Rob Denty
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Rob Denty

Frankfort, Illinois, United States | INDIE

Frankfort, Illinois, United States | INDIE
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"from liner notes of "Round and Round""

A friend of mine showed up on one of my gigs a while back and on a break said, “As I walked up outside before coming in, I could barely hear you guys playing, but it had that sound – the sound of it being right.”

This was my reaction upon hearing the first moments of this CD – it has that sound. The sound, the time, the intent – all immediately realized in one fell swoop. Rob Denty’s “Round and Round” is beautifully conceived and delivered. Rob has again shown to me that he is always worth listening to.

I really like all of the players on this side; they play well together with the honesty to simply sound good with no agenda. Rob and I work together; listening to this CD gives me the same warmth that playing with him does - please enjoy it the way I do.

Kelly Sill

- Kelly Sill


"from liner notes of "Round and Round""

A friend of mine showed up on one of my gigs a while back and on a break said, “As I walked up outside before coming in, I could barely hear you guys playing, but it had that sound – the sound of it being right.”

This was my reaction upon hearing the first moments of this CD – it has that sound. The sound, the time, the intent – all immediately realized in one fell swoop. Rob Denty’s “Round and Round” is beautifully conceived and delivered. Rob has again shown to me that he is always worth listening to.

I really like all of the players on this side; they play well together with the honesty to simply sound good with no agenda. Rob and I work together; listening to this CD gives me the same warmth that playing with him does - please enjoy it the way I do.

Kelly Sill

- Kelly Sill


"Review of Millenium Park Concert by Chicago Sun-Times, Jul 16, 2005"


"It was the ensemble's improvisers, especially, who made the concert interesting. The concert began to take flight when Faddis, playing trumpet... evoke the decadent, ethereal atmosphere of a late 1960s Miles Davis group. Pat Mallinger and Rob Denty captured the melodic lilt of post- Kansas City-styled tenor sax styles, in an extended chase during Bob Ojeda's tribute to the late-swing era."
- by John Litweiler


"Review of Millenium Park Concert by Chicago Sun-Times, Jul 16, 2005"


"It was the ensemble's improvisers, especially, who made the concert interesting. The concert began to take flight when Faddis, playing trumpet... evoke the decadent, ethereal atmosphere of a late 1960s Miles Davis group. Pat Mallinger and Rob Denty captured the melodic lilt of post- Kansas City-styled tenor sax styles, in an extended chase during Bob Ojeda's tribute to the late-swing era."
- by John Litweiler


"Chicago Jazz Ensemble and Matt Wilson's Arts & Crafts at Chicago Symphony Center"

"Michael Abene’s arrangement of Leonard Bernstein’s “Lucky To Be Me” had some effective brass ensembles supporting the fine tenor work of Rob Denty, who played thrillingly over Peter Saxe’s piano comping and Hall’s brushed snare..." - all about jazz - By Paul Olson


"Chicago Jazz Ensemble and Matt Wilson's Arts & Crafts at Chicago Symphony Center"

"Michael Abene’s arrangement of Leonard Bernstein’s “Lucky To Be Me” had some effective brass ensembles supporting the fine tenor work of Rob Denty, who played thrillingly over Peter Saxe’s piano comping and Hall’s brushed snare..." - all about jazz - By Paul Olson


"Review of Rob Denty's "round and round""

It is often surprising to hear the talent we have lurking about our fair city, and saxophonist Rob Denty is no exception. His debut album as a leader, "Round and Round" is a satisfying release, featuring a warm and clean recording, great cover artwork, solid playing and several interesting original songs, as well as a couple well-arranged lesser known covers.

Denty is a talented player, who has obviously used his experience playing with the Chicago Jazz Ensemble, as well as performances with Joe Lovano, Doc Severinsen, Clark Terry, the Milwaukee Symphony Orchestra and more, in order to hone his abilities both as a soloist and as a composer. Backed here by an exciting rhythm section of Tom Mulvenna on drums and Cory Biggerstaff on bass, and joined by Tom Vaitsas on electric piano or organ on most numbers, Denty plays with self assurance and impressive technique.

The burning opener, "Right Hand Sam" starts things off right with Denty and Vaitsas soloing nicely over the hard swinging rhythm section. Biggerstaff also adds a tasty solo, and both he and Mulvenna are given the spotlight on a fairly straight ahead trio version of "I'm Getting Sentimental Over You." Meanwhile "Tim's Mutiny" showcases Denty in '50s Coltrane mode over a galloping bass, drums and keys, "before his solo melts into a reverb-drenched fadeaway, interestingly leaving drummer Mulvenna (Tim) to solo out.

