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CARLI MUNOZ

EDDIE GOMEZ

JACK DEJOHNETTE

& featuring :

Don Byron on clarinet

David Sanchez on tenor sax

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.

This musical work is the fourth of its kind conceived in the tradition of an honest and non pretentious outpour of love and passion for the expression of jazz music, away from the hustle and tussle of popular music, hence going back to my roots. It is also a dedication and acknowledgement to some of the Mavericks in my lifetime and beyond, including the exceptional players who accompanied me on this project, for they are Mavericks, as musicians, and in their humanity.

Producer /engineer Brandon Mason's sharp shooting diligence on getting a great sound was also Maverick . The recordings here were made with as few takes as possible, and as in the case of "A Cool Night in the City", choosing the first "take" as I was running the tune for the first time at the recording studio for Jack and Eddie to familiarize with, therefore taping into the raw and spontaneous energy of these colossal players. Also there were no rehearsals or strategic pow wows prior to the sessions.

Somewhere beyond the cortex is a small voice whose mere whisper can silence an army of arguments. It stands alone in final judgment as to whether we have demanded enough of ourselves and, by that example, have inspired the best around us.

There hasn't been a war in history that has accomplished more towards the eradication of social ills as the work of a single man or woman with a compassionate heart and the necessary determination and in most cases, by the use of peaceful means. These men and women are Mavericks , for they stepped out of their comfort zone and by their courage and independence of thought and action, they have made the greatest difference in our humanity.

If we take a look at the current events going on in the world we will certainly come across plenty of the same stuff that have plagued our society since the beginning of time. The big difference now being that the possibility of self annihilation is far more looming and ominous than before.

I find it amazing that while we are supposed to be on an evolutionary trend, we seem to keep falling into the inanities of the past. I would add that we have actually re-engaged ourselves in the iniquitous march of the folly. This is the result of the predominant state of fear and ignorance that still prevails in our minds, in our society, and in our country.

It seems that we've made progress towards human rights, racial reconciliation and tolerance for religion diversity, but the truth is that we still have a long way to go. We must look at our neighbors and even our potential foes beyond the filters of ignorance, selfishness, hate and fear. We must see ourselves as potential beacons with the capacity to make way for a safer world. It is only through the recognition and activation of our noble heart, the striving for the good of all, including tolerance and compassion for those who "seem" different from us and through courageous and measured positive action, that we will truly enjoy peace and light the way to our future generations.

The things that I loathe the most are greed, oppression, racism, and a general lack of environmental and social consciousness. All of these are rooted in the darkness of fear and ignorance. As human beings we are gifted with a measure of resilience, but the planet we live on has proven to be more vulnerable than we think and human resilience will only go as far as the soil that sustains us.

I reverently bow to the Mavericks of the past, the present and the future, for without them, even with our present short comings, the sun wouldn't be shinning as bright as it does today.

Some memorable Mavericks that come to mind (to mention a few) are: Nelson Mandela, Mother Theresa of Calcutta, Martin Luther King Jr., Thomas Jefferson , Florence Nightingale, Mohandas Gandhi, Waangari Maathai, Sitting Bull, Rosa Parks, Chief Joseph, Rigoberta Menchú Tum, Eleanor Roosevelt, Don Luis Muñoz Marin, Ornette Coleman, Jesus of Nazareth and Tenzin Gyatso, his Holiness the Dalai Lama.

There are many more Mavericks - of all colors and flavors, and too many to mention here. I humbly dedicate this music to all of them, and especially to my father; a Maverick at heart.

We can easily forgive a child who is afraid of the dark; the realtragedy is when men are afraid of the light.

