B_Lynch_Press_Clips_Dec_2011

2011
THE CRITICS WEIGH IN ON BRIAN LYNCHʼS
“UNSUNG HEROES” PROJECT:
“The series is more than a tribute; itʼs an effort to preserve and
perpetuate the bop legacy....While releases like
Unsung Heroes appear with some frequency,
few sound as accomplished or exuberant.”
ERIC FINE, Downbeat (***** 5 Star Review,
July 2011 Issue)
“Brian Lynchʼs valid thesis is that the great jazz
trumpet tradition has been created not only by
towering figures like Louis and Dizzy and Miles,
but by second-echelon players like Tommy
Turrentine, Idrees Sulieman, Louis Smith,
Claudio Roditi, Kamau Adilifu, Joe Gordon, Ira
Sullivan and Charles Tolliver.... Lynch is an
articulate trumpet player with his own polished
concept, and he does not attempt to mimic the
styles of his heroes. His tributes go
deeper....Most of all, what makes these tributes
authentic is the high level of creative execution
throughout Lynchʼs sextet.”
THOMAS CONRAD, Jazz Times
“This isn't the first sort of "legacy" project in your
discography but it seems to be the one getting
the most attention....the web site Unsung
Heroes volumes 2 and 3 are beautiful, too, not
to mention the full liner notes... The unearthing of
these unrecorded compositions is a major contribution to these musicians you're celebrating." LAZARO VEGA, Blue Lake Public Radio
“Whether or not they realize it, jazz players owe a serious nod to the many musicians through
the years who have influenced and helped shape the branches on the musical tree...not just
the household name players, but the many others – active or deceased – whoʼve been
innovators in their own way. Brian Lynch understands this big time....Lynch and his band
(pianist Rob Schneiderman, saxophonists Vincent Herring and Alex Hoffman, bassist David
Wong, drummer Pete Van Nostrand and conguero Vicente “Little Johnny” Rivero) take the
music of the aforementioned innovators and add their own contemporary stamp. It is a
beautiful project.... Lynch has developed a great way to pay forward the influences that he
absorbed. May he not be the last to do so.”
KEN FRANCKLING, Jazz Notes
“It's easy to sing the praises of Unsung Heroes. From trumpeter Brian Lynch, it's a crisp, hardbopping session for sextet that frequently bears a certain, uplifting Jazz Messengers vibe...
With consistently strong solos and impeccable ensemble work, this disc conveys great
reverence and respect with great eloquence.”
PETER HUM, The Ottawa Citizen, jazzblog.ca
BRIAN LYNCH and SPHERES OF INFLUENCE - “ConClave Vol. 2” (Criss Cross, 2011)
Review Sheet
http://www.allaboutjazz.com/php/article.php?id=40122
By DAN BILAWSKY, Published: August 13, 2011
Trumpeter Brian Lynch's ConClave Vol. 2 arrives six years after
the first installment and, while the personnel are completely different on each date, both
volumes boast collections of intelligent arrangements that juxtapose Latin rhythms and AfroCuban musical elements against modern jazz ideals. Lynch's ability to create hybrid forms of
music that blend seemingly dissimilar elements with ease comes into play on this second
volume, and the musicians that he selects for the date reflect this melting pot mindset.
Cuban-born cookers like pianist Manuel Valera mix with young, American-born up-and-comers
like drummer Justin Brown, and the results can be anywhere from explosive to expansive. A
head characterized by clipped melodic phrases and some wonderful conversation between
Lynch and saxophonist Yosvany Terry proves to be two different high points from the same song
("With A Single Step"), while Miles Davis' "Solar" is born again, with a bouncy bottom and some
marvelous, montuno-like machinations from Manuel Valera. Funky, Eddie Harris-esque fare with
a Latin twist ("Dance The Way U Want To") and straight-up blues (Kenny Dorham's "Blue
Friday") aren't out of the question either, further demonstrating the versatility of these musicians
and the varied interests that live within Lynch's mind.
While it's easy to marvel at the structural integrity and rhythmic complexity inherent within this
work, it's the individual personalities at play that make this music something at which to marvel.
