from this talented composer/musician and his trio that you will enjoy adding to your rotation.
-Brad Walseth - Jazz Chicago


"Bob Mamet Trio Review"

Not even two seconds into the album, and I’m already jumping into the air. Okay, maybe not a physical jump, but when Bob Mamet puts his fingers on the keys, and the low-end groove of stand-up bassist Darek Oles starts thumping into your soul as drummer Joe La Barbera maintains his position, you know these guys are in it to win it.

Impromptu (Counterpoint) is an album played by a trio in that trio style. Perhaps like rock’n'roll, the idea of a trio will always seem like “one less” but the more I hear trios, the more I hear the musicians involved simply play for the hell of it. This is what they do on an album built with style and precision, with songs like “Cats On The Roof”, “At Play”, “Until Morning”, and “Illinois Road”. As they play, I’m thinking these guys are speaking to me, and maybe in a smoky nightclub or basement, they would think “this guy is feeling it, maybe he needs to speak with us.” The decorative playing of Mamet is so on point, I know I felt as if he should play the variations of the theme and never get to its destination, for I wanted to hear more of his playing. His spacing in “Venice Waltz” is beautiful too, I love it when he moves back after various phrases and just lets the note linger for awhile, it’s perfect. There’s also a great moment in “Until Morning” when he gets into a flourish and stays there for what seems like a long time. In truth it’s a short burst but the intensity of his playing stays that way for a moment and it feels bold, strong, courageous.

It may be called Impromptu, but there is some preparation involve. Or maybe the preparation involves simply knowing everything has a beginning, middle and end, but Mamet, Oles, and La Barbera enjoy having fun with all three, and as three they are at one with the music. -John Book, "This is Book's Music" - Book's Music


"Review of "Impromptu""

Pianist Bob Mamet may have sealed his reputation in the 90s as a tastemaker on collaborations with Larry Carlton, Eric Marienthal, Gerald Albright and David Benoit – smooth operators all – but in his current post as a leader with bassist Darek Oles (Brad Mehldau) and drummer Joe LaBarbera (Bill Evans), Mamet strikes gold on ten vibrant originals that are as good-natured as they are dynamic.

With refreshing brevity, Mamet wastes no time digging into the music and not a note he plays is wasted. Touching all the bases, the title track and “Cats On The Roof” are solid soul-jazz swingers with endearing melodies confidently played by Mamet. “Venice Waltz” has a cadence that Vince Guaraldi could have constructed while “Bob’s Blues” and “Keziah” swing with joyful abandon. While Mamet may evoke other players, Gene Harris often comes to mind, his resonant tunes have an immediacy all their own. There is plenty of rhythmic invention and the sonic quality packs a satisfying punch.
-Nick Bewsey - Icon Magazine


""All About Jazz" review of "Impromptu""

The title of Impromptu is somewhat misleading. All three musicians in this trio have lightning-quick reflexes and great improvisational skills that certainly help to make instant magic, but the songs themselves aren't off-the-cuff creations as the title might imply. Pianist Bob Mamet has crafted ten catchy charts in a variety of styles and leaves plenty of solo space to spare.
The first two tracks—"Impromptu" and "Cats On The Roof"—are comfortable swing vehicles that introduce Mamet's playing without getting too personal. His deft touch and graceful right hand lines move over the rhythm section with a sense of ease. A brief cascading stream of notes on the title track hints at things to come. Drummer Joe La Barbera's brushes actively sweep and keep the beat dancing on "Venice Waltz," while the trio really hits its mark with "At Play." This up-tempo burner is driven by an insistent figure from bassist Darek Oles that's doubled by Mamet's left hand. While everybody shines on this one, La Barbera's soloing is the real focal point.
"Until Morning" shows off Mamet's beautiful ballad writing, and comes off like a less gloomy, distant relative of the classic "In The Wee Small Hours Of The Morning." The bass and left hand doubling are used to good effect as Oles and Mamet lay down a riff on "Danzon Allegretto." An occasional cavernous left hand note comes from Mamet as the song continues, and he throws out some energetic and zestful runs. "Bob's Blues" starts out like standard supper club jazz fare, but quickly becomes a tour-de-force display of musicianship from all three participants. Solo trading, first between Mamet and Oles, and later with Mamet and LaBarbera, is the order of the day on this one, and Mamet's tasty technique is on full display.
The deeply soulful "Illinois Road" is a standout—more for mood and sheer melodic pleasure than for musicianship—and all three men keep their chops in check as they work in service of the song. "Keziah" begins with a classical-meets-tango vibe, but takes on a samba-ish feel when the music takes off. La Barbera's bouncy soloing is a treat here and Mamet is on fire again. A reprise of the title track, while slightly unnecessary, brings the album full circle. In summary, Impromptu = Impressive.
-Dan Bilawsky, "All About Jazz"

