Category Archives: UNSEEN RAIN Releases

Improvijazzation Nation Reviews DOM MINASI and JACK DeSALVO’s SOLDANI DIECI ANNI

Dom Minasi Jack De Salvo – SOLDANI DIECI ANNI:  Something I didn’t know – Dom and Jack had never recorded together before this splendid improvised guitar session was captured in November of 2015, and released in 2016.  Due to “senior moments” on my part and a failure to enter it into my database properly, it’s languished for awhile… but, don’t let that deter you from exploring with these fine improvisors… as you listen to the excellent opener, “The Bee and the Fly“, you’ll be improvising right along with them (in your head), filling in the spaces between the flowers that the insects are traversing, lol.  There are moments where I’m reminded (most strongly) of another improving guitarist friend of mine, Davey Williams, on the short (3:03) track titled “The Indelible Decibel“… the high-flight “runs” from both Dom and Jack will hold your attention, as you (sonically) gaze in awe!  My personal favorite of the eight improvisations offered up, though, is the 8:37 “Blues for T.M.“… it’s very clear these two giants in the improv world had a blast playing this, and their talent just shines right on through, with some of the heaviest blues licks you’ve EVER heard in an improvised guitar walk.  I give Dom & Jack a MOST HIGHLY RECOMMENDED, with an “EQ” (energy quotient) rating of 4.99 for this superbly crafted album.  Get more information at the BANDCAMP page for this album (& be sure to tell them you read about them here when you purchase the release, of course).   – Rotcod Zzaj

Get Soldano Dieci Anni HERE

Cadence Reviews ROCCO JOHN QUARTET’S EMBRACE THE CHANGE

ROCCO JOHN QUARTET EMBRACE THE CHANGE

roccojohn.bandcamp.com

Wings / Escape / Circuits / Dial Up / Tango / Whispers / 72’s / Wings (Epilogue). 67:54.

Rocco John Iacovone (as, ss), Rich Rosenthal (g), Francois Grillot (b), Tom Cabrera (d). March 2015, Riverdale, NJ.

What’s not to like about a fine quartet of superb but under-appreciated players working that sweet spot between post-bop and the outside? The date opens up with a nice tasty drum spotlight, followed by the leader’s fulsome alto lines, both fleet and tart. In time, they cede the spotlight to the excellent Grillot and Rosenthal, whose clean tone and buzzing lines I really dug, not least because they make for an excellent contrast with Iacovone throughout. Some vigorous, bustling post-bop ensues on the exuberant “Escape,” whose loping unisons move through a nice series of overlapping lines, bobbing up and back, with slight intensities welling up here and there. The further one gets in listening to this group, it’s not too unlike one of Joe Morris/Rob Brown’s more inside dates, at least in terms of the compositional/structural approach; the actual instrumental languages differ, as is obvious on the stair-stepping “Circuits,” where Rosenthal’s nimble, inventive playing brings some serious energy. He and Iacovone romp on the funky, shuffling “Dial Up” and are equally impressive on the abstract, balladic “Tango” (which only hints at its musical inspiration). “Whispers” meanders just a bit to my ears, though it’s certainly filled with nimble playing and excellent instrumental interaction – perhaps just not enough thematic meat for what these guys are trying to accomplish. Things are very much back on track with “72s,” where the fabulous work from Grillot and Cabrera sets up some of the record’s finest improvising from the leader and the guitarist. Closed out by a nice, mid-tempo second version of “Wings,” it’s a strong date overall.

Jason Bivins – Cadence

Cadence Reviews MATT LAVELLE’S 12 HOUSES – SOLIDARITY

                                                                                                                                                        MATT LAVELLE’S 12 HOUSES,
SOLIDARITY,
UNSEEN RAIN 9945

“Solidarity” has a massive singsong sound that serves as the backdrop to a furious tenor solo by Ras Moshe Burnett and a keening cello and flute duet. “Brooklyn Mountain” starts out as a slow, writhing mass before Burnett and pianist Chris Forbes
break out for a wriggling excursion into Cecil Taylor country. “Knee Braces” has a warmer, more low-key swarming sound allowing Laura Ortman space for a searing violin feature and “Cherry Swing” gets a nice funky groove underway with the leader’s buzzing cornet and Anais Maviel’s voice out front. “Moonflower Interlude” is a short bassoon solo that leads into the closing “Faith”, a slow and attractive theme that features Maviel leading the band and Forbes crashing piano chords like McCoy Tyner. It eventually turns into a bluesy dance led by piano, banjo and handclaps that could be the soundtrack to Sun Ra’s Arkestra going into one of their high stepping
gospellish promenades. Matt Lavelle’s compositions don’t rely on intricate melody like several other large scale modern bandleaders but his musicians can blow furiously and he can put together attractive spaces for them to do their things. – Jerome Wilson, Cadence

Solidarity / Brooklyn Mountain / Knee Braces / Cherry

Swing / Moonflower Interlude / Faith.
Lavelle, cnt, flgh, a cl, cond; Lee Odom, ss, cl; Charles
Waters, as, cl;; Ras Moshe Burnett, ss, ts, fl, bells; Tim
Stocker, bari s, b cl; Mary Cherney, fl, pic; Claire de
Brunner, bsn; Chris Forbes, p; Laura Ortman, vln; Gil
Salinger, clo; Anders Nillson, g; Jack DeSalvo, bjo,
mandola; John Pietaro, vib, perc; François Grillot, b; Ryan
Sawyer, d; Anais Maviel, vcl. 11/14, Brooklyn, NY.

Get SOLIDARITY at Bandcamp HERE

SUMARI II (UR9938)

Sumari II (UR9938

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SUMARI‘s second release SUMARI II, from the powerful trio of multi-instrumentalists Matt Lavelle on trumpet and alto clarinet, Jack DeSalvo on electric guitar, cello, banjo and bass ukulele and Tom Cabrera on drums and percussion, go one step further than their debut album SUMARI (one of Downbeat‘s Best Albums of 2015) in creating vast soundscapes alternating with intense interplay.


SUMARI II

The Night Visit
The Wine Made Before Adam
One Rose is Enough
The Dust of the Doorway
Inside the Shell of Space and Time
All Roads Have an End
Lost at the Ocean’s Edge

MATT LAVELLE, trumpet, alto clarinet, cuica
JACK DeSALVO, guitar, bass ukulele, cello, banjo
TOM CABRERA, drums, percussion

Recorded, mixed, and mastered at Beanstudio by Jim DeSalvo
Design by Qua’s Eye Graphics

Produced by Jack DeSalvo

Review from Italy of MATT LAVELLE’S 12 HOUSE – SOLIDARITY

Born in Paterson, New Jersey, in 1970, previously alongside William Parker and being responsible for the rebirth of a genuine original, Giuseppi Logan, a few years ago , Matt Lavelle directs the 12 Houses, an important work, recorded in November 2014, featuring an ensemble of sixteen elements expressing, in the first instance, a vaguely Mingus-like approach (all Lavelle compositions) staring with a rather excited and consequential tenor sax solo. Soon after, however, comes an exquisite chamber interlude with flute/vibes/arco bass that disrupts the our initial expectations.