Lynch's warm-toned trumpet work is at the center of Charles Tolliver's "Truth," and Valera's
elegant, yet oblique solo work on "Magenta's Return" is superb. Pedro Martinez provides a burst
of energy whenever his hand drumming takes center stage, and Brown, along with
bassistLuques Curtis, helps to navigate the multicultural, pan-stylistic rhythm road that this band
uses to get from piece to piece.
While Lynch is occasionally viewed as a man who splits his time between jazz and Afro-Cuban
music, this assertion is false. ConClave Vol. 2 demonstrates that the trumpeter brings elements
from both worlds into his playing and writing, creating something wholly unique, yet completely
connected to both genres.
BRIAN LYNCH and SPHERES OF INFLUENCE - “ConClave Vol. 2” (Criss Cross, 2011)
Review Sheet
Track Listing: The Downside Of Upspeak; Truth; With A Single Step; Magenta's Return; Solar;
Dance The Way U Want; One For Armida; Blue Friday.
Personnel: Brian Lynch: trumpet; Yosvany Terry: alto saxophone; Manuel Valera: piano; Luques
Curtis: bass; Justin Brown: drums; Pedro Martinez: percussion.
Record Label: Criss Cross | Style: Modern Jazz
Music Jazz (Italia) July 2011:
(rough translation from Italian)
A Latin Bop album, absolutely honest, cleverly packaged and conducted: in this second volume
(the first is dated October 2004) converge five pages of Lynch and three tunes of trumpeters
such as Tolliver, Davis (Truth and Solar, the best episodes of the CD) and Dorham (Blue
Monday). The listener gets hit by an excellent amalgam by the Spheres of Influence, whose
structures (smoother and prompter than how it would usually happen in similar contexts)
obviously do not base their trump on originality or sense of research, preferring to chain linear
issues with generous improvisations. Everything follows a precise line, based on palpable but
never overflowing vivacity and, according to the script, it alternates with moments of retreat,
which however do not waver into anything obvious or predictable. All the solos are notable, with
an obvious reference to the trumpet player from Illinois, whose clear emission and fluid and
round phrasing have an enviable sense of form.
Volume 34/Number 266 July 26, 2011
BRIAN LYNCH/Con Clave V. 2: An old school trumpet session, recorded in one day by a bunch
of jazzbos with a Latin bent. Coming on with a very New York vibe, this is a set that simply has a
classic sound and vibe even though most of the songs are originals. Everyone is on the same
page and this swinging set will make you feel like you’re in Santruce enjoying rum drinks at
sunset. Easy, breezy sounds that are played by people that know and like them add up to a set
that can’t miss with Latin jazz fans. Well done.
CHRIS SPECTOR Copyright 2011 Midwest Record
BRIAN LYNCH and SPHERES OF INFLUENCE - “ConClave Vol. 2” (Criss Cross, 2011)
Review Sheet
www.theurbanflux.com
Alright Latin jazz aficionados, if you didn’t know now you know trumpet sensation Brian
Lynch can certainly navigate his way through his sphere of influence to engrave his gifted
signature into another fascinating body of work titled “CONCLAVE VOL. 2.” Not surprisingly, to
make it happen this is what’s up Lynch called in a talented cast of musicians to do what they do
best mix up a gumbo of potent Latin and jazz music to satisfy a diverse audience of music
lovers! –Rob Young | The Urban Flux
Brian Lynch and Spheres of Influence - CONCLAVE VOL2
Brian Lynch and Spheres of Influence ]|[ CONCLAVE VOL. 2 [Criss Cross]
A versatile trumpeter able to navigate in both the Jazz and Latin music fields, Grammy Award
winner Brian Lynch returns to the Criss Cross fold with ‘ConClave Volume 2‘, a tour-de-force
for his revamped Spheres of Influence ensemble. Up-and-comers Yosvany Terry on
alto,Manuel Valera on piano, with bassist Luques Curtis, drummer Justin Brown, and
percussionist Pedro Martinez make the scene for a diverse set of mainly Lynch originals.
Mixing the Afro-Cuban beat with touches of samba and funk, Lynch comes up with his best
concoction to date of spicy Latin sounds.
Release date: February 15th, 2011.
For more info about the Grammy Winning artist, please visit www.brianlynchjazz.com/
biography/.
