2011

THE CRITICS WEIGH IN ON BRIAN LYNCHʼS “UNSUNG HEROES” PROJECT:

“The series is more than a tribute; itʼs an effort to preserve and perpetuate the bop legacy....While releases like Unsung Heroes appear with some frequency, few sound as accomplished or exuberant.” ERIC FINE, Downbeat (***** 5 Star Review, July 2011 Issue)

“Brian Lynchʼs valid thesis is that the great jazz trumpet tradition has been created not only by towering figures like Louis and Dizzy and Miles, but by second-echelon players like Tommy Turrentine, Idrees Sulieman, Louis Smith, Claudio Roditi, Kamau Adilifu, Joe Gordon, Ira Sullivan and Charles Tolliver.... Lynch is an articulate trumpet player with his own polished concept, and he does not attempt to mimic the styles of his heroes. His tributes go deeper....Most of all, what makes these tributes authentic is the high level of creative execution throughout Lynchʼs sextet.”THOMAS CONRAD, Jazz Times

“This isn't the first sort of "legacy" project in your discography but it seems to be the one getting the most attention....the web site Unsung Heroes volumes 2 and 3 are beautiful, too, not to mention the full liner notes... The unearthing of these unrecorded compositions is a major contribution to these musicians you're celebrating."  LAZARO VEGA, Blue Lake Public Radio

“Whether or not they realize it, jazz players owe a serious nod to the many musicians through the years who have influenced and helped shape the branches on the musical tree...not just the household name players, but the many others – active or deceased – whoʼve been innovators in their own way. Brian Lynch understands this big time....Lynch and his band (pianist Rob Schneiderman, saxophonists Vincent Herring and Alex Hoffman, bassist David Wong, drummer Pete Van Nostrand and conguero Vicente “Little Johnny” Rivero) take the music of the aforementioned innovators and add their own contemporary stamp. It is a beautiful project.... Lynch has developed a great way to pay forward the influences that he absorbed. May he not be the last to do so.”KEN FRANCKLING, Jazz Notes

“It's easy to sing the praises of Unsung Heroes. From trumpeter Brian Lynch, it's a crisp, hard-bopping session for sextet that frequently bears a certain, uplifting Jazz Messengers vibe... With consistently strong solos and impeccable ensemble work, this disc conveys great reverence and respect with great eloquence.”PETER HUM, The Ottawa Citizen, jazzblog.ca

http://www.allaboutjazz.com/php/article.php?id=40122

By DAN BILAWSKY, Published: August 13, 2011

Trumpeter Brian Lynch's ConClave Vol. 2 arrives six years after the first installment and, while the personnel are completely different on each date, both volumes boast collections of intelligent arrangements that juxtapose Latin rhythms and Afro-Cuban musical elements against modern jazz ideals. Lynch's ability to create hybrid forms of music that blend seemingly dissimilar elements with ease comes into play on this second volume, and the musicians that he selects for the date reflect this melting pot mindset.

Cuban-born cookers like pianist Manuel Valera mix with young, American-born up-and-comers like drummer Justin Brown, and the results can be anywhere from explosive to expansive. A head characterized by clipped melodic phrases and some wonderful conversation between Lynch and saxophonist Yosvany Terry proves to be two different high points from the same song ("With A Single Step"), while Miles Davis' "Solar" is born again, with a bouncy bottom and some marvelous, montuno-like machinations from Manuel Valera. Funky, Eddie Harris-esque fare with a Latin twist ("Dance The Way U Want To") and straight-up blues (Kenny Dorham's "Blue Friday") aren't out of the question either, further demonstrating the versatility of these musicians and the varied interests that live within Lynch's mind.

While it's easy to marvel at the structural integrity and rhythmic complexity inherent within this work, it's the individual personalities at play that make this music something at which to marvel. Lynch's warm-toned trumpet work is at the center of Charles Tolliver's "Truth," and Valera's elegant, yet oblique solo work on "Magenta's Return" is superb. Pedro Martinez provides a burst of energy whenever his hand drumming takes center stage, and Brown, along with bassistLuques Curtis, helps to navigate the multicultural, pan-stylistic rhythm road that this band uses to get from piece to piece.