It goes something like this for the entire disk, including crescendo and decrescendo, a new tenor solo on which the orchestral is vehemently grafted intermittently (Brooklyn Mountain), then the voice, though cooking on quite a different temperature, is articulate and full of purpose  (Knee Braces). This is reiterated by the excellent violin solo that follows and lies on flexible yet calibrated orchestral strokes.

The director  Lavelle becomes the main actor in “Cherry Swing,” followed by banjo spice, an important element throughout the entire album, and bassoon, in short, which is quite unusual during “Moonflower Interlude,” and then piano, in the much larger “Faith” that seals (not without some fleeting academics) the move toward a happy closing.

Track Listing: Solidarity; Brooklyn Mountain; Knee Braces; Cherry Swing; Moonflower Interlude; Faith.

Personnel: Matt Lavelle: cornet, flugelhorn soprano, alto clarinet, run; Lee Odom: soprano sax, clarinet; Charles Waters: alto sax, clarinet; Ras Moshe Burnett: saxophone (tenor and soprano), flute, bells; Tim Stocker: saxophone (baritone), bass clarinet; Mary Cherney: flute, piccolo; Claire de Brunner: bassoon; Laura Ortman: violin; Gil Selinger: cello; Anders Nilsson: Guitar; Jack DeSalvo: banjo, mandola; Chris Forbes: piano; John Pietaro: vibraphone, percussion; François Grillot: bass; Ryan Sawyer: drums; Anaïs Maviel: voice.

Year Released: 2016 | Record Label: Unseen Rain Records | Style: Modern Jazz

https://www.allaboutjazz.com/solidarity-matt-lavelle-unseen-rain-records-review-by-alberto-bazzurro.php?width=1600

 

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Jersey Jazz Reviews PAT HALL’S TIME REMEMBERED on UR

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PAT HALL – TIME REMEMBERED: THE MUSIC OF BILL EVANS (UR960)

My first reaction when considering Time Remembered: The Music of Bill Evans (Unseenrain – 9960) by trombonist PAT HALL was what is there in the music of Evans that would inspire a trombonist to enlist an organ trio comprising Greg “Organ Monk” Lewis on Hammond organ, Marvin Sewell on guitar and Mike Campenni on drums to explore these tunes?  Well, spending a bit over an hour listening to the album showed me that music associated with an iconic jazz player like Evans can be interpreted by good musicians with their own perspectives, and with interesting, satisfying results.  The choice of Lewis is logical as he has released three albums of music by or associated with Thelonious Monk using his organ-based group, re-conceiving the material, much as Hall has done with the Evans songs.  The program includes four selections composed by Evans, “Waltz for Debbie,” “Know What I Mean,” “Time Remembered” and “Peri’s Scope.”  There are two songs by close associates of Evans, “Gloria’s Step” by bassist Scott LaFaro, and An Evans favorite, “Elsa” by Earl Zindars.  Also included is another song often addressed by Evans, “Spring Is Here.”  Hall is a superb improviser with technique to spare.  The Lewis trio is not typical, being much more modern in conception than most organ-based units.  All of this makes for a fascinating engagement with the Evans oeuvre. unseenrainrecords.com

– Joe Lang, Jersey Jazz

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Get CDs HERE

UR9960_FINAL_Time_Remembered_Front1

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“Lavelle is a wily musical organizer” – Stuart Kremsky reviews 12 HOUSES – SOLIDARITY

Matt Lavelle’s 12 Houses: SolidarityUR9945 Solidarity MINI

There’s a majestic feeling to the opening of Solidarity, the title track of a release by Matt Lavelle’s 12 Houses. This reed-heavy 17 piece ensemble also features an extended rhythm section with guitar, piano, banjo, bass, vibes, and drums, along with violin, cello and voice. Some of the places that conductor/composer Lavelle has his unit visit are not unexpected, like saxophonists popping out of the ensemble for brash solos amid flowing and changeable backdrops. But Lavelle is a wily musical organizer who nudges the group into some unexpectedly quiet zones as well as whip them up into a frenzy like the exhilarating last minute of Solidarity. Clearly this is a man who knows well the capabilities and the sounds of the members of the unit. Brooklyn Mountain, which sounds like an excerpt from a longer performance, offers extended interplay among pianist Chris Forbes, tenor saxophone soloist Ras Moshe, and the mass of horns brought in and out of the picture via Lavelle’s conducting. Violinist Laura Ortman and cellist Gil Selinger are prominent on the ethereal but thorny Knee Braces, cushioned by thick swirls of chords from massed reeds and understated rhythms. This partly improvised tone poem is largely soothing and restful, especially when contrasted with some of the other tracks. Lavelle puts on a show for the opening two minutes of Cherry Swing, with a lengthy, cogent, and wide-ranging cornet solo over minimalist percussion accompaniment. When the full band kicks in with a wallop, Lavelle takes a second solo, playing with fiery, rapid-fire gusto. He’s followed by Jack DeSalvo with an ornery banjo solo before the ensemble pours back in to make a mighty noise. While Anaïs Maviel’s voice is usually used as part of the ensemble, her unhinged vocals on the finale, a warped New Orleans-styled collective improvisation are a bit unnerving. But a little shaking up is good for you, at least musically speaking, and if you’ve made it this far, you’ll be having too good a time with Chris Forbes’ rollicking piano and the rhythmic bounce of bass and percussion to be bothered very much. Solidarity presents an unusual big band in a variety of stylistic approaches, held together by Lavelle’s vision and his command of the possibilities of his group. Definitely worth a listen.

– STUART KREMSKY, Mr. Stu’s Record Room http://skremsky.tumblr.com/post/152748252400/matt-lavelles 12-houses-solidarity

Unseen Rain UR-9945; Matt Lavelle (cnt, fl, alto cl) Lee Odom (ss, cl) Charles Waters (as, cl) Ras Moshe Burnett (ts, ss, fl, bells) Tim Stocker (bars, bcl) Mary Cherney (fl, picc) Claire De Brunner (bassoon) Chris Forbes (p) Laura Ortman (vln) Gil Selinger (clo) Anders Nilsson (g) Jack DeSalvo (bjo, mandola) John Pietaro (vib, perc) François Grillot (b) Ryan Sawyer (d) Anaïs Maviel (vcl); Brooklyn, NY, November 2014; Solidarity/ Brooklyn Mountain/ Knee Braces/ Cherry Swing/ Moonflower Interlude/ Faith; 48:53.

