Matt Panayides
Tapestries of Song
Pacific Coast Jazz
Tapestries of Song, the debut recording from exploratory guitarist/composer Matt Panayides, introduces to the world a visionary new artist with a distinctive approach to music and a uniquely personal voice on his instrument. The Cincinnati born-Indianapolis raised jazzman, a mainstay on New York scene since moving to the area a decade ago has made a name for himself performing with artists such as Clark Terry, Mulgrew Miller, Kevin Mahogany, Jane Monheit and many others, in the majority of the city's most celebrated clubs. With a B.A. from the Manhattan School of Music and a Master's degree from William Paterson University (both in jazz performance), Panayides—who has studied guitar with Rodney Jones and Gene Bertoncini—epitomizes the 21st Century jazz artist—educated, experienced and poised to make his mark advancing the music's great tradition.
Joining Panayides on his first album fronting a band are three of New York's finest players—each one a leader in his own right. Sharing the front line, veteran saxophonist Rich Perry proves himself to be the perfect foil for the leader's guitar and a masterful interpreter of his multifaceted compositions. Bassist Steve LaSpina, who has provided the musical backbone on countless recordings including many under his own name, once again rises to the occasion, not only laying down a solid foundation, but also adding lyrical nuances to the leader's melodic lines. Young Dan Weiss is a modern day rhythmic force, a master of exotic meters and out of the ordinary time signatures, who plays Panayides' compound rhythms unforcedly, contributing immeasurably to the music's natural flow.
The compositions on Tapestries of Song—each one written by Panayides and different in nature—reflect his myriad life experiences. “Seoul Soul" is a swinging up-tempo outing that breaks up the conventional 12 bar phrase, as well as one of jazz's more common chord progressions in different ways. Written during his time living in Seoul, energized guitar and tenor reflect the animated spirit of that fast-paced constantly changing city.
“Out of My Hands" exemplifies Panayides' penchant for experimenting with unusual time signatures. The song, which grew organically out of the tricky 11/8 groove played by Weiss and LaSpina up front, exudes an intriguing gently flowing atmosphere that culminates on a somewhat ominous note.
Panayides' “Why Bail Them Out?" is an avant funk number, originally written for the guitarist's working organ trio. Here the piece is opened up, with the bass laying down a powerful sixteenth note groove, giving it a more ethereal feel while still retaining its earthy quality. The modulating melodic line played by guitar and sax sets an interesting tone, which is built upon in solos by the leader, Perry and finally Weiss, whose restrained broken rhythms offer a different perspective, prior to the group's return to the funky head.
“Different Place" was written by Panayides upon his return to the US following his years in Korea. A pensive piece, which starts softly with an extended solo guitar introduction, it reflects the new perspective on cultural identity developed by the composer during his years abroad. The quartet section of the song begins with the band slowly playing the somewhat eastern tinged melody with almost cautious deliberation before resolving into the assured optimism of Panayides' and Perry's solos.
One of the album's most powerful performances, “Amalgamation" fuses divergent ideas into a coherent whole over an infectious groove in nine time. Opening with bass and drums setting an authoritative tone, it takes on a dissonant bluesy vibe reminiscent of Coltrane's classic quartet with the entrance of tenor and guitar and then combines it with a darkly waltzing melodic phrase. As these threads mix, the group collectively improvises to a climax dynamically culminating in a silent moment, dramatically opening up to improvisations on the various themes.
“Freedom's Illusion," one of Panayides' oldest songs—written during his early days in New York while at Manhattan School of Music—has become a staple of the guitarist's repertoire over the years. The appealing 7/4 rhythm and open sounding chord changes allow musicians to really stretch out, which Perry, Panayides and Weiss all do with exciting results.
Created as a vehicle for collective improvisation, “Sketch" opens with solo guitar, the straight ahead groove melding into some spontaneous improvisation by the quartet that comes together around a fast swing. It's another episodic adventure that traverses a variety of moods, with LaSpina playing a moving, unaccompanied bass solo before the band wraps it with an exhilarating final shout chorus. The disc concludes with “Walking Across a Bridge (With No Money)." A bluesy ballad with some intriguing harmonic twists and turns, it perfectly paints the poignant picture implied in its title. Yet despite the song's melancholic mood, it still manages to at times evoke feelings of beauty, strength and hope. A fitting finish to a date inspired by one man's many life stories.
The music of Matt Panayides is as personal and wide-ranging as the man who makes it. In taking his myriad experiences—domestic and foreign, thrilling or contemplative, the happy and the sad—and translating them into song, he has given listeners an insight to the world that is as universal as it is individual. Tapestries of Song weaves the many threads of this talented artist's history into a vibrant unified image—intriguing and entertaining—that will surely stand the test of time.
