|
Reviews
/ Press Releases / Interviews
"...We
musicians are like transmitters spreading the signal of intangible
and otherwise elusive messages that penetrate our emotional vehicles
and our higher consciousness. That message moves our being; makes
us love sic; makes our hearts tender; brings us joy; makes us sad;
makes us smart; it'll get us inspired; motivates soldiers at war;
helps stop wars; enhances patriotism; makes rebels; we could be
starving, sick, abused and even dying and music will redeem us;
makes us fly; yes. I think music is connected to spirituality."
Carli
Muñoz-
from
Jazz Improv interview Vol 6 Number 2, winter 2006 (page 137)
Full
interview below.
Reviews
in highlight:
".
Virtuosic without being superfluous, Muñoz' playing style
matches his writing--direct, unassuming, and to the point."
John
Kelman, (2005). All That Jazz
http://www.allaboutjazz.com/php/article.php?id=19793
"...
You might not expect to hear much in the way of great jazz from
a pianist who played keyboards behind the Beach Boys for more than
a decade - and who spends much of his energy these days running
a restaurant in Puerto Rico . But Carli Munoz is a revelation (.)"
Paul
Blair- Hot House NYC 2005, HOT FLASHES.
".
Kudos to Muñoz for inspiring the best from the eminent sidemen
that appear with him on his latest album, Maverick."
Winthrop
Bedford- Jazz Improv Magazine .
".
here's Muñoz, 57, reuniting bassist Eddie Gomez and drummer
Jack DeJohnette in a trio with chemistry to burn. The electricity
between the three is authentic; most of nine recordings are early
takes, captured without rehearsal."
(****four
stars)- James Hale, Downbeat Magazine Feb. 2006.
".A
few years ago we discovered the brilliant Marc Copland. Then along
came Russ Lossing. And now here's Munoz, a dizzyingly impressive
player who sounds in his prime even though no longer in the first
flush of youth. That this relatively unknown figure can assemble
a cast of such A-listers as DeJohnette, Gomez, Byron and Sanchez
says much about the esteem in which he's held and from the opening
bars of Maverick , it's clear that the leader is a force
to be reckoned with. His touch at the keyboard is sensitive yet
strident and his single note melodies have a pert yet engaging lyricism.
But it is perhaps Muñoz's harmonic range that intrigues the
most as it sweeps throughout classical references such as Debussy
as well as Latin touchstones like Lecuona and Valdes to land in
jazz territory that, as with most modern trios - especially ones
with Eddie Gomez on bass - betray a love of Bill Evans at some point
or another. Yet Munoz has an eloquence that is sufficiently personal
to rise above any derivative cheap shots. His sense of swing is
assured without being overpowering and his willingness to settle
into a thematic line without quickly rushing to extemporize after
the perfunctory statement of the head, is also wholly refreshing."
Kevin
Le Gendre (1/2006). Jazz Wise UK
".
Carli Muñoz was born in Puerto Rico, spent 16 years on the
Los Angeles rock scene (including 11 with the Beach Boys) and sounds
absolutely real playing jazz. He has a crisp attack, a distinctive
piano sonority and the unexpected phrasing and note choices of the
autodidact. He also plays hard at all tempos. His own tunes are
promising frameworks for improvisation, and his covers work. (.)
'In the Wee Small Hours of the Morning' sings because Muñoz's
touch makes piano notes pop like small explosions"
Thomas
Conrad, Jazz Times, Jan. 2006
".Not
the fierce, manic joy of a Bud Powell or the serene joy of Bill
Evans on a good night, but just plain joy -- with every note he
(Munoz) plays you get the impression that he's thrilled to be playing
and feels blessed to be where he is."
Rick
Anderson /All-Music Guide, 2006
"...
Pianist Carli Muñoz hails from Puerto Rico, where his Bill
Evans-inspired take on contemporary jazz caught the attention of
a globetrotting Van Dyke Parks. Muñoz is in town to recreate
the knotty lyricism on his new Maverick (Pelosenel Q Lo), and album
guests Eddie Gomez and David Sanchez will be on hand to help out.
(At the Jazz Standard)"
TimeOut
New York , MUSIC
"...
Muñoz's piano sounding crisp and succinct, a mix of delicacy
and deft percussive beauty. (.) insistent energy and momentum and
marvelous group interplay (.) A truly fine outing. What can you
say but... 'Yeah!'"
Dan
McClenaghan (14-Nov-05). All That Jazz
http:
//www. allaboutjazz.com/php/article.php?id=19742
"...
Carli demonstrates a depth and diversity of musical understanding,
and creativity, bolstered by his ample technique. Right away, we
sense his solid sense of time, and well developed ability to swing
and float above the rhythm section. (.) Carli's solos, indeed his
music, breathe deeply and healthily. There is an indescribable balance
- one that highly developed players express through music. His approach
is steeped in the rich history of the grand tradition of this music,
and augmented by the lessons of such masters as Bill Evans, McCoy
Tyner, Jarrett and Hancock."
Winthrop
Bedford (2005). Reviews / Jazz Improv
Magazine .
".
Completely spontaneous, yet perfectly collective. Only kindred spirits
can achieve this sort of communication."
David
Miller (22-Nov-05).All That Jazz
http://www.allaboutjazz.com/php/article.php?id=19824
".
He is an outstanding pianist and composer. I think you too will
be impressed by Carli Muñoz."
Eddie
Gómez, 2003.
".The
trio itself forms a happy marriage, in which there is an ongoing
elegant conversation between the piano, bass and drums."
The
New York Resident, by Barry Bassis - This week on the town - November
28, 2005
".
