PERSONNEL

Phil Donkin - double bass
Ben Wendel - tenor saxophone
Glenn Zaleski - piano
Jochen Rueckert - drums

ALBUM CREDITS

Recorded at Systems Two Studios, Brooklyn, August 12/13
Engineer - Max Ross
Mixed by Jochen Rueckert
Mastered by Nate Wood
Produced by Phil Donkin
Executive Producer - Michael Janisch
credits
released March 9, 2015

ABOUT THE ALBUM

"To my ears, Phil Donkin does it all, he propels The Gate relentlessly/effortlessly with his melodic, interactive, driving basswork (Macon Groove is evidence enough). Not to mention the fine writing, his keen ear for detail and an eye fixed on the big picture, and larger vistas just ahead."
- Drew Gress, (internationally renowned bassist)

The Gate is the debut album from Phil Donkin, one of the preeminent bassists of his generation in jazz and improvisation-based music.

The Gate doesn't hold back; it both challenges and engages the listener. Pieces like 'Matriarch', 'The Lost Shoe' and the title track show a somewhat subdued and melancholic subtextual nature, pulling at the listener's heart-strings but somehow with a fiery visceral energy that creates a juxtaposition of emotions. 'La Jurona' and 'Introspection' display some of the rhythmic subtleties for which Donkin is known, displaying the bass player's uncanny ability to glide effortlessly through forms and time changes with poise, elegance and muscularity. Complemented by Rückert the rhythm section excel throughout, playing off each other astutely; one hears the depth of listening, sharing responsibility to drive the band while taking turns in directing the music and supporting the others as risks are taken, of which there are plenty.

Donkin explains "This music is in no way safe. We're all taking risks and supporting each other at the same time. For me, that has always been the most exciting thing to listen to and to play, because it's human. I don't want an album which has been perfectly edited and so therefore shows no sign of weakness. That is boring and doesn't show anything of the soul of the music. I need there to be both empathy and bravery for me to enjoy it. This obviously requires intense listening, and I think unfortunately that doesn't happen enough in jazz now. Of course we all want to be as good as we can be, but when playing with others we are vulnerable because we don't know what's going to happen. To overcome that problem we must trust, and have faith that amazing things can happen if we let go and listen. One would hope that through years of playing and practicing, our hands know what to do, so listen and let the heart take over.”


PRESS HIGHLIGHTS

"Phil Donkin is a British double bassist with a thundering sound and impeccable time, who has built a transatlantic reputation as a player and then turned out to be a gifted composer too."
★★★★ The Guardian

"Magnificent set... A thoroughly absorbing listening experience and hopefully a big step towards Donkin becoming more well known as a composer and leader."
★★★★ Music OMH

"The troup demonstrates how vibrant and exciting acoustic jazz can sound in the 21st century. The ten original compositions score with crisp bass lines, catchy melodies and intricate rhythms."
Jazz 'n' More

"A core of pulsating, contemporary jazz with a thread of thoughtful, lustrous beauty woven through it. The band make light of twists and shifts of harmony and meter with some fabulous soloing. Donkin grabs the ear without being showy."
London Jazz

"As a leader, Donkin supplies thematic counterpoint, quietly accompanying voices and his solos are a tour de force."
Jazz Podium

"Donkin's musical tastes are broad, and this comes through in the most natural way on The Gate."
Jazz thing

"Donkin intersperses elastic-rhythmic accompaniment and virtuosic solos."
Music an sich

"The Gate is Donkin's debut; an album that displays depth and experience."
Medien Info

"Donkin has waited for the right moment with a debut straight from the top drawer."
★★★★ Jazzwise Magazine

"Whether starting a groove, stating a melody, shadowing the piano left-hand, accompanying the saxophone or locking in to a complex rhythm pattern with the drums, Donkin’s bass is deep, strong and richly woody throughout these 12 tracks."
The Jazz Breakfast

"This is simply good music. The Gate raises Donkin's profile to new heights."
Nachrichten

"A beautiful and above all always surprising album."
Musikreviews Magazine

"Phil Donkin is fast making a name for himself as one of the most in-demand young musicians working in the jazz genre today."
iBass Magazine

"In its labyrinthine themes and cool ensemble hipness, The Gate sounds at times like a 1990s Holland band, but with the excellent Wendel’s sax sound drawing equally on the cool school tradition and the 21st-century downtown scene’s rhythmic innovations."
★★★★ The Guardian

"There aren’t any duds."
The Jazz Breakfast

"This one goes off like a rocket and keeps up the pace to the end."
★★★★ Jazz Journal

"In a very short space of time Whirlwind has established a reputation as a purveyor of high quality contemporary jazz and improvised music that ranks alongside labels such as ACT and Steeplechase and this debut release by bassist and composer Donkin is further testimony of the integrity of its artistic policy."
Jazz Views

"​Rhythmic intricacies compounded with natural and powerful elegance is [Donkin's] game... With repeated listening the album reveals new depths.​"
Leipziger Volkszeitung

"​This is a powerful statement."
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