The Patriot Ledger Best of 2020
by Jay N. Miller January 5, 2021
Saxophonist Bixler had been out of action for a few years after his son suffered a traumatic brain injury. Based in New York City, Bixler is also the Director of Jazz Studies at Bowling Green University. This work was commissioned as a musical look at tribes, or the groupings people create for themselves. Bixler tackled it with a core quintet-plus-string quartet, for a nine-piece band. The four movements approach the theme from the standpoint of the four groups Bixler sees himself belonging to read more
Roll Call
by John Chacona December 18, 2020
Alto saxophonist David Bixler recently emerged from a nearly decade-long recording silence following a family medical emergency. The title of his third post-return release, “Inside the Grief,” points to that experience, but it is a response to the horrific events of the year that is mercifully about to end. Like a lot of new recordings we’re likely to hear in 2021, “Inside the Grief” keeps the instrumental forces lean, but strong. Drummer Fabio Rojas hustles things along with an airy cymbal beat and bassist Gregg August (whose own commentary on the year’s events was reviewed here) knows the saxophone trio territory well from his years in J.D. Allen’s band. read more
All About Jazz
by Jerome Wilson September 23, 2020
Alto saxophonist David Bixler's effort with the quintet plus strings format is a suite with four movements that gives off an overall feeling of quiet focus and determination. The strings are more fully integrated into the music this time, giving a hazy backdrop to the insistent pulsing of Bixler and Rodriguez on "Origins" before Jon Cowherd rolls into lively soloing and the horns return, stretching and twisting their unison lines. "Motherland," dedicated to Bixler's home state of Wisconsin, is the only track without strings, read more
The New York City Jazz Record
by Marco Cangiano May, 2020
David Bixler’s recent CDs—his last one was more than five years ago—convey a subtle joy and the sheer pleasure of making music. Having looked after his youngest son following a traumatic brain injury during the last decade, the alto saxophonist has reemerged with a different approach and maturity to music, as if in pursuit of a personal catharsis. There is a soothing quality and a sense of serendipity in this music, superbly executed by extremely well integrated bands. Gone is a sort of eclecticism, ranging from Latin American influences to a certain postbop mainstream, which has characterized Bixler’s earlier recordings. There is no rush, no insistence on patterns, just the careful choice of the right note and an unusual openness to what the other musicians have to say. read more (pg 26)
Down Beat Magazine
by Stephanie Jones September 12, 2019
Helplessness and hope often have collided in the day-to-day life of saxophonist David Bixler. He’s spent the past decade helping manage his son’s recovery from a traumatic brain injury, recently taking a one-year sabbatical from his position as director of jazz activities at Ohio’s Bowling Green State University. It’s understandable, of course, that Bixler’s experiences caused a shift in perspective: “Before this happened, music was who I was,” he said. “[Now, it’s] what I do and ... that gives me a freedom. read more
All About Jazz ⭐⭐⭐⭐
by Dan Bilawsky June 14, 2019
In The Face Of Chaos marks a re-emergence, if not a complete artistic rebirth, for David Bixler. It serves as a true inspiration, drawing beauty from pain, and peace from personal struggle. Life took an unexpected turn for the saxophonist's family when his youngest son suffered a traumatic brain injury a number of years ago. With that, logically, came a need to re-evaluate priorities. So, Bixler took a step back and did what any loving parent would do; he focused on his family's needs, putting his creative pursuits on the back burner for much of the past decade. Now, having made a conscious decision to return to the fold, he arrives with a different perspective and a deeper sense of purpose. read more