Carli Munoz on "Maverick" takes a giant step toward gaining
recognition in North America as a bona fide jazz pianist. (..) If
Munoz's résumé sounds odd for a jazz musician, his
collaboration with bassist Eddie Gomez and drummer Jack DeJohnette
is the real deal. Happily, he isn't some crossover artist seeking
jazz cred, or a businessman indulging in Walter Mitty fantasies
of jazz keyboard conquests. A pianist with an unabashed romantic
streak and strong melodic sense, Munoz digs deeply into six of his
own compositions, Keith Jarrett's "Margot" and two standards.
Perhaps because he's self-trained and thus free of conservatory
constraints, Munoz isn't at all inhibited from heart-on-the-sleeve
self-expression. In fact, he's proud to go over the top in a lyrical,
expressive manner. Always concerned with creating colors and moods,
he loves bright block chords, ringing tremolos and single-note lines
instantly selected for their beauty."
The
Hartford Courant, by Owen McNally
".Muñoz
weaves a smoky, after-hours vibe on piano, floating like gauze over
the lilting grooves of Gomez and DeJohnette, who propel the samba
inflections of such gems as "A Cool Night in the City" skyward."
J.D.
Considine and Bill Murphy, The Lo-Pass Filter (1/2006)
"An
album featuring bassist Eddie Gomez and drummer Jack DeJohnette
has some strong elements right at the start. But "Maverick"
features fine piano work from Carli Munoz and guest visits from
sax star David Sanchez and clarinetist Don Byron. Five of the nine
tunes are original and are highlighted by Munoz's "Three Little
Steps to Heaven," a takeoff on the Miles Davis piece of a similar
name. It also features a fluid solo from Byron. But "Entre
Nous," with its deceptive rhythm probably is the best of the
album."
Bob
Karlovits, Pittsburgh Tribune Review
".
A thunderous chord, flattened notes, and a rollicking melody turn
out to be the calling cards for Carli Muñoz. He gets off
to a fine start with "Maverick," underlining his prowess as a pianist
with some delightful runs and heady harmonics. (.)
Muñoz
is a lyrical player. (.) The whole outing comes off in high gear."
Jerry
D'Souza, 26-Nov-05. All That Jazz http://www.allaboutjazz.com/php/article.php?id=19889
"...
the music flows naturally with a common thread uniting the beautiful
melodies, the phrasings and solos. (...) the listener can truly
appreciate the brilliance of Gómez and Muñoz' creative
and expressive musical dialogue."
Ian
Malinow (2004). Portfolio / The San Juan Star. San Juan , P.R.
"Free
association on this musical level, in any genre, is more than a
rare charm."
-Van
Dyke Parks.
"Favorite
Artist: Sarah Vaughan; Ella Fitzgerald; Arlee Leonard; Nat
King Cole; Horace Silver; Junior Mance and Carli Munoz"
Rebecca Doggett
, Senior Fellow WBGO, ( the world's premier jazz radio station,
NYC and NJ) Board of Trustees.
http://www.wbgo.org/about/trustees.asp
.
".
In short, Maverick announces in no uncertain terms that Muñoz
may well be the most exciting fifty-something improviser you've
never heard of."
The
JazzScribe, San Francisco by Andrew Gilbert.
Full
Reviews:
Jazz
Wise ( UK ) 2/ 2006
The
pianists of a certain age who play fabulously yet have lived in
obscurity for half of their careers are legion. A few years ago
we discovered the brilliant Marc Copland. Then along came Russ Lossing.
And now here's Munoz, a dizzyingly impressive player who sounds
in his prime even though no longer in the first flush of youth.
That this relatively unknown figure can assemble a cast of such
A-listers as DeJohnette, Gomez, Byron and Sanchez says much about
the esteem in which he's held and from the opening bars of Maverick
, it's clear that the leader is a force to be reckoned with.
His touch at the keyboard is sensitive yet strident and his single
note melodies have a pert yet engaging lyricism. But it is perhaps
Muñoz's harmonic range that intrigues the most as it sweeps
throughout classical references such as Debussy as well as Latin
touchstones like Lecuona and Valdes to land in jazz territory that,
as with most modern trios - especially ones with Eddie Gomez on
bass - betray a love of Bill Evans at some point or another. Yet
Munoz has an eloquence that is sufficiently personal to rise above
any derivative cheap shots. His sense of swing is assured without
being overpowering and his willingness to settle into a thematic
line without quickly rushing to extemporize after the perfunctory
statement of the head, is also wholly refreshing.
Kevin
Le Gendre (1/2006). Jazz Wise UK .
JazzTimes
1/2006
"A
lot of piano players put out their own records these days, but not
many hire Eddie Gomez and Jack De Johnette to fill out the trio,
bring in David Sanchez and Don Byron for guest appearances, and
provide excellent recorded sound and a classy CD package.
Carli
Muñoz was born in Puerto Rico, spent 16 years on the Los
Angeles rock scene (including 11 with the Beach Boys) and sounds
absolutely real playing jazz. He has a crisp attack, a distinctive
piano sonority and the unexpected phrasing and note choices the
autodidact. He also plays hard at all tempos. His own tunes are
promising frameworks for improvisation, and his covers work. He
is constitutionally upbeat yet can genuinely confront the despair
of "You don't Know What Love Is." "In the Wee Small Hours of the
Morning" sings because Muñoz's touch makes piano notes pop
like small explosions.
You
can't lose by bringing Gomez and DeJohnette into your rhythm section,
but there is a risk to adding Sanchez and Byron for only one tune
apiece: the album might not survive their departures. While Sanchez
and Byron smoke their cameo appearances Muñoz' trio is strong
enough that we hardly miss them when they're gone. "
Thomas
Conrad (2006). Reviews Eighty-Eights / JazzTimes Magazine
Downbeat
1/2006
****
Puerto
Rican pianist Carli Muñoz has one of the most diverse resumes
in the business - including stints with The Beach Boys and Wilson
Pickett, in addition to a side career as a club owner in San Juan
. That's not exactly the kind of background that leads naturally
to heading a piano trio with two of the most accomplished rhythm
mates in the history of the format, yet here's Muñoz, 57,
reuniting bassist Eddie Gomez and drummer Jack DeJohnette in a trio
with chemistry to burn. The electricity between the three is authentic;
most of nine recordings are early takes, captured without rehearsal.