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Contrassio Trio perform JACK DeSALVO’s PRAMANTHA in Palencia, Spain

Contrassio Trio perform Jack DeSalvo’s piece Pramantha in Palencia, Spain.

Pramantha has also been performed by classical guitarist ADAM KAHN in the UK.

Pramantha has been recorded by a number of artists, including:

JULIE LYON on the album MOONFLOWER,
ARTHUR LIPNER on IN ANY LANGUAGE
JACK DeSALVO on PRAMANTHA
and the soon-to-be released WHILE WE SLEEP by JACK DeSALVO and TOM CABRERA

“…you can trust in the capable hands of DeSalvo and Minasi to deliver a captivating performance.” Paul Acquaro reviews SOLDANO DIECI ANNI

Screenshot 2016-09-03 19.43.41

 

 

Jack DeSalvo & Dom Minasi – Soldano Dieci Anni (Unseen Rain, 2016) ****

By Paul Acquaro

Oh, acoustic guitar duo, how my heart beats for thee! DeSalvo and Minasi are a great pair on Soldano Dieci Anni, both performing on either unamplified archtop guitar or acoustic (classical and steel string) guitar. They split the responsibilities, supporting each other, and creating space for stretching out, sometimes freely, and other times within well-defined chord structures.

Starting with the ‘Bee and the Fly’, a free and playful number that never loses steam, the pair moves from jabs of chords, to frenetic runs, to lush arpeggios, all without losing a beat – or rather it would be more appropriate to say – never losing the pulse. The tight number ‘Angela’ is a lovely mid-tempo ballad, buoyant and easy-breathing, with crisp solos from both (the vocals caught by the ambient recording are a tiny bit distracting, but also endearing).

Even at their most out, you can trust in the capable hands of DeSalvo and Minasi to deliver a captivating performance.

See original article at the FREE JAZZ COLLECTIVE Here

 

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A Moment from TOM CABRERA Trio Recording

Bassist Mark Hagan recording “All Hallows” with Tom Cabrera – drums and Bob Rodriguez – piano for Tom’s upcoming UNSEEN RAIN album – working title is “What I’ve Found”. Recording and mastering engineer is Jim DeSalvo, producer and composer is Jack DeSalvo, mixing engineer is Larry Hutter and studio is Trading 8s in Paramus, NJ.

“..some of the nicest acoustic duets since side two of McLaughlin’s My Goals Beyond.” Grego reviews Dom Minasi and Jack DeSalvo – Soldano Dieci Anni

Wednesday, August 24, 2016

Dom Minasi, Jack DeSalvo, Soldano Dieci Anni

UR9940.Soldano_Dieci_Anni

A two-guitar duet album with Dom Minasi and Jack DeSalvo? I was not sure what that would be until I put it on. Soldano Dieci Anni (Unseen Rain) is a hugely beautiful surprise. The both of them brought their acoustic-electrics, archtops, flattops and Jack a nylon string guitar. They let loose with some nicely done free numbers then proceeded to tackle their originals.

Fact is, Dom and Jack hit it off from the beginning. Their ability to swing and come up with great lines is heightened when the two play off against one another. The ravishing harmonies of the originals combine with inspired note choices for some of the nicest acoustic duets since side two of McLaughlin’s My Goals Beyond. 

They show deep roots, great subtlety, advanced interactions and the kind of spontaneity that an album like this demands.

Hats off to Dom and Jack! Bravo!

“…lots of fire and ideas.” Grego Reviews ROCCO JOHN’S EMBRACE THE CHANGE

Wednesday, August 10, 2016

Altoist Rocco John is a fixture on the New York scene, keeping the new thing free flames stoked with his own brand of avant jazz. He records more infrequently than I would like, but then that makes his new releases all the more welcome.

His latest, Embrace the Change (Unseen Rain 9947), features a cohesive and compatible quartet of Rocco John on alto and soprano, Rich Rosenthal on electric guitar, Francois Grillot on contrabass and Tom Cabrera on drums. Rocco John provides the originals, attractive springboards for the often collective improvisations that make good tracks into the horizon.

Rocco John sounds quite limber and full of spontaneous musicality. So too Rich makes creative paths that go well with what Rocco John is doing. Francois Grillot is, as always, the complete bassist, whether walking or making horn-like statements. And Tom Cabrera swings and frees it all up well depending on what is needed.

It is an album that stays in the avant mode with lots of fire and ideas. It’s well worth hearing, another notch in the Rocco musical belt. Recommended!

“…a commanding debut for his 12 Houses group.” Audiophile Audition reviews Matt Lavelle’s 12 Houses – Solidarity

CD Review: http://www.audaud.com/matt-lavelles-12-houses-solidarity-unseen-rain/

Matt Lavelle’s 12 Houses – Solidarity – Unseen RainUR9945.Solidarity Front

Big band free jazz is more than discordant noise.

Matt Lavelle’s 12 Houses – Solidarity [TrackList follows] – Unseen Rain UR-9945, 48:52 [5/6/16] ****:

(Matt Lavelle – cornet, Flugelhorn, alto clarinet, conductor; Lee Odom – soprano sax, clarinet; Charles Waters – alto sax, clarinet; Ras Moshe Burnett – soprano sax, tenor sax, flute, bells; Tim Stocker – baritone sax, bass clarinet; Mary Cherney – flute, piccolo; Claire de Brunner – bassoon; Chris Forbes – piano; Laura Ortman – violin; Gil Selinger – cello; Anders Nillson – guitar; Jack DeSalvo – banjo, mandola; John Pietaro – vibraphone, percussion; François Grillot – doublebass; Ryan Sawyer – drums; Anaïs Maviel – voice)

Matt Lavelle likes to use the fullest spectrum of instruments as possible. The multi-horns player (cornet, Flugelhorn and alto clarinet) includes 16 musicians on Solidarity, his debut as the leader/conductor of 12 Houses. Lavelle also penned the six originals. Instead of pursuing a typical jazz big band or large ensemble approach, Lavelle focuses on sweeping improvising, with cues provided by his compositional writing. In other words, while there are moments of melodic, lyrical and harmonic construction, there are many more where instrumentalists apply elements of free jazz or open soloing.

