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Trumpeter Cuong Vu Profiled at AAJ
Truculent blasts of white noise kissed with delay. Ghostly whispers evolving to plaintive cries. Soaring melodies comprised of bold, rounded notes. Trumpeter Cuong Vu's vast sonic palette was formed with intense dedication and by choosing nonconformist paths. After moving to New York in 1994, his sound quickly found a home with veterans like drummer Gerry Hemingway ...
Cuong Vu: More Than Just Notes
by Sean Patrick Fitzell
Truculent blasts of white noise kissed with delay. Ghostly whispers evolving to plaintive cries. Soaring melodies comprised of bold, rounded notes. Trumpeter Cuong Vu's vast sonic palette was formed with intense dedication and by choosing nonconformist paths.After moving to New York in 1994, his sound quickly found a home with veterans like drummer Gerry ...
Cuong Vu: Vu-tet
by Budd Kopman
One way to gauge the strength of a jazz player, especially one who also composes, is to be able identify his or her vision regardless of the changes that occur in the output over time. Does he or she have an attitude, a voice, or a musical message that draws one in, possibly challenging assumptions along ...
Cuong Vu: Vu-tet
by Jeff Dayton-Johnson
It's a funny sensation of displacement, the “Vu effect." One moment, you're embraced by a warm and almost New Age-y sense of wholeness. This is the case of leader Cuong Vu's airy, ethereal trumpet playing on “Intro" or “Now I Know." In the same vein, bassist Stomu Takeishi borrows liberally from Jaco Pastorious' trick bag (e.g. ...
Cuong Vu: Vu-Tet
by Jerry D'Souza
Cuong Vu has long established his reputation as an adventurous musician who takes his compositions and his trumpet playing into constantly evolving worlds. His is a constant forging of the new and different, traits that he wraps in thought-provoking schematic concepts that include jazz, rock and whatever else that grabs his fancy, as long as it ...
Cuong Vu: Vu-Tet
by Dan McClenaghan
One could wonder why in the world these people are wiring up their trumpets, instruments that, acoustically, make such beautiful sounds. Ingrid Jensen plugs in her horn, notably (and beautifully) on The “Pretty Road" from Maria Schneider's Sky Blue (ArtistShare, 2007) and Natsuki Tamura on Hada Hada (Libra Records, 2003) sucks up enough electrons to keep ...
Cuong Vu: Vu-Tet
by Troy Collins
Vietnamese-born trumpet phenomenon Cuong Vu has been melding electronic soundscapes and rock-oriented structures with jazz improvisation since his debut, Bound (Omnitone, 2000). Following in the footsteps of the critically acclaimed It's Mostly Residual (ArtistShare, 2005), Vu continues to explore the fertile territory between electronic and acoustic music. Joined by fellow New York Downtown scene ...
Cuong Vu: Vu-Tet
by John Kelman
On Vu-Tet, his follow-up to It's Mostly Residual (ArtistShare, 2005), trumpeter Cuong Vu continues to mine similar turf, ranging from the deeply lyrical to the aggressively hardcore. But with considerable touring under the belt of his regular working trio, featuring bassist Stomu Takeishi and drummer Ted Poor--with and without Vu-Tet's guest saxophonist/clarinetist Chris Speed--there's an emerging ...
It's Mostly Residual
By Cuong Vu
Label: Cuong Vu
Released: 2006
Track listing: It's Mostly Residual; Expressions of a Neurotic Impulse; Patchwork; Brittle, Like Twigs; Chitter Chatter; Blur.
Cuong Vu: It's Mostly Residual
by Terrell Kent Holmes
Cuong Vu's trademark as a composer is gradually building tunes that intensify toward the middle and include elements of free jazz and jazz-rock. The key is to have a band that can pull off the demands of such superficially simple yet ultimately complex music. Having the right players makes Vu's It's Mostly Residual a success.
