George Lane, gnm.com

"Insomnia, by the Thomas Chapin Trio Plus Brass, recorded live in 1992 (excellent sound) is, simply put, a magnificent recording.

Chapin, who tragically succumbed to leukemia in 1998 at the age of 40, was best known for his work with his extraordinary trio (Mario Pavone, bass; Michael Sarin, drums). The addition of two trumpets, two trombones and tuba adds an incredible dimension. An outstanding composer, Chapin utilized the brass beautifully. African trumpet choirs - Ellingtonian brass shouts - New Orleans back line figures - R&B horn sections - all come to mind at various points, blending together seamlessly in Chapin’s own unique vision of music, often over a tuba/bass ostinato vamp that is simply overwhelming in its relentlessly swinging pulse.

There are occasional solos by the brass - an excellent trombone solo (unclear whether it's Curtis Fowlkes or Peter McEachern) on Pantheon, fine turns by trumpeters Al Bryant and Frank London on Insomnia, and even a hot tuba solo by the remarkable Marcus Rojas - but it’s the ensemble work that really rocks here.

And it all reaches its peak on the staggering Golgotham, a blues-based groove piece that packs more classic jazz energy and unadulterated hard swing into its 18+ minutes than any 50 other 1990's recordings combined. It includes a classic alto solo - wailing, gutty and passionately explosive. A great soloist, Thomas had that rare ability to play ""inside"" and ""outside"" with total ease and conviction, moving fluidly from one to the other without contrivance or artificiality - AND totally in the context of the music.

For those of us spoiled by the incredible jazz of the 60's, this CD with be a revelation. The music of those years contained an unparalleled mix of virtuosity, innovation, creativity, passion, urgency and swing/pulse that many feel was purely of its time and beyond the reach of a younger generation of musicians. This recording shatters that notion, proving that all of those qualities that have made jazz the magnificent art form it is, are still attainable if embraced by the proper spirit.

And Thomas Chapin had and is that spirit."

Jon Andrews, February 1994

Thomas Chapin may have established himself as a fire-breathing 'downtown' improviser on alto sax and flute, but he first logged years in the more traditional company of Lionel Hampton and Chico Hamilton. I’ve Got Your Number puts Chapin on the inside looking out. You’d expect him to cover Ornette Coleman, not Cy Coleman. Cy’s title track joins compositions from Artie Shaw and Bud Powell and Latin-influenced tunes in this strong, diverse set. Playing in a (relatively) conventional style reinforces Chapin’s strongest influences, notably Rahsaan Roland Kirk and Jackie McLean. Eric Dolphy informs Chapin’s approach to flute, especially on a lovely reading of Powell’s 'Time Waits.' Two originals, 'Drinkin’' and 'Rhino!' allow for Chapin’s most energetic, personalized alto work.

Insomnia focuses on Chapin’s impressive skills as a composer and arranger with his Trio Plus Brass, recorded live at New York’s Knitting Factory. Chapin’s inventive arrangements for octet emphasize low brasses and, on 'Coup d’Etat,' march rhythms. Henry Threadgill’s recent bands exert a clear influence, with Marcus Rojas and Curtis Fowlkes from Very Very Circus joining Chapin. 'Pantheon' and 'Equatoria' set Chapin’s flute over intensifying grooves. 'Golgotham' is the rousing highlight of the set, a driving, 18-minute stomp featuring wailing alto and a chorus of vocalizing horns.