Music
Press
George Bernard Shaw called dancing "the perpendicular expression of a horizontal desire"; Reverse Trust's retro, idiomatically on-the-button recreation of jazz-rock/fusion is the perfect accompaniment to that activity. Niall O'Neill composed all the music (one piece co-written with Mark Cahill), produced and plays bass, guitar, piano and synths. He assembled two fine groups: one for fusion, with Mike Nielsen (guitar) and Brendan Doyle (soprano/ tenor); and one for jazz-rock, with Derek O'Connor (tenor/piano) and Dick Farrelly (guitar). Tom McDermott laid down the drum tracks. The groove is visceral, the tunes simple and catchy, and Nielsen, Doyle, O'Connor and Farrelly are the kind of quality soloists the music needs. This is emphatically a superior example of the Jazz/Rock/Fusion genre. - Irish Times
Bassist Niall O'Neill was one the most promising musicians on the Dublin scene during the 80's but he developed a taste for regular meals and was lost to Jazz. Or so it seemed. In fact, O'Neill never stopped playing and recording in his spare time, and the results - straight out of the Steps Ahead and Brecker Brother's tradition of full-on Jazz Rock - are impressive. Featuring the virtuosic Derek O'Connor on saxophone and keyboards, and guitarists Dick Farrelly and Mike Neilsen, Reverse Trust is a gloriously unfashionable triumph, on the basis of which O'Neill should give up the day job - Sunday Tribune
Niall O'Neill has assembled some of Ireland's most versatile musicians to form the various combinations, mainly quartets, heard here. Anyone who likes jazz-rock fusion should snap this up, as it's an excellent example of the style. Those who don't care for the synthetic sound will be less enthusiastic, but there is no doubt about the instrumental mastery of all concerned. Both saxophonists contribute good solos. Mike Nielsen, present on fourtracks, is one of our finest jazz guitarists, while Dick Farrelly has a more rock-oriented approach, heard to particular advantage on the rugged Exit Strategy. Tom McDermott plays a real drum kit, so let's hope the horrible "drum machines", so beloved of earlier jazz-rock ensembles, are now obsolete. The leader has written all the tunes as well as playing three different kinds of electric bass, plus rhythm guitar, synthesiser and piano. The CD is now available from www.reversetrust.com or www.myspace.com/reversetrust - Sunday Independent
Niall O’Neill tells on his band’s myspace site (www.myspace.com/reversetrust) that his self-released debut album As If has been on the backburner for the last 20 years. The Dublin, Ireland based Reverse Trust is the music project of bass player Niall O’Neill who recruited guitarists Mike Nielsen and Dick Farrelly, drummer Tom McDermott, trumpeter Gavin Butler, tenor/soprano saxophonist Brendan Doyle, and tenor saxophonist/keyboardist Derek O’Connor. The culmination of these seven musicians resulted in an album that twills elements of swing, hard-bop, and crossover jazz into multiple angles, crossbreeds, and patterns possessing the easy listening spree and adult contemporary harmonies reminiscent of Chuck Mangione, The Rippingtons, and Spyro Gyra. Reverse Trust’s cornucopia of stellar Wurlitzer and piano vamps by O’Connor, crisp cymbal strikes by McDermott, and opulent horn euphonies of Butler and Doyle are perfectly shaped and banded into the melodies as O’Neill buffers the spools with amenable bass hooks.
The upbeat horns on “Fill Me Up” are roped into the dancing synth notes and crystal clear drum rolls as the charismatic piano rambles add a jolly countenance to the tune. The song has a hard-bop groove and melodic rapport similar to Art Blakey, J.J. Johnson, and Kenny Dorham. The smooth jazz guitar riffs and tight drum loops on “Frog City” have a soft swing tempo with a semblance to jazz masters like Benny Carter and Coleman Hawkins. The supple horns and lithesome rhythmic movements are plush and majestically loomed. The drum and guitar solos are splendidly hewn. The track “Reverse Trust” has a modish ‘70s style crossover jazz likeness to compositions by Chuck Mangione and the theme songs for TV shows like “The Mod Squad” and “Charlie’s Angels.” The quick tempo and raveling chord progressions draw in an intensity that is emblematic of action and intrigue. The music has a familiar nostalgia and yet it has a contemporary sound that gives it a modern day relevance.