Lavelle’s preliminary plan was to employ 12 musicians, embodying the 12 zodiacal signs. But he felt he could further supplement his music, so the group enlarged, and the opportunities for a range of sounds widened. This broad technique is heard on the 12-minute title track opener. Massed horns (clarinet, Flugelhorn, saxes, flute, bassoon and piccolo) are balanced alongside piano, a strings unit, guitar, vibes, bass and drums. Different players enter and leave during the lengthy tune, so sometimes the horns drop out, or the rhythm section is spotlighted. Throughout, there are striking touches from the horns, strings and rhythm instruments, which span from bright to dissonant. There is close to a constant sense of eddying as the band progresses from slow to a quicker pacing, and various solo or smaller instrument groupings create distinct portions among the greater whole.

One of the standouts is the nine-minute “Cherry Swing,” a tribute to the late Don Cherry, who initially came to prominence with Ornette Coleman but whose perceptions on improvisation came to the fore on his solo releases. “Cherry Swing,” Lavelle says, “represents the absolute core of my personal philosophy that free jazz never abandoned everything that made jazz what it is. Free jazz, set jazz free to be itself. Everything that makes jazz what it is, and why it’s so great, is even more important to strive for in free jazz.” Lavelle is upfront on cornet, emulating and echoing Cherry’s manner and musical viewpoint, while bass and drums craft a swinging foundation. Vibes are lower in the mix, inserting coloring to the percussive perspective. Banjo appears as well when Jack DeSalvo solos. For the most part, “Cherry Swing” is not a bigger-band setting, although the horns come in toward the conclusion to supply a discordant ending. Another memorable piece is “Knee Braces,” which indicates Lavelle’s issues with knee problems. The nearly ten-minute “Knee Braces” has a melancholy, almost dark nature exemplified by the reflective introduction. The arrangement becomes truly haunting when violinist Laura Ortman takes over, with extended dim tones which are at times reiterated by Gil Selinger’s cello. Ortman shapes a tender emotional magnetism throughout “Knee Braces,” even when other strings and the horns are occasionally utilized.

Minimalism is supported on the brief, 2:51“Moonflower Interlude,” a solo spot for bassoonist Claire de Brunner. Lavelle states, this “is a song sung by a secret society of little white flowers that only bloom in the moonlight.” The most poignant piece is the 9:33 “Faith,” dedicated to Lavelle’s mother, who miraculously survived three brain surgeries before passing away (webmaster’s note: Matt’s mom is very alive presently) Chris Forbes’ introductory piano sets the mood, which sways from peaceful remembrance to a hymn-like invocation accentuated by hand-clapping, Anaïs Maviel’s non-verbal voice, and DeSalvo’s banjo; and from frictional improvising to lyrical asides. Everyone in the ensemble contributes to build up a celebratory responsiveness. Forbes’ gentle solo piano adds the finishing sensitivity. “Faith” is a fully-formed sketch of a deeply-loved personality, and comprises the many feelings one has when thinking about an individual’s life. On Solidarity, Lavelle’s ambition to incorporate composition and improvisation, to stay true to his central philosophy, and to balance melodicism with free jazz has resulted in a commanding debut for his 12 Houses group.

TrackList: Solidarity; Brooklyn Mountain; Knee Braces; Cherry Swing; Moonflower Interlude; Faith.

—Doug Simpson

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All About Jazz Reviews 12 HOUSES – SOLIDARITY

Matt Lavelle’s 12 Houses: SolidarityUR9945.Solidarity Front

Alberto Bazzurro By ALBERTO BAZZURRO
Published:

Born in Paterson, New Jersey, in 1970, having played alongside William Parker and and being responsible for the reintroduction of the inimitable Giuseppi Logan a few years ago, Matt Lavelle directs this valuable work, recorded in November 2014, an ensemble of sixteen elements denoting, in the first instance, a vaguely mingus-like approach (with all Lavelle themes) beginning with a rather excitedly flowing tenor sax solo. Soon after, however, comes an exquisite chamber interlude of flute/vibes/arco bass  that disrupts our initial expectations.

It goes something like this for the entire disk, including crescendo and decrescendo, a new tenor solo vehemently grafted on the intermittent orchestral body (“Brooklyn Mountain”), then the voice, though producing quite different temperatures, purpose and articulation ( “Knee Braces”), reiterated by the excellent violin solo that followed, laying on plastic and calibrated orchestral strokes.

The receiver Lavelle is thenthe main protagonist in “Cherry Swing,” followed by spicy banjo,which is evidentNot negligible throughout the entire album, and bassoon, which, in short, is quite unusual in “Moonflower Interlude,” and then piano, with traces of classicism, in the much larger “Faith” that seals the work in the sign of a happy closing tension, .

Track Listing: Solidarity; Brooklyn Mountain; Knee Braces; Cherry Swing; Moonflower Interlude; Faith.
Personnel: Matt Lavelle: cornet, flugelhorn soprano, alto clarinet, run; Lee Odom: soprano sax, clarinet; Charles Waters: alto sax, clarinet; Ras Moshe Burnette: saxophone (tenor and soprano), flute, bells; Tim Stocker: saxophone (baritone), bass clarinet; Mary Cherney: flute, piccolo; Claire de Brunner: bassoon; Laura Ortman: violin; Gil Selinger: cello; Anders Nilsson: Guitar; Jack DeSalvo: banjo, mandola; Chris Forbes: piano; John Pietaro: vibraphone, percussion; François Grillot: bass; Ryan Sawyer: Battery; Anaïs Maviel: voice.

Year Released: 2016 | Record Label: Unseen Rain Records | Style: Modern Jazz

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“…letting the music go where it must. ” Doug Simpson Reviews ROCCO JOHN QT’s EMBRACE THE CHANGE

unnamedRocco John Quartet – Embrace the Change – Unseen Rain  by Audiophile Audition/ July 11, 2016/ Jazz CD Reviews

New York City quartet which promotes changes, all sorts of changes.

Rocco John Quartet – Embrace the Change [TrackList follows] – Unseen Rain UR-9947, 67:49 [5/6/16] ****:

(Rocco John Iacovone – alto and soprano saxophone; Rich Rosenthal – guitar; François Grillot – double bass; Tom Cabrera – drums)

Alto and soprano saxophonist Rocco John Iacovone and his quartet make accessible avant-garde and free jazz; or rather the musicians produce free-ranging material that is challenging but which is not too demanding to enjoy. There is an engaging openness to the eight lengthy tracks on this 68-minute release, Embrace the Change. There’s a continual development throughout Iacovone’s originals, a sense that listeners might not know where they’re going to next, but will appreciate the shifts and curves along the way. Rocco John (he shortens his name for his album projects) explains the underlying concept for his latest recording, “Embrace the change is a thought, an idea, and a philosophy. It’s a comment on our evolution as human beings. It seems the only constant we experience is change and we constantly need to learn how to deal with it. To do this, we have to dig deep. These were the thoughts behind the compositions as I wrote them, and as we went into the studio.”

