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Carli Mu: Maverick
by John Kelman
Some feel the only way to remain true to the jazz tradition is to focus one's energies exclusively within that domain. Others believe that all experience is valuable, and that a stylistically broad career needn't tarnish an ability to remain truthful to a jazz aesthetic. Carli Muñoz clearly fits into the latter camp. The Puerto Rican ...
Gregg August: Late August
by Michael P. Gladstone
This is a pretty intruiging and ambitious debut for upstate New York bassist/composer Gregg August. August wanted to have all of his musical experiences reflected on this first date. From education at SUNY-Albany, the Eastman School of Music, and Julliard, he became the principal bassist in La Orquesta Cuitat de Barcelona, Spain, and then lived in ...
Rebecca Shrimpton and Eric Hofbauer: Madman
by Mark F. Turner
The American songbook is given a new facelift on Madman's Moon with jazz guitar and avant-garde vocals uniquely interpreted by Eric Hofbauer and Rebecca Shrimpton, respectively. Hofbauer's guitarist prowess has been noted with his work with the jazz group known as the Blueprint Project and his eccentric solo effort American Vanity, which made a singular statement ...
Carli Mu: Maverick
by Dan McClenaghan
Somebody, low in the mix, says, “Yeah!" as bass and drums shuffle and throb into “A Cool Night in the City," the fourth tune into Maverick. “Yeah!"--like this sounds so good. And indeed it does. The tune serves as something of a centerpiece on pianist Carli Muñoz's excellent new disc, and it's not alone in the ...
Dominic Frasca: Deviations
by AAJ Staff
While the center/left jazz world has been celebrating Charlie Hunter and his eight-string bass guitar wizardry, Dominic Frasca has been quietly amassing frightening technique on a ten-string guitar (a Martin classical converted by Thomas Humphrey). If you're counting strings in the altered guitar universe, Frasca has the edge. He also plays an acoustic instrument, allowing a ...
Sonido Isle: Vive Jazz!
by Celeste Sunderland
Changüi, a mix of Spanish guitar and African percussion, carries at its core a relentless churning. Toiling rhythms kick up bits of cultural history that fall in layers, like the overlapping generations from the old and the new country who made their way though the Caribbean to New York. Benjamin Lapidus' “East of el Son, Wes ...
Matt Renzi: The Cave
by Dan McClenaghan
From reedman Matt Renzi's wanderlust comes The Cave, music inspired by a four-year period when the musician lived in Japan, New York, India, and Italy.On this approachable trio effort, Renzi and company have crafted a sound that walks a line between the familar and the exotic, a music full of cool tones and wandering ...
Billy Childs: Lyric
by John Dworkin
Billy Childs' new recording Lyric: Jazz-Chamber Music Vol. 1 may seem a radical new direction from his previously recorded output as a jazz pianist/leader. But, somewhat under the public's marketing radar, for the last six years or so Childs has been spending much of his energy on larger scale composition, arranging, and orchestrations. While still a ...
Alexander McCabe: The Round
by Michael P. Gladstone
You've got to give credit to altoist Alexander McCabe for providing the music on his debut recording at his own pace, which means initially unhurried and lyrical, yet full of ideas. McCabe may be a free blower in clubs, but you'd never know it here. Originally from Boston, Alexander McCabe worked with two of ...
Michael Pagan Big Band: Pag's Groove
by Michael P. Gladstone
For his second album on Capri, pianist/composer Michael Pagán leads his big band on eight selections that demonstrate his ability to add texture and harmonization to the arrangements. Other than the Ray Evans/Jay Livingston standard “Never Let Me Go," all of the tunes are originals. Originally from Ohio and with a degree from Northwestern, ...
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