While Lynch is occasionally viewed as a man who splits his time between jazz and Afro-Cuban music, this assertion is false. ConClave Vol. 2 demonstrates that the trumpeter brings elements from both worlds into his playing and writing, creating something wholly unique, yet completely connected to both genres.

BRIAN LYNCH and SPHERES OF INFLUENCE - “ConClave Vol. 2” (Criss Cross, 2011) Review Sheet

Track Listing: The Downside Of Upspeak; Truth; With A Single Step; Magenta's Return; Solar; Dance The Way U Want; One For Armida; Blue Friday.

Personnel: Brian Lynch: trumpet; Yosvany Terry: alto saxophone; Manuel Valera: piano; Luques Curtis: bass; Justin Brown: drums; Pedro Martinez: percussion.

Record Label: Criss Cross | Style: Modern Jazz

Music Jazz (Italia) July 2011:

(rough translation from Italian)

A Latin Bop album, absolutely honest, cleverly packaged and conducted: in this second volume (the first is dated October 2004) converge five pages of Lynch and three tunes of trumpeters such as Tolliver, Davis (Truth and Solar, the best episodes of the CD) and Dorham (Blue Monday). The listener gets hit by an excellent amalgam by the Spheres of Influence, whose structures (smoother and prompter than how it would usually happen in similar contexts) obviously do not base their trump on originality or sense of research, preferring to chain linear issues with generous improvisations. Everything follows a precise line, based on palpable but never overflowing vivacity and, according to the script, it alternates with moments of retreat, which however do not waver into anything obvious or predictable. All the solos are notable, with an obvious reference to the trumpet player from Illinois, whose clear emission and fluid and round phrasing have an enviable sense of form.

Volume 34/Number 266 July 26, 2011

BRIAN LYNCH/Con Clave V. 2: An old school trumpet session, recorded in one day by a bunch of jazzbos with a Latin bent. Coming on with a very New York vibe, this is a set that simply has a classic sound and vibe even though most of the songs are originals. Everyone is on the same page and this swinging set will make you feel like you’re in Santruce enjoying rum drinks at sunset. Easy, breezy sounds that are played by people that know and like them add up to a set that can’t miss with Latin jazz fans. Well done.CHRIS SPECTOR Copyright 2011 Midwest Record

BRIAN LYNCH and SPHERES OF INFLUENCE - “ConClave Vol. 2” (Criss Cross, 2011) Review Sheet

www.theurbanflux.com

Alright Latin jazz aficionados, if you didn’t know now you know trumpet sensation Brian Lynch can certainly navigate his way through his sphere of influence to engrave his gifted signature into another fascinating body of work titled “CONCLAVE VOL. 2.” Not surprisingly, to make it happen this is what’s up Lynch called in a talented cast of musicians to do what they do best mix up a gumbo of potent Latin and jazz music to satisfy a diverse audience of music lovers! –Rob Young | The Urban Flux

Brian Lynch and Spheres of Influence - CONCLAVE VOL2Brian Lynch and Spheres of Influence ]|[ CONCLAVE VOL. 2 [Criss Cross]

A versatile trumpeter able to navigate in both the Jazz and Latin music fields, Grammy Award winner Brian Lynch returns to the Criss Cross fold with ‘ConClave Volume 2‘, a tour-de-force for his revamped Spheres of Influence ensemble. Up-and-comers Yosvany Terry on alto,Manuel Valera on piano, with bassist Luques Curtis, drummer Justin Brown, and percussionist Pedro Martinez make the scene for a diverse set of mainly Lynch originals.

Mixing the Afro-Cuban beat with touches of samba and funk, Lynch comes up with his best concoction to date of spicy Latin sounds.

Release date: February 15th, 2011.

For more info about the Grammy Winning artist, please visit www.brianlynchjazz.com/biography/.