Rocco John studied with Lee Konitz and Sam Rivers, and learned composition from Nadia Boulanger; that education and his many years as an active member of the NYC jazz community has honed his abilities as performer and writer; and as collaborator and leader. All of Rocco John’s skills and talent fuse on this creative outpouring, where he is joined by other New York artists: guitarist Rich Rosenthal (who operates his own ensemble and has credits which include Mark Dresser, Joe McPhee and Dom Minasi); double bassist François Grillot (who also runs his own band and has worked with Jason Hwang, Daniel Levin and others) and drummer Tom Cabrera (who co-founded the Julie Lyon Quartet with his wife; and has recorded with other Unseen Rain label mates).

The foursome commences with the free-bop “Wings,” a 7:18 piece which defies easy expectations. The mutable harmonics, for example, mirror those often associated with Ornette Coleman (principally his 1970s or 1980s LPs), while Rocco John’s sometimes bleating horn honors John Coltrane. While it would have been simple to go overboard, the quartet maintains a defiant, but in no way overzealous, confidence in letting the music go where it must. The eight-minute “Circuits” envelops the notion that all people are connected, no matter a person’s racial background, religious history or political orientation. “Circuits” has a pronounced pace and nuanced progression, highlighted by Rosenthal and Iacovone’s twinned sax and guitar; Cabrera’s subtle brushes on cymbals; and Grillot’s bass lines. During this track, Grillot deftly brings to mind Dave Holland, due to Grillot’s superlatively understated rhythmic changes. The proceedings get more restless and edgy on “Escape,” where the quartet employs a tumbling tempo and head to liberating territory with intense but never extreme solos. Rocco John clarifies the tune is about the “need to escape the traps and think independently and creatively.”

Spirituality and belief is the focus of “Dial Up.” Iacovone discloses the eight-minute number “represents calling for assistance from the universe.” While the title implies an older conveyance of communication, “Dial Up” is modern creative music with an ear to the present, past and future all at once. Rosenthal’s lighter tone settles his guitar back a bit in the mix, while Rocco John’s sax is upfront and spotlighted throughout. Cabrera and Grillot sustain an advanced rhythmic approach which furnishes an off-kilter mannerism which befits this ever-moving composition. Another tune which links individuals to the cosmos is the longest piece, called “72s,” which Iacovone simply states, is a “connection to the Endless.” This track affords plenty of space and room for crisscrossed musical patterns which blend free jazz, post-bop, open improvisation and more, fashioning the album’s most comprehensive and multifaceted tune. One notable spot is a middle section where Rosenthal takes a fluid solo accentuated by Grillot’s beautiful arco bass. The Rocco John Quartet conclude as they begin, with an alternate rendering of the opening track, the 7:51 “Wings (Epilogue).” While this version is different from the first one, it shares the same attitude of nonconformity and inventiveness. Embrace the Change may be a smidge discordant or jarring at times, but it’s not harsh or rasping, and everything about the band’s methodology contributes to the perception that this is music that is intentionally open-minded and celebratory, but determinedly not strident or piercing.

TrackList: Wings; Escape; Circuits; Dial Up; Tango; Whispers; 72s; Wings (Epilogue).

—Doug Simpson

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Bird Is The Worm Recommends ROCCO JOHN QUARTET’s EMBRACE THE CHANGE on UR

Recommended: Rocco John Quartet – “Embrace the Change”

Rocco John – "Embrace the Change"There’s an appealing looseness to this session from  saxophonist Rocco John Iacovone, guitarist Rich Rosenthal, double bassist Francois Grillot and drummer Tom Cabrera.  Of particular interest is the way the guitar darts between the slowly drawled saxophone lines… which becomes more compelling when bass and drums send out bursts of rhythm that frame the sense of motion within.  Some tracks, like opener “Wings,” attain a head of steam and don’t relent, but then there’s tracks like “Escape,” where the quartet uses a casual tempo as the foundation on which to let loose with hyperactive solos.  This isn’t pretty music.  Embrace the Change is rough around the edges and everything about the delivery gives the impression that it’s not just intentional, but celebrated.  And it probably should be, because that decision gives the music its character.  Good stuff, and from a label (Unseen Rain) that keeps coming up with little gems.

Your album personnel:  Rocco John Iacovone (alto & soprano saxes), Rich Rosenthal (guitar), Francois Grillot (double bass) and Tom Cabrera (drums).

Released on Unseen Rain Records.

Jazz from NYC.

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Mark Sullivan’s Review of Dom Minasi – Jack DeSalvo: Soldani Dieci Anni on AAJ

Dom Minasi & Jack DeSalvo: Soldani Dieci Anni

Mark Sullivan By MARK SULLIVAN
Published:

Dom Minasi & Jack DeSalvo: Soldani Dieci Anni

Guitarist Dom Minasi is known as an experimentalist and free player, so there is much in this set of acoustic duets with fellow guitarist Jack DeSalvo that will confound expectations. Opener “The Indelible Delible” is a free improvisation with the expected outside playing and flurries of notes—but there is also some delicate textural playing. Then Minasi’s “Angela” announces a complete change of mood. It’s a beautiful bossa, with DeSalvo taking the lead on classical guitar, followed by Minasi’s acoustic flat-top steel string. It’s simply gorgeous, and straight ahead all the way.

DeSalvo’s “Aside” is a jazz tune, played on archtop guitars (credited in the album liners as “unamplified archtop guitars,” because they were recorded mostly acoustically). We’re not used to hearing unamplified archtop guitars on recordings: there’s really very little difference between this track and the previous one in terms of the guitar sound. Minasi takes the first solo, and his habit of singing his solos is especially pronounced here, but only distracting if you’re easily distracted by that kind of thing. I should note that there is sufficient stereo separation to make the two guitars easily differentiated.

The next two tracks again find Minasi composing in straight ahead mode. “Julia’s Dream” is a lovely ballad, both players on archtops. “Blues for TM” is indeed a blues, this time with Minasi on flat-top and DeSalvo on archtop (he turns in an especially effective solo here). DeSalvo’s contemplative title tune again shows both players in straight ahead (but conversational) mode. The final tracks are both improvisations, but with distinct identities. “The Bee and The Fly” has the active, somewhat random movement implied by the title. “Goodbye Greensleeves” is also true to its title, beginning in a calm, folksong-like mode. As the improvisation develops unpredictability and outside playing eventually dominate, with the piece rushing to its conclusion.