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03/29/11 • By Lee Mergner
Brian Lynch: His Unsung Trumpet Heroes
Trumpeter pays tribute to unheralded players from past and
present
In his appropriately titled Unsung Heroes album, Brian Lynch pays tribute to ten unheralded trumpeters, all
of whom were strong influences on him. The 54-year-old has recorded over 15 albums as a leader and, like
all of his heroes, has been a sideman (heralded and unheralded) with Art Blakey, Eddie Palmieri and other
greats. In his Tribute to the Trumpet Masters album recorded for Sharp Nine in 2000, Lynch saluted several
of the trumpet greats, including Woody Shaw, Blue Mitchell, Lee Morgan and Freddie Hubbard. But for
this album, he decided to focus on some players who may be lesser known, but were nonetheless important
influences on him and other modern trumpeters.
1
Brian Lynch
By Tomoji Hirakata
2
Brian Lynch
By Tomoji Hirakata
12
“I feel that in order to really appreciate the richness of the tradition of the music as a whole or the
instrumental tradition of an instrument like the trumpet, you can’t say it all by just concentrating on a few
figures,” explains Lynch. “We could get a very good picture of [jazz trumpet] music by just listening to
Miles, Dizzy, Freddie and Clifford Brown, but we wouldn’t get an idea of the whole picture. So the idea of
a looking at the larger group of figures has been very important to me, and this goes for all instruments,
whether it be Cedar Walton or Kenny Kirkland in the history of jazz piano or Hank Mobley with the tenor
saxophone. I think things would be somewhat impoverished in the imagination if you only knew about the
big names. And then there’s also the aspect of how some of these [musicians] had personal relationships
with me and how they’ve touched me, and how they’re personal mentors.”
In addition to producing the nine cuts on the CD, Lynch recorded another two volumes of material that he’s
making available via digital download at his record label Holistic MusicWorks’ website. Playing with Lynch
on this well-produced album is Vincent Herring (alto sax), Alex Hoffman (tenor sax), Rob Schneiderman
(piano), David Wong (bass) and Pete Van Nostrand (drums), with Vicente “Little Johnny” Rivero (congas)
on a few cuts.
Lynch spoke by phone from his home in New York City about each of the ten trumpeters to whom he paid
homage with this project. In addition, he gave us a “Jazz Playlist” with his recommendations for cuts by
these “unsung heroes” of jazz trumpet.
Tommy Turrentine
I would consider Tommy a mentor. When I first came to New York in the early 1980’s, he was very
supportive of me and encouraging of my playing. At the time that I met him, I was also becoming more
cognizant and more interested in how deep the music we call bebop is and the music that comes out of that
tradition. His playing really exemplifies that for me – the amount of great lines, all the feeling he puts into it,
the purity of the melodic conception that he had – all those kind of things – it really knocks me out. I had
become enamored of Kenny Dorham’s playing before I met Tommy and there’s a lot of things in common
in terms of his melodic structure and very reminiscent of the great Fats Navarro too with his own individual
stamp on it. Also, I think he’s a great writer [so] having the opportunity to record a lot of tunes of his which
have never been recorded before was very meaningful to me. There’s definitely a personal relationship with
me.
Idrees Sulieman
He’s an example of somebody you can listen to and it’s like listening to an amazing jazz history lesson—
somebody who was around at the very beginning of bebop. He recorded with Monk in ’47; he was playing
at Minton’s. People always talk about the great sound of Freddy Webster a lot and he’s considered to be
somebody who really brings the quality of Freddie Webster’s tone quality into his ballad and lead playing. I
got a chance to meet him in New York and hear him play. I think there’s one example of hearing him play
in later years is on a record he did on Steeplechase with Cedar Walton’s trio backing him and on that record,
it’s the most amazing modernist, expressive playing you can imagine. It’s highly recommended. He’s
someone who writes amazing, wonderful lines on familiar progressions—not just standards but actually
recasting jazz tunes with another melody. I love his playing a lot.