Denty admits to being influenced by a wide range of musical styles, including Indian and Greek music, traditional jazz, free jazz, and even classical and popular music. The 10:13 "For B.G." centers the album with a composition that seems as much free as raga. The title track features a memorable theme and some graceful solo work by Vaitsas on his Rhodes that provides an appropriate counterpart to Denty's airy flights.

It's great to hear Vaitsas' chewy organ work on the bluesy "Sir Charles," which pleasantly surprises with its ever-changing shape. Meanwhile, "Lucky to Be Me" (from On the Town) highlights Denty's engaging way with a ballad, while Vaitsas again adds some pleasing work on the electric piano. "Under the Doorway" is a great way to end this enjoyable album, featuring some exceptional saxophone work, clever changes and dynamic group interplay. Fans of straight ahead jazz with a twist will be delighted by this recording which marks Denty as a young player/composer to watch for.
- Review by Brad Walseth - jazz Chicago.net – March 2008


"Review of Rob Denty's "round and round""

It is often surprising to hear the talent we have lurking about our fair city, and saxophonist Rob Denty is no exception. His debut album as a leader, "Round and Round" is a satisfying release, featuring a warm and clean recording, great cover artwork, solid playing and several interesting original songs, as well as a couple well-arranged lesser known covers.

Denty is a talented player, who has obviously used his experience playing with the Chicago Jazz Ensemble, as well as performances with Joe Lovano, Doc Severinsen, Clark Terry, the Milwaukee Symphony Orchestra and more, in order to hone his abilities both as a soloist and as a composer. Backed here by an exciting rhythm section of Tom Mulvenna on drums and Cory Biggerstaff on bass, and joined by Tom Vaitsas on electric piano or organ on most numbers, Denty plays with self assurance and impressive technique.

The burning opener, "Right Hand Sam" starts things off right with Denty and Vaitsas soloing nicely over the hard swinging rhythm section. Biggerstaff also adds a tasty solo, and both he and Mulvenna are given the spotlight on a fairly straight ahead trio version of "I'm Getting Sentimental Over You." Meanwhile "Tim's Mutiny" showcases Denty in '50s Coltrane mode over a galloping bass, drums and keys, "before his solo melts into a reverb-drenched fadeaway, interestingly leaving drummer Mulvenna (Tim) to solo out.

Denty admits to being influenced by a wide range of musical styles, including Indian and Greek music, traditional jazz, free jazz, and even classical and popular music. The 10:13 "For B.G." centers the album with a composition that seems as much free as raga. The title track features a memorable theme and some graceful solo work by Vaitsas on his Rhodes that provides an appropriate counterpart to Denty's airy flights.

It's great to hear Vaitsas' chewy organ work on the bluesy "Sir Charles," which pleasantly surprises with its ever-changing shape. Meanwhile, "Lucky to Be Me" (from On the Town) highlights Denty's engaging way with a ballad, while Vaitsas again adds some pleasing work on the electric piano. "Under the Doorway" is a great way to end this enjoyable album, featuring some exceptional saxophone work, clever changes and dynamic group interplay. Fans of straight ahead jazz with a twist will be delighted by this recording which marks Denty as a young player/composer to watch for.
- Review by Brad Walseth - jazz Chicago.net – March 2008


"CD Reviews: Rob Denty, “Round and Round”"

Rob Denty may be unfamiliar to jazz audiences outside Chicago but his debut recording as leader may serve to change that. On “Round and Round” Denty includes six originals and two cover tunes presented in a modern mainstream style with a touch of free jazz to make it interesting. Playing the tenor saxophone and the bass clarinet, Denty leads a quartet comprised of Tom Vaitsas on the Fender Rhodes and organ, Cory Biggerstaff on upright bass Tim Mulvenna providing firm pounding of the drums.



Denty opens up the music with the lively sizzler, “Right Hand Sam” taken for a short ride by Vaitsas on the Rhodes leading to a hard swinging solo from the leader backed up nicely by both Biggerstaff’s bass lines and Mulvenna’s tease. Providing an interesting arrangement of the standard, “I’m Getting Sentimental Over You,” it’s basically all Denty here with side support from the drummer and the bassist.