WARNING: UNAUTHORIZED REPRODUCTION OF THIS RECORDING AND ARTWORK IS PROHIBITED BY FEDERAL LAW AND SUBJECT TO CRIMINAL PROSECUTION

1. April in Paris/I Love Paris (Vernon Duke, Harburg / Cole porter) 2. Blues in F (Carli Muñoz, Lucille Dixon, Gonzalo Sifre)

3. Satin Doll (Billi Strayhorn, Johny Mercer, and Duke Ellington) 4. Ain't Misbehaving 1 (Fats Waller)

5. Ain't Misbehaving 2 (Fats Waller ) 6. Bye Bye Blackbird (Ray Henderson ) 7. Cool Walk (Oscar Peterson) 8. Yesterdays (Jerome Kern ) 9. Billie's Bounce (Charlie Parker)

For many decades now, my name has been associated with music. My passion for music from an early age led to a lifetime of career achievements that covered a wide spectrum of experiences; from my first garage combo with the kids in the neighborhood, to joining Wilson pickett and later on The Beach Boys, to performing and recording with jazz giants such as Charles Lloyd, Chico Hamilton and George benson among others, and in the last decade, owning my own jazz club/restaurant Carli Café Concierto, in old San Juan, Puerto Rico.

Although the restaurant business is associated with enormous amounts of work, I have, thanks to my wife Katira an a great staff, managed to continue to evolve in my music career as a jazz pianist and composer, performing almost nightly and realizing recording projects of the highest caliber, at the same time keeping the standards of Carli Café Concierto to that of a world class dining and jazz experience.

This is the first volume of a long promised Live at Carli's recording series. It proudly features and it is dedicated to the octogenarian double bassist Lucille Dizon, along with the generous guest appearance of master bassist Eddie Gomez on some of the selections.

Special thanks to Eddie Gomez for his generous spirit of friendship and solidarity; to Shep Shepperd and Lucille's wonderful family for their nconditional love and support; and to all the loyal friends that have gone out their way to be there for her. God bless all.

When I first opened the doors at Carli Café Concierto in December of 1998, the slogan that came to mind to accompany my new adventure was: ' una historia de amor a punto de comenzar' , which translates to: ' a love tale about to begin'. Little I imagined how well the curious slogan would apply along the course of the journey! Lucille is certainly one of those love tales in full swing; she has been a beacon of joy, love and inspiration for me and for all of those that have been fortunate enough to get to know her. Today she fights an uphill battle for cancer but I've still seen her spirit as bright as ever. Her playing is magnificent as she carries the history, lost traditions, the glory and the scars of a disappearing era, which Lucille not only survived but pushed the envelope to new unprecedented heights.

All of the tracks here were recorded post Lucille's 80th birthday. Her struggle is evident when she tries to solo as she courageously takes her chances; revealing the fact that the era that she represents, bass solos were the exception and not the rule, like it is today. However, she holds her own. her swing, her seasoned walking and knowledgeable execution - along with Eddie Gomez creative support and masterful improvisation - all more than to make up for it!

The premise on this first issue is not so much a tour de force; but a musical offering - a fun and "feel good" experience. Sometimes you can literally hear Lucille's contagious laugh or a sudden burst of excitement during the middle of a song. But her joy, her sense of humor, her aura of kindness, pours it all into a joyful and soulful musical experience.

Lucille Dixon was born in Harlem , New York , in the year 1923, and excelled in a musical career of great achievements and noble contributions. She organized and led her own jazz band, which remained active for 14 years. The "Lucille Dixon's Band", was composed of prominent jazz giants of the times such as Taft Jordan, Tyree Glen, Fats Navarro, Buddy Tate, Sonny Payne and many others who spiced the decades of the 40's and the 50's at the hot jazz spots of the times in the city of New York, such as the Savannah Club, Club 845 and Club Harlem.

Her participation in recordings and live presentations includes some of most notable artist in the history of jazz. The roster includes: Ella Fitzgerald, Eubie Blake, Frank Sinatra, Tony Bennett, Johny Hartman, Earl (Fatha) Hines, Billy Daniels, Billie Holiday, Dinah Washington and Tiny Grines, among other well known Latino artist such as, Charlie Palmieri, Daniel Santos, Machito and Vicentico Valdez.

