I Know Nothing (Origin Records)
Dean Schmidt
Released February 20, 2007
Top 10 NPR Music Jazz Critics Poll 2007
YouTube:
https://music.youtube.com/browse/MPREb_G2LTof0qBsC
Spotify:
https://open.spotify.com/album/2V1xWoYJhBuAIfmH4Te3os?si=3Oj35gb6S4O7UsL7OJFuLg
About:
Gathering a diverse collection of his favorite Seattle musicians, bassist and composer Dean Schmidt creates a rich soundscape of original latin-tinged jazz. As a member of several of the west coast’s premier afro-cuban and salsa bands, Schmidt brings a powerful groove and an eclectic aesthetic to his compositions and group concept. Featuring trumpeter Thomas Marriott, saxophonists Jim Coile & Brian Kent, and pianist Julio Jauregui.
Track Listing:
1. No Pude (Dean Schmidt) 06:41
2. Suffering Through the Beauty (Dean Schmidt) 05:08
3. Harry Whodeanie’s Magic Impromptu Blues (Dean Schmidt) 01:42
4. The Farewell Song (Dean Schmidt) 06:00
5. I Know Nothing (Julio Jauregui) 04:06
6. Bebek (Dean Schmidt) 05:13
7. October 10 (Steven D. Rice) 04:01
8. Eme Efe (Julio Jauregui) 04:48
9. Her Smile Will Last a Lifetime (Dean Schmidt) 05:19
10. Pop Star (Dean Schmidt) 00:45
11. The Days of Guns and Roses (Dean Schmidt) 04:23
12. Charlies Liberation (Dean Schmidt) 04:44
13. Bolivian Bonita with the Big Watch (Dean Schmidt) 02:07
Personnel:
Dean Schmidt: bass
Garey Williams: drums
Julio Jauregui: piano
Steve Rice: piano
Eric Verlinde: piano/rhodes
Brian Kent: sax
Jim Coile: sax
Thomas Marriott: trumpet
Edson Otero: congas
Rafael Quinones: guiro
Gary Gibson: steel pans/vibes/perc/voice
Recorded May 29, 2006, at Triad Studios, Redmond, WA; Two Trees Music, Edmonds, WA
Engineered by Eric Janko
Mixed by Casey Miller
Mastered by Rick Fisher
Photography by Gigi Basaure
Layout & design by John Bishop Produced by Gary Gibson
Review:
This disc seems to be bassist Dean Schmidt’s recording debut as a leader, which focuses exclusively on original works with the support of a rotating cast. The music is a blend of fusion, smooth jazz, and Latin influences; as a result, few of the songs make much of an impression, ending up more like background music instead of jazz that leaves one wanting more. Best are the lively tunes like the salsa “I Know Nothing” and the Cuban-flavored “Eme Efe,” though pedestrian tunes such as “Bebek,” the dated fusion of “The Days of Guns and Roses,” and the silly miniature vocal feature “Pop Star” (a duet for electric bass and a sped-up vocal) quickly wear out their welcome.
Ken Dryden (AllMusic)