With perhaps the best melody on the album, Denty and the group play with spice and swagger on brief original, “Tim’s Mutiny” featuring solid solos from the sax man ending the piece in a free form style that Mulvenna finishes off with a drum roll. For a real taste of the free style jazz however, there is the ten-minute “For B.G.” providing plenty of solo space for all in a free flowing direction changing textured number that those who prefer the straight ahead stuff, may not appreciate.

The title piece is painted in a gorgeous melody with the brush strokes from Vaitsas’s organ play blending right into timely tenor phrasings from Denty in one of the best charts on the album. The debut rounds out with Leonard Bernstein’s “Lucky To Be Me,” the only ballad here and the bouncy finale, “Under The Doorway.”

More than well worth a listen, Rob Denty’s first offering, “Round and Round” is a rousing and impressive beginning for one of Chicago’s rising young stars of jazz. I’m sure we’ll be hearing more from the talented Denty and his quartet in the future.

Year: 2007
Label: Taken Records
Artist Web: www.robdenty.com
- By: Edward Blanco Posted ejazznews.com April 9, 2008


"CD Reviews: Rob Denty, “Round and Round”"

Rob Denty may be unfamiliar to jazz audiences outside Chicago but his debut recording as leader may serve to change that. On “Round and Round” Denty includes six originals and two cover tunes presented in a modern mainstream style with a touch of free jazz to make it interesting. Playing the tenor saxophone and the bass clarinet, Denty leads a quartet comprised of Tom Vaitsas on the Fender Rhodes and organ, Cory Biggerstaff on upright bass Tim Mulvenna providing firm pounding of the drums.



Denty opens up the music with the lively sizzler, “Right Hand Sam” taken for a short ride by Vaitsas on the Rhodes leading to a hard swinging solo from the leader backed up nicely by both Biggerstaff’s bass lines and Mulvenna’s tease. Providing an interesting arrangement of the standard, “I’m Getting Sentimental Over You,” it’s basically all Denty here with side support from the drummer and the bassist.

With perhaps the best melody on the album, Denty and the group play with spice and swagger on brief original, “Tim’s Mutiny” featuring solid solos from the sax man ending the piece in a free form style that Mulvenna finishes off with a drum roll. For a real taste of the free style jazz however, there is the ten-minute “For B.G.” providing plenty of solo space for all in a free flowing direction changing textured number that those who prefer the straight ahead stuff, may not appreciate.

The title piece is painted in a gorgeous melody with the brush strokes from Vaitsas’s organ play blending right into timely tenor phrasings from Denty in one of the best charts on the album. The debut rounds out with Leonard Bernstein’s “Lucky To Be Me,” the only ballad here and the bouncy finale, “Under The Doorway.”

More than well worth a listen, Rob Denty’s first offering, “Round and Round” is a rousing and impressive beginning for one of Chicago’s rising young stars of jazz. I’m sure we’ll be hearing more from the talented Denty and his quartet in the future.

Year: 2007
Label: Taken Records
Artist Web: www.robdenty.com
- By: Edward Blanco Posted ejazznews.com April 9, 2008


"Review: Rob Denty's "round and round""

"Rob Denty wasn’t born in Chi-town, he’s out of
Georgia via Florida but one won’t find any peach fuzz on his tone or
dangling chads in his playing which seems at times almost Rollinsesque
(circa Prestige era). " - Cadence: April - May - June 2008


"Review: Rob Denty's "round and round""

"Rob Denty wasn’t born in Chi-town, he’s out of
Georgia via Florida but one won’t find any peach fuzz on his tone or
dangling chads in his playing which seems at times almost Rollinsesque
(circa Prestige era). " - Cadence: April - May - June 2008


"Interview: Denty free but melodic with jazz"

The jazz scene in Chicago offers everything from straight swing to free jazz. Saxophonist Rob Denty often presents both edges of that spectrum within one live set.

“Some people think that free jazz is always aggressive — furious and fast,” he says by phone from Chicago. He adds that within free jazz, he can still pursue “melodic content and compositional aspects. It’s also fun to let it rip and see what happens.”

With venues such as Fred Anderson’s Velvet Lounge and musicians such as the AACM (Association for the Advancement of Creative Musicians) at the forefront of avant-garde jazz, the city is an elite center for the music internationally.