Muñoz
strikes a nice balance between ebullient originals like the hooky
title track and strong balladic covers like Keith Jarrett's pretty
"Margot" and "In The Wee Small Hours Of The Morning." There's some
Jarrett's influence in Muñoz playing, but he also underplays
to good effect, leaving phases unfinished or pausing prior to subtle
changes in directions.
Despite
effective guest spots by countryman David Sanchez and Don Byron,
the most valuable player here is clearly DeJohnette, who brings
his full repertoire of techniques into play. Opportunities to hear
DeJohnette in a pure support role are rare these days, and freed
from the burden of sharing the spotlight he lets his imagination
run wild. On the easy grooving "A Cool Night In The City" he's consistently
contributing-from galloping accents, to single bell-like notes,
propulsive flams and tempo changing gambits that color the entire
flow of Muñoz solo.
James
Hale (2006). Reviews / Downbeat Magazine
All-Music
Guide
****
(pick)
The
defiant album title and the sternly antiwar liner notes might lead
you to expect a program of dull and earnest musical sermonizing,
or of vapid free-form doodling. That is, if you don't know pianist
and composer Carli Munoz, whose work seems always to be so suffused
with joy. Not the fierce, manic joy of a Bud Powell or the serene
joy of Bill Evans on a good night, but just plain joy -- with every
note he plays you get the impression that he's thrilled to be playing
and feels blessed to be where he is. On Maverick he's supported
by bassist Eddie Gomez and drummer Jack DeJohnette, a rhythm section
that any pianist would give his eyeteeth for, and there are guest
appearances by saxophonist David Sanchez and clarinetist Don Byron
as well. The program is a nice combination of standards and Munoz
originals, among which the most exciting is the title track, along
piece with a written structure that recalls "On Green Dolphin
Street". But his "Yellow Moon Tune", which closes
the album on a sweetly quiet note, is drop-dead gorgeous as well,
and features an unusually attractive part for arco bass. Other highlights
include beautiful renditions of "You Don't Know What Love Is"
and Keith Jarrett's lovely "Margot". Don Byron's solo
on "Three Little Steps to Heaven" isn't spectacular, but
it's not bad either, and the fact that it's about as close as this
album gets to anything resembling an actual disappointment speaks
volumes for its overall quality. Very highly recommended.
Rick
Anderson /All-Music Guide, 2006
Latin
Beat Magazine
Another
pianist with a bright future ahead of him is Carli Muñoz,
whose CD Maverick, with Eddie Gomez and Jack DeJohnette, features
Don Byron and David Sánchez. This is straight-up jazz performed
by a trío at its best, with marvelous exchanges by the soloists
that give you a clear look into Carli Muñoz's composing talents.
Nelson
Rodríguez /Latin
Beat Magazine, 2005
New
York Resident The
Week of November 28, 2005 . www.resident.com
page 40
PUERTO
RICAN PIANIST
MUNOZ
AT JAZZ STANDARD
Pianist
Carli Munoz grew up in
Puerto
Rico but at an early age he
covered
a lot of ground musically
and
geographically. In 1969, he went
to
Los Angeles on a weekend visit
and
ended up doing studio work
and
tours with a variety of artists,
such
as Wilson Pickett, the Association,
Jan
and Dean, and the Beach
Boys
(for 11 years).
Eventually
Munoz was able to
work
with artists whose vision was
closer
to his own: George Benson,
Chico
Hamilton, Les McCann and
Charles
Lloyd.
In
December 1998, he opened his
own
jazz supper club, Carli Café
Concierto
in Old San Juan . He
comes
to New York periodically to
record
on his own label, Pelosenel
Records.
His latest recording, "Maverick,"
features
his own trio, which
has
a world-class rhythm section:
bass
player Eddie Gomez and
drummer
Jack DeJohnette.
His
two guest stars on the album
are
also class acts - saxophonist
David
Sanchez and clarinet player
Don
Byron. The leader favors simple,
childlike
melodies (such as
Keith
Jarrett's "Margot" and his
own
"Katira's Waltz"), both tunes
written
for each composer's wife.
The
trio itself forms a happy marriage,
in
which there is an ongoing
elegant
conversation between the
piano,
bass and drums. On Nov. 30,
Munoz
and his trio will perform
music
from "Maverick" at the Jazz
Standard
( 116 E. 27th St. , between
Park
and Lexington avenues, 212-
576-2232,
www.jazzstandard.com).
-Barry
Bassis
Please
send responses to New York Resident editor in
chief
Sara Bonisteel at sarab@resident.com.
The
Lo-Pass Filter 1/2006
JAZZ
&
FUNK
LICKS
>>>
When
your rhythm section features bassist Eddie Gomez and drummer Jack
DeJohnette-two monster heavies of modern jazz-then you be onto something
good. Muñoz weaves a smoky, after-hours vibe on piano, floating
like gauze over the lilting grooves of Gomez and DeJohnette, who
propel the samba inflections of such gems as "A Cool Night in the
City" skyward.
J.D.
Considine and Bill Murphy (2006).
The Lo-Pass Filter
Hot
House Magazine
"You
might not expect to hear much in the way of great jazz from a pianist
who played keyboards behind the Beach Boys for more than a decade
- and who spends much of his energy these days running a restaurant
in Puerto Rico . But Carli Muñoz is a revelation. He'll introduce
material from his new CD Maverick at
a Jazz Standard gig on November 30. Bassist Eddie Gomez will be
on the band, along with drummer Lennie White and other guests."