Louis Smith
I used to play his tunes a lot with a colleague of mine, Jim Snidero, a great alto player. We had a group
together in the ‘80s and we would play a lot of his music—not just the famous album with Cannonball
Adderley, Here Comes Louis Smith where he played under the pseudonym “Buckshot La Funke.” That was
a great record. From the tune perspective, he’s really ingenious at constructing these counterfactual lines on
the standards that are almost like compendiums of bebop and hard bop vocabulary. It’s very entertaining. I
get a real kick out of this stuff but he was one hell of a trumpet player. He’s still around, but he’s been
ailing so I’m not sure how much he’s playing now, but he was an incredibly strong trumpet player. I also
feel an affinity with Louis Smith because looking at his personal history, his approach to playing the
instrument and his studies of the instrument reminds me of my own. For instance, the fact that he comes out
of the jazz tradition pretty purely but also was very concerned about what you would call: “correct trumpet
technique.” He studied with some very good teachers, like the gentleman up in Michigan named Clifford
Lillya—one of the heavy guys of mid-twentieth century trumpet pedagogy. He’s somebody who’s really
getting into the instrument and expanding and very flexible in the way that he plays the instrument. That’s
always been my own personal philosophy about maintaining my technique. He’s inspirational to me in that
regard.
Claudio Roditi
He was definitely a mentor to me and still is. I played alongside him a lot when I first came to New York
and he helped get me a lot of gigs. He was very encouraging, even before I came to New York. I met him
through jam sessions. There are two musicians that I have a lot of contact with that I always have to bow
down to in terms of their approach to the instrument, their consistency and their overall “hipness” of their
playing and that’s Claudio and the alto saxophonist, Charles McPherson. People know about Claudio and
he’s definitely well-respected and he’s known in the jazz world but I think he’s still underrated. He’s the
real deal, the whole package. He’s got the intensity and finesse in his technical approach to playing jazz on
his instrument. I don’t know anyone like him. I think he’s one of the absolute best of anyone who’s ever
played the instrument—a great man and a true artist.
Kamau Adilifu
His playing and the records he was on in the mid-to-late-70’s that I was listening to when I was growing up
were a really big influence on me. From him I consciously picked up a lot of things about my phrasing and
maybe about the way I articulate notes. He had this really wonderful legato approach but at the same time
with a lot of fire. There’s something about his playing that’s really stuck with me and he really had a
definite influence on my playing.
Joe Gordon
I didn’t even know his playing but when I started hearing Joe Gordon play, I also heard the sort of
commonality in our approach to like maybe the way we get from note to note on the instrument. Joe Gordon
has become one of my favorite players too. He’s from Boston and he came up in the early ‘50’s and mid‘50’s. He played in the Jazz Messengers with Horace Silver after Kenny Dorham left. He’s part of Silver’s
Blue for instance. He made a couple of really wonderful recordings and he went out west and played with
Shelly Manne. He’s on those Shelly Manne Live at the Blackhawk records as well as a number of other
things. He died really young, tragically in a fire, at the age of 32. Definitely under the radar but I find him a
quite interesting player with really interesting compositions. Gordon’s “Terra Firma Irma,” which starts the
CD out, is a great opener. It’s like a cross between “Milestones” and “Janine.” It has an ebullient, jumpin’
out sort of quality. I met Gordon’s wife Irma in Brooklyn back in the day, so there’s a bit of the personal
aspect to it. I play another composition, a really pretty ballad called “Heleen” on the other volume. They’re
both really fun to play.
Charles Tolliver
Charles is definitely a really big influence on me. The way he stretched out in the ‘60’s and ‘70’s with his
group, Music Incorporated. He and Woody Shaw were my two guys when I was growing up in terms of
their forward-looking and very contemporary approach to playing the trumpet and also in terms of playing
as a band leader and as a composer. They were getting more into the Coltrane aspect of doing something
more modern and modal. Tolliver is also very inspirational to me—to see that a trumpeter could lead a
quartet and make it work. Not too many people were doing that then or are doing that even now. The kind
of strength and stamina and fire that he had is something that is very influential to me. It serves as
motivation to develop myself as a player to the point where I can sustain playing in a quartet all night
without any sudden slackening of my playing. I’ve done a tribute previously to him. I wrote a tune called
“Charles Tolliver” which is on the Tribute to the Trumpet Masters record. I’ve also recently recorded his
tune, “Truth” and made it into a bolero for a record that’s just coming out now on the Criss Cross label
which highlights my Latin Jazz stuff a little bit more. He’s a tremendous influence on me and it was a big
thrill to do a tour with his big band a few years ago—to play that music with him, firsthand.