BRIAN LYNCH and SPHERES OF INFLUENCE - “ConClave Vol. 2” (Criss Cross, 2011) Review Sheet

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03/29/11 • By Lee Mergner

Brian Lynch: His Unsung Trumpet HeroesTrumpeter pays tribute to unheralded players from past andpresentIn his appropriately titled Unsung Heroes album, Brian Lynch pays tribute to ten unheralded trumpeters, allof whom were strong influences on him. The 54-year-old has recorded over 15 albums as a leader and, likeall of his heroes, has been a sideman (heralded and unheralded) with Art Blakey, Eddie Palmieri and othergreats. In his Tribute to the Trumpet Masters album recorded for Sharp Nine in 2000, Lynch saluted severalof the trumpet greats, including Woody Shaw, Blue Mitchell, Lee Morgan and Freddie Hubbard. But forthis album, he decided to focus on some players who may be lesser known, but were nonetheless importantinfluences on him and other modern trumpeters.

1Brian LynchBy Tomoji Hirakata

1 2

“I feel that in order to really appreciate the richness of the tradition of the music as a whole or theinstrumental tradition of an instrument like the trumpet, you can’t say it all by just concentrating on a fewfigures,” explains Lynch. “We could get a very good picture of [jazz trumpet] music by just listening toMiles, Dizzy, Freddie and Clifford Brown, but we wouldn’t get an idea of the whole picture. So the idea ofa looking at the larger group of figures has been very important to me, and this goes for all instruments,whether it be Cedar Walton or Kenny Kirkland in the history of jazz piano or Hank Mobley with the tenorsaxophone. I think things would be somewhat impoverished in the imagination if you only knew about thebig names. And then there’s also the aspect of how some of these [musicians] had personal relationshipswith me and how they’ve touched me, and how they’re personal mentors.”

In addition to producing the nine cuts on the CD, Lynch recorded another two volumes of material that he’smaking available via digital download at his record label Holistic MusicWorks’ website. Playing with Lynchon this well-produced album is Vincent Herring (alto sax), Alex Hoffman (tenor sax), Rob Schneiderman(piano), David Wong (bass) and Pete Van Nostrand (drums), with Vicente “Little Johnny” Rivero (congas)on a few cuts.

Lynch spoke by phone from his home in New York City about each of the ten trumpeters to whom he paidhomage with this project. In addition, he gave us a “Jazz Playlist” with his recommendations for cuts bythese “unsung heroes” of jazz trumpet.

Tommy Turrentine I would consider Tommy a mentor. When I first came to New York in the early 1980’s, he was verysupportive of me and encouraging of my playing. At the time that I met him, I was also becoming morecognizant and more interested in how deep the music we call bebop is and the music that comes out of thattradition. His playing really exemplifies that for me – the amount of great lines, all the feeling he puts into it,the purity of the melodic conception that he had – all those kind of things – it really knocks me out. I hadbecome enamored of Kenny Dorham’s playing before I met Tommy and there’s a lot of things in common

2Brian LynchBy Tomoji Hirakata

in terms of his melodic structure and very reminiscent of the great Fats Navarro too with his own individualstamp on it. Also, I think he’s a great writer [so] having the opportunity to record a lot of tunes of his whichhave never been recorded before was very meaningful to me. There’s definitely a personal relationship withme.

Idrees Sulieman He’s an example of somebody you can listen to and it’s like listening to an amazing jazz history lesson—somebody who was around at the very beginning of bebop. He recorded with Monk in ’47; he was playingat Minton’s. People always talk about the great sound of Freddy Webster a lot and he’s considered to besomebody who really brings the quality of Freddie Webster’s tone quality into his ballad and lead playing. Igot a chance to meet him in New York and hear him play. I think there’s one example of hearing him playin later years is on a record he did on Steeplechase with Cedar Walton’s trio backing him and on that record,it’s the most amazing modernist, expressive playing you can imagine. It’s highly recommended. He’ssomeone who writes amazing, wonderful lines on familiar progressions—not just standards but actuallyrecasting jazz tunes with another melody. I love his playing a lot.

