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Mark Weinstein: In Jerusalem

Read "In Jerusalem" reviewed by Hrayr Attarian

Flutist Mark Weinstein has made a career of fusing world music elements with jazzy sensibilities with finesse and style. On In Jerusalem he tackles the rich Hasidic heritage of song. He and his band interpret both secular and religious tunes as well as original compositions with delightful spontaneity and ethereal diapason. The Sabbath hymn “Repozaras" opens with Weinstein's flute dancing over bassist Gilad Abro's oud like strums and dual thumping gallop of drummer Haim Peskoff and percussionist Gilad ...

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Mark Weinstein: Latin Jazz Underground

Read "Mark Weinstein: Latin Jazz Underground" reviewed by Dan Bilawsky

Has flautist Mark Weinstein run out of ideas on how to merge various dialects of Latin jazz with other musical tongues? The answer is a resounding “no." Latin Jazz Underground finds Weinstein saluting the loft jazz scene of the '70s by tackling the work of jazz iconoclasts-turned-icons--pianist Andrew Hill and saxophonists Ornette Coleman and Sam Rivers--and like- minded originals. That concept, in and of itself, doesn't distinguish this project, as plenty of people have traveled down those thorny paths, so ...

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Mark Weinstein: Todo Corazon

Read "Todo Corazon" reviewed by Dan Bilawsky

Mark Weinstein's modus operandi is simple: He follows his interests at any given time. He found success as a groundbreaking salsa trombonist early on, but that didn't stop him from leaving his horn behind and entering the realm of academia. He earned a Ph.D in Philosophy, with a specialization in mathematical logic, and started teaching at the college level, but music's magnetic effect pulled him back into performing. He returned to the scene in the late '70s, born anew as ...

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Mark Weinstein: El Cumbanchero

Read "El Cumbanchero" reviewed by Dan Bilawsky

Exploring music with the intellect of an ethnomusicologist, the imagination of an artist, and the technical savvy and musical know-how to combine the two is no easy feat, but Mark Weinstein is more than capable of pulling it off. For the flautist's latest Latin feast, he turned his attention toward a fusion of jazz and charanga music, a form of Cuban music that features the flute as the lead voice in an ensemble that also contains a string section, percussion, ...

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Mark Weinstein: Jazz Brasil

Read "Jazz Brasil" reviewed by Raul d'Gama Rose

Mark Weinstein has quietly established himself as one of the most wildly inventive flutists in modern memory. He is also one of the finest virtuoso players in the entire spectrum of 20th and 21st century music. His only rivals may well be the late Eric Dolphy, the Canadians, Jane Bunnett and Bill McBirnie, and, of course, the great James Galway. Weinstein is radically different from Dolphy, who imparted a speech-like quality to his flute, inspiring the mighty John Coltrane in ...

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Mark Weinstein: Jazz Brasil

Read "Jazz Brasil" reviewed by Edward Blanco

Flautist Mark Weinstein has been a major force in the Latin jazz genre for some time, releasing projects almost yearly. Though the body of his discography falls squarely within the Afro-Cuban form which remains his passion, he has slowly gravitated towards the Brazilian sound, releasing three Brazilian-style projects, for Jazzheads, since 2005. On Jazz Brasil, Weinstein presents a selection of jazz standards, dipped in a Brazilian stew to add that special genre flavor to each track. Of course, what is ...

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Mark Weinstein: Jazz Brasil

Read "Jazz Brasil" reviewed by Dan Bilawsky

Jazz Brasil continues flautist Mark Weinstein's odyssey through the world of Latin jazz. The former trombonist-turned-philosophy-professor-turned-flute-phenom has delivered a steady stream of Latin jazz releases that highlight material from well-known Latin American composers, deal with original material, and deliver Latin-ized takes on jazz classics. His previous release, Timbasa (Jazzheads Records, 2010), tackled Cuba with percussion-heavy gusto, and Weinstein now turns his sights westward from that locale, visiting the music of Brazil. Weinstein and his more-than-capable quartet cover ...

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Mark Weinstein: Jazz Brasil

Read "Jazz Brasil" reviewed by C. Michael Bailey

Flautist Mark Weinstein has enjoyed impressive success with his almost yearly releases. Timbasa (Jazzhead Records, 2010), Tales from the Earth (With Omar Sosa) (Ota Records, 2009) and Straight No Chaser (Jazzhead Records, 2008) were all favorably reviewed within these sacred electrons. Weinstein belongs to an elite club of jazz flautists, a necessarily small one that includes Herbie Mann, James Moody, Frank Wess, and Eric Dolphy; the flute is a demanding mistress in jazz. Over the course of ...

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Mark Weinstein: Timbasa

Read "Timbasa" reviewed by Paul J. Youngman

What do you want from your Latin jazz album? Great musicianship? Authentic music? Danceable? Must it have great rhythm, catchy tunes and present the best in Latin percussion? Mark Weinstein is a name not immediately associated with the best of Latin jazz, but he has done it again with Timbasa, a fantastic recording and his fifth as leader. There isn't a dull moment on this classic Latin jazz party album. Cuban-inspired--and with Cubans gracing the percussion chairs, piano included--Weinstein leads ...

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Mark Weinstein: Timbasa

Read "Timbasa" reviewed by Raul d'Gama Rose

It would seem that there is no stopping flutist, Mark Weinstein. While the composer and instrumentalist extraordinaire may not have trumped his awe-inspiring expedition into the realm of improvisation, Tales From The Earth (Ota Records, 2009) his album, Timbasa has certainly turned out to be an alchemist's dream. Who would ever have imagined that Miles Davis' languorous performance of “Milestones" could be regenerated as an extravagant and masterful Afro-Cuban adventure? And yet, between percussion colorist, Pedrito Martinez and Weinstein that ...

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Mark Weinstein: Timbasa

Read "Timbasa" reviewed by Woodrow Wilkins

First came the transition from trombonist to flutist. Then came the transition to Latin jazz. For Mark Weinstein, a confluence of worlds has become modus operandi. Brooklyn-born Weinstein's experience has included a fusion of post-bebop music with traditional Afro-Cuban drumming. As a trombonist, he worked with Chick Corea, Cal Tjader, Tito Puente, Maynard Ferguson, Herbie Mann, and many others. Since he began playing the flute, Weinstein has performed in a variety of settings, covering several styles including Afro-Caribbean, ...

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Mark Weinstein: Timbasa

Read "Timbasa" reviewed by Dan Bilawsky

It's not uncommon to hear about an alto player moving to tenor, or vice versa, in an attempt to grow musically, develop a different sound or avoid getting stale. Likewise, plenty of people branch out within the woodwind or brass families, like a saxophonist learning to double on flute or a trumpet player doubling on valve trombone. Yes, these things do happen fairly often but you rarely hear about masterful jazz trombonists switching to flute. Mark Weinstein is the exception.