Paul
Blair (2005)
. Hot
Flashes / Hot House Magazine, NY
'Maverick'
Carli Munoz (Pelosonel Q Lo)
An
album featuring bassist Eddie Gomez and drummer Jack DeJohnette
has some strong elements right at the start. But "Maverick"
features fine piano work from Carli Munoz and guest visits from
sax star David Sanchez and clarinetist Don Byron. Five of the nine
tunes are original and are highlighted by Munoz's "Three Little
Steps to Heaven," a takeoff on the Miles Davis piece of a similar
name. It also features a fluid solo from Byron. But "Entre
Nous," with its deceptive rhythm probably is the best of the
album.
--
Bob Karlovits
THE
HARTFORD COURANT / THURSDAY, DECEMBER 8, 2005
Carli Munoz on "Maverick" takes a giant step toward gaining
recognition in North America as a bona fide jazz pianist.
Although jazz has been his greatest musical passion since he was
a teenager growing up in San Juan , Puerto Rico , you wouldn't know
it from a pop résumé that includes an 11-year stint
as keyboardist for the Beach Boys. Since 1998, the peripatetic pianist
has also owned and operated Carli Café Concierto, a cosmopolitan
supper club in historic Old San Juan.
If Munoz's résumé sounds odd for a jazz musician,
his collaboration with bassist Eddie Gomez and drummer Jack DeJohnette
is the real deal. Happily, he isn't some crossover artist seeking
jazz cred, or a businessman indulging in Walter Mitty fantasies
of jazz keyboard conquests.
A pianist with an unabashed romantic streak and strong melodic sense,
Munoz digs deeply into six of his own compositions, Keith Jarrett's
"Margot" and two standards.
Perhaps because he's self-trained and thus free of conservatory
constraints, Munoz isn't at all inhibited from heart-on-the-sleeve
self-expression. In fact, he's proud to go over the top in a lyrical,
expressive manner. Always concerned with creating colors and moods,
he loves bright block chords, ringing tremolos and single-note lines
instantly selected for their beauty.
Gomez and DeJohnette are superb, inventive yet supportive. Tenor
saxophonist David Sanchez and clarinetist Don Byron also sparkle
in cameo roles, performing on one track apiece.
- OWEN MCNALLY, THE
HARTFORD COURANT
Allaboutjazz
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 "yeah!" factor among
these nine tunes, which include three standards and six Muñoz-penned
compositions.
Muñoz
has worked with Wilson Pickett and George Benson, and he had an
eleven-year tenure with the Beach Boys. Here he displays straightahead
jazz chops on a (mostly) piano trio outing. Mention piano trio and
two names immediately come to mind: Keith Jarrett and Bill Evans.
Muñoz has brought in two veterans of those groups--Jack DeJohnette,
who worked with Evans and has maintained a long association with
Jarrett; and Eddie Gomez , who worked with Evans for eleven years.
Gomez has a big, thick, assertive sound, and DeJohnette is the classy,
ebullient, and always fascinating texturalist.
Muñoz
pens an engaging melody on these tunes, which fit in nicely with
well-chosen standards. The opening title tune features saxophonist
David Sanchez, cooking; "Three Little Steps to Heaven" brings in
clarinetist Don Byron; the closing "Yellow Moon Tune" features some
lovely dark hues from Jane Scarpaloni's cello. The guest slots are
surrounded by the piano trio efforts, and these are absolutely top
notch: "Katira's Waltz," with as pretty a melody as you'll hear,
Muñoz's piano sounding crisp and succinct, a mix of delicacy
and deft percussive beauty; and "A Cool Night in the City" (a highlight),
which has an insistent energy and momentum and marvelous group interplay.
The
standards include "You Don't Know What Love Is," Keith Jarrett's
"Margot," and "In the Wee Small Hours of the Morning," the last
piece veering into an appealingly abstract zone.
A
truly fine outing. What can you say but... "Yeah!"
Dan
McClenaghan /ALLABOUTJAZZ
http://www.
allaboutjazz .com/php/article.php?id=19742
Allaboutjazz
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
pianist has been involved in the music industry for over forty years,
both in PR and on both coasts of the United States . Over the years
he's recorded and/or performed with artists as diverse as Wilson
Pickett, Rickie Lee Jones, and the Beach Boys, with whom he toured
for eleven years.
While
Muñoz's passion for jazz remained, it always seemed to take
a back seat until 1982, when he decided to devote more of his energies
to it. After concert and recording dates with artists like George
Benson, Chico Hamilton, and Les McCann, he returned to Puerto Rico
, opening a successful jazz dinner club in Old San Juan called Carli
Café Concierto. In addition to supporting touring artists
who came to the club, Muñoz recorded a number of albums,
including Both Sides Now --an album of duets with bassist Eddie
Gomez , who first met Muñoz at Carli Café Concierto.
While
Muñoz has forged a successful space for himself at home,
greater recognition in North America has eluded him, something that
Maverick should change. On this recording Muñoz is accompanied
by Gomez and drummer Jack DeJohnette, plus guest appearances by
clarinetist Don Byron and saxophonist David Sanchez--a younger fellow
Puerto Rican whose performance at this year's Ottawa
International Jazz Festival was a highlight. Maverick is a showcase
for Muñoz's vivid improvisational style and melodic compositional
skills.
It's
great to hear DeJohnette and Gomez together again. They collaborated
heavily during the late 1970s and early 1980s on a number of ECM
recordings, and it's clear that the passage of time hasn't diluted
their uncanny chemistry. Sessions where relative unknowns recruit
big name stars often feel like perfunctory session work, but Maverick
has an energy that suggests the three musicians had more than their
share of good times recording it.
The
trio swings hard on Muñoz originals like the title track--featuring
a hard-edged solo from Sanchez--and more elegantly on "Katrina's
Waltz." "Entre Nous" is darker fare, given gentle motion by Gomez
and DeJonette's ability to subtly imply ideas without clearly stating
them. "Three Little Steps to Heaven" is another fiery swinger which
shows that Byron may aspire to greater adventure on his own projects,
but he ultimately never leaves his roots behind.