Louis Smith I used to play his tunes a lot with a colleague of mine, Jim Snidero, a great alto player. We had a grouptogether in the ‘80s and we would play a lot of his music—not just the famous album with CannonballAdderley, Here Comes Louis Smith where he played under the pseudonym “Buckshot La Funke.” That wasa great record. From the tune perspective, he’s really ingenious at constructing these counterfactual lines onthe standards that are almost like compendiums of bebop and hard bop vocabulary. It’s very entertaining. Iget a real kick out of this stuff but he was one hell of a trumpet player. He’s still around, but he’s beenailing so I’m not sure how much he’s playing now, but he was an incredibly strong trumpet player. I alsofeel an affinity with Louis Smith because looking at his personal history, his approach to playing theinstrument and his studies of the instrument reminds me of my own. For instance, the fact that he comes outof the jazz tradition pretty purely but also was very concerned about what you would call: “correct trumpettechnique.” He studied with some very good teachers, like the gentleman up in Michigan named CliffordLillya—one of the heavy guys of mid-twentieth century trumpet pedagogy. He’s somebody who’s reallygetting into the instrument and expanding and very flexible in the way that he plays the instrument. That’salways been my own personal philosophy about maintaining my technique. He’s inspirational to me in thatregard.

Claudio Roditi He was definitely a mentor to me and still is. I played alongside him a lot when I first came to New Yorkand he helped get me a lot of gigs. He was very encouraging, even before I came to New York. I met himthrough jam sessions. There are two musicians that I have a lot of contact with that I always have to bowdown to in terms of their approach to the instrument, their consistency and their overall “hipness” of theirplaying and that’s Claudio and the alto saxophonist, Charles McPherson. People know about Claudio andhe’s definitely well-respected and he’s known in the jazz world but I think he’s still underrated. He’s thereal deal, the whole package. He’s got the intensity and finesse in his technical approach to playing jazz onhis instrument. I don’t know anyone like him. I think he’s one of the absolute best of anyone who’s everplayed the instrument—a great man and a true artist.

Kamau Adilifu His playing and the records he was on in the mid-to-late-70’s that I was listening to when I was growing upwere a really big influence on me. From him I consciously picked up a lot of things about my phrasing andmaybe about the way I articulate notes. He had this really wonderful legato approach but at the same timewith a lot of fire. There’s something about his playing that’s really stuck with me and he really had adefinite influence on my playing.

Joe Gordon

I didn’t even know his playing but when I started hearing Joe Gordon play, I also heard the sort ofcommonality in our approach to like maybe the way we get from note to note on the instrument. Joe Gordonhas become one of my favorite players too. He’s from Boston and he came up in the early ‘50’s and mid-‘50’s. He played in the Jazz Messengers with Horace Silver after Kenny Dorham left. He’s part of Silver’sBlue for instance. He made a couple of really wonderful recordings and he went out west and played withShelly Manne. He’s on those Shelly Manne Live at the Blackhawk records as well as a number of otherthings. He died really young, tragically in a fire, at the age of 32. Definitely under the radar but I find him aquite interesting player with really interesting compositions. Gordon’s “Terra Firma Irma,” which starts theCD out, is a great opener. It’s like a cross between “Milestones” and “Janine.” It has an ebullient, jumpin’out sort of quality. I met Gordon’s wife Irma in Brooklyn back in the day, so there’s a bit of the personalaspect to it. I play another composition, a really pretty ballad called “Heleen” on the other volume. They’reboth really fun to play.

Charles Tolliver Charles is definitely a really big influence on me. The way he stretched out in the ‘60’s and ‘70’s with hisgroup, Music Incorporated. He and Woody Shaw were my two guys when I was growing up in terms oftheir forward-looking and very contemporary approach to playing the trumpet and also in terms of playingas a band leader and as a composer. They were getting more into the Coltrane aspect of doing somethingmore modern and modal. Tolliver is also very inspirational to me—to see that a trumpeter could lead aquartet and make it work. Not too many people were doing that then or are doing that even now. The kindof strength and stamina and fire that he had is something that is very influential to me. It serves asmotivation to develop myself as a player to the point where I can sustain playing in a quartet all nightwithout any sudden slackening of my playing. I’ve done a tribute previously to him. I wrote a tune called“Charles Tolliver” which is on the Tribute to the Trumpet Masters record. I’ve also recently recorded histune, “Truth” and made it into a bolero for a record that’s just coming out now on the Criss Cross labelwhich highlights my Latin Jazz stuff a little bit more. He’s a tremendous influence on me and it was a bigthrill to do a tour with his big band a few years ago—to play that music with him, firsthand.

