Gene Ess

Award winning guitarist, Gene Ess, draws upon a diverse background to form his unique style. Studying classical piano, Gene's early years were filled with sounds of Beethoven and Chopin. Originally from Tokyo, Japan and growing up on a U.S. Air Force Base on Okinawa, Gene was simultaneously receiving a mix of influences: he was exposed to the indigenous music of Okinawa and - to the pop and jazz music coming out of the clubs for the American soldiers. All this amounted for an early obsession with music.

Gene performed in clubs and festivals all around Okinawa at the early age of 14. After graduating high school Gene left for George Mason University. There, he pursued classical music studies with Larry Snitzler, a prominent concert guitarist who was Andrés Segovia's disciple and orchestral composition under Dr. Glenn Smith.

Downbeat magazine presented Gene's performance of Lennox Berkeley's 'Theme and Variations' with the 'Outstanding Performance Award' in 1983. Consequently, Gene received a scholarship to attend the prestigious Berklee College of Music in Boston. There he continued his musical quest and was heavily influenced by the music of John Coltrane. After studies with Jerry Bergonzi and Charlie Banacos, Gene graduated from Berklee with honors in 1990 and moved to New York in 1991.

During the 90's he worked with the great drummer Rashied Ali, touring globally and recording a well-received album “No One in Particular”. Through this group, Gene met and played with Carlos Santana, Ravi Coltrane, Matt Garrison, Lonnie Plaxico, Archie Shepp, and Reggie Workman among many others.

Apotheosis by Chris Mosey
Absurdist Theater by Jerome Wilson
Eternal Monomyth by Geannine Reid

”It would be a bit foolish to say that in the vast ... It would be a bit foolish to say that in the vast world of recorded jazz, you still have to look for music of substance. Considering how much jazz is released on a regular basis, there’s more than enough music to go around, but sometimes they end up bring nothing but sonic clutter. Gene Ess is not clutter, in fact for some it may be the jazz album you’ve been seeking for for most of your life.

He was born Gene Shimosato, a cool enough name right there but that’s besides the point. For now he is known as Gene Ess, which in a way is cool in itself but that will leave potential listeners and fans to question “what’s Ess?” Now you know. He could’ve been Gene @, and people would’ve asked “at what?” At his music, that’s what, and his music is incredibly played and recorded on his brand new album, Modes Of Limited Transcendence (SIMP). Ess produced this alongside engineer Randy Crafton and mix engineer Sal Mormando, and on top of that, Ess mastered this disc himself. The Japanese tend to have a keen ear, and as I’m currently listening to the audiobook of Oliver Sacks Musicophilia I learned that there is a strong belief that some ethnicities do have a better sense of listening and comprehension, although it is uncertain still as to how this happened. Is it with the ear canal, or the hairs within the ear? That’s besides the point, for we are talking about Gene Ess.

Ess plays the guitar in a Pat Martino-style occasionally offering a few Pat Metheny touches, or at least this is what I hear. Whether it’s a luxurious solo or something that plays along the piano melody (courtesy of Tigran Hamasyan, he plays with such elegance and grace that you wished he would record more so you could buy his entire discography, or hopes he performs at a nearby jazz venue for two weeks so you could skip meals and check out whatever they play. Then there’s the incredible rhythm section of Tyshawn Sorey drums and Harvie S (no relation to Ess, on bass), and these guys play with the kind of finesse reminiscent of some of the best jazz albums of the 1970’s, when freeform could weave itself into bebop or bop while mellowing out in the ECM range. “Messiaen Shuffle” is a track that combines all of these elements into an energetic song where you can visualize the walk and strut created by Ess while the traffic and disgrunted faces (created beautifully by Hamasyan, S, and Sorey) are put in view. The tone that Ess has is most welcome, not distorted nor complex, not unlike Larry Coryell. The contrasts and coloring of these musicians are not so much precise, but… how do I say this, it’s an exciting listen to not only hear musicians play like this, but to hear it recorded and mixed so well.

Keen musicianships, keen ears, keen love of jazz and music, and creativity in general. If you welcome these things, welcome Gene Ess into your mental vicinity. One of the best jazz albums of 2008.” ~RunOff Groove

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