“There’s a huge free jazz scene in Chicago,” Denty says. “Nowadays, it’s even more known for that than for the straight-ahead jazz. But it seems that there’s always a gap, where the two worlds can’t cross paths. It makes being in the middle kind of hard.”

However, he points out that Branford Marsalis, Joe Lovano and Keith Jarrett are but three musicians who punctuate their generally swinging sounds with excursions into free jazz.

Denty’s “For BG,” from his debut album, “Round and Round,” finds him playing with such restraint and lyricism that it’s easy to miss the fact that the music is, at its core, free jazz. Aside from the initial structure, many of the harmonies, melodies and rhythms are all destabilized to the point where the players are actually making it up as they go along.

But even that song is rooted in tradition: It’s dedicated to the alto saxophonist Bunky Green, onetime member of Charles Mingus’ band and Denty’s former teacher at the University of North Florida.

“As modern and innovative as his playing is, he never pushed that on me at all,” Denty says about Green. “He wanted me to learn the way he did. He would stress playing with continuity and with a good sound. He preached those things, and being as expressive as you can, to find your own voice.”

What Denty took away from his experiences with Green is that it’s crucial not to emerge as a clone of an idol.

“All his (former) students sound different,” he says. “Sometimes, I’ll hear a player use certain licks and I can guess what college they went to. But he allowed you to find your own thing.”

“Round and Round” contains standards along with original Denty compositions.

He began playing Leonard Bernstein’s “Lucky to Be Me” as a member of the Chicago Jazz Ensemble under the direction of trumpeter Jon Faddis. Denty pared down an arrangement for his smaller group and still enjoys playing it.

“(The CJE) had a chart written on that song, and I got featured on it. I fell in love with the tune. I even like the title,” Denty says. “It’s not one of those standards that have been recorded hundreds and hundreds of times.”

Rounding out Denty’s gig Friday at Trio’s Restaurant & Jazz Club in South Bend will be drummer Tim Mulvenna, bassist Cory Biggerstaff and guitarist Ivan Martirena.

“We don’t do a ton of (pop) standards,” Denty says about his current set lists. “We’re playing our own things and going more the route of jazz composers. We do some Keith Jarrett songs, and it seems like I can’t go a night without playing a (Thelonious) Monk tune.”

- By JACK WALTON - South Bend Tribune Correspondent - August, 14, 2009


"Interview: Denty free but melodic with jazz"

The jazz scene in Chicago offers everything from straight swing to free jazz. Saxophonist Rob Denty often presents both edges of that spectrum within one live set.

“Some people think that free jazz is always aggressive — furious and fast,” he says by phone from Chicago. He adds that within free jazz, he can still pursue “melodic content and compositional aspects. It’s also fun to let it rip and see what happens.”

With venues such as Fred Anderson’s Velvet Lounge and musicians such as the AACM (Association for the Advancement of Creative Musicians) at the forefront of avant-garde jazz, the city is an elite center for the music internationally.



“There’s a huge free jazz scene in Chicago,” Denty says. “Nowadays, it’s even more known for that than for the straight-ahead jazz. But it seems that there’s always a gap, where the two worlds can’t cross paths. It makes being in the middle kind of hard.”

However, he points out that Branford Marsalis, Joe Lovano and Keith Jarrett are but three musicians who punctuate their generally swinging sounds with excursions into free jazz.

Denty’s “For BG,” from his debut album, “Round and Round,” finds him playing with such restraint and lyricism that it’s easy to miss the fact that the music is, at its core, free jazz. Aside from the initial structure, many of the harmonies, melodies and rhythms are all destabilized to the point where the players are actually making it up as they go along.

But even that song is rooted in tradition: It’s dedicated to the alto saxophonist Bunky Green, onetime member of Charles Mingus’ band and Denty’s former teacher at the University of North Florida.

“As modern and innovative as his playing is, he never pushed that on me at all,” Denty says about Green. “He wanted me to learn the way he did. He would stress playing with continuity and with a good sound. He preached those things, and being as expressive as you can, to find your own voice.”

What Denty took away from his experiences with Green is that it’s crucial not to emerge as a clone of an idol.

“All his (former) students sound different,” he says. “Sometimes, I’ll hear a player use certain licks and I can guess what college they went to. But he allowed you to find your own thing.”

“Round and Round” contains standards along with original Denty compositions.

