(From the Spotlight section of Hot House) CHIP WHITE BAHA'I CENTER/MARCH 27 In addition to drummer White's sextet, you'll likely hear singer Gail Allen do a song or two. Ask Chip for a copy of his self-produced Music and Lyrics CD, which features Allen plus tenor saxist Houston Person on eight [of] White's songs, ranging from blues and bossa to shapely romantic ballads. White's also a songwriter with a fine ear for melody and lyrics. In addition to this Baha'i Center gig, he'll also be part of the rhythm section backing Person for two nights (March 16-17) at Trumpets - and join pianist Sayuri Goto's quintet on March 31 at the Hell's Kitchen event cited in our Hot Flashes section. GK” - George Kanzler

Hot House

(Excerpts from review of Music and Lyrics) Chip White is a composer who has a good sense of melody. The instrumentals on this CD are strikingly beautiful. “Blues for Cousin Alice” is melodic with easily repeatable catchy phrasing and lilts along at a moderate tempo. The next tune is quite pleasurable to the ear. Like the first original composition, “The Luckiest Girl” has a good strong melody. . . . Vocalist Allen displays shades of Jazz chanteuse, Dakota Staton, with her similar tone and vocal style. Allen’s voice seems appropriately fitted to singing Chip White’s lovely melodies. White is a drummer who has performed or recorded with such diverse artists as Carmen McCrae, Irene Reid, John Abercrombie, John Faddis, Junior Cook, Mulgrew Miller, Gary Bartz, and John Hicks to list a few. The liner notes certainly sing his impressive credentials. . . .“Time Stood Still” showcases the magic tenor saxophone distinction of Houston Person. He certainly makes time stand still on this song, while adding color and beauty. In fact, all the musicians on this session are more than competent. Pianist, Lafayette Harris, makes each composition a work of art. His performance on “The Contessa” is breathtakingly beautiful! Harris has a simple, understated way of playing with harmonics, using just enough improvisation to support White’s original melodies. “I Never Knew” could easily become a standard instrumental tune. . . .There is a sensitivity in his arrangements and a beauty to his melodies that intoxicates the ear. He also exhibits the attitude of a seasoned veteran behind his drum set. On every number, White locks in with bassist, George Kaye. Together they create a strong foundation for a well performed CD.” - Dee Dee McNeil

— Cadence, January 2007

New Review of Harlem Sunset All About Jazz Publisher's Pick Chip White has a hell of a band here, but the fact that he provided it with almost an entire programme of stimulating material is what makes this a disc worth frequently returning to. Additionally, the quartet of White, Gary Bartz, Steve Nelson and Buster Williams offers such a captivating reading of “I Want To Talk About You” that the overall effect is one of enduring pleasure, and that's only enhanced by the presence of Claudio Roditi's “We (To Kristen And Me)”; those are the only two tracks not composed by White. There's been much discussion over the years regarding the benefits or otherwise of digital recording. Here there is clarity and depth of a rare order. Every musician is caught in what might be called his natural musical state, and the likes of White's “The Wizard” seems somehow only enhanced by this quality. It might be more than coincidence that two members of the current incarnation of Dave Holland's quintet are present here, especially when their contributions are so telling. Robin Eubanks has arguably his best outing on “The Wizard,” working well within the comparatively difficult rhythmic makeup of the piece, while Nelson generally does his cause no harm at all as both an economical accompanist and a soloist, especially on “Circle Dance,” where Bartz proves his work on soprano sax is every bit as distinctive as his alto sax playing. The engine room of White and Buster Williams is both propulsive and complementary. At every turn they nail a groove and provide a propulsive beat, as per their work behind Roditi on “Circle Dance.” Additionally, White's solos have such an organic feel that they complement the flow of the music, rather than impede it. It's clear from the first minute that this music and this band came together, and the result is almost an hour of stimulating music that avoids all the clichés in making its time-honoured point.” - Nic Jones

All About Jazz