4 STARS! Chip White's second two-CD set of musical and spoken-word dedications to jazz masters cruises like a fine car -- powered by first-line players like Wycliffe Gordon, Mulgrew Miller, and Steve Nelson.  White exudes confidence and swings with abandon through nine originals.  The poetry . . . is as heartfelt as the music.” - James Hale

— Downbeat

Chip White has been one of the most in-demand drummers on the scene since the '70s and as a result he has played with some of the best musicians in the business, like Carmen McRae, Jaki Byard, John Abercrombie, Frank Wess, Frank Foster, John Faddis, Chet Baker, Claudio Roditi, Dave Liebman, James Moody, Tom Waits, Jimmy McGriff, Gary Bartz, Benny Powell, Houston Person and Etta Jones. And through these experiences, he got to know many other musicians as well. His literary mind transformed his experiences into the book entitled I'm Just the Drummer in the Band, which included more than 100 poems for famous jazz musicians.  This new album, More Dedications, includes all original musical tributes on the first CD and poetic dedications read by White on the second CD. Each tune corresponds to a poem, and the poems are named by whom they are dedicated to.  While the poems are read, the songs from CD 1 play in the background.  The first poem is "Bags," and the corresponding tune is "Bag O' Blues."  The second poem is for Clifford Brown, and tune is entitled "A Rhythm Round for Clifford Brown."  Following this is "Booker's Little Leaps" and then "Slow Mo for Joe" for Joe Henderson.  "A Touch of Hutch" is for none other than Bobby Hutcherson," "Dolphy's Mood" is for Eric, "Celebration for Tony" is Tony Williams' tribute, and "The Contessa" is written for Vanessa Davis, the original singer in Chip's ensemble.  Last but not least is his tribute to Miles with a song entitled "The Continuing Saga of Miles."  It is composed to clever words read as so:  "To be in the vanguard, to be jet black, to be the prince of darkness, to be never held back, to find Bird, Dizzy, Monk, and Gil, to always seek musical change, to dress to kill, to set all the trends and all of the styles, to be with the attitude and the trumpet, that be Miles. Throughout these original tunes that truly reflect the moods and styles of those that they are dedicated to, are many amazing moments of playing from this incredible band  -- Steve Nelson, Wycliffe Gordon, Duane Eubanks, Patience Higgins, Mulgrew Miller, and Peter Washington!  ” - Cathy Gruenfelder

JazzImprov NY

A versatile drummer busy on the New York area scene for four decades, including a long association with Houston Person, Chip White has published a book of his poems about jazz musicians, I'm Just the Drummer in the Band.  Each is a concise, rhymed bio-celebration of the jazz musician, a poetic jazz encyclopedia entry if you will, often incorporating album titles and/or prominent stylistic characteristics of the musician.  More Dedications is his second album to use some of them as launching points for compositions dedicatied to their subjects. One of the strengths here lies in White's choice of ensemble mates, a formidable septet, anchored by Peter Washington's bass and the estimable piano of Mulgrew Miller.  The frontline is equally impressive, with Duane Eubanks (trumpet scion of the prominent Eubanks jazz family), Wycliffe Gordon (trombone), Patience Higgins (flute, alto and soprano saxes), and Steve Nelson (vibes).  The tunes salute and reference the playing or compositional styles of eight musicians who emerged in the bop or hardbop eras, as well as the singer Vanessa Davis.  White's arrangements are much more than heads, changing up solo sequences and even soloists from track to track, making for appealing variety. Higgins' flute is used cogently as a lead and solo voice on "Bag o' Blues," a blues with a bridge salute to Milt Jackson; "A Touch of Hutch," a fleet Bobby Hutcherson tribute; and the sumptuous "Dolphy's Mood," a flute feature wrapped in diaphanous ensemble colors.  Other memorable tunes include "Booker's Little Leaps," a Booker Little celebration alternating a rolling waltz with swing time; "A Rhythm Round for Clifford Brown" that captures the spirit of hardbop swing exuberance; and "The Contessa," for Vanessa Davis, a pearly ballad with a Modern Jazz Quartet instrumentation.  And don't miss Gordon's solos, each one a different kind of tour de force, many with startling, unexpected entrances.  ” - George Kanzler

