“Saxophonist John David Simon exhibits impressive writing and performing skills on his third release as a leader, ‘Phantasm’.”                                                                            

 KCCK Jazz 88.3

                           

“Things then heated up on hard-swinging renditions of “Cotton Tail”, “Corner Pocket” and “Tickle Toe” that nodded to Duke and Basie with stellar solos by the likes of tenor saxophonist John David Simon, alto saxophonist Julian Pressley and trumpeter Riley Mullins, lindy hoppers jumping all over the dance floor.”                  

Russ Musto, The New York City Jazz Record

“ I just love his playing .... he doesn’t become obsessed with all these clichés and so-called modern things .... he knows how to swing .... like a lot of those cats that’s been around - Don Byas ... Ben Webster... Hawkins.

Clark Terry

“ [on] ‘Rain Check’...the band really hit its stride as John Simon fired up a big-toned, booting solo on tenor sax.”                                       

Ira Gitler, JazzTimes

“...his full warm sound combined with soulful expression make him a very individual voice on his instrument...He can surely compete with the stars of this new streamlined generation of jazz musicians like Joshua Redman.”                                                                                               

                                                                                                                                              Ulrich Vanek, Jazz Podium (Germany)

“Tenor sax player with a thick, mean tone blows blazing bebop lines over greasy Hammond B-3.  As comforting as a few glasses of un-iced whiskey in a dark, smoky bar -- only without the hangover.”

Jessy Terry, real.com (United Kingdom)

“... full-bodied sound and hard-bop leanings...shows command of his instrument...”                      

Al Hunter Jr., Philadelphia Daily News

“John David Simon’s “And Friends” .... a recording that will likely be played well into the future as good music never goes out of style.”

KUVO, 89 FM Jazz Radio (Denver, CO)

“...his big, breathy tone and muscular drive recall Gene Ammons and Dexter Gordon.”              

David Leonard, Philadelphia Weekly

“...and tenor saxophonist John Simon were the freshest and most masterful talents to be heard...”          

Tony Gleske, The Hollywood Reporter (Playboy Jazz Festival)

“...a steaming debut for Simon...exhibits plenty of technique and a funky feeling...”                                    

Owen Cordle, JazzTimes

“...it would take a long discourse to sing the praises of this young and remarkable saxophonist...”                                          

Bernard Madec, Jazz For Ever  (Bordeaux, France)

“...it is worth the wait...Simon shines on such hard-bop tunes...”        

                                                                                                                                                      Kirby Kean, Philadelphia Weekly                                                                  

             

Reviews

PHANTASM - WarmGroove Records WGCD 1002. New Dawn; Inside Out; Squirrelly; Peace; Phantasm; Black Diamond; See-Saw; Naima; Inwood; Up, Up and Away.

PERSONNEL: John David Simon, tenor saxo- phone & flute; Pat Bianchi, Hammond B3 organ; Lewis Nash, drums; John Hart, guitar; Andy Gravish, trumpet & flugelhorn; Michael Boscarino, trombone.

By Eric Harabadian

On this, his third album as a leader, John David Simon wants to share with you aspects of his life, his own compositions and some of his favorite tunes to play. The album concept is arranged where tunes flow together according to tempo, groove and mood; much like in a live setting. And he’s got a great group of musicians committed to achieving that goal.

This is a nice straight ahead combo date where Simon is leading an ensemble deeply versed in the blues. A case in point is the opening track “New Dawn.” This is a piece the leader wrote for his wife and is a thinly veiled twelve bar figure, with a strong push from Pat Bianchi’s organ and the drums of Lewis Nash. Simon plays appropriately soulful, with a Houston Person or Eddie Harris vibe. In the liner notes Simon states he is a big fan of guitarist Pat Martino and even worked with him for a time. The Martino composition “Inside Out” gets a reverent workout here from Simon and crew. It’s a cool and laid back piece that lightly swings while everyone takes their turn at inspired solo spotlights. The funky “Squirrelly” features an angular and spiraling head by Simon. The form is based on a blues-type structure and elicits some eloquent solos from all involved. Nash lays down a loose and open pocket assisted by John Hart’s clean comping and smooth leads. Bianchi’s organ work provides depth and sparks great things from the leader here.

After the animated feel of the previous track, Horace Silver’s “Peace” offers a nice alternative in the song order. Here Simon displays his lovely flute work accompanied by Bianchi’s sensitive chordal interplay. The title track “Phantasm” picks up the pace and dynamics as trumpeter Andy Gravish kicks things into high gear. The tempo is bright and brisk, with great burning solos from Simon and Hart. The leader dips back into a rare composition by pianist Milton Sealey he found on a Rahsaan Roland Kirk album called “Black Diamond.” It’s a relaxed mid tempo number that relies on space and economy to make its impact. Simon plays almost continually throughout but the rhythm section weaves in and out quite stealthily. Bianchi, in particular, demonstrates restraint and tastefully bubbles just beneath the surface. “See-Saw” is just a fun romp composed by Simon that has a bluesy big band quality to it. As the liner notes state, with the addition of trombonist Michael Boscarino, this is the full ensemble where the band is firing on all cylinders. Again, shifting moods, John Coltrane’s beautiful “Naima” is featured. What a sweet rendition by Simon and company. His tone is exquisite and the ensemble takes its time in letting the track evolve and blossom. Simon’s “Inwood” sounds like a TV or movie theme. The horns are arranged in unison and are deep and thick. Nash also keeps the rhythms free and propels another sensitive flute performance by the leader. Jimmy Webb’s iconic ‘60s pop classic “Up, Up and Away” is a nice way to conclude the album. They end it on a high note as this piece really takes flight via Simon’s evocative tenor sax and Hart’s billowy six string fantasies.

