From Head To Soul – Bob Dee’s COSMOSIS (UNika 002)

All About Jazz – Glenn Astarita

…Moreover, Dee possesses enviable chops to complement his obvious comfort zone with exploring various angles and tricky time signatures amid his bands’ propensity to teeter on the red zone. On pieces such as, “Chef of the Future” and “The Preacher,” the quartet often rekindles notions of the late Tony Williams’ renowned “Lifetime” unit, as Dee and organist/pianist, Adam Klipple engage in a blazing fury coupled with the rhythm sections’ limber yet undeniably, brawny attack.The ensembles’ brisk approach is focused upon Klipple’s swirling keys, fluent right hand leads and Dee’s electrifying direction as the musicians also inject free jazz, gospel, and bluesy elements into the program. Otherwise, Dee’s artfully conceived compositions and the musicians scorching fireworks offer quite a bit more than the norm. Four stars and three cheers for Bob Dee’s Cosmosis!

Cadence Magazine – Robert Iannapollo

Finally, if guitar pyrotechnics are your betenoir, then look no further than FROM HEAD TO SOUL by Bob Dee’s COSMOSIS. Although Dee sounds like he can out-gonzo even the most excess laden guitarists in rock, he rarely gets into that mode. He seems to prefer focusing on improvisations that, while maintaining a fiery veneer, still maintain a strong center in the Jazz and Blues traditions…All in all, a satisfying record.

Cosmosis at the Mad Mountain Tavern, VT.

Bob’s performance was great…he is one of the best guitar players I’ve heard in many years. Vermont or New York. Douglas Yewdell – Mad Mountain Tavern


Double Talk – Bob Dee Band (UNika 001)

JazzTimes Magazine – Hilarie Grey

Versatile composer/guitarist Bob Dee fronts an unusual, skilled quartet on Double Talk (UNika UN 001; 51:31). From the offbeat, off-kilter funk-fusion of “Innuendos” to the blithely swinging, jazzy colors of “Sorcerer,” Dee reveals a bold, aggressive voice that is comfortable in a number of styles. He’s technically impressive as well as entertaining on tracks like “Sweet Pea,” which finds his lighter-toned, lithe harmonies riding a big-beat 6/8 run. The wiry, blues-feel piece “Sahara” is another highlight – Dee’s fuzzy-toned guitar stops to squeal, as the hesitant tempo and bass line evoke the feeling of walking through sand. Dee receives rock solid support throughout, with tricky rhythms grounded by drummer Grisha Alexiev and bassist Takashi Otsuka, and vibraphonist/percussionist Diana Herold adding unique accents – most notably on “Head Circus,” here the vibes add a resonant and unexpected layer to Dee’s creeping guitar melody. These efforts combine to make Double Talk a varied and interesting collection from start to finish – and an indie worth seeking.