 Phenomenal Guitarist Dan Baraszu and multi-talented bassist/producer Joseph Patrick Moore offer fresh inspiration to twelve Christmas classics on the latest Blue Canoe Records release "Christmas Time is Here". The duo strikes a touching balance between the complex reharmonization of these standards and the simplistic, stripped down interplay between guitar and bass. This musical conversation is especially notable in the sweet, lullaby-infused melodic bass part of "Silent Night". The trading of melody between Mr. Baraszu and Mr. Moore strikes images of a mother gently singing the little ones to sleep as the snow gently falls outside.
The pair jump in with "God Rest Ye Merry Gentlemen", an up-tempo number featuring a jumping, rhythmic groove and haunting guitar melody. "Jingle Bells", offers up a unique coloring of another holiday classic. Again, Mr. Moore's creative groove and use of open space provides the perfect backdrop for a truly fresh version of such a seasonally routine melody. Baraszu and Moore conclude their holiday creation with the traditional, "Angels We Have Heard on High". The bouncing bass line and almost reggae-like rhythmic feel is a sublime counter to Mr. Baraszu's contemporary version of this timeless melody. "Christmas Time is Here" is an inspirational rendition of Christmas standards that offer a rare perspective unheard during this season. The interaction between these two notable artists is emotive and relevant long after the season is over. Mr. Baraszu and Mr. Moore converse in a beautifully woven and unique accord that's rare in a holiday release. This exclusive Emusic.com two CD set, recorded live at the prestigious Berlin Jazz Festival showcases the true depth and artistry of Punk Jazz Trio Megaphone Man.
 "Look What the Cats Drug In" opens with ripping guitar work from Dan Baraszu on "Neutron Star", a song inspired by Stevie Wonder's "Too High". There is no slowing down with the complex harmonies by Eugene Maslov on "Last Ray". Blue Canoe's stable of talented artists is further exposed in "Symmetry 1" with the fluid, highly polished lines of virtuoso trumpeter Thomas Heflin. The album continues with unimaginable horn players Bryan Lopes and Ron Westray as well as the stellar compositional and orchestral arranging of the Knoxville Jazz Orchestra. The compilation brings it home rhythmically with percussionists Philip Smith and Jimmy "Junebug" Jackson. Listen for the famous Jimmy Smith on the B3 on the final tune by Junebug, "Save Your Love For Me (live)".
"Look What the Cats Drug In" is a vibrant exploration of the post-bop gems in Blue Canoe Records' vast and ever-growing catalog. Quite literally, "Look What the Cats Drug In" displays the finest musicianship of modern jazz.  From L to R: Neal Fountain, Bryan Lopes, Jeff Reilly. Photo Credit: Patrick Hinley Punk jazz improvisational trio Megaphone Man, pride themselves on a loose avant-garde approach in creating their unique blend of jazz music. Hailing from Athens Georgia USA, Megaphone Man consists of Neal Fountain on bass, Jeff Reilly on drums and Bryan Lopes on tenor saxophone. With carefully crafted thematic notes and rhythms, this young group of virtuosos demand as much from themselves as they do the overall group interplay of their contributing melodic ideas. Megaphone Man's debut CD recording "Live At The Tabernacle", is such an experience. Recorded live at The Tabernacle Concert Hall in Atlanta, GA USA, Megaphone Man's performance captures their forty-five minute opening set with headliner and James Brown sideman, Maceo Parker. Instrumental songs such as "Razor Egg Hunt", "Reoccurring Nightmare", "Fat Gambling Liar", "Miles of Rust" and "Bubble Hat" not only demonstrate clever and witty song titles, they musically transform these titles into a work of art. Megaphone Man is not timid in taking chances with their improvisational skills, which should be evident by the fact their debut CD is a live recording and not a conceived studio recording.  Bryan Lopes "Megaphone Man has a style all their own," states Jazziz writer James Rozzi. "The manner in which these accomplished musicians approach a particular tune will drastically change from one performance to the next. In an effort to maintain their own interests, they create an abundance of spontaneous, razor-sharp musical maneuvers for their audience. One concert with these guys is like a lesson in improvisational wit and daring." With Megaphone Man's turn-on-a-dime approach, one particular song will metamorphose numerous times--harmonically and rhythmically--before coming to a close. The end result is an exciting foray with enough depth to please an audience of hard-core jazz fans--or the more laid back patrons of the jam band circuit.  Neal Fountain Describing the music of Megaphone Man is difficult. Although all members shy away from calling themselves a jazz trio, their music contains full elements of jazz--and then some. "We all have wide varieties of music in our backgrounds," states Fountain, "so I think it best not to call ourselves a 'jazz band' per se." Whether it's hard-bop, funk, free-form, R&B, R&R, country…you name it and Megaphone Man has it in the mix somewhere. As Lopes (whose inspirations include Coltrane and Joe Lovano) is quick to inform, "Hey, if I want to quote Led Zeppelin, I'm going to quote Led Zeppelin!"  Jeff Reilly In 2001, Atlanta based culture rag and weekly newspaper 'The Creative Loafing', named Megaphone Man the "Best Jazz Band" in the Atlanta metro area. One only has to listen to "Live At The Tabernacle" to see why the Creative Loafing title holds true. The trio of bassist Neal Fountain, saxophonist Bryan Lopes, and drummer Jeff Reilly is genuinely articulate, highly artistic, intellectually stimulating, and perhaps best of all, full of surprises. If this debut CD recording is any indication into the future of Megaphone Man, many exciting performances and musical journeys await.