John David Simon proves to work well on all fronts as a leader, a more than credible interpreter of classic material and a brilliant writer and arranger in his own right.

Jazz Inside Magazine

Cadence Magazine - New Issues

JOHN DAVID SIMON AND FRIENDS WITH CLARK TERRY & ETTA JONES WarmGroove WGCD1001

“Tenor saxophonist John David Simon, from Philadelphia, is a veteran of big bands led by Joe Sudler, Illinois Jacquet, David Berger, Panama Francis, and Clark Terry. Other associations have found him soloing or supporting Ella Fitzgerald, Philly Joe Jones, J.J. Johnson, Hank Mobley—he’s got a long list of credits. .....shows that he should be better known—a fluid and fluent player deep in Mainstream, owing allegiance not to one special player but to a way of playing: a large-toned, emotive approach to the tenor saxophone. I was reminded most pleasantly of Al Cohn, other times of Frank Wess ...... Simon explores familiar melodies and variations with energy and taste rather than launching a project of his own originals. In addition, he shows who he is by his friends and associates: Terry, Jones, Longo, Bert, Durham. How could we go wrong? At times (such as the medium-slow Blues “Joonji”) the ambiance is very much a late- Fifties Norman Granz one, without the rapid tempos and high-note climaxes, and Simon is quite experienced at building a solo with emotional expressiveness. When he is the only horn—as on “Fred,” “Concentrate,” and “Lament”

—he sounds like a world-class player, compatible with this impressive rhythm section. Listeners might begin with the final track, a Simon-Longo duet on his own Strayhorn-influenced composition,

“Saying Goodbye,” which suggests Hawkins musing to himself with touches of Paul Gonsalves, full of controlled passion.”

Michael Steinman, © Cadence Magazine jan - feb - mar  2010 issue

Squirrelly excerpt from Phantasm

John David Simon: Phantasm (2015)

By EDWARD BLANCO, Published: March 27, 2015 | 2,435 views

Veteran saxophonist John David Simon delivers his third album as leader swinging through a repertoire of ten straight ahead mainstream material on the very classy Phantasm, featuring a blend of sparkling original statements and fresh new arrangements of several standards from such icons as the great John Coltrane, Horace Silver and Pat Martino among others. The South Philadelphia native who currently resides in New York City, performs as a free-lance musician and is also employed as an educator. As a sideman, Simon has been on the jazz scene for a while having performed with some of the best in the business from the late Clark Terry and Buddy DeFranco, to Lionel Hampton, Illinois Jacquet and Ella Fitzgerald just to name a few.

For this date, the saxophonist chose an array of instrumentation on which to interpret the music where he fronts formats from trios, quartets, quintet and a sextet on his original "See-Saw." The lively brisk new sound emerges in a trio setting on the rising original "New Dawn," featuring a powerful tenor voice along with the supporting voice of Pat Bianchi's Hammond B3 organ and the constant firm drumming of jazz luminary Lewis Nash. Guitarist John Hart makes the first of five appearances on the superb "Inside Out" and stays put on the following "Squirrelly," a hard-driving number introduced by Nash's strong beats and also includes trumpeter Andy Gravish among the fray.

Simon takes to the flute on the delicate and tranquil Horace Silver jazz classic "Peace," toned downer to only feature a trio in a soft mood change from the theme of the disc. The music returns to a more turbulent nature on the exciting title track, a burner for sure highlighting Gravish on a mean trumpet solo and of course, the leader on another one of his torrid exchanges. Simon borrows a composition from the Canadian pianist Milton Sealey providing a showcase for Bianchi's talents on the organ and doing real justice in a fine rendition of the piece. Perhaps the most raucous, in-your-face tune here, goes to the original "See-Saw," the only sextet piece of the session bringing in trombonist Michael Boscarino to join the extended group.

In stark contrast to the party-sound of "See-Saw," the band ushers in a stellar version of Coltrane's immortal ballad "Naima" offering Simon, Bianchi and Nash, an opportunity to share a gentler side of their playing on one beautiful warm piece of music. The music remains soft on the following original "Inwood," but goes out soaring on the upbeat and delicious rendition of the familiar Jimmy Webb classic "Up, Up and Away" capping a superb session of traditional jazz.

Saxophonist John David Simon provides some of his best work on the dynamic Phantasm, where his skills on the saxophone are accompanied by his talents as a composer and arranger. Phantasm is a tasteful, attention-grabbing session of straight jazz offering a bit of ballads, a good portion of bop and swing, and unquestioned musicianship to seal the deal, well done!

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