Ira Sullivan
Ira was coming out sort of obscurity and playing a lot in the Midwest, including my hometown, Milwaukee
just at the point when I was getting ready to go to New York so I got the chance to get to know him and
play alongside him at that point. He would tend to play more saxophone than trumpet, but when he picks up
the trumpet, that’s like the closest thing you’re going to hear to the real spirit of Clifford Brown. An
amazing trumpet player. I think a couple of years ago I was in Chicago for the festival and he was playing
during the jam sessions as he often does. Getting up on the stand and playing two trumpet stuff with him
was just an amazing experience. He’s a real jazz musician. Guys like him have been next to the fire. Still at
this point [I’m] still very much an acolyte of that era and that conception of jazz music, even though I’m
open to things that are going on now and a part of them, I’m still really revere and think it’s really
important to know about and be around that stuff while it’s still here.
Donald Byrd
Donald’s a little bit more well-known but I think that he’s sort of overlooked in this era in terms of what
people talk about and what they listen to. I wanted to recognize and pay tribute to his very important role in
the jazz trumpet tradition. The tune of his I played, "I'm So Excited By You", is awfully fun to blow on! In
recent years, he’s had some issues that have prevented him from playing a lot, but I think plays very well on
those records from the 1980’s with Kenny Garrett and James Williams or Donald Brown. He’s somebody
who’s been through a lot of lives and, like his protégé Herbie Hancock, he’s done a lot of things. You’ve
got to recognize that there was a period of time when he was the cat on the scene and I think he influenced
Freddie [Hubbard] a lot. His playing on so many of those seminal Blue Note records is music-making of a
very high order.
Howard McGhee
He plays very differently than the kind of line that I come out of. Most of the modern trumpeters [a relative
term] or the bop trumpeters onward come out of Dizzy and Fats Navarro. And Howard’s thing is a little bit
different. The chord structure is very sophisticated but melodically more like the Roy Eldridge approach to
it. But I find that very interesting. Some of my students are thinking of picking up his approach. He’s
playing very contemporary sounding stuff but he puts some an old sort of way of getting around the horn
into it. It makes me think there are things in his approach that haven’t been explored or extended yet.
There’s so much we can get out of these guys with an imaginative sort of listening of what you’re doing. I
also was reading a book called The Birth of BeBop by Scott DeVeaux, a really wonderful book about jazz as
both social history and jazz musicology all wrapped up in one. I had much more of an appreciation for what
an important figure McGhee was for the transition of the music. It’s the same sort of thing that Gunther
Schuller says about the Swing era. He pays a lot of attention to Howard McGhee. So I think he’s somebody
whose importance should be noted. Again like most people don’t have the faintest idea who he is. He wrote
a very nice tune which is originally from the Teddy Edwards & Howard McGhee Together Again record on
Contemporary. It’s called “Sandy” and it sounds like “Green Dolphin Street” at the beginning but then it
goes someplace else. It’s fun to play.
Jazz Playlist: Unsung Heroes of Jazz Trumpet
By Brian Lynch
Joe Gordon: "Blue Daniel" from Shelly Manne and his Men Live At The Blackhawk (OJC)
Tommy Turrentine: "Fine L'il Lass" from Stanley Turrentine - Comin' Your Way (Blue Note)
Idrees Sulieman: "Mirror Lake" from Idrees Sulieman - Now's The Time (Steeplechase SCCD 31052)
Charles Tolliver: "Spanning" from Music Inc. Live At Historic Slug's (Strata East/Charly)
Howard McGhee: "You Stepped Out Of A Dream" from Teddy Edwards and Howard McGhee - Together
Again (OJC)
Claudio Roditi: "Moment's Notice" from Claudio Roditi - Impressions (Sunnyside)
Kamau Adilifu: "Evening Song" from Charles Sullivan - Genesis (Strata East)
Ira Sullivan: "Shakey Jake" from Eddie Harris - The Lost Album Plus The Better Half (Vee-Jay)
Donald Byrd: "Junka" from Sonny Clark - My Conception (Blue Note)
Louis Smith: "The Outlaw" from Horace Silver - Live At Newport '58 (Blue Note)
Brian Lynch and band performing Louis Smith's "Wetu" in the studio:
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MUSIC
From bebop to latin jazz, and back
Lynch brings energy, variety to foursome
(Nick Ruechel)
By Andrew Gilbert
Globe Correspondent / April 1, 2011
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Brian Lynch’s latest album, “Unsung Heroes,’’ is a project exploring
compositions by overlooked jazz trumpet masters, players who developed
powerfully individual voices but are mostly forgotten today. That’s not a fate
he’s likely to share.