WARNING: UNAUTHORIZED REPRODUCTION OF THIS RECORDING AND ARTWORK IS PROHIBITED BY FEDERAL LAW AND SUBJECT TO CRIMINAL PROSECUTION

I was impressed the first time I met and heard Carli Muñoz. He is an outstanding pianist and composer who also managed to realize the nearly impossible task of having his own jazz club. Located in Old San Juan, Puerto Rico , Carli's Café Concierto has an elegant charm that rivals any jazz club in the world. When Carli approached me about recording, I said yes, if I could co-produce his album. Carli and I agreed and now nearly a year later, we have a recording I am proud of. Both Sides Now features Carli's compositions, some of his favorite melodies, and many inspired moments by the duo, trio and quartet. I think you too will be impressed by Carli Muñoz.

In the evening of June 8 th 2003, I had the honor of being married to my twin flame Katira. A very small and private ceremony and blessings was performed by the two venerable Tibetan lamas, Khenchen Palden Sherab Rinpoche and Khempo Tsewang Rinpoche, as an act of pure love and commitment. During such privileged ceremony and blessings, as it is customary, the Tibetan masters tossed fresh rose petals upon us. Before commencing the ceremony they explained that the rose petals represented an act of divine presence of Bodhisattvas, honoring our sacred union. In order to share this most sublime act with you, I have gathered in a bowl and photographed the original petals while still fresh.

It is our deepest wish is that many blessings fall upon you as the petals are spinning and may the music surround you with ever-lasting joy and well being.

"Our deepest wish is that many blessings fall upon you as the petals are spinning and may the music surround you with ever-lasting joy and well being" -Carli

WARNING: UNAUTHORIZED REPRODUCTION OF THIS RECORDING AND ARTWORK IS PROHIBITED BY FEDERAL LAW AND SUBJECT TO CRIMINAL PROSECUTION

I t is love that takes me into this journey. Love not always fulfilled, but more often love broken into peaces and finding its way through the cracks of a painful soul-searching leaving its impurities behind like a fine cognac would in the process of distillation. Love Tales could be testimony to that. It portrays a kind of metamorphosis carried by a combination of songs original and standards, each one telling a different story.

The story begins with Tere , a song about friendship without boundaries. It is both personal, and a general statement about the passion of friendship. on the latter, Tere could just as well be called Daphne, Jim, or Breaker (Breaker is my dog on the cover picture). Regardless of who or what, Tere is about solidarity and friendship with no boundaries, and about looking at each other eye to eye. It is a tale of love about to begin with no ending in sight, and maybe no beginning, with just fate taking its place in time. It is about the continuum of an instant mutual acknowledgement of respect and admiration.

If there is such a thing as the love for the delicate aspect of a particular melody, Spartacus Love Theme is one of them. This is a love tale about melody or form in its simplicity and depth all at the same time. It is about the gentle discovery of curvy, subtle, sometimes mysterious places in a body.of music?

Occasionally a love tale takes a leap into new boundaries . Three Little Steps to Heaven rarely ever takes you to the same place in a predictable way. At least it seems that way. Isn't that the way of love, as we know it? Its continuous cycle of thirds will land you in a different key center each time. I know that this analogy must send familiar signals to some of the regulars of the relationship roller coaster. We live and learn!

But how delicious is love for the sake of loving! This is more like taking a plunge into the unknown. Sometimes I think that Anastasia only existed in my fertile imagination. It is a tale of love that started as a mystery and still remains a mystery. It is about embracing the unknown , exploring it, taking a chance.

Speaking of taking a chance, isn't that what we do when we say we go All The Way ? Could it be about commitment ? Isn't this what we often strive for but we are so seldom willing to give? There is a long intro that I play that vacillates long before finding myself immerse in the melody of this beautiful song. So, "who knows where the road will lead us? Only a fool would say. But if you let me love you, it's for sure I'm gonna love you, all the way, all the way". Take your time listening to this song. Give in to it; let it take you all the way.

