George Coleman Jr. and The Rivington Project / Press

“Treat Me Gently - Barlow, Coleman, Fitzgibbon and Anning Treat Me Gently, is the collaborative recording from outstanding musicians, George Coleman Jr. (US), Dale Barlow, Mark Fitzgibbon and Sam Anning. Capturing a sound that is exciting and inspired with a high level of musicianship, this Quartet encompasses swing, authenticity, original tunes and classic standards, such as Amsterdam After Dark (by George Coleman), There’s No Then In Zen (Victor Magnani) and The End of A Love Affair, which is played with bebop abandon. Barlow, Fitzgibbon and Coleman Jr came together in the late 80’s, and have been playing together on and off, ever since. Anning, while having played with Fitzgibbon and Barlow many times, was introduced to Coleman Jr for the first time on the night of the recording. Establishing a groove and an understanding usually known to long time collaborators. 2009 ARIA Award Nominee - Best Jazz Album ”

“Treat Me Gently, the new CD by 3 Australians - saxophonist Dale Barlow, pianist Mark Fitzgibbon and bassist Sam Anning - and American drummer George Coleman Jr., is a straightforward, exhilarating and muscular CD of tunes in the hard swinging jazz tradition, whatever the groove. It starts with Amsterdam after Dark, a 60’s style latin boogaloo groove written by the session drummer’s father, George Coleman Sr., whom Dale studied with, and includes a beautiful ballad rendering of You Go to My Head before ending with an uptempo romp on End of a Love Affair. Coleman, Barlow and Fitzgibbon have been playing together on occasion since the late 1980s. Sam Anning joined them for this session, playing with drummer Coleman for the first time. ”

“It is so admirable that the artists who actually shaped this genre continue to perform, to teach, to evoke real emotion, and inspire upcoming musicians. At a time when it would be so much easier to phone it in and collect a fee, they deliver honestly. This evening was a reminder of how difficult it is to be complacent when you are in love. Watching Coleman listen to Goldings play organ, or Bernstein glide through a solo was evidence of a man absorbing his beloved as a nutrient, a source of sustenance. What a gift and a blessing to know that a fancy solo could satisfy a performance requirement, but to show up and be 100% present is a truly wonderful thing.”

“I listened to this project for about 60 seconds before I determined that I was listening to a potential 2006 Muse's Muse Award winner for best Jazz artist. With Victor Magnani on guitar; George Coleman Jr on drums; Marty Rizek on bass; and Don Braden on Tenor sax, the Rivington Project is not only rivetting, it's a true Jazz lover's treat. Turning in what they describe as a musical gumbo of Jazz, Rock, Funk, and experimental music, these New York based musicians consistently display superlative composition skills and a myriad of influences that mesh together and comprise a solid project that can be enjoyed from start to finish.”

“In appraising this disc, I found plenty of good music to qualify TRIP as success on many counts. The charts sprinkle the music with a distinctly funky flavor yet manages to remain jazzy in nature. The band provides a first-rate performance marked by excellent guitar work by Magnani and Braden’s velvet voicing on tenor. A note-grabbing set of jazz well worth the effort and providing one interesting listening.”

“A band with an inscrutable name debuts with this session, which is anything but. Guitarist Victor Magnani, bassist Martin Rizek and drummer George Coleman, Jr. are joined by veteran tenor saxman Don Braden for a satisfying, hard-charging hour of music made up of eight numbers—seven by Magnani, one by Coleman's father. Magnani has one previous album to his credit, Change Management (Orchard, 2001), featuring songs by John Coltrane, Billy Strayhorn and Charles Mingus, among others. The album snaps to attention with "Navl Gazr," an up-tempo, declarative vehicle that is all but owned by Braden's muscular tenor. Braden sweetens his tone as he weaves his instrument through the fabric of "There's No Then in Zen," a casual walk through the park that showcases Magnani's delicate phrasing on the guitar.”

“At the 11 PM set on a Wednesday night in New York, concertgoers got a lot more than they bargained for. Joey DeFrancesco’s trio consisted of Peter Bernstein on guitar, George Coleman Jr. on drums, and his father George Coleman Sr. on tenor. The tunes that the band played included many standards such as, “Come Rain or Come Shine”, “It Could Happen to You”, a lesser played ballad “Nancy With a Laughing Face”, and they closed the set with “Bye Bye Blackbird.” Being the eldest of the band members, it was most natural that Coleman called the tunes that were played. Three of these band members require no introduction in jazz—Bernstein having established himself as one of the most formidable guitarists on the scene, and both DeFrancesco and the elder Coleman playing alongside Miles Davis. But the younger Coleman, who took just one solo during the long set, responded beautifully to both the soloists and the rhythm section. ”

“Danger High Voltage is significant in two respects: It is the first release from the Two and Four Recording Company, and it marks the reformation of the George Coleman Octet, which hadn't recorded since its debut in 1977. The horn section consists of Coleman and special guest Ned Otter on tenor saxes, Jim Rotondi on trumpet, Adam Brenner on alto, and Gary Smulyan on baritone. The rhythm section is anchored by two veterans, pianist Harold Mabern and bassist Ray Drummond, along with drummer George Coleman, Jr. and percussionist Daniel Sadownick. Beginning with Coleman's bouncy arrangement of Stevie Wonder's "Isn't She Lovely," the little big band goes on to feature its various members. Adam Brenner shines on fellow altoist Bobby Watson's hard-bopping "Conservation," while Jim Rotondi is given the floor on the lovely ballad "Portrait of Jennie," again arranged by Coleman.”

“Musicians would recommend one another for jobs or find substitutes for engagements when they were on tour. They discovered inspiration walking down the hallway, hearing skilled musicians practicing. “When I’m at Rivington Street, I’m like, ‘Damn, I have to suck it up and start wood-shedding more,’ ” said the drummer George Coleman Jr. He, like several other musicians using the studio, grew up in Manhattan and went to the old High School of Music and Art (now LaGuardia). His father, a saxophonist, played with Miles Davis. Mr. Coleman played with Dakota Staton and Don Braden, and even had a trio called the Rivington Project. Father and son still perform together. Mr. Coleman said he had received tips from Lewis Nash and Tommy Campbell, former tenants and “two of the greatest drummers in the world.” Other established musicians at Rivington included Jeff Watts, Kenny Kirkland and Jojo Mayer, according to current tenants. ”

“As the son of renowned jazz musicians, it seemed inevitable that George Coleman, Jr., would join the family business. But life as a drummer took a back seat to executive positions in the corporate world until 2007, when Mr. Coleman decided to embrace his musical destiny. His next career came together quickly, beginning with production on a documentary, Another Kind of Soul: The Coleman Family Legacy, the establishment of his music enterprise – The Rivington Project – and the creation of a new band, the Organic Chemistry Group. The band’s first engagement was set for early February 2011 at New York City’s Jazz Standard. ”


“George Coleman, Jr. plays drums, is an artist, and has a degree in Chemical Engineering. He grew up as the son of two active jazz artists – pianist, bassist, vocalist Gloria Coleman, and saxophonist George Coleman. He talks about his influences and experiences among various jazz luminaries. George Jr. also went on to shed additional understanding about his father’s departure from Miles Davis’ group in 1964, and how Miles tried to use his mother Gloria to convince George to return to his band after his 1964 departure. “[Miles] was essentially trying to get my dad to re-join the band … my dad was not going to be going back to that band. [laughs] It’s funny because there are all these stories about how my dad was fired from the band and all that stuff ... Suffice it to say, my dad didn't get fired from the [Miles Davis] band — he left of his own volition.” ”