 The Knoxville Jazz Orchestra’s debut cd for Blue Canoe Records, “Blues Man from Memphis”, is a most adventurous big band effort featuring the work of Donald Brown. The recording also highlights the prodigious talents of three other world renowned artists: bassist John Clayton, vibraphonist Stefon Harris, and saxophonist Greg Tardy. Pianist Donald Brown (who also produced the cd) is considered to be one of the most innovative composers in the field of jazz today. Among the many accolades Brown has received, trumpeter Wynton Marsalis says: “Donald Brown is a genius.” Bassist Ron Carter adds: “For those who look around and ask, ‘Where is the next great jazz composer? Who is going to lead the music into the twenty-first century?’ Look no further. Donald Brown is here.” Brown’s compositions have been recorded by many artists. Wynton Marsalis’ recording of “Insane Asylum” on “J-Mood” was nominated for a Grammy, as was Donald Byrd’s recording of “Theme for Malcolm”.  L to R: Donald Brown, John Clayton, Stefon Harris As a testimonial to Donald Brown’s expertise as a piano player, the late Art Blakey professed: “Donald Brown is one of my favorite accompanists with The Jazz Messengers since Cedar Walton and Walter Bishop, Jr.” The KJO is a supercharged, motivated ensemble formed in 1999 by trumpet player/arranger Vance Thompson. Although a large group (17+ members), they perform regularly and have played prestigious venues such as The Montreaux Jazz Festival. The Knoxville Jazz Orchestra has a wide fan base, largely due to the enthusiasm incurred by compelling and exciting arrangements and famous guest artists. All of the compositions on this cd are by Donald Brown. The arrangements and orchestrations are by Vance Thompson and Bill Mobley, respectively. “Blues Man from Memphis” is an ingenious, inspired work for the contemporary jazz big band. Twenty-first century jazz is alive and thriving.  "It's About The Melody", by Saltman Knowles Quintet, brings tight jazz harmonies and elegant lyrics together in a pleasing, sophisticated fashion. By combining compelling, interesting jazz arrangements and a sense of poetry in a friendly, non-pretentious manner, the group offers a comfortable program of songs that is sure to be in step with listeners and contemporary jazz radio formats world wide. The ten songs on the cd were composed alternately by bassist Mark Saltman and pianist William Knowles and have a fresh, contemporary jazz feel about them with a hint of Latin grooves lurking throughout. Lori Williams vocals are sensuous and romantic: her clarity of annunciation skillfully brings out the irony of the lyrics in "The Joke's On Me", and the wistful spirit of "My Secret Lullaby". Ms. Williams' warm and inviting stylings are particularly evident on "What About April", which is already getting significant airplay around the country.  Charles Langford's sax work is thoughtful and laid back. His lines deftly shadow the vocals and add counterpoint to Knowles' piano work, while drummer Mark Prince plays tasteful grooves that pull the entire effort together.
Reviewers have described The Saltman Knowles Quintet as "rhythmically infectious" and "colorful", and have mentioned the band always "has the whole house swinging." Saltman and Knowles concur that "we want to be musically challenging ... but entertaining as well." The Saltman Knowles Quintet has superbly melded together the three main elements that make a great musical experience: good writing, good musicianship, and good lyrics. "It's About the Melody" is just that and more.  Review by: Pete Pardo Bassist Joseph Patrick Moore’s latest album Live in 05 is a fun and spirited jazz-fusion collection of songs recorded at This House Rocks in Atlanta, Georgia on April 2nd, 2005. Moore has been busy over the last few years, putting out a few albums of his own as well as appearing on various other artist’s recordings. Here, he and his crack band of Al Smith on keyboards, drummer Jon Chalden, EWI player Al Mcspadden, and percussionist Emrah Kotan really give a five performance on eleven tracks of smokin’ and funky fusion, melodic cool jazz, and progressive tinged improvisations. Moore himself is a very smooth player with some serious chops, whether he is laying down deep grooves or lean melodic solos on electric, fretless, or double bass. Fans of Victor Bailey, Gary Willis, John Pattitucci, Stanley Clarke, and Marcus Miller, will instantly dig Moore’s energetic style. Although there are plenty of great bass solos on the album, the live setting affords his bandmates to also get in on the action, especially keyboard player Smith, who launches into a wild synth frenzy on the funky “Gypsy Moon Father Sun”. He also provides a nice melodic foundation in which Moore can dig into some serious popping bass lines on the light jazz piece “Fall”. Drummers will love the percussion/drum spotlight “Drum Dance”, which allows Chalden and Kotan some room to show off before the song segues into the fine “Datz It (version 2005)”, a song with plenty of funk bass melodies and 70′s styled electric piano. Ultimately it comes down to compositions, and Moore is no slouch in that department. These are all memorable tunes with catchy melodies, which go along just fine with the solid chops of the band. So if you in the mood for some well played and melodic modern jazzfusion, you can’t go wrong with Live in 05. Track Listing 1. SoulCloud 2. Mystery 3. Prayer of Solitude 4. Chief Dagga 5. Gypsy Moon Father Sun 6. Bless You 7. Fall 8. Bebop Charlie 9. What? 10. Drum Dance 11. Datz It (version 2005) |
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