Off setting the modish jazz style of “Reverse Trust” is the easy breezy melody “Maybe” laden with willowy guitar slants, softly brushed drum strokes, and whispering horns coasting along the rhythmic bass knolls. The saxophone ovals and guitar orbs on “Birds Of A Feather” have an adult contemporary breadth while the light funk conditioning on the guitar glazes and saxophone embellishments on “As If” have a peppy step as they glide across the cheerful rhythms. “Redundant” shines with a hard-bop prowess as the dainty cymbal strikes peek through the interlocking horns and piano keys. The soft tempo of “If You Should” creates an intimate setting with relaxing guitar pizzicatos and airy horn atmospheres. The final track “Exit Strategy” is an uptempo number with exciting horns and keyboards that conclude the album with lively interlacing instrument bars and perky rhythmic movements comparable to the sprightly grooves of The Yellowjackets, Eddie Davis, and Earl Klugh.
Reverse Trust’s debut album As If is an aggregate of nostalgia and contemporary demographics. The songs have a diligence and proficiency parallel to Chuck Mangione and the crossover jazz aspects of Spyro Gyra and The Yellowjackets. It is an excellent debut album that has the potential to build a fanbase truly enamored with Reverse Trust’s music. It took O’Neill 20 years to bring this album to the public but hopefully it won’t take another 20 years to make the band’s follow up album. There is too much talent in Reverse Trust to be sitting on the backburner like that.
- Jazzreview.com
Discography
"As If..." (c) 2007 Niall O'Neill
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Bio
I have put this off for long enough! Since the age of about 20, I have thought about recording an album of my own material. As the years advanced, that thought was never far from my mind. Talk about putting things on the long finger! You could say I’m easily distracted. 20 years later, I finally realised that I couldn’t put this off any longer and that if I didn’t get my act together soon, this dream album would never see the light of day.
So in October 2005, I dusted down all of those half-written riffs and grooves that I had set up on my sequencer (even going as far back as the Atari and Tascam 244 in the 1980’s) and short-listed the tunes that had most potential. To my surprise, I had 20 basic songs which were eligible. So I short-listed them again and finally narrowed it down to the 9 tunes that feature on this CD.
I didn’t want the financial pressure of running up studio time and working to critical timeframes. I decided therefore that I would do all of the recording, mixing and mastering myself in-house with the exception of the Drums which were recorded by Tris in what was “The Factory” in Barrow Street, all done in one day. Many thanks Tris and Tom.
So, I got down to work and finalised the melodies and arrangements. It then only remained to select the right musicians for the right songs, bearing in mind that I wanted to record a CD that would allow these musicians to play to their full potential and beyond. But out of all the numerous musicians I’ve been fortunate enough to work with on the Dublin Jazz scene, who would feature on the album? Who are Reverse Trust?
On Drums, Tom McDermott was the obvious choice as far as I was concerned. His versatility and feel are simply superb, whether using brushes on “Maybe”, or delicate yet intricate cymbal work on “Frog City”. Thanks also to Tom for his guidance on the mixes. Check out his solo by the way on “Frog City”!
Guitarist Mike Neilsen, demonstrates his dexterity using both Spanish Guitar and Fender Strat although granted not at the same time! His melodic yet edgy interpretations of “If You Should”, “Frog City” and “Birds of a Feather” are way beyond what I had hoped for.
Dick Farrelly also on Guitar for the rockier/bluesier numbers like “As If”, “Exit Strategy”, “Reverse Trust” and “Redundant” plays spine-tinglingly wonderful stuff, especially using the whammy on the Ibanez.
I had already recorded with Brendan Doyle Tenor/Soprano Sax on previous occasions and his professionalism and mastery of his instrument(s) made him a must have for “Maybe”, “Frog City”, “If You Should” and “Birds of a Feather”. A joy both to work with and listen to.
Then there was Derek O’Connor. His stunning virtuosity on Tenor Sax and Piano simply blew me away. He would record an amazing solo and then say “Get Rid of it, I can do better” and go on to record another dazzling performance. Of course I didn’t disgard the earlier takes and maybe one of these days, I’ll put together a CD of the out takes! Listen to his Wurlitzer solo on “Exit Strategy” not to mention his Tenor and Piano Solos on “Fill Me Up”. Brilliant.
I am grateful to Gavin Butler on Trumpet who stepped in at the 11th hour to put the finishing touches on Reverse Trust’s brass section.
I am also indebted to Trish and Melissa for their tolerance and patience over the last 14 months. They must be sick listening to these songs over and over again! Thanks also to Mark Cahill for the initial drum groove which inspired “As If?” all those years ago, and for his 2nd pair of ears on the mixes.
Finally, thanks also to the rest of my family and friends for their encouragement, especially Gifford and Joe Whittle who (perhaps without knowing) made me realise that I can actually do this. The seed for Album no 2 is well and truly sown…..
Niall O’Neill
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