- All About Jazz


"Bob Mamet Trio review"

The change of season brings a new optimism. Great jazz can alter the dreariest of rainy days, and here to put some smiles on your face is the Bob Mamet Trio with "Impromptu", their latest release.

Geared towards both new and long time jazz buffs alike, the songs seem approachable even to the novice musician. Music that has a chance to inspire should never be limited to independent music stores, it should be played and heard.

I'll give "Until Morning" the album's best song. It is a subtle mix of down home soul and songwriting brilliance. I'd have no problem guessing that track will see chart play.

The world is changing before our eyes. It's time to open our minds and close our eyes. Use your imagination to follow your dreams, and give Bob Mamet Trio a spin while you're at it. -Christopher Llewellyn Adams - Cashbox Magazine


Discography

Impromptu (Album- New Release: Recently reached #2 on the Jazz Charts)
Day into Night (Chart-topping album)
Greenstreet (Single- 7 weeks at #1)
Signs of Life (Critically acclaimed debut Album- Grammy awards entry list, 1995- Best Contemporary Jazz Album)
Adventures in Jazz (Top 10 Album)
At Midnight (Top 10 Single)
Morningside (Top 5 single)
News from the Blues (Top 10 single)

Photos

Bio

Bob Mamet is an internationally acclaimed Jazz pianist and composer. Born and raised in Chicago Illinois, he attended the prestigious Peabody Conservatory before heading west to Los Angeles to begin a career as a composer and studio musician. Over the next several years he composed music for over a hundred projects in T.V. film, and advertising, in addition to touring as a sideman and bandleader.

Bob's distinctive mixture of Jazz styles and composition caught the ear of the major record labels, and in 1994 he signed with Atlantic Records. Bob recorded three highly successful albums for Atlantic, plus additional recordings for Sony and Warner Brothers. His collaborations with artists such as Alex Acuna, Larry Carlton, Eric Marienthal, Gerald Albright, David Benoit and countless other top artists led Jazziz magazine to proclaim him a "brilliant composer" who gives his players "an intelligent, thoughtful, and vibrant musical landscape in which to work."

During this period Bob released a string of hit records, garnering extensive radio airplay worldwide. Most notable among these was "Greenstreet," a hybrid of acoustic and contemporary Jazz idioms. Greenstreet captured the imagination of Jazz and Pop listeners alike, topping the charts for 7 weeks, and remaining to this day a fixture on the radio.

Bob has played sold out shows from large festivals to renowned Jazz clubs, incorporating vibrant and diverse styles into his acoustic piano performances. He has been described as a "master of melody and structure" by The San Francisco Chronicle; "adventurous… sparkling… intriguing" by Jazz Times Magazine; and the Chicago Sun Times calls him simply "The Natural."

Bob has continued to compose music for a variety of projects, including the critically acclaimed score for the film "Lakeboat." It features a 60-piece orchestra with individual Jazz Trio vignettes, each one corresponding to a different character in the film. The lyrical acoustic Jazz approach Bob utilized in the soundtrack became the catalyst for his latest CD Impromptu.

Impromptu marks Bob's long awaited return to the recording studio, and is his first as the Bob Mamet Trio. The ten original compositions are a modern take on the classic Jazz trio, invoking the memory of lyrical Jazz pianists such as Bill Evans and Vince Guaraldi. The stellar sidemen on the album include virtuoso bassist Darek Oles, and legendary drummer Joe La Barbera.