If a love tale could be measured by its constant reward and gratification, Melanie is a tale of love of the sweetest kind. This is certainly love at its most rewarding and gratifying state. It is for the love of my daughter Melanie that I took the challenge of writing the words to this song in an ancient and almost forgotten acrostic style:

Composing for me is as predictable as the weather in Puerto Rico . And Serendipity is no exception. It just happened to come by at a time when I was processing a major heart brake and alas.came Serendipity! It is a love tale about the peripheral stages of love itself (falling out of love) in its whimsical nature. I relate it to a kind of purging the old stuff and connecting to ourselves and to the results of events around us. It's about letting go and allowing new things to happen.new beginnings.

New beginnings are special, and can be fun. They often bring the best out of me. They are like soul cleansers and I have been fortunate enough to have found myself experiencing new heights of awareness along with it. Yellow Moon Tune could be considered an expression of one of such special moments. The key word to me here is reverence , not for anyone or anything in particular, but for all. To me it is the embodiment of the unspeakable. It is the exaltation of pure beauty and awe that can only be expressed in music. Let the music speak for itself!

" My Romance doesn't have to have a moon in the sky". And can I relate to that! There is nothing like the sweet smell of a new romance! It is the closest thing to hovering above the ground without a propeller. Also it usually does not include a parachute or flying instructions and the landing tends to be rough to say the least. But, do we complain when we drink "few" glasses of fine wine or champagne and enjoy it to bliss knowing that the next day we might feel like digested food in a toilet bowl?

A dear friend said to me once that every time she would hear Tujunga Waltz she felt like removing something from her body. I told her that even though I never had intentions of composing a song that would incite inappropriate social behavior she wasn't very far from its original lyrical intention. Tujunga Waltz is a song about removal of false ideas and of reconciliation with the idea that we are alone. Not that we are necessarily alone in a negative way, but alone to create our own reality about the way that we choose to carry on when we no longer have the company of someone we love. it is really a song about the powerful transformation from being victim to being source, about the realization that we are still alone but richer in our memories and that in love "to win or lose is all the same".

When it comes to tender love , love's longing for its own expression; The Nearness of You is a favorite of mine. It is through this song that I have chosen to acknowledge the loving company of K for allowing me to express the full passionate and joyous nature of my being. This one is for you K, thank you for fulfilling the most fundamental and essential kind of love that continuously nourishes and enhances my spirit, and thank you for making "all my wildest dreams come true".

It is through this work that I get to have the joyous opportunity to honor all (including the moon and my dog) that I have had the privilege of loving one way or the other.

Good music doesn't really need a description. And different people perceive music in their own unique way. I offer these liners only as my own personal story. I am sure that you too will have your own story to tell as you listen to this music.

When you sum it all up, life itself is a love tale. I hope that I have gotten your permission to enter and be a part of yours by sharing my music and some of my most intimate thoughts and innermost feelings. May this be the beginning of a love tale.

I would specially like to acknowledge the valuable collaboration of Jack and Jaye for making this recording possible, and for their warm welcome to their beautiful home, The Chantry Villa in Vermont , and most of all for their genuine and supportive friendship. I would also like to thank the staff at The Chantry, especially Dolores, Glenn and Joy for making my stay so special.

Special thanks to Jim Bonbright, Nildin Saldaña, and the Muñoz clan: Brenda, Marcel, Myles, Marlon, Melanie, Brunny and my Dad the wizard. Also special thanks to Vinny Urrutia , Kent Raine, and last but not least to chef Jorge Cruz and the staff at Carli Café Concierto for their loving support.

Pelosenel Q Lo RecordWARNING: UNAUTHORIZED REPRODUCTION OF THIS RECORDING AND ARTWORK ISPROHIBITED BY FEDERAL LAW AND SUBJECT TO CRIMINAL PROSECUTION

The Trio: Carli Muñoz on piano, Gabriel Rodriguez on bass, Gonzalo Sifre on drums WITH PEDRO PEREZ: BASS ON TRACK 10

Although my most recent releases have been graced by jazz luminaries such as Eddie Gomez, Jack DeJohnette and Joe Chambers, Lucille Dixon and Jack DeJohnette among others, this second volume of Live at Carli's, recorded with relatively unknown local players, doesn't leave much to be desired.