A
philosophy equally applicable to Muñoz. He may have spread
himself out stylistically over his career, but it's clear where
his heart truly lies. Virtuosic without being superfluous, Muñoz'
playing style matches his writing--direct, unassuming, and to the
point. But he's also an interpretive pianist with wide open ears,
and he's never overshadowed by the more illustrious reputations
and experiences of his musical partners on Maverick .
John
Kelman /ALLABOUTJAZZ
Allaboutjazz
By
David Miller
The
best jazz always comes from kindred spirits. When artists share
a vision and a thirst for innovation, they can always come together
and make a great record. It doesn't matter if they've ever played
together, or if they've been gigging together. The best bands can
just rip right into a tune without missing a beat.
Sometimes,
when artists share a heritage or nationality, they can be kindred
spirits without ever meeting. Chick Corea and Gonzalo Rubalcaba
are a prime example. So are Carli Muñoz and Eddie Gomez .
Maverick is the latest project that the two have worked on together.
The disc is essentially a straightahead piano trio record (the unparalleled
Jack DeJohnette plays drums) with a few like-minded artists (David
Sanchez, Don Byron, and Jane Scarpantoni) adding their unique contributions
to certain pieces.
The
astounding interplay among the players helps distinguish this album
from other piano trio efforts. Gomez and Muñoz have played
together on many occasions at Muñoz's Carli Café Concerto,
and Gomez and DeJohnette have crossed paths many times, most notably
with Bill Evans' trio. That leaves Muñoz and DeJohnette.
Said the pianist, "I mentioned that I felt a connection with Jack
DeJohnette. We're close to the same age and I like Jack's feel,
his vibe, all the different things he's done." DeJohnette is also
a veteran of some of the greatest trios to have graced the stage,
including those with Evans, Hank Jones, and Keith Jarrett. When
three artists of this caliber are put together in a room, sparks
are bound to fly.
A
second distinguishing feature of this album is Muñoz's compositional
acumen. His compositions are deceptively simple and could very easily
be mistaken for standards. "Yellow Moon Tune" is sprawling in its
beauty, evoking a landscape or a starry night. Scarpantoni contributes
magnificently on cello. "Three Little Steps to Heaven" incorporates
the playfulness of Chick Corea with the simplicity and heavy chords
of Herbie Hancock. And each composition is given reverential treatment
by the trio.
Muñoz's
style gives the trio a very full, almost orchestral sound. At no
point does the music feel rushed; the pianist's lush chords engulf
each soloist, giving him a space in which to improvise. Gomez's
elastic style alternates between giving the music such support that
he is nearly lost in the mix and soloing perfectly over the melody.
DeJohnette's signature cymbals and perfect pitch pervade the record,
giving each tune the right backbone and just enough of an edge and
swing backbeat.
David
Sanchez, another Puerto Rico native, adds his tenor to the title
track, another brilliant Muñoz composition. Gomez solos first,
playing around the chord changes with ease. Muñoz evokes
a softer McCoy Tyner with his solo, bringing the tune to a crescendo
before Sanchez brings it back to earth with a few simple notes.
Those few notes are jazz at its best. Sanchez suggests musically
which direction he would like to go, and the other musicians follow
immediately. Completely spontaneous, yet perfectly collective. Only
kindred spirits can achieve this sort of communication.
David
Miller /ALLABOUTJAZZ
Allaboutjazz
By
Jerry D'Souza
A
thunderous chord, flattened notes, and a rollicking melody turn
out to be the calling cards for Carli Muñoz. He gets off
to a fine start with "Maverick," underlining his prowess as a pianist
with some delightful runs and heady harmonics. But saxophonist David
Sanchez cuts to the chase, dissecting the melody and spiriting it
in to some high energy invention with a wealth of ideas.
The
opening title tune casts the perfect shadow for Muñoz, who
has been active in pop as well as jazz music circles. The later
now eclipses the rest, and among his recordings are Love Tales,
a solo piano set, and Both Sides Now, with Eddie Gomez , Paul Chambers,
and Jeremy Steig. Gomez has been a compact partner for Muñoz,
and they bring Maverick to fruition with drummer Jack DeJohnette,
with whom Muñoz says he "felt a connection."
Muñoz
is a lyrical player. "Katira's Waltz" is an elegant tune, the playing
spare yet capturing the essence, with a light swing adding to the
appeal. Muñoz soon ups the tempo and even as his right hand
describes some elevating musical arcs, his left pegs down some incisive
chords. The mood on "Three Little Steps to Heaven" is upbeat and
vibrant. The trio pushes the pulse, and when Don Byron comes in
on the clarinet, the groove gets a lighter pliancy that juxtaposes
the evolution nicely. The whole outing comes off in high gear.
Jerry
D'Souza /ALLABOUTJAZZ
Review
Jazz
Improv Magazine,
Spring
of 2005 issue
(...)
Carli demonstrates a depth and diversity of musical understanding,
and creativity, bolstered by his ample technique. Right away, we
sense his solid sense of time, and well developed ability to swing
and float above the rhythm section. Sanchez sound turns in a commanding
solo, full of glitter, not glitz.
Muñoz
plays an out of tempo opening to the classic "You Don't Know What
Love Is." It is a magnificent song. The tempo is laid back - ideal
for the kind of interplay between the bass, and drums (DeJohnette
colors the music with signature cymbalwork). Muñoz demonstrates
his light touch, and sensitivity to dynamics. He creates a lush
landscape, alternating between linear ideas and lush chords. Serenity,
romance, beautiful sunsets, pensive moments - that's what I feel
as I listen to this superb rendition.
The
band switches gear into a Latin groove on "Margot," is a Keith Jarrett
composition. Gomez' throbbing bass in tandem with DeJohnette's driving
canvas of sound-at once, delicate and powerful - provide the base
for Muñoz radiant, toe-tapping solo.