At 54, Lynch has attained rarified status as an
improviser as deeply versed in Afro-Caribbean
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idioms as straight-ahead jazz. As the last horn
player to hold down the storied trumpet chair in
Art Blakey’s Jazz Messengers, and a longtime
EDDIE PALMIERI/ BRIAN LYNCH
sparring partner with alto saxophonist Phil
QUARTET
Woods, Lynch blows with all the fire, funk, and
At: Scullers, Friday and Saturday
night, 8 and 10 p.m. Tickets: $30.
finesse that makes hard bop such a swaggering
617-562pleasure. And from his formative experience
4111,www.ticketweb.com.
accompanying beloved salsero Héctor Lavoe and
his key role in the evolution of Latin music
legend Eddie Palmieri from dance bandleader to Latin jazz maestro, Lynch has
walked two paths simultaneously.
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“I think in clave even when I’m playing bebop eighth notes, and I think in
bebop when I’m playing a montuno,’’ says Lynch, who opens a two-night
Scullers run on Friday with the quartet he leads with Palmieri. “It’s never a
jump to go from one to another.’’ Both men are also featured in the April 9
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Sanders Theatre concert celebrating the Harvard Jazz Band’s 40th anniversary.
Lynch joined Palmieri’s salsa orchestra in 1987, and they have forged an
enduring relationship that has paid steep creative dividends. Deeply influenced
by Thelonious Monk and McCoy Tyner, Palmieri jumped at the opportunity
when the prestige label Nonesuch approached him about changing formats and
recording a Latin jazz session in the mid-’90s.
Lynch brought his former Jazz Messengers bandmate Donald Harrison into
Palmieri’s new octet, joining trombonist Conrad Herwig in the era’s most
potent frontline. The band released a series of classic recordings, including the
1994 Nonesuch debut “Palmas,’’ and 1995’s “Arete’’ and 1996’s “Vortex’’ (both
on RMM Records).
Long revered as a composer of dauntingly intricate compositions, Palmieri
increasingly encouraged Lynch to contribute charts to the band, showcasing his
work on the Concord Picante albums “La Perfecta II’’ and “Ritmo Caliente.’’ But
their relationship attained new visibility with Lynch’s album “Simpatico’’
(ArtistShare), the 2007 Best Latin Jazz Album Grammy Award winner that
surrounded Palmieri with a cross section of players who share the trumpeter’s
culturally ambidextrous sensibility, such as pianist Edsel Gomez, Cuban drum
star Dafnis Prieto, and bassist Ruben Rodriguez.
“Brian is one of the greatest trumpet players I’ve ever heard,’’ says Palmieri, 74.
“He’s a great bandstand buddy, and a great catalyst for me. I really played
dance music my whole career, and he made it possible for me to cross into the
Latin jazz category. Since then we’ve had an incredible relationship.’’
While the Palmieri-Lynch quartet plays some of the “Simpatico’’ material, the
band has developed its own powerful synergy, with all four players contributing
tunes. The group is anchored by Russian-born bassist Boris Koslov, best known
for his work with the Mingus Big Band, Dynasty and Orchestra, and powered by
Prieto, a prolific bandleader and composer who shares deep interlocking ties
with Lynch. Since meeting at the Stanford Jazz Workshop in 1988, they have
performed on each other’s albums and hired each other on numerous gigs.
“Brian is a master of the instrument, and he goes in and out from these two
styles very fluidly, though we think of it all as one,’’ Prieto says. “With him
coming from bop, playing with Art Blakey, and going and playing salsa with
Héctor Lavoe, and then connecting with Eddie Palmieri, it makes him a
musician of a very wide range of ideas.’’
Raised in Milwaukee, Lynch started gigging in his teens with resident masters
such as pianist-vibraphonist Buddy Montgomery and organist Melvin Rhyne.
At the same time, he earned a degree from the Wisconsin Conservatory of
Music. While never studying jazz formally, he gained an invaluable bandstand
education.