Part of what constitutes the magic of this trio with local and relatively unknown players could be mainly attributed to three things; we've been playing together for nearly six years, we have never rehearsed, and we never have a plan for what we are going to play once we are on stage until we play it (we could add that we have never used a fake book or any other source of material other than an occasional "chicken scratch chord chart"). Other elements raising the ante are simply obvious such as individual talent, musicianship, etc.

The double bassist on tracks 1-9 Gabriel Rodriguez, joined the trio in the year 2001 when he was sent as a substitute to cover for another young and talented bassist Ricky Rodriguez, who had been playing with the trio for some time. Gabriel's talent, although still not fully developed at the time, was evident to me. From the beginning he displayed what I value most on a bassist for trio work: a great ear for listening and fearless spontaneity.

On the other hand, drummer Gonzalo Sifre, who had been playing with me for a longer time, was more reserved than what I had previously been accustomed to in a drummer. This actually turned out to be a blessing. Over the years many great drummers have sat in to play with me on different occasions and the intensity and level of playing have often raised -- and even burst the barometer, but Gozalo's "less is more" and understated melodic approach has prevailed.

I am proud of this recording: The level of communion, pure spontaneity and sheer beauty can be probably most appreciated on the second track and ninth track-"In the wee small hours of the morning" and "Portrait of Mia" - but that is just my personal opinion. In all, I love this trio work: it was a long due release and it reveals the passion for making music that truly represents the magic of the moment.now.

Pianist Carli Muñoz has collaborated with some of the major figures in the jazz and rock history. His impressive résumé includes concerts and/or recordings with a wide variety of jazz giants, such as Charles Lloyd , Chico Hamilton, Les McCann , Wayne Henderson and George Benson. And under his leadership: Putter Smith , Paul Chambers , Lenny White, Chris Potter, Eddie Gomez , Jack DeJohnette , Don Byron , David Sanchez , Lucille Dixon and Jeremy Steig .

Carli's substantial contribution to rock includes concert and/or recordings and collaboration with Wilson Pickett , The Association , Jimmy Haskell, Jan and Dean , Peter Cetera , Blondie Chaplin , Evie Sands, Henry Gross and eleven years with The Beach Boys . Carli's fourth solo album Maverick marks his pinnacle in the mainstream jazz arena with an all star cast including two Grammy Award recipients for 2005, and was mentioned among the best CD's of 2006 by Downbeat Magazine ; January 2007 issue.

This is volume two of the Live at Carli's recording series. It features the original trio that has kept the pulse of jazz going throughout the years making Carli Café Concierto the unique world class jazz listening experience it is today. Although Carli's previous release Maverick marked the piece de resistance of his career in the main stream jazz arena, this new release brings light into its roots, revealing a quality of performance never before exposed on his previous recordings. As his companion and constant listener for many years, I am proud of the level of achievement in this production and I hope that you too will like and enjoy it as much as I do. - KATIRA

For many decades now, my name has been associated with music . My passion for music from an early age led to a lifetime of career achievements that covered a wide spectrum of experiences; from my first garage combo with the kids in the neighborhood, to joining Wilson Pickett and later The Beach Boys, to performing and recording with jazz giants such as Charles Lloyd, Chico Hamilton and George Benson among many others, and in the last decade, owning my own jazz club/restaurant Carli Café Concierto, in Old San Juan, Puerto Rico

Although the restaurant business is associated with enormous amounts of work, I have, thanks to my wife Katira, a great staff and your continuous support, managed to continue to evolve in my music career as a jazz pianist and composer, performing almost nightly and realizing recording projects of the highest caliber, at the same time keeping the standards of Carl's to that of a world class fine dining and live jazz experience. This new recording should bring the live jazz listening experience to new heights. Sit back, relax and enjoy the music . -- CARLI

