It’s a good idea to take yourself seriously, but not too seriously.  Zealots turn people off.  People with a sense of humor can lighten things up and make it fun for people to be around – and people like to be around people they like and trust.  Even if you didn’t know Chip White, it’s easy to understand that besides being an excellent drummer, rhythm section accompanist and composer, he’s got a sense of humor.  Since the jazz world often suffers from hypersensitive artists analyzing every syllable and blink of an eye about them without any sense of humor, Chip is a breath of fresh air.  He’s got it together in so many ways – and I’m Just the Drummer in the Band, the book of poetry Chip wrote, provides that wink that he’s loose about things. Personal Dedications & Percussive Tributes is a two-disc set featuring an all-star cast.  The first disc features nine of Chips’s composition with an array of inspiring and well crafted solos by trumpeter Randy Brecker, saxophonist Steve Wilson, trombonist Wycliffe Gordon and pianist Renee Rosnes.  The second disc features recitations of Chip’s poetry by the author himself in nine short tracks. White’s compositions are substantive and diverse.  He’s not just the drummer who sits down at the piano and plunks out a few melodies as throw-away platforms for a drum showcase.  Nor are Mr. White’s compositions some shallow collection of songs to create the illusion of being a well-rounded musician.  Mr. White is as much a polished composer and arranger as he is a rhythm session accompanist and drum soloist.  Indeed, when you take a closer look, you see an artist who is a constant student of his craft.  With degrees in music from Ithaca College, Berklee College of Music, as well as private studies in composition with Frank Foster (one of the great composer-arrangers in the jazz lineage), Mr. White’s pedigree is clear. It’s a smart idea to energize the listener with the very first track – and that’s exactly what Chip does with the medium up-tempo rendition of “Adrienne’s Theme.”  This hard-bop grooved theme is stated by the three-horn front line, followed by brief solo exchanges by each of the horns, and a lengthier solo by pianist Rosnes, who brings it to a climax showing off her technique. Demonstrating his flexibility, White moves over to vibes to take the first solo.  Of course, since he is playing drums to accompany the ensemble on this Latin-flavored pied, the vibes solo is overdubbed afterwards.  Brecker and Rosnes follow with expectedly well-crafted works of solo art. “October Song” is a deeper, darker sounding composition in 3/4 time medium relaxed tempo.  Wilson switches over to flute to lead the ensemble.  The sounds are McCoy Tyner-esque.  After Brecker’s solo, Wilson changes colors and moves over to soprano sax for a lyrical outing.  Gordon takes the mute off his trombone for his expressive, melodic chorus. I hadn’t looked at the title of “Something About Rollins” before hearing the track.  My immediate response was that this certainly was a tip of the hat to the Saxophone Colossus himself.  Besides the calypso groove of Rollins classic “St. Thomas,” the piece moves from the calypso to an up-tempo swing groove in 4/4, followed by a drum solo – much the same structure as Rollins’ original recording of “St. Thomas” that featured a drum solo by Max Roach.  By comparison, Chip employs “rhythm changes” as the foundational fabric and form for this tribute. The album’s beautiful ballad is entitled “The Other Side of the Rainbow with Sibyl.”  Wilson states the melody on alto sax, with warm padding by other two horns – Brecker and Gordon.  The accompaniment is appropriately light and sparse for Wilson’s delicious solo. The album is full of highlights and just plain enjoyable listening.  “Rain” is ballad-like, a two-beat groove, White on brushes, and a lyrical trumpet solo by Brecker, and a pensive outing on piano by Rosnes, ideally complementing the vibe of the song. The album wraps up with “Afternoon in Mombasa.”  An Afro-Latin type of groove, with a thickly orchestrated melody – it brought to mind what a cross between the sounds and grooves of Art Blakey and McCoy Tyner might create. On disc two, each of the nine poems authored by Mr. White is dedicated to a different musician – the first one to Sonny Rollins, and the remaining eight are tributes to drummers Papa Jo Jones, Kenny Clark, Philly Joe Jones, Aland Dawson, Roy Haynes, Billy Higgins, Ben Riley, and Mongo Santamaria.  Music from disc one provides the backdrop as Mr. White recites his poems. Chip has been the rhythmic anchor in Houston Person’s Quartet for a long time – and that’s a tight ensemble in which you can get a taste of his skills in person.  In the meantime, his recording Personal Dedications & Percussive Tributes provides a sumptuous hour or so of finger-snapping straight ahead jazz – and a chance to experience the many talents of Chip White.” - Ryan Baker

— Jazz Inside Magazine

Drummer and vibraphonist Chip White has an abiding respect for jazz history and the players who helped to shape it.  On Personal Dedications & Percussive Tributes, White expresses his gratitude through music and poetry.  White wrote all of the songs on this album, which vary in style and tempo but have the straightahead style as a common denominator. Renee Rosnes’s excellent piano drives the midtempo tune “Adrienne’s Theme”.  Steve Wilson’s flute and White’s stellar vibraphone highlight the boss nova tune “Bright Colors”.  White returns to the vibes on another bossa nova, “Bossa de Bahia”, but the star of this tune is unquestionably Wycliffe Gordon, whose wonderfully creative trombone has a distinctly vocal quality, a guttural voice that sounds like Louis Armstrong singing Jobim.  Moreover, when Randy Brecker (on fluegelhorn) and Wilson play the theme of “October Song” it, too, has pitch-perfect vocal quality. “Something About Rollins” is a vibrant take on the classic “St. Thomas”; White’s drumming references the great Max Roach.  “Full Moon” and the ballads “The Other Side of the Rainbow with Sibyl” and “Rain” further exemplify how White composes in the classic jazz tradition.  The theme of “Afternoon in Mombasa” sounds almost ominous, with Steve Kroon’s percussive edginess and Patience Higgins’ low moanin’ bass clarinet.  But Wilson’s blistering solo on alto sax opens things up and Gordon again steals the show, first whinnying like a horse, then providing elephantine trumpeting. The second disc of this two-disc set is White reading poetry over a Latin percussive backdrop.  The poems are his tributes to his jazz heroes (most of whom, not surprisingly, are drummers) and are pocket-sized jazz history lessons that convey his love for jazz’ glorious past.  With Personal Dedications & Percussive Tributes, White manages to entertain and enlighten.” - Terrell Holmes

— The New York City Jazz Record