Ira Sullivan Ira was coming out sort of obscurity and playing a lot in the Midwest, including my hometown, Milwaukeejust at the point when I was getting ready to go to New York so I got the chance to get to know him andplay alongside him at that point. He would tend to play more saxophone than trumpet, but when he picks upthe trumpet, that’s like the closest thing you’re going to hear to the real spirit of Clifford Brown. Anamazing trumpet player. I think a couple of years ago I was in Chicago for the festival and he was playingduring the jam sessions as he often does. Getting up on the stand and playing two trumpet stuff with himwas just an amazing experience. He’s a real jazz musician. Guys like him have been next to the fire. Still atthis point [I’m] still very much an acolyte of that era and that conception of jazz music, even though I’mopen to things that are going on now and a part of them, I’m still really revere and think it’s reallyimportant to know about and be around that stuff while it’s still here.

Donald Byrd Donald’s a little bit more well-known but I think that he’s sort of overlooked in this era in terms of whatpeople talk about and what they listen to. I wanted to recognize and pay tribute to his very important role inthe jazz trumpet tradition. The tune of his I played, "I'm So Excited By You", is awfully fun to blow on! Inrecent years, he’s had some issues that have prevented him from playing a lot, but I think plays very well onthose records from the 1980’s with Kenny Garrett and James Williams or Donald Brown. He’s somebodywho’s been through a lot of lives and, like his protégé Herbie Hancock, he’s done a lot of things. You’vegot to recognize that there was a period of time when he was the cat on the scene and I think he influencedFreddie [Hubbard] a lot. His playing on so many of those seminal Blue Note records is music-making of avery high order.

Howard McGhee

He plays very differently than the kind of line that I come out of. Most of the modern trumpeters [a relativeterm] or the bop trumpeters onward come out of Dizzy and Fats Navarro. And Howard’s thing is a little bitdifferent. The chord structure is very sophisticated but melodically more like the Roy Eldridge approach toit. But I find that very interesting. Some of my students are thinking of picking up his approach. He’splaying very contemporary sounding stuff but he puts some an old sort of way of getting around the horninto it. It makes me think there are things in his approach that haven’t been explored or extended yet.There’s so much we can get out of these guys with an imaginative sort of listening of what you’re doing. Ialso was reading a book called The Birth of BeBop by Scott DeVeaux, a really wonderful book about jazz asboth social history and jazz musicology all wrapped up in one. I had much more of an appreciation for whatan important figure McGhee was for the transition of the music. It’s the same sort of thing that GuntherSchuller says about the Swing era. He pays a lot of attention to Howard McGhee. So I think he’s somebodywhose importance should be noted. Again like most people don’t have the faintest idea who he is. He wrotea very nice tune which is originally from the Teddy Edwards & Howard McGhee Together Again record onContemporary. It’s called “Sandy” and it sounds like “Green Dolphin Street” at the beginning but then itgoes someplace else. It’s fun to play.

Jazz Playlist: Unsung Heroes of Jazz Trumpet By Brian Lynch

Joe Gordon: "Blue Daniel" from Shelly Manne and his Men Live At The Blackhawk (OJC)

Tommy Turrentine: "Fine L'il Lass" from Stanley Turrentine - Comin' Your Way (Blue Note)

Idrees Sulieman: "Mirror Lake" from Idrees Sulieman - Now's The Time (Steeplechase SCCD 31052)

Charles Tolliver: "Spanning" from Music Inc. Live At Historic Slug's (Strata East/Charly)

Howard McGhee: "You Stepped Out Of A Dream" from Teddy Edwards and Howard McGhee - TogetherAgain (OJC)

Claudio Roditi: "Moment's Notice" from Claudio Roditi - Impressions (Sunnyside)

Kamau Adilifu: "Evening Song" from Charles Sullivan - Genesis (Strata East)

Ira Sullivan: "Shakey Jake" from Eddie Harris - The Lost Album Plus The Better Half (Vee-Jay)

Donald Byrd: "Junka" from Sonny Clark - My Conception (Blue Note)

Louis Smith: "The Outlaw" from Horace Silver - Live At