This was a very spontaneous collaboration. DeSalvo suggested it, and the pair got together once to try playing together. Minasi says they played mostly free, then he took out some of his straight ahead tunes “and the magic began.” So the free improvisations were recorded first, then they tried the original tunes—keeping first takes on everything. It’s the sound of two accomplished jazz guitarists immediately finding common ground, effortlessly moving from inside to outside, from composed to free.

Track Listing: The Indelible Delible; Angela; Aside; Julia’s Dream; Blues for TM; Solano Dieci Anni; The Bee and The Fly; Goodbye Greensleelves.Personnel: Dom Minasi: unamplified archtop guitar, flat-top steel string guitar; Jack DeSalvo: unamplified archtop guitar, classical guitar.

Year Released: 2016 | Record Label: Unseen Rain Records | Style: Free Improv/Avant-Garde

Downloads available HERE

Listen to ANGELA from Soldano Dieci Anni :

 

“Fast and furious”, The Aquarian reviews MATT LAVELLE’S 12 HOUSES – SOLIDARITY

UR9945 Solidarity MINISolidarity (Unseen Rain Records) by Matt Lavelle’s 12 Houses is a rampaging rollicking jazz affair with Lavelle’s cornet, flugelhorn and alto clarinet leading the charge on six original jam-packed elongated tracks. The action is fast and furious what with two soprano saxophones, two clarinets, alto sax, tenor sax, two flutes, bells, baritone sax, bass clarinet, piccolo, bassoon, piano, violin, cello, guitar, banjo, mandola, vibraphone, percussion, double-bass, drums and human voice.             – rant ‘n’ roll by Mike Greenblatt, The Aquarian Weekly

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Available Now – New Release from DOM MINASI and JACK DeSALVO on UR – SOLDANO DIECI ANNI

UR9940.Soldano_Dieci_Anni_Front1andBack

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DOM MINASI and JACK DeSALVO,  two jazz guitarists at the top of their game, have been longtime fans of each other – but have never played together.

On an afternoon in November of 2015, the two players sat down in the intimate open space at Beanstudio and recorded SOLDANO DIECI ANNI using several of their favorite acoustic and electric instruments. The resulting recording, intimate yet open and colorful, is a must-have for anyone interested in modern jazz guitar.


DOM MINASI & JACK DeSALVO – guitars

Recorded, mixed, and mastered at Beanstudio by Jim DeSalvo
Design by Qua’s Eye Graphics

Produced by Jack DeSalvo

“explosive musicality” – Dee Dee McNeil reviews 12 HOUSES – SOLIDARITY

Media Alert: Matt Lavelle’s 12 Houses “Solidarity”  – Unseen Rain Records UR9945

MATT LAVELLE – cornet, flugelhorn, alto clarinet, conduction, LEE ODOM – soprano saxophone and clarinet,    CHARLES UR9945 Solidarity MINIWATERS – alto saxophone and clarinet, RAS MOSHE BURNETT – tenor and soprano saxophones, flute, bells, TIM STOCKER –  baritone saxophone, bass clarinet, MARY CHERNEY – flute, piccolo,   CLAIRE de BRUNNER – bassoon,   CHRIS FORBES – piano, LAURA ORTMAN – violin,   GIL SELINGER – cello,  ANDERS NILSSON – guitar, JACK DeSALVO –  banjo, mandolin,    JOHN PIETARO – vibraphone, percussion, FRANÇOIS GRILLOT – double-bass,   RYAN SAWYER – drums,ANAÏS MAVIEL – voice

http://www.unseenrainrecords.com/?page_id=2770

CD Review: https://musicalmemoirs.wordpress.com/

 By Dee Dee McNeil

 MATT LAVELLE’S 12 HOUSES – “SOLIDARITY”

Unseen Rain Records

Matt Lavelle, cornet/flugelhorn/alto clarinet & conductor; Lee Odom, soprano saxophone/clarinet; Charles Waters, alto saxophone/clarinet; Ras Moshe Burnett, tenor and soprano saxophone/flue/bells; Tim Stocker, baritone saxophone/bass clarinet; Mary Cherney, flute,piccolo; Claire de Brunner, bassoon; Chris Forbes, piano; Laura Ortman, violin; Gil Selinger,, cello; Anders Nillson, guitar; Jack DeSalvo, banjo, mandola; John Pietaro, vibraphone, percussion; François Grillot, double bass; Ryan Sawyer, drums; Anaïs Maviel, voice.

The first song Is dark, full of strings and horns that remind me of gardens packed with honey bees and flies. The instrumentation encourages strings to be bowed and tones to be bent. Consequently, they sound very much like insects to me. It’s titled “solidarity”, the same as the CD. The composer must have had something specific in mind, but I probably would have titled it, ‘Spring Garden.’ Lavelle has composed everything on this production. He is the conductor and plays cornet, flugelhorn and alto clarinet. His concept is to hire master jazz players and challenge them to improvise on his musical themes using both traditional, classical instruments. This includes Claire de Brunner on bassoon and Gil Selinger on cello; Ras Moshe Burnett on reeds and Charles Waters on alto sax and clarinet. It’s not an odd premise to throw traditionally classical instruments into the arms of jazz musicians, since jazz is often referred to as America’s unique classical art form. However, this project seems to be melting chamber orchestra and big band music together over an unusual premise of improvisation, freedom and Avant Garde. The song “Faith” gives us a taste of New Orleans verve and Kansas City spicy ‘Swing’. However, the resulting responsiveness between players fosters explosive musicality to interpret Lavelle’s compositional focus. His desire to mix genres is both interesting and challenging. It leaves the final review to be culminated by the ears and in the hands of you, the listener.

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“…interaction, composition, fiery hot soloing…” Mike Greenblatt reviews EMBRACE THE CHANGE

Media Alert: Rocco John Quartet “Embrace The Change” (Unseen Rain UR-9947) Street Date: May 6, 2016ROCCO JOHN IACOVONE alto and soprano saxophones, RICH ROSENTHAL guitar, FRANÇOIS GRILLOT double-bass, TOM CABRERA drums

CD Review:

Rocco John Quartet Has Good Advice: ‘Embrace the Change’ on Unseen Rain Records [REVIEW]

Rocco John

Rocco John Iacovone (Photo : courtesy Unseen Rain Records)

There’s no telling where Rocco John Iacovone will go. The sax man studied under Lee Konitz and Sam Rivers. In the case of the latter, John has successfully taken the Rivers dictum (if they can’t understand it, go even further!) and whittled away at it, sanding it down, putting on a coat of varnish, to ultimately let his listeners alternately swoon and get excited. Embrace the Change (Unseen Rain Records) is more than a CD title. It’s good life advice.