All About Jazz New York

We give the drummer some in thisi month's Winning Spins, focusing on two albums from veteran percussionists, a decade apart in age, as leaders.  The older and more renowned is Louis Hayes . . .Chip White, his junior in terms of years, has toiled mostly as a sideman for the last forty years, including a long association with tenor saxophonist Houston Person.  On their new albums, both drummers lead impressive groups, Hayes in a varied program of originals (his own and band members'), White with original compositions and charts dedicated to prominent jazz musicians. . . . More Dedications, Volume II (Dark Colors) by the Chip White All-Star Ensemble pays tribute to nine more of the musicians White has celebrated in his book of one hundred poems about jazz figures, I'm Just the Drummer in the Band.  A short second CD features White reciting the relevant poems.  The All-Star Ensemble is a formidable septet anchored by a rhythm section of White, bassist Peter Washington, and pianist Mulgrew Miller.  On the front line are trumpeter Duane Eubanks, trombonist Wycliffe Gordon, saxophonist and flute player Patience Higgins, and vibist [Steve] Nelson.  White makes full use of the instrumentation in charts that are fully fleshed out and resonant. Higgins' flute blends nicely with vibes and muted brass on "Bag O' Blues," a Milt Jackson tribute (also notable for Gordon's bleating "shiver-my-timbers' solo entrance).  He's an effective voice on a salute to Bobby Hutcherson and is spotlighted on an atmospheric "Dolphy's Mood."  White favors a limber, rolling style beat with big splashing cymbals, but also references Max Roach crispness on "A Rhythm Round for Clifford Brown" and the chattering, roiling thunder of Tony Williams on "Celebration for Tony."  he captures the harmonic adventurousness of trumpeter Booker Little, with a big assist from Eubanks, on a brightly fast-waltzing "Booker's Little Leaps," which features another of Gordon's dazzling, sweeping solo turns.  Fhs one salute to a singer, the lesser known Vanessa Cavis, turns out to be a pearly, MJQ-like quartet ballad spotlighting White's brushes.” - George Kanzler

Hot House

Though Chip White’s More Dedications (1) is not led by a trombonist as are the other three in this collection, it does feature Wycliffe Gordon who is, for my money (O.K., that’s not all that much) the most complete trombonist out there. Since he arrived on the scene as part of Wynton Marsalis’ entourage, he’s steadily developed blending the doodle-tongue pyrotechnics of contemporary Bop with a deep appreciation and command of earlier styles. All that is amply demonstrated here. He solos on all but two of these nine tracks. On each track, he grabs the listener’s attention with a rip and a roar, crisply articulated 16th note-lines and melodies redolent of the Blues. Gordon puts to rest the canard that those “rip-wah” players (to use Conrad Herwig’s felicitous phrase) employ those techniques because they aren’t able to execute the more sanitized, sax-like style of Bop trombone. Gordon should be a model not because all trombonists should sound like him, but because he shows the way for each trombonist to sound like him- or herself. Though he’s the most distinctive soloist on the date, Gordon is not the only interesting element. White celebrates musical heroes and colleagues both in tone and word. The first disc has the musical tributes and the second has [White] reciting his own poems backed by excerpts of the performances from the first disc. The poems are standard Jazz hagiography, compact bios in verse that make generous use of song and album titles. The rhyme is more conservative than White’s tunes, which in most cases capture the characteristics of those to whom they are dedicated. “Booker’s Little Leaps,” for example, has that trumpeter’s distinctive angular yet warm melodic sense. White’s structures are often adventurous. Despite its title, the opening, “Bag O’Blues,” does not follow the 12-bar structure instead taking on a 20-bar form that elicits fine blowing from vibraphonist Nelson and Gordon. Mulgrew Miller, trumpeter Duane Eubanks and Patience Higgins also account for themselves well. The leader’s own opening solo on “Celebration for Tony” exposes his debt to Max Roach, more than the dedicatee. The charts (by White, I assume) do justice to the compositions featuring tightly voiced horns, often with flute in the lead. A solid session both for the writing and blowing, especially by Gordon.” - David Dupont

Cadence Magazine