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MUSICIAN Born:

Lily Maase

A graduate of the University of North Texas's esteemed Jazz Studies program, Lily Maase first fell in love with the guitar at the age of seven. In the decades since, she has performed and recorded as a jazz, classical, and rock guitarist, established herself as a highly sought-after private instructor and come into her own as a young and adventurous composer. As a leader, Lily has recorded two albums of her own music, Natural Disasters (2004) with the Lily Maase Quartet and aftermath (2005) with LM5 (…the lily maase quintet…). The Dallas Observer recently honored LM5 with a nomination for Best Jazz Group in their 2005 Music Awards, and aftermath was recently acclaimed as a "superior effort by a very talented composer" by AllAboutJazz.com. As a sideman, Lily has appeared with the University of North Texas 3 and 4 O'Clock Lab Bands, performed West Side Story with the Denton Musical Theater Company, become the primary classical guitarist for the Jeff Cook Ensemble, and worked with keyboardist R. C. Williams (Erykah Badu). She recently received a scholarship to attend the 2005 Banff International Workshop in Jazz and Creative Music, where she studied with Mark Dresser, Dave Douglas, Susie Ibarra and over a dozen other professional musicians. Lily currently lives in Brooklyn, New York, where she freelances, plays with her quintet and works with Walter Thompson's New York Soundpainting Orchestra. Press:

ARTICLE: YEAR IN REVIEW

2017: The Year in Jazz

Read "2017: The Year in Jazz" reviewed by Ken Franckling

A year of achievements, challenges to gender inequality, scandal and losses The year 2017 was quite something for the jazz world. Incidents or discussions of misogyny and sexual misconduct bubbled up even before the #MeToo phenomenon developed. Beyond that, woman musicians made significant contributions to the genre. International Jazz Day brought its biggest stage ...

Unbind

Label: Addtract Initiative
Released: 2007
Track listing: Prelude: Inner Weave; Made To Be Broken; Interlude: Boolix Redux; The Great Escape; Interlude: Inspected By 6; Anaphora; Centerlude: Vanishing Point; Ricochet; Interlude: Systematic Buzz Phrase Projector; Kinetoflux; Reduction Sketch; Postlude: Suite Release.

ARTICLE: LIVE REVIEW

theSuiteUnraveling at the Cornelia Street Cafe, NYC

Read "theSuiteUnraveling at the Cornelia Street Cafe, NYC" reviewed by Budd Kopman

theSuiteUnraveling at the Cornelia Street CaféCornelia Street CaféNew York City, New YorkNovember 30, 2007 theSuiteUnraveling is guitarist/composer Lily Maase's working quintet comprised of Peter Van Huffel (alto and soprano saxophones), whose own album Silvester Battlefield (Fresh Sound New Talent, 2007) was released to high acclaim, Evan Smith (tenor saxophone), Matt ...

ARTICLE: ALBUM REVIEW

Lily Maase: Unbind

Read "Unbind" reviewed by Budd Kopman

With the release of the outstanding Unbind, guitarist/composer Lily Maase continues to hone her musico-philosophic voice. She and her quintet, theSuiteUnraveling have created music that lives at the boundaries of jazz and progressive or art rock, being neither and both, with a message that is profoundly uplifting. The band is different from that ...

ARTICLE: LIVE REVIEW

theSuiteUnraveling at 55Bar

Read "theSuiteUnraveling at 55Bar" reviewed by Budd Kopman

theSuiteUnraveling55Bar55 Christopher StreetGreenwich Village, NYCJuly 12, 2006 theSuiteUnraveling, Lily Maase's current New York group, played the early show at 55Bar to a good crowd. The gig started late because Maase's guitar decided to buzz uncontrollably, and she ran uptown, returning with an Ibanez in a cardboard box. It ...

Aftermath

Label: Self Produced
Released: 2005
Track listing: The Aftermath Series: My Five Wives; Even Ash Will Linger; ... In Threes ...; A Body In Motion... (self portrait); Lullabye for the Electric Shepherd (sounds for Philip K. Dick): How Much for the Electric Ostrich?; Nexus 6; Baty's Last Stand.

ARTICLE: ALBUM REVIEW

Lily Maase: Aftermath

Read "Aftermath" reviewed by Budd Kopman

If the releases from the Between the Lines label fall at the classical/composed end of the jazz continuum, then Aftermath belongs in the fusion/experimental corner of the jazz universe. Its rhythms are closer to rock than jazz; the keyboards are electric, as is the bass; and the general vibe goes beyond solo improvising in front of ...


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