In taking from the avant-garde, but making it accessible, John, whose alto and soprano saxes blow wild and free throughout, has fashioned a terrific one-stop that fills all your needs for melody, harmonics (or, in this case, shall we say harmolodics as taught to us by Ornette Coleman), interaction, composition, fiery hot soloing (check out Rich Rosenthal’s electric guitar!) and the bulwark of a rhythm section — double-bassist Francois Grillot and drummer Tom Cabrera — that not only keeps things kinetic but also anchors the avant and keeps things from getting out of hand.

Opening and closing with “Wings,” a post-bop humdinger that challenges our assumptions immediately, the highlights have to be “Dial Up,” an eight-minute plea to the heavens for assistance, and “72’s,” almost eleven minutes of pure disparate intentions, a cross-pollination of ideas from swing and bebop to fusion all in one over-reaching but successful track. You can add the extremely satisfying 9:52 “Tango” to the highlight reel.

Recorded in New Jersey, produced by Jack DeSalvo, Embrace the Change works because this particular change is still within earshot of the masses, if only said masses would just lighten up a bit and stretch their brains to the ferreting out of this kind of talent instead of having every musical morsel served to them on a silver platter. C’mon y’all! Up to the task?

© 2015 Classicalite All rights reserved. Do not reproduce without permission.

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From Russia: Great Review of ROCCO JOHN’s EMBRACE THE CHANGE.

roccojMedia Alert: Rocco John Quartet “Embrace The Change”
(Unseen Rain UR-9947)
ROCCO JOHN IACOVONE alto and soprano saxophones, RICH ROSENTHAL guitar, FRANÇOIS GRILLOT double-bass, TOM CABRERA drums

CD Review: http://jazzquad.ru/index.pl?act=PRODUCT&id=4418

By Leonid Auskern

Alto saxophonist Rocco John Iacovone had excellent teachers, these mentors, however, came from very different places on the musical map. On one hand Rocco played in the brilliant free jazz master Sam Rivers’ Orchestral Explorations, and, on the other he studied with the master of cool-jazz Lee Konitz. His own playing style was formed under the influence of both of these artists. If you find it hard to UR9947 Embrace The change MINIimagine such a combination, listen to Embrace The Change, the most recent album of the quartet of Rocco John. He founded his first band in 1997 (then it was the trio), and today Rocco John Iacovone is a prominent figure among the avant-garde scene of New York, founder and art director of the Coalition of Creative Artists.

Embrace The Change has Rocco playing with Rich Rosenthal, an accomplished guitar player who overcame some early vicissitudes, a New York Frenchman, bassist François Grillot and drummer Tom Cabrera, who is the only one of the four of whom I had heard earlier on his wife Julie Lyon’s album Julie, also published by Unseen Rain Records. All the tracks of Embrace The Change were written by Rocco John, and this is not a random collection of disparate pieces but rather a conceptual suite dedicated to a deeply philosophical theme, the evolution of human existence.

Following the ancient Greek sage Heraclitus, who argued that in the same river one can not enter twice, Rocco John defends the idea that the only constant in the evolution of man is eternal movement, eternal change, and to which man can only adapt. By means of music, of course, may seem too abstract a tool for solving this problem, but in the avant-garde, mostly free-form jazz of Rocco John, indisputably genuine feeling is present, not to mention the purely aesthetic pleasure from listening to the playing of this quartet of musicians. I especially would like to mention such compositions as Circuits (the relationship of people living with each other – Rocco provides all the explanations of the songs in the liner notes to this work), Tango, which he described as the dance of life and a very unusual song 72’s (“Communication with infinity” says Rocco John), where the second part suddenly starts to sound background of the famous Jewish song “Eveynu Shalom Aleichem”, which in Hebrew means “We wish you peace”. It is probably not by chance that this wish of peace was included by Rocco John in his suite.

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Dee Dee McNeil Reviews ROCCO JOHN’s EMBRACE THE CHANGE

CD Review of ROCCO JOHN QUARTET – EMBRACE THE CHANGE

If the eclectic and Avant Garde is your cup of tea, sit back and pour Rocco_Front1yourself a cup of the Rocco John Quartet. Drums and saxophone explode on the scene with intensity and purpose. Every song on this production is composed by Rocco John Iacovone. His bandmates unweave the story inside each composition with sincerity and creativity. The composer says his music is meant to be a comment on our evolution as human beings. I find his music eerie, but strangely beautiful. On a song called “72’s” the drums and cymbals color the presentation as Rosenthal’s guitar astutely explores melodies and emotions. When the sax enters, it brings another character to the forefront and the three begin a sensitive conversation. Musical phrases pour out of them in streams of tempo and scales, spurred by Cabrera’s deft percussion. It sings to me in a minor mode. I am intoxicated by this track. When Grillot bows his bass, it changes the mood and texture of this composition. Each cut on this eight composition album brings a theme of exploration. This is thought provoking music. There is the unexpected, always present and looming in the next musical phrase. Yet, there is also something soothing about this recording.

Rocco John Iacovone’s has studied with the legendary Lee Konitz and Sam Rivers. His preoccupation with composition led him to the doorstep of Nadia Boulanger. This artist hopes that he and his talented band elicit unmitigated passion and interest in the listener. Perhaps the composer said it best in his linear notes:
“While we all hear the loud voices telling us what to do and how to do it, we really need to quiet down and listen to the whispers of our inner self.”
His music seems to encourage us to ‘embrace the change.’

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EMBRACE THE CHANGE – ROCCO JOHN QUARTET
ROCCO JOHN IACOVONE alto and soprano saxophones
RICH ROSENTHAL guitar
FRANÇOIS GRILLOT double-bass
TOM CABRERA drums

Midwest Record Reviews New Albums from ROCCO JOHN Qt and MATT LAVELLE’s 12 HOUSES

UNSEEN RAIN UR9947_Embrace_The_Change Front
ROCCO JOHN QUARTET/Embrace the Change: A saxman that studied under the watchful eyes of some serious hell raisers, he picks up the baton and you can tell this is someone serious about his Sun Ra and didn’t just eat a bunch of BYG records for breakfast one day. Way out in left field, you can tell this is a hark back to the 70 when jazzbos were trying to expand their minds and connect with the universe, progressive tastes will enjoy this well.
UR9947

UR9945 Solidarity MINIMATT LAVELLE’S 12 HOUSES/Solidarity: Wow is someone doing a tribute to “Escalator Over the Hill” to kick off the celebrations for Carla Bley’s 80th birthday? The cornet player leads his big band off on some space explorations that feel sincere at the core as opposed to some ruse to grab some arts council money. If space is your place, this is the rocket to ride to get there.
UR9945

April 1, 2016
MIDWEST RECORD
CHRIS SPECTOR, Editor and Publisher
Copyright 2016 Midwest Record

MAELSTROM E-ZINE REVIEWS SUMARI

Maelstrom Sumari Review

Media Alert: SUMARI (Unseen Rain UR9962)

Matt Lavelle (trumpet, cornet, flugelhorn, pocket trumpet, alto clarinet Jack DeSalvo (cello, guitars. mandola) Tom Cabrera (bodhrán, tar, riq, doumbek, bass drum)

CD Review:  http://www.maelstromzine.com/ezine/review_iss78_6379.php

By Avi Shaked

The music echoes and reflects nature. The nature squeaks, screeches, hisses and whistles through the velvet yet discordant sounds of the horns as well as through the spacious, frequently tribal sounding rhythms that are constantly active while maintaining a sense of sparsity. Such a reflection can be disastrous, but here, the players approach the recreation of primitivism with reservedness that prevents dispersal. There is a welcomed openness to the recording which invites you to be engulfed by the sonics, rather than being struck by them.

