A welcome reissue of music first recorded in 1971 and 1972, shortly before Dean left the popular British jazz-rock group the Soft Machine, which he had officially joined only a short time earlier, in late 1969. On this recording, Dean plays alto sax, saxello and electric piano and is aided by a group of musicians which includes two additional Soft Machine members, Mike Ratledge on organ and electric piano and Roy Babbington on string bass. One of Dean's compositions on Just Us, "Neo-Caliban Grides," was actually recorded by the Softs, however, in spite of the obvious parallels, Dean's group is by no means a Soft Machine knock off. The absence of drummer/vocalist Robert Wyatt and bassist Hugh Hopper reduces both the rock element and the experimental electronics, while the presence of the additional musicians -- especially Marc Charig on cornet -- gives Dean's group a fuller sound and one that is much more in the jazz tradition. Charig's contributions on horn and those of an electric guitarist on several tracks, invite some obvious comparisons with the Miles Davis electric band of the Bitches Brew era. And with the extraordinary recording by the Davis group having been released only two years earlier in 1969, its influence on hip young British jazz players would have been substantial. Dean's prominent use of the electric keyboards also provides an obvious parallel with the contemporaneous Davis group. AMG Review by William Tilland

Roberta Gambarini is a breath of fresh air among female jazz vocalists. Gifted with superb clear diction, a warm engaging voice, and an uncanny ability to bring out the best in each song, Gambarini shines throughout this one-afternoon session, recorded without isolation booths, splicing, or overdubs. Her sole accompanist is the masterful pianist Hank Jones, a veteran who knows something about inspiring great vocalists with his inventive piano playing, having recorded with Ella Fitzgerald, Billie Holiday, Anita O'Day, and Helen Merrill during a career that began over six decades prior to this session. The duo chose a wide-ranging mix of standards, show tunes, and jazz compositions (both familiar and lesser-known), along with some forgotten chestnuts of yesteryear. It is not surprising to learn that Gambarini and Jones entered the studio without a rehearsal or any arrangements, yet completed most of the 14 songs in a single take. "Stardust" is one of the most recorded works of all time, yet Gambarini recognizes the nuances within it and takes her time exploring each chorus, while Jones' elegant backing and delicious solo are flawless. Billy Strayhorn's "Lush Life" is one of the most demanding jazz compositions, a melancholy ballad with an unusual structure that trips up many vocalists, but Gambarini takes her time with a deliberate interpretation that ranks with any previous vocal recording of it. Their magical rendition of the sentimental ballad "You Are There" (music by Johnny Mandel, lyrics by Dave Frishberg) seems like it would be a natural choice for a film soundtrack. "Deep Purple" may have fallen out of favor in modern jazz, but Gambarini and Jones reveal its timeless quality with a sparkling performance. She's in a playful mood in "You're Getting to Be a Habit with Me." This exceptional vocal/piano duo recording is clearly one for the ages. ~ Ken Dryden, AMG

Roberta Gambarini was a virtual unknown outside of Europe before coming to the United States and dazzling both seasoned jazz musicians and critics alike. Under the wing of Benny Carter for several years prior to his death in 2003, the Italian singer with an expressive, clear, and consistently swinging vocal style has seen her reputation spread widely, culminating in this initial American release. Her delightful take on the standard "Easy to Love" includes a bit of soft scatting in tandem with Chuck Berghofer's bass. Her expressive interpretation of "On the Sunny Side of the Street" finds her scatting to each of the demanding solos from a recorded collaboration by Sonny Stitt, Dizzy Gillespie, and Sonny Rollins, as well as adding some original vocalese to each of the solos. She is just as effective handling Bill Evans' bittersweet ballad "The Two Lonely People" and Billy Strayhorn's overlooked gem "Multi-Colored Blue." Tenor saxophonist James Moody is a special guest on "Lover Man" and the swinging "Centerpiece," on the latter playing in unison with Gambarini and engaging in a friendly, often hilarious scat duet with her as well. With this first-rate 2006 release, Roberta Gambarini makes a strong case for consideration as one of the most impressive jazz vocalists to arrive on the scene over the previous two decades; her attractive voice, impeccable taste, and skills as an arranger make her impossible to resist. ~ Ken Dryden, AMG