"A
Cool Night In The City" is another original by Carli - rendered
at a medium groove, primarily with a two-beat feel. His high level
of creativity is consistent throughout this album, and this track
in no exception. Carli's solos, indeed his music, breathe deeply
and healthily. There is an indescribable balance - one that highly
developed players express through music. His approach is steeped
in the rich history of the grand tradition of this music, and augmented
by the lessons of such masters as Bill Evans, McCoy Tyner, Jarrett
and Hancock.
Following
two more originals "Katira's Waltz" and the relaxed "Entre Nous,"
Carli changes the tempo. "Three Little Steps To Heaven" is a bright,
swinging piece. The overall harmonic direction of the song is characterized
by movement in major thirds-conceptually, like Coltrane's Giant
Steps, but not quite the same. The melody is characterized by stoptime,
staccato expression-somewhat like "Seven Steps To Heaven".but not.
(...) It's a fast tempo, but Muñoz floats confidently, turning
in several splendid choruses. Don Byron follows on clarinet. His
sound is rich. his groove is unmistakably locked-in, and he delivers
a commanding solo that on the most basic
level
simply feels great.
"In
The Wee Small Hours of The Morning" is rendered as a ballad - expectedly.
More great music. Both Muñoz and Gomez are exceptional here.
Kudos to Muñoz for inspiring the best from the eminent, articulate
and prolific sidemen that appear with him on his latest album, Maverick
. He can take pride in creating an outstanding set of performances
on which his commanding musicianship stands on equal footing with
that of his lofty associates.
Winthrop
Bedford (2005) . Reviews / Jazz Improv Magazine , NY
NEWS
RELEASE
Contact: Brian Coleman
(781) 259-9600
For
Immediate Release
brian@bkmusicpr.com
PUERTO
RICAN PIANIST/COMPOSER CARLI MUNOZ RELEASES
ALL-STAR
TRIO CD "MAVERICK" ON NOVEMBER 15
*
With Jack DeJohnette and Eddie Gomez , and guests David Sanchez,
Don Byron, Jane Scarpantoni *
"Kudos
to Muñoz for inspiring the best from the eminent, articulate
and prolific sidemen that appear with him on his latest album, 'Maverick.'
He can take pride in creating an outstanding set of performances
on which his commanding musicianship stands on equal footing with
that of his lofty associates."
-
Winthrop Bedford, Jazz Improv
"The
social dynamics in this CD are filled with great interplay - ensemble
symbiosis that can only come from an unflinching group respect for
each soloist." - Van
Dyke Parks
You
can tell a lot about a cat by the company he keeps. In the case
of pianist and composer Carli Muñoz -whose new album Maverick
on his Pelosenel Q Lo Records features bass master Eddie
Gomez and drummer extraordinaire Jack DeJohnette - his rarefied
accompanists suggest an artist who should be much better known.
A quick spin of the disc confirms the suspicion, as Muñoz
instantly establishes himself as a player and composer who confidently
holds his own. In short, Maverick announces in no uncertain terms
that Muñoz may well be the most exciting fifty-something
improviser you've never heard of.
The
best explanation for his relatively low jazz profile is that he's
spent much of his career on a very different creative trajectory.
Born in Puerto Rico and raised in a middle class San Juan family,
Muñoz was in his mid-teens when he started performing with
jazz veterans such as percussionist Sabú Martinez, drummer
Joe Morello (of Dave Brubeck Quartet fame), and legendary trumpet
player Juancito Torres. Within a few years he had moved to New York
City with his inventive rock combo The Living End, which went on
to become the house band at the hip Manhattan club Rolling Stone.
By
the early 1970s, he had relocated to Los Angeles , where he became
a top-flight sideman working with artists like Wilson Pickett, George
Benson and The Beach Boys, with whom he toured for 11 years. Despite
his immersion in the world of rock and pop, he always maintained
a connection to jazz, his first musical love, finding time to play
with artists such as Les McCann, Chico Hamilton, Wayne Henderson
and Charles Lloyd.
He
gained attention around LA in the '70s with his fusion band Your
Own Space, and later formed an inventive trio featuring bassist
Potter Smith (best known for his long association with pianist Alan
Broadbent). By the mid-1980s, Mu ñ
oz had moved back to Puerto Rico
, and in 1998 he opened his nightclub, Carli Café Concierto
, a world-class restaurant and jazz spot where he performs regularly.
It was during a trip to Puerto Rico that Eddie Gomez first met Mu
ñ oz.
"We
became good friends," Mu ñ
oz says. "He'd come down to my
club and we played a lot. He always talked about drummers he wanted
to bring into a session, and that's how he ended up producing my
album Both Sides Now [from 2003], with Joe Chambers and Jeremy Steig.
For our next project, I mentioned that I felt a connection with
Jack DeJohnette. We're close to the same age and I like his feel,
his vibe, all the different things he's done. I went through a lot
of musical changes myself. I mentioned it to Eddie and we went for
it."
As
for the new album's title and concept, Muñoz explains: "The
term 'Maverick' came to me during an early morning sleep one day,
just before waking. It came up visually in my mind as a title and
idea with a particular significance and depth, inspiring me to create
the whole concept around it. It meant to me strength, independence,
a free spirit and best of all it became a vehicle in which I could
honor and bring to peoples' minds some of those mavericks who have
contributed in such a way so that we can enjoy a better world today."
He
continues: "Now, by engaging in such a lofty conceptual ideal, I
could do no less than first of all selecting the best maverick players
I could think of (which I think I did), and to remain true to their
free spirit. I wanted to conduct a no-holds-barred session where
the raw and independent power of each player could fuse along with
the material I brought in, into significantly great music."