He began playing Leonard Bernstein’s “Lucky to Be Me” as a member of the Chicago Jazz Ensemble under the direction of trumpeter Jon Faddis. Denty pared down an arrangement for his smaller group and still enjoys playing it.

“(The CJE) had a chart written on that song, and I got featured on it. I fell in love with the tune. I even like the title,” Denty says. “It’s not one of those standards that have been recorded hundreds and hundreds of times.”

Rounding out Denty’s gig Friday at Trio’s Restaurant & Jazz Club in South Bend will be drummer Tim Mulvenna, bassist Cory Biggerstaff and guitarist Ivan Martirena.

“We don’t do a ton of (pop) standards,” Denty says about his current set lists. “We’re playing our own things and going more the route of jazz composers. We do some Keith Jarrett songs, and it seems like I can’t go a night without playing a (Thelonious) Monk tune.”

- By JACK WALTON - South Bend Tribune Correspondent - August, 14, 2009


Discography

Recent Recordings:

2010 - Brandon Harvey - "The Garden" - About Faced

2009 - Scott Stevenson - "Perpetual Calendar"

2009 - Mulligan Mosaics - Live at the Jazz Showcase

2009 - Hard Art Groop -"Zero Rest Mass"

2007 - Rob Denty - "round and round" - Taken Records

2007 - with Jon Faddis and the Chicago Jazz Ensemble - "My Kind of Town"

2007 - with the Matt Young Group - "Diggin In"

2006 - Denty/Westlake - "Etched"

Collectively members Have Recorded on over 100 Cds that include the Labels:

-- Blue Note, Thrill Jockey, Sea Breeze, Reference Recordings, Delmark, Atavistic, Drag City, Okka Disc, Blujazz, Submarine, Aesthetics

Photos

Bio

Portrait of a Player

It is often surprising to hear the talent we have lurking about our fair city, and
saxophonist Rob Denty is no exception. - Brad Walseth, jazzchicago.net, March 2008

Since moving to Chicago in 1995, Rob has had the privilege of performing with some of
the best musicians in Chicago. In 2001, Rob became a member of the Chicago Jazz
Ensemble in residence at Columbia College, then under the direction of the late William
Russo. To date, he continues to be a member of this group, now under the artistic
direction of Jon Faddis. Since arriving in Chicago, Mr. Denty has backed and performed
professionally with a diverse number of artists ranging from Slide Hampton, Ramsey
Lewis, Milwaukee Symphony, Roscoe Mitchell, Johnny Griffin, actors Gary Sinise and Bob Newhart, to
Aretha Franklin, Joe Lovano, Doc Severinsen, Marcus Printup, Muhal Richard Abrams , Randy
Brecker, Tom Harrell, Lonnie Brooks, Dee Dee Bridgewater, Dr. Billy Taylor and Mary
Wilson and the Supremes. Rob has performed at numerous national and international
venues including the East Coast Jazz Festival, Washington, D.C.; Symphony Center,
Chicago; Max M. Fisher Music Center, Detroit MI; The Jazz Showcase, Teatro Manzoni,
Milan, Italy; Chicago Jazz Festival, The Manchester Craftsmens Guild, Pittsburgh;
Ravinia Festival, and The Oprah Winfrey Show.

Rob Denty leads his own trio/quartet which released its first CD, Round and Round, on
Taken Records in June of 2007.

More than well worth a listen, Rob Dentys first offering, Round and Round is a
rousing and impressive beginning for one of Chicagos rising young stars of jazz. Im
sure well be hearing more from the talented Denty and his quartet in the future.
-Edward Blanco, ejazznews.com, April 9, 2008

Besides Rob, the Quartet features Tom Viatsas on piano, Cory Biggerstaff on bass and
Tim Mulvenna on drums. Collectively, members of the group have recorded on over a
100 CDs including the labels: Blue Note, Thrill Jockey, Sea Breeze, Reference
Recordings, Delmark, Altavistic, Drag City, Okka Disc, Blue Jazz, Submarine, and
Aesthetics.

The quartet admits being influenced by many different styles of music. Whether it is
Indian, Greek, or Irish music or traditional jazz, free jazz or classical music, the group is
invigorated by the challenges of performing these different styles of music and creating
original compositions expressing these different palettes. What makes this band unique
is how it ties its influences into a traditional jazz quartet. The group prides itself on
playing as a unit in the spirit of true improvisation. Bassist Kelly Sill says they just play
well together with the honesty to simply sound good with no agenda.