|
Courtesy of Jazz Promo Services:
http://www.jazzpromoservices.com/ - jim@jazzpromoservices.com
Lou Volpe August & September Appearances
Thursday, August 18th:
Lou Volpe Jazz Guitar Trio
Creole Restaurant & Supper Club 7:30 to 10:30
2167 Third Avenue
New York, NY 10035
212-864-8941
http://www.creolenyc.com/
Saturday, August 27:
Showman's 3 Sets 9:30, 11:30 and 1:30
375 W. 125th St. #1
New York, NY 10027
212-864-8941
For September - Beginning Thursday September 8th and every
Thursday thereafter a new show:
Lou Volpe's Blues Jam Session
Creole Restaurant & Supper Club 7:00 to 11:00
2167 Third Avenue
New York, NY 10035
212-864-8941
http://www.creolenyc.com/
Friday, September 23 (9:30, 11:30 & 1:30)
Showman's
375 West 125th Street #1
New York, NY 10027
212- 864-8941
Saturday, September 24 (9:30, 11:30 & 1:30)
Showman's
375 West 125th Street #1
New York, NY 10027
212- 864-8941
Sometimes greatness is heard but never seen. Now, a man who has been called "one
of the great unsung heroes of jazz" may finally have his day – all thanks to the
release of one of the most remarkable new jazz recordings heard in years. Lou Volpe's
resume of album guitar performance, touring stints, music production, and composition
and arranging reads like a "who's who" of masters in the music entertainment industry.
Hear and Now (Jazz Guitar Records), the latest release from the versatile guitar
virtuoso Lou Volpe, features veterans of the New York studio scene – pianist Onaje
Allen Gumbs, bassist Bob Cranshaw and drummer Buddy Williams.
Over the years, in concert and on recordings, Volpe has supported many of the great
artists of jazz, rhythm and blues, rock, folk and pop – including Herbie Hancock,
Chet Baker, Herbie Mann, David "Fathead" Newman, Jon Lucien, Bo Diddley, Peggy Lee,
Judy Collins, Bette Midler, Chaka Khan, Roberta Flack, Liza Minnelli and The Manhattan
Transfer.
On Hear and Now he brings a distillation of that experience – and his own unique
style and approach – to a wide variety of arrangements and original compositions.
Appearing on the recording, Buddy Williams (one of the most recorded drummers of
our time) says "I've known Lou all my life and I'm shocked that it's taken this
long for him to receive the recognition he's long deserved. He's a great player
with another kind of style and the older guys like George Benson and Pat Martino
come to check him out and marvel at his approach."
Pianist Onaje Allen Gumbs, another pioneer who contributes his superior keyboard
skills to the recording says that Volpe is "an unsung hero of jazz -- a real original
– and it's an honor to be a part of this great recording." With Sonny Rollins' bassist,
Bob Cranshaw, providing an impeccable beat at the center of a great rhythm section,
the quartet has created one of the best recordings of the year.
In Hear and Now, Volpe says that he put early life lessons to use. As a former student
of the masterful guitarist, Sal Salvador, Volpe remembers lessons that culminated
in jam sessions with Les Paul, an experience that would have a profound effect on
the development of his own wide ranging approach to the guitar. Volpe recalls: "Les
was jazz and rock at the same time and I was in heaven. We would play standards
and a lot of blues." It's that bluesy sound that comes through in every note that
Volpe plays – investing each of the recording's ten tracks with soulfulness both
gritty and smooth, simultaneously sophisticated and earthy.
The album's title track "Astral Island," perhaps Volpe's most familiar composition,
opens with a rhythmic vamp that leads seamlessly into the song's pretty and deceptively
simple melody. The guitarist's true jazz roots are fully displayed. Shades of Barney
Kessel, Wes Montgomery, and Jim Hall color Lou's solo as the trio simmers over Cranshaw's
walking bass lines.
It's not the first time for "Astral Island;" the tune was featured as the title
track on a 1983 Atlantic recording by flutist Herbie Mann. Lou remembers enthusiastic
audience reactions to the tune during live performances with Mann's band. Inflected
with a blues country-rock feel, the song would to any fan of the Allman Brothers
or Santana. The arrangement uses a lyrical bridge to introduce soulful guitar and
piano solos over Cranshaw's flowing groove and Buddy William's "island" beat.
"Prince Charming", the second cut on the recording, is a classic twelve bar blues
inspired by the personality of Volpe's pet beagle. The intro features some witty
repartee between Lou's full toned guitar and Buddy William's dancing drums. Onaje
and Cranshaw join them for the melody and solos over the drums loping rhythm.
Volpe previously recorded "Coltrane of Thought" on his 2003 album Can You Hear That?
Coltrane's spirit is invoked with an introductory incantation followed by a deep
blues riff that recalls the Delta bottleneck guitar tradition. A double time pedal
point leads into the solos over "Giant Steps" harmonies applied to the form of "How
High the Moon."
"One for Wes", a delicately beautiful waltz, is dedicated to the guitar master Wes
Montgomery. With stirring solos by Lou and Onaje the band plays with tasteful interaction.
"Live Wires" is a Latinish line reminiscent of early Pat Metheny. Lou's strengths
as a composer are highlighted on this marvelously constructed piece - an opening
verse followed by an attractive melody, a lyrical bridge and a climactic shout chorus
- leading to tight ensemble playing, inspired soloing and a "farewell" vamp with
dialogue based on the introduction.
Volpe cites the voicings of the George Shearing Quintet as an influence on "Blue
Boppa", which employs block chord melodies with the guitar and piano. Lou's solo
employs blues-like phrasing and conversational gambits within sophisticated harmonies
- one aspect of his unique style.
Volpe's arrangement of "Softly as in a Morning Sunrise" gives a fresh treatment
to
an enduring standard. Somewhat reminiscent of Wayne Shorter's "Footprints", an ostinato
bass line leads into the melody with the group swinging hard on the bridge.
Volpe's tasteful emulation of the classic George Benson/Pat Martino guitar sound
comes into play as the band vamps out at the end.
"If You Should Leave" (written for Lou's wife, Joanne) is a poignant, slow bossa
nova steeped in nostalgia and romance. Onaje's gorgeous accompaniment buoys Volpe's
gentle groove as he glides over his memorable melody and solo. The pianistic filigree
in the coda is inspired.
The album ends with "Love Dance" – a jazz groove that swings intensely under a melody
that has the appeal of a soulful pop song. Lou‘s solo - pure, direct and straight
ahead - is followed by Onaje. They play with a cohesive simpatico, soloing and comping
back and forth, recalling the classic Wes Montgomery/Wynton Kelly dialogues.
Long admired by his fellow musicians, Volpe has remained a secret for far too long.
Reviewer W. Royal Stokes (Growing Up with Jazz, The Jazz Photographs of Charles
Peterson) says "In his exciting new CD Lou Volpe conveys a deep appreciation for
melody and a singular flair for imaginative composition. The man has chops galore."
On Hear and Now Lou Volpe finally reveals himself to us – a brilliant guitarist
and composer who passionately pours a lifetime of learning and a unique personal
conception into everything he plays.
|