Muñoz
has known Puerto Rican-born tenor sax star David Sanchez, who plays
on the album's title track, since he was a kid. Like many top jazz
players on the island, Sanchez has stopped by Carli Café
Concierto to jam many times. Sanchez lavishes attention on the lovely
melody of "Maverick," which Muñoz composed back in the early
70s. "It was meant to be a bossa nova," Muñoz says. "It's
true to the form, but we made it more swinging. It's basically a
pop song, a simple thing. I used to write anything, for rock or
pop sessions, whatever I was into at the moment."
DeJohnette
suggested Don Byron for the tune "Three Little Steps to Heaven,"
a piece that developed out of Mu ñ
oz's rigorous piano exercises.
"When you're self-taught, you have to make up your own devices and
your own way to work on your playing," Mu ñ
oz says. "I developed a simple
melody and it became the tune. It's only three chords, and it just
goes around and around through a cycle and you don't end up where
you start."
Another
highlight is his arrangement of "Margot," one of Keith Jarrett's
deceptively simple, folk-like themes introduced on his early Atlantic
album Life Between The Exit Signs (featuring Charlie Haden and Paul
Motian). "I love beautiful, almost childlike melodies," Mu ñ
oz says. "Normally it's against
my rules to do a tune that has been so well done by masters. I don't
pretend to better the performance, that's not possible, because
it was done perfectly. For me it was more like: 'I'm just going
to enjoy doing this.'"
Just
as Jarrett wrote "Margot" for his wife, Mu ñ
oz's ravishing, moody piece "Katira's
Waltz" was inspired by his own spouse. He wrote "Entre Nous" as
a feature for Gomez, designed to showcase his huge, elastic sound
supported by DeJohnette's trademark cymbal work. The album closes
with "Yellow Moon Tune," a tune that evokes a nocturnal epiphany
Mu ñ oz
experienced years ago driving to his Mt. Washington home in LA.
In
many ways the piece captures the essence of his musical journey,
from - as he likes to say - pop to bop. No matter what kind of music
he plays, Mu ñ
oz brings his improvisers' soul
to the project. Now all his experiences are grist for his imagination,
and he's bringing his fresh, passionate voice to jazz, joined by
some cats who have nothing to prove.
www.carlisworld.com
#
# #
CDs,
JPEGS, full biography available.
More
Reviews:
Both
Sides Now
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"Both
Sides Now (.) is a jazz jewel in the whole sense of the word
(.) pours cohesion, fluidity, feelings and a symbiosis between
the Puerto Rican protagonists as you haven't heard them before
in a Cd of this style (.). The phrasing, the melody and the
dialogue between both artists brings a fresh and curious air
to the repertoire".
Jorge
Meléndez. (2003). Escenario / El Vocero; San Juan,
P.R. |
|
|
"I
was impressed the first time I met and heard Carli Muñoz.
He is an outstanding pianist and composer (.) When Carli approached
me about recording, I said yes, If I could co-produce his album
(.) I think you too will be impressed by Carli Muñoz".
Eddie
Gómez, 2003
"Carli Muñoz must be one of the
finest pianists alive".
Jazz
Digger.
-"A
beautiful and sophisticated record(.)".
Rafael
Vega Curry (2003). Jazz / El Nuevo Día, San Juan, P.R.
"The
desire to help the masses on the island better appreciate jazz has
united the artistic expressions of Old San Juan's "piano man" and
those of a pioneering Puerto Rican bassit bred in NY whose resume
includes playing with Miles Davis and Bill Evans(.)
(...) the music
flows naturally with a comon thread uniting the beautiful melodies,
the phrasings and solos. (...) the listener can truly appreciate
the brilliance of Gómez and Muñoz' creative and expressive
musical dialogue.
For Gómez,
his collaboration with Muñoz marks the first step in their
plan to push jazz in Puerto Rico (.) Both Sides Now is an impressive
album that overflows with originality, fluidity and sentimentality,
a truly remarkable artistic offering that gives new meaning to locally-produced
jazz".
Ian
Malinow (2004). Portfolio / The San Juan Star. San Juan , P.R.
" A delivery
that exudes a particular chemistry of much feelings and sensibility,
as if pianist Carli Muñoz and bassist Eddie Gómez
had shared -in another life- their love and respect for swing, blues,
improvisation and other elements inherent in good jazz(...) I
got three surprises. I found a fabulous club, where the food was
terrific and the music was in a high level with Carli and his trio.
We met, we talked, and the different influences on Carli -such as
Oscar Peterson, Bill Evans, and Bud Powell- resulted obvious to
me, but most of all I liked the fact that Carli was developing his
own voice in jazz, explained Eddie Gómez".
Jaime Torres Torres,
El Nuevo Día (01/13 /2004), San Juan P.R.
As
if we were in New York witnessing a be-bop or hard-bop or swing
recital at the Iridium Jazz Club & Restaurant or at the basement
of the Village Vanguard, the audience went dumb to the first cord
Carli played at the grand piano(...) His
block cords, his dominion over the octaves, his fine digitation,
and his expressive phrasing in tunes such as "Be my love","Katira
Waltz", -a romantic and passionate, pastoral love confession to
his wife Katira- and his version of Consuelo Velázquez' Bésame
Mucho earned the unanimous applause from a crowd that at the end
did not know how to exit the event.".
Jaime Torres Torres,
El Nuevo Día (01/16 /2004), San Juan, P.R.
"Both
Sides Now will be a melodic feast which will be highly appreciated
by all jazz lovers. Also, it has the potential to please all of
those who posses a special taste for good music, without the barriers
of musical genre. We recommend it highly. Our grade in a scale from
0 to 5 radios: 5 radios".
Elmer
González, Radio Universidad Web Page / Audiotomía
section (01/20/2004).
=====================
Interview
Jazz
Improv Vol 6 Number 2, winter 2006
(page 137)
Carli
Munoz
JI:
Tell us about the creation of your new album, Maverick
-the creation and or selection of repertoire.
