Jazz Articles about Jared Schonig

The Wee Trio: Capitol Diner - Vol. 2: Animal Style

by AAJ Italy Staff
June 24, 2010

Capitol Diner - Vol. 1 li aveva presentati come un trio sulla scia di formazioni quali Medeski, Martin & Wood, Bad Plus, E.S.T, band trasversali che utilizzano il linguaggio jazzistico come passepartout per esplorare mondi musicali i più diversi. Solo che lo strumento principe del Wee Trio non è il pianoforte bensì il più anomalo vibrafono. Che viene sfruttato sia nella versione percussiva che in quella melodica, passando da sonorità tipiche del drum-steel a quelle sofisticate di un clavicembalo. Di ...

The Wee Trio: Capitol Diner Vol. 2: Animal Style

by Mark F. Turner
March 18, 2010

Based loosely in New York, The Wee Trio's origins form a cross-section of the United States, with drummer Jared Schonig from Los Angeles, vibraphonist James Westfall living in New Orleans and bassist Dan Loomis hailing from St. Louis. Notwithstanding that there isn't an abundance of vibraphone-centered recordings such as Joe Locke's For the Love of You (E1 Music, 2010) and Stefon Harris' Urbanus (Concord Music Group, 2009), The Wee Trio holds high the mallet-based banner in good form, showing itself ...

The Wee Trio: Capitol Diner Vol. 1

by Troy Collins
October 17, 2008

Jazz has a long history of up and coming musicians attempting to incorporate the popular music of their time into the standard repertoire. Some acts have made such ideology their calling card. For example, both the Jacob Fred Jazz Odyssey and Sex Mob regularly include contemporary pop songs in their set lists. As such, the cover of Nirvana's early underground hit “About a Girl" (complete with hyper speed “Rhapsody in Blue" interjections) that opens the Wee Trio's debut album Capitol ...

The Wee Trio: Capitol Diner Vol. 1

by J Hunter
September 1, 2008

"Lightning in a bottle" is an excellent metaphor for The Wee Trio's Capitol Diner Vol. 1, given how the music crackles like high-tension wires in a rainstorm. But it's the level of electricity that is the surprise. On its face, TWT's instrumental makeup--vibes with a rhythm section--doesn't seem to lend itself to any kind of aggressive musical behavior. That's an assumption and, like most assumptions, it's dead wrong.

James Westfall's disquieting opening to Kurt Cobain's “About a Girl" is the ...