As the album unfolds, as evident on “Alternate Presents and Multiple Focus” but even more prominent on “The Gates of Horns,” melodic sparks creep in, illustrating the alignment of nature to create harmonious beauty. (7.9/10)

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Interview with Matt Lavelle on SUMARI

Talking with Arts for Art, Matt Lavelle (horns, reeds) discusses his upcoming performance with SUMARI at Justice is Compassion Part 2. Check out the event here!

SUMARI is:

Matt Lavelle (horns, reeds)
Jack DeSalvo (guitar, cello)
Tom Cabrera (percussion)

Download SUMARI’s first self-titled album here!
Purchase the renowned CD here!

Front_Sumari

Listen to NUVYU from JULIE LYON’s New Album MOONFLOWER

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JULIE LYON, vocals
Matt Lavelle, trumpet, alto clarinet
Jack DeSalvo, guitar. mandola
Todd Urban, double bass
Tom Cabrera, drums, cymbals, percussion

Recorded at Urban Sound by Todd Urban
Recorded, mixed, and mastered at Beanstudio by Jim DeSalvo
Design by Qua’s Eye Graphics

Produced by Jack DeSalvo

JULIE LYON – MOONFLOWER Now Available on UNSEEN RAIN RECORDS

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JULIE LYON‘s new album MOONFLOWER, her follow-up to the critically acclaimed JULIE, features original songs and compositions and is in many ways her first solo album. Though accompanied by her band, the focus is not only on Ms. Lyon’s considerable vocal talents but also on her role as lyricist and songwriter. The seeds of MOONFLOWER were sown when Julie began to write lyrics to some of composer Jack DeSalvo’s music. It became obvious that recording this music would be the vocalist’s next project and music by Julie Lyon along with additional collaborations with Tom Cabrera and Betsy Serafin create a tapestry of sophisticated listening experiences with music touching new jazz, folk and world music but always rooted in Julie’s sense of swing and the blues. The title song MOONFLOWER is written by multi-instrumentalist/composer Matt Lavelle.


“Ms. Lyon shows that the she knows exactly what she is doing here and executes all of her songs exquisitely. She’s the real deal in her element here with a voice that is like a nice chianti – Smooth, subtle, complex, and a little playful. When she is singing, what you hear is not only the lyrics, but a visceral love of singing that shines through her instrument, very refreshing and appealing.” – Jonathan Shade, Night Life Exchange


MOONFLOWER

Having Found
It’s Raining Again
Pramantha
Hey There Baby
You Are the One
Nuvyu
MoonFlower
Chasing a Dream
Eternity
Prelude
Soul Dance

JULIE LYON, vocals
Matt Lavelle, trumpet, alto clarinet
Jack DeSalvo, guitar. mandola
Todd Urban, double bass
Tom Cabrera, drums, cymbals, percussion

Recorded at Urban Sound by Todd Urban
Recorded, mixed, and mastered at Beanstudio by Jim DeSalvo
Design by Qua’s Eye Graphics

Produced by Jack DeSalvo

UR9948.Mooflower_Back

New JULIE LYON album MOONFLOWER available this week.

moonflower_Front_w_logo UR9948.Mooflower_Back

JULIE LYON‘s new album MOONFLOWER, featuring original songs and compositions, will be available this week as HD, CD-Quality and mp3 Downloads  at www.unseenrainrecords.com and www.meyefi.com.

“Ms. Lyon shows that the she knows exactly what she is doing here and executes all of her songs exquisitely. She’s the real deal in her element here with a voice that is like a nice chianti – Smooth, subtle, complex, and a little playful. When she is singing, what you hear is not only the lyrics, but a visceral love of singing that shines through her instrument, very refreshing and appealing.” – Jonathan Shade, Night Life Exchange

Paul Acquaro Reviews SUMARI.

Matt Lavelle, Jack De Salvo & Tom Cabrera – Sumari (Unseen Rain, 2015)
Monday, February 08, 2016Front_Sumari

By Paul Acquaro

I first put on Sumari while I was driving through the Catskills in New York State over the summer, little did I know how geographically apropos it was. The trio on Sumari has its roots in the Hudson valley, going back over 20 years, and the inspiration of the name has something do with a series called the Seth Books, a study of paranormal experiences by Jane Roberts, who happened to be from the Albany area (just a bit north of the Catskills). I’m not sure there is anything to it, but it seemed somewhat interesting.

The musicians on Sumari are Matt Lavelle on trumpet, cornet, flugelhorn, pocket trumpet, alto clarinet, Jack De Salvo on cello and mandola guitar, and Tom Cabrera the dumbeq, rik, frame drums, bass drum, percussion. The number of instruments between them leads to a wide array of musical combinations.

The album starts off with ’Seth Dance’, and as the bass and drums get into a looping groove, Lavelle comes in on trumpet with a slightly sourish tone. The song has a hypnotic effect, the choice of timber is quite interesting, and there is an air of mystery to the track. The next track, ‘Counterparts Are Comparatively Encountered’ is a bit more stream of consciousness. The track, which is the longest on the album, never quite ‘takes off’ however the tension that builds is quite palpable. Track three, ‘Scientific Cults and Private Paranoias’, like the first, is built on a repetitive groove, however, this time, Lavelle employs a brighter tone on the trumpet and DeSalvo creates an earthy rhythmic texture on his mandola guitar that lends an exotic flavor to the track.

Most engaging is hearing hear how closely the musicians listen to each other, the other tracks that follow have varying approaches, but across all, it’s the interplay that really comes through. From the modes and scales Lavel use, to the stringed instruments that DeSalvo chooses, to the various percussion instruments Cabrerea plays, there is a strong inter-connectedness in their playing, and the mix of instruments with the free form improvisation touch on something felt rather than spoken.

Making The Invisible Audible

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