In 2006, guitarist Bob Sneider and vibraphonist Joe Locke assembled a collective devoted to the jazz soundtrack of noir fiction called The Film Noir Project. That same year they released Fallen Angel (Sons of Sound). Switching labels, Sneider and Locke release their second Film Noir Project installment in Nocturne for Ava, honoring the brunette bombshell Ava Gardner and her contributions to the noir genre like the film adaptation of Ernest Hemingway's The Killers.
It is a subtle hypnotism Sneider and Locke perform by naming their collective The Film Noir Project. Billed as being dedicated to the spirit of the jazz ...read more
Nocturne for Ava slips into noir territory--under night's cover, fedora pulled down low, trench coat collar up, immersed in a night of blurry neon glowing through a low misty fog, much in the fashion of its predecessor, Fallen Angel (Sons of Sound, 2006). Both sets celebrate noir classics and movie tunes written for or inspired by the darker side of the celluloid experience. They are moodily atmospheric, melancholic, and seductive, with a sometimes morose inward feeling in the mode of Miles Davis' Ascenseur Pour l'Echafaud (Fontana Records, 1958), but with an expanded pallet.The Film Noir Project is the ...read more
If this disc is any indication of the caliber of jazz musicians in the Rochester, New York area, then it would seem that the music is in good hands around said environs. So the story goes, guitarist Bob Sneider has played an integral part in leading the nightly jam sessions that occur during the duration of each year's Rochester International Jazz Festival, and this studio date is somewhat of a homage to those sets. No stranger to the jazz scene there, Sneider's experience boasts of time spent with Chuck Mangione and a role as educator at the Eastman School of ...read more
No one will be able to sleep all through this night, a collection of bright, swinging performances from this gifted Rochester trio, whose long and happy association is evident in their relaxed, empathic interplay. Here, guitarist Bob Sneider, bassist Phil Flanigan and drummer Mike Melito are joined by a stellar guest roster, creating a pleasing balance between the five trio and six quartet tracks. It's a solid and spirited session that includes some lesser-known tunes by Jackie McLean and Billy Higgins as well as a buffet of old favorites, all beautifully rendered.
Aside from its consistently high level ...read more
Bob Sneider and Paul Hofmann called their first collaborative effort Interconnection," and that was an apt name, for the two showed that they had an affinity that resulted in some darned fine music. Though their second collaboration finds them concentrating on original material, they also look at standards, including a Nat Cole medley, and even add a twist of jazz to a classical tune.
Given their familiarity with each other, it is not surprising that the recording offers a cohesive mood, no matter what style of music they play. They intertwine ideas with fluidity and extend thoughts with seamless logic. ...read more
The history of duo recordings boasts some standout pairings: Bill Evans and Jim Hall, Nat King" Cole and Oscar Moore, Chick Corea and Gary Burton, Stan Getz and Kenny Brown. Guitarist Bob Sneider and pianist Paul Hofmann approach the duo format with masterful technique and imagination on Escapade, a followup to Interconnection (Sons of Sound, '04).Sneider is a two-time winner of Down Beat's Outstanding Performance in Jazz Award and has performed with Chuck Mangione, Nat Adderley and Jon Faddis. He is currently an Instructor of Jazz Guitar at the Eastman School of Music and frequently appears with the ...read more
Very, very nice this one is, the absence of an overall noir atmosphere no cause for complaint. The project, under the leadership of Bob Sneider and Joe Locke, looks at the scores of cinematic works of the film noir genre, simply for material worth performing. Maybe somebody thought the genre might have occasioned unusual inspiration and produced themes of substantial jazz potential. Speculate if you like, and admire the considerable inventiveness of the arrangements.
There's something in the initial material. Witness notably Grant Stewart's building of a tenor solo on Mulholland Falls," which couldn't have been done without a foundation. ...read more