“They didn’t write anything down,’’ Lynch says. “You had to learn it by rote,
and figure out the changes and the melody. It was great old-school training at
the same time I was going to music school. Buddy used a lot of percussion and
his music is very amendable to Latin influences.’’
Over the years, Lynch has continued to develop and refine an encompassing
concept called Spheres of Influence, an ongoing project featuring like-minded
artists exploring jazz as part of a pan-American continuum. But he keeps a foot
firmly planted in the straight ahead world, too. As a leader he has focused on
projects such as “Unsung Heroes,’’ and as a sideman he continues to write and
arrange for Phil Woods.
“I think you can still play with originality and freshness within established
forms,’’ Lynch says. “It’s so important that guys like Phil and Charles
McPherson keep on representing that classic style of improvisation. Bebop is
still the music of the future.’’
Bebop has certainly stood the test of time, a trial that Lynch looks likely to pass
with flying Caribbean colors.
Andrew Gilbert can be reached at [email protected].
© Copyright 2011 Globe Newspaper Company.
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Entre Brian Lynch y El Prodigio se dio una
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Brian Lynch ofrece magistral
concierto en Santiago
Por Mariela López
El trompetista Brian Lynch hizo suyo el escenario de la sala Restauración del Gran
Teatro del Cibao, por donde se paseó demostrando que la música es sinónimo de
libertad.
En el concierto auspiciado por el Centro Franklin de la Embajada de los Estados Unidos,
cada integrante del Quinteto Jazz lució su habilidad, motivando aplausos al público
compuesto en su mayoría por conocedores de música.
El ganador de los premios Grammy 2007 por su álbum "Simpático", acompañado de
Zacaii Curtis, piano, Luques Curtis, bajo, Pedro Martínez, congas y Obed Calvaire,
batería, protagonizó una magistral descarga musical que inició con, "Liberated Brother"
de la autoría de Weldon Irvine.
Con "The Palmieri Effect", "Afinque" y "J.B'S Dilemna", "Que sería la vida" donde
comparte la autoría con Lila Downs y "One For Mogie", continuó la actuación de quien
actualmente se sitúa entre los diez primeros trompetistas del mundo.
Para hacer brillar los colores de la dominicanidad fue invitado Krency García, El Prodigio.
El anfitrión demostró que su nombre artístico no es fruto de la casualidad. Junto a su
banda y teniendo a Lynch de frente, el popular "Amarillo" le puso el sabor criollo a
"Autumm leaves de Mercer" y "Manteca" .
El concierto fue la despedida de Rex Moser, como Agregado Cultural de la Embajada de
los Estados Unidos en el país.
Las más recientes de Espectáculos
09/07/2009 | Merengueros fijan posición sobre exclusión música tipica programación radial
09/07/2009 | Celebran 6 aniversario programa tv en PP
07/07/2009 | Gilberto Santa Rosa vuelve al país
07/07/2009 | Una nueva generación para el humor
07/07/2009 | Brian Lynch ofrece magistral concierto en Santiago
07/07/2009 | Beyoncé famosa mejor pagada
06/07/2009 | Cheo e Ismael en un mismo escenario
06/07/2009 | Celebran fiestas patronales en Villa González
04/07/2009 | Miss ámbar Mundial se realizará en el país
04/07/2009 | La India Canela se presenta en el Smithsonian Folklife Festival
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La Información Online | República Dominicana
http://www.lainformacionrd.net/index.php?idnoticia=34489&se...
03/07/2009 | Escape de fin de semana
03/07/2009 | Joe Veras graba tema religioso
03/07/2009 | Con presentación Keru-Banda celebrarán un aniversario más Fundación
Nepo Núñez
03/07/2009 | Proponen a Frank Reyes para secretaría general CDP Santiago
02/07/2009 | Paulino Rubio recibe disco platino en EE.UU
30/06/2009 | Comunidad afroamericana de Hollywood rinde homenaje Jakcson
30/06/2009 |
29/06/2009 | GTC presenta concierto jazz
29/06/2009 | Eligen a Ney Zapata secretario Acroarte en Santiago
29/06/2009 | Más de mil seguidores Michael Jackson le rindieron tributo bajo la Torre Eiffel
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LA INFORMACION se edita en Santiago de los Caballeros (República Dominicana).
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