One of the most memorable and transcendental music experiences that I ever had was on a tiny island located just north of St. Thomas , called Jost Van Dyke. This happened during the mid 60's when we (my alma mater rock group The Living End aka: Space) were creating havoc during a summer in St. Thomas. Towards the end of our sojourn in St. Thomas , some local friends invited us (the group) to go to Jost Van Dyke (we had never heard of it!), as a personal invitation from the "governor". Of course without hesitation and animated with such adventurous spirit we accepted. Soon enough an old fisherman with his small outboard fishing boat boarded us and took us on the probably around 10 mile stretch from the north end of St. Thomas to JVD. The small vessel didn't make it to shore due to motor failure just short of about 3/4 mile from the bay. I had a lady friend with me and a matchbox with some 3 or 4 tabs of Owsley Orange Sunshine in my pocket. I didn't want to wait for another fishing boat to come and tow us (true to the spirit of adventure), So, I took two tabs, gave my friend the other two, and off we went into pristine emerald blue waters of the Caribbean Sea .

Needless to say that by the time we arrived (swimming) to shore, the perception of being there defied any common sense or normality. The island then was inhabited by 40 native of African descend subjects of the British Crown, fishermen on the most part. In addition to the fishermen there was a tax collector and a "governor" by the name of Foxy. As far as structures the only concrete structures were the remains of a small one room jail and the façade of an equally small chapel. The other structures consisted of Foxy's house, a dearly cozy wooden shack where Foxy kindly lodged my friend and I during an unexpected storm that night, and some other sparse small wood and palm shacks inhabited by the other natives. As it turned out, my friend and I were the only ones who took the dive. A couple of hours after our wet arrival the others arrived at shore towed by other fishermen. That means that some of the other Sunshine had also arrived on land dry and safely. As for myself, I can say that the core of the intensity of being there was to observe how an ordinary day in the life of the Van Dykians would turn into the most dynamic, intense, extremely colorful, and aggressively prosaic but cleverly poetic form of RAW calypso extravaganza - the kind of calypso I never knew existed! It all started with a visitors (our own humble) offering of the only treasure that we possessed (besides our green adolescence) to share; Orange Sunshine, and of course, a little weed for chaser.

The prelude to the music was a game of dominoes between Foxy and his closest competitors on a makeshift wood and driftwood table under some dry palm leaf which served as a catapult to effects of the Sunshine experience. While the Sunshine was covertly performing its breach on the lock of the ultra senses, the game took on an energy level of its own. It became strangely aggressive with overtones of a struggle for live and death. Amidst the heavy sweat pouring out of the charcoal black skin the Sunshine evoked such levels of adrenaline and tension that the half naked gladiators proceeded to take arms. Fortunately the choice of weapons was musical instruments - most of them homemade. The only classic instrument was a guitar with a few strings missing that Foxy played. Other instruments were a broom stick on a wash tub with a string and a homemade tambo and some other homemade percussion.

The aggressiveness that had started during the domino game morphed into their form of calypso. As they picked up their instruments with vengeance they started playing what it seemed to be an 8 and possibly 9 bar cadence reminiscent more of jíbaro (mountain) music from Puerto Rico (not textually), than calypso. The intensity though was in the textual improvisation that each combatant engaged on. One would utter verses to the other about "how good I fucked your mamma", or how "your wife moaned louder with me", etc, etc. How I wish I had a Sony Walkman Recorder then, although it was the intensity of the moment and the sweeping expressions what added to that singular and priceless event! What troubles me must is not remembering the structure of the music. I remember being highly impressed by it - it wasn't like any calypso I've ever heard. Unfortunately Jost Van Dyke is not the same as it was then 40 years ago, but Foxy is still there, playing and singing his music, not quite as prosaic as before, but nevetheless profound- I can take you there... come rain or come shine.