Tapestries of Song
Pacific Coast Jazz
Tapestries of Song, the debut recording from exploratory guitarist/composer Matt Panayides, introduces to the world a visionary new artist with a distinctive approach to music and a uniquely personal voice on his instrument. The Cincinnati born-Indianapolis raised jazzman, a mainstay on New York scene since moving to the area a decade ago has made a name for himself performing with artists such as Clark Terry, Mulgrew Miller, Kevin Mahogany, Jane Monheit and many others, in the majority of the city's most celebrated clubs. With a B.A. from the Manhattan School of Music and a Master's degree from William Paterson University (both in jazz performance), Panayides—who has studied guitar with Rodney Jones and Gene Bertoncini—epitomizes the 21st Century jazz artist—educated, experienced and poised to make his mark advancing the music's great tradition.
Joining Panayides on his first album fronting a band are three of New York's finest players—each one a leader in his own right. Sharing the front line, veteran saxophonist Rich Perry proves himself to be the perfect foil for the leader's guitar and a masterful interpreter of his multifaceted compositions. Bassist Steve LaSpina, who has provided the musical backbone on countless recordings including many under his own name, once again rises to the occasion, not only laying down a solid foundation, but also adding lyrical nuances to the leader's melodic lines. Young Dan Weiss is a modern day rhythmic force, a master of exotic meters and out of the ordinary time signatures, who plays Panayides' compound rhythms unforcedly, contributing immeasurably to the music's natural flow.
The compositions on Tapestries of Song—each one written by Panayides and different in nature—reflect his myriad life experiences. “Seoul Soul" is a swinging up-tempo outing that breaks up the conventional 12 bar phrase, as well as one of jazz's more common chord progressions in different ways. Written during his time living in Seoul, energized guitar and tenor reflect the animated spirit of that fast-paced constantly changing city.
“Out of My Hands" exemplifies Panayides' penchant for experimenting with unusual time signatures. The song, which grew organically out of the tricky 11/8 groove played by Weiss and LaSpina up front, exudes an intriguing gently flowing atmosphere that culminates on a somewhat ominous note.
Panayides' “Why Bail Them Out?" is an avant funk number, originally written for the guitarist's working organ trio. Here the piece is opened up, with the bass laying down a powerful sixteenth note groove, giving it a more ethereal feel while still retaining its earthy quality. The modulating melodic line played by guitar and sax sets an interesting tone, which is built upon in solos by the leader, Perry and finally Weiss, whose restrained broken rhythms offer a different perspective, prior to the group's return to the funky head.
“Different Place" was written by Panayides upon his return to the US following his years in Korea. A pensive piece, which starts softly with an extended solo guitar introduction, it reflects the new perspective on cultural identity developed by the composer during his years abroad. The quartet section of the song begins with the band slowly playing the somewhat eastern tinged melody with almost cautious deliberation before resolving into the assured optimism of Panayides' and Perry's solos.
One of the album's most powerful performances, “Amalgamation" fuses divergent ideas into a coherent whole over an infectious groove in nine time. Opening with bass and drums setting an authoritative tone, it takes on a dissonant bluesy vibe reminiscent of Coltrane's classic quartet with the entrance of tenor and guitar and then combines it with a darkly waltzing melodic phrase. As these threads mix, the group collectively improvises to a climax dynamically culminating in a silent moment, dramatically opening up to improvisations on the various themes.
“Freedom's Illusion," one of Panayides' oldest songs—written during his early days in New York while at Manhattan School of Music—has become a staple of the guitarist's repertoire over the years. The appealing 7/4 rhythm and open sounding chord changes allow musicians to really stretch out, which Perry, Panayides and Weiss all do with exciting results.
Created as a vehicle for collective improvisation, “Sketch" opens with solo guitar, the straight ahead groove melding into some spontaneous improvisation by the quartet that comes together around a fast swing. It's another episodic adventure that traverses a variety of moods, with LaSpina playing a moving, unaccompanied bass solo before the band wraps it with an exhilarating final shout chorus. The disc concludes with “Walking Across a Bridge (With No Money)." A bluesy ballad with some intriguing harmonic twists and turns, it perfectly paints the poignant picture implied in its title. Yet despite the song's melancholic mood, it still manages to at times evoke feelings of beauty, strength and hope. A fitting finish to a date inspired by one man's many life stories.
The music of Matt Panayides is as personal and wide-ranging as the man who makes it. In taking his myriad experiences—domestic and foreign, thrilling or contemplative, the happy and the sad—and translating them into song, he has given listeners an insight to the world that is as universal as it is individual. Tapestries of Song weaves the many threads of this talented artist's history into a vibrant unified image—intriguing and entertaining—that will surely stand the test of time.
For more information contact Jim Eigo, Jazz Promo Services.