CM:
Ok, I'd say Maverick became Maverick
along the way of its own process. It all started in the winter of
2003 when my friend and bass player, Duke McVinnie, from my old
fusion L.A. group "Your Own Space" (the band existed in between
Beach Boys tours), invited me to play on his solo record Flying
Lessons . The recording took place at a studio called Allaire
which is a top notch setup located in an old mansion at the top
of a hill overlooking a lake in Shokan, upstate NY, very close to
Woodstock. Duke's engineer and producer for the session was a young
man by the name of Brandon Mason, whose respect I gained very quickly.
I notice not only his dominium and inventiveness on the technological
aspects, but also I was really impressed by his musical sense and
intuitive connection with the musicians. Basically, Brandon was
like having another hip and creative musician on the set but working
resourcefully from the other side of the glass, or rather the other
side of the monitors. So, at the end of the two day session I approached
Brandon to ask him if he'd be interested in co-producing and engineering
my next album project. Of course, Eddie Gomez and I had been already
working together and the idea of having Jack DeJohnette on the session
(an idea that Eddie and I had discussed previously) also came up
in the conversation. Brandon had worked with Jack previously and
also with Don Byron. From that conversation we went on planning
and exchanging ideas via email and by the fall of 2004 we were all
gathered at Allaire for the Maverick recording session.
That was, you could say, the successive aspect of creating Maverick.
Creative
wise, having the canvas or scenario in place along with players
from which to create a new CD, the creative process of defining
a concept and choosing material began. Since I never got a formal
education in music, at some point in my life while living in California,
I enrolled in college to study a career in film making (in some
strange way I made this choice out of my own love and respect for
music and to keep my playing free from academic nuances). There
I learned certain aspects of film making and especially for directing,
that became analogous and very useful aids for the process of creating
music and projects in general. One such concept that I borrowed
is the Mcguffin , a concept coined by the film director
Alfred Hitchcock that refers mostly to a device; like a thread that
catches your attention and runs throughout the whole movie. The
other one, and the one that I chose to use with Maverick ,
is the Mise-en-scene, which allows plot and character to
be seen as foregrounded aspects. What that meant to me was having
Maverick players doing what they did best, or choosing
the material that would best feature the players. For example; when
I composed "Entre Nous", I could hear Eddies' ubiquitous (in a good
sense) playing, along with jack's signature cymbal work. On the
other hand, Maverick was a tune that I wrote in the early
70's which I had named differently. It was called "Goza Nova" and
it was originally meant to be played in the form of a bossa. But
still, with a change of beat, I could "visualize" Jack's and Eddie's
energetic playing bursting out on that tune. Jack and Eddie's on
the spot arrangement ideas certainly made the tune happen and David
Sanchez of course was a real natural choice to up the ante even
further. "A Cool Night in the City" was also scraped from my early
70's writing and it worked like a charm from the go. The take we
used on the CD wasn't even a take.I was just showing the tune to
Eddie and Jack with the tape rolling and they just played along.and
that was it! I can't say for sure that I exactly hit the mark with
all of the tunes, but I'll leave that to the listener. As for the
name concept, I could say that the term maverick evolved for me
as the process went along. The name first came on a semi sleep state
to my mind's eye in big letters and from then on the concept of
what defines the term maverick became central to the project. During
that visualization, maverick evoked for me strength and independence.
A quick Google-search confirmed its meaning, and I knew I was on
track. The liners that I wrote honoring my heroes sealed the concept.
As I went on and researched maverick even further, I also found
out that the term was also being referred to as a movement of composers
basically associated with big cluster chords and avant - garde music,
which seemed appropriate enough.at least for the first 9 seconds
of the track! From a simple and straight forward perspective I could
say that central to creating the Maverick project was
my innermost desire to take my recordings to the next level. This
meant continuing the work with Eddie and also adding the dimension
of working with someone like Jack, whom I had admired and identified
with since the mid 60's, when he played with the Charles Lloyd Quartet.
I can give you a big' all impressive eloquent essay of how I planned
this and that and how everything came out brilliantly according
to plan, but the simple truth is that it is love and honesty that
allows beautiful things to happen. I wouldn't like to see striving
musicians out there buying the myth that a great work of music is
as predictable as some artists egotistically tend to describe as
they do with their own work after the fact. It is true that the
best possible choices should be made beforehand to maximize success
and a sound degree of direction, experience, knowledge, talent and
an adequate budget will help, but I would still hold love, passion
and allowing things to flow in tandem with an ideal as the source
for a great work of art.
JI:
Could you talk about dialogue that you might have had with
bassist Eddie Gomez , drummer Jack DeJohnette, or Don Byron clarinet
during the creation of the CD that made a significant impact on
you?
CM:
Truthfully, we basically had fun. We all had our little
daily life story to tell. We talked about dogs, birds, heartburn
and (of course) Bush and other maladies. When we were having our
cover picture taken on the grounds outside of the studio by my wife
Katira, Jack and Eddie were reminiscing and goofing on the funky,
but very popular photo that was used on the album New Directions
they did with Lester Bowie and John Abercrombie. I guess our
photo session had an air of that old shoot. In between all the chatting
we did have some substantial conversations about social injustice
and spiritual connectivity. Jack is an ultra conscientious human
being and he stands fully vertical with important social issues.
I found it highly stimulating listening and sharing with him. On
the other hand, Eddie and I have really stimulating conversations
but in a whole different and pragmatic way; he is really a funny
guy and keeps me on the laughing edge. He doesn't try to be funny--
he just is! He is also one of the warmest and caring people that
I've ever met. Don Byron kept pretty much to himself. My co-producer/engineer
Brandon had warned me that Don likes to have his parts charted beforehand,
but that wasn't on my agenda for this type of project; I wanted
it all to be intuitive and spontaneous. Anyway, he did a fine solo
on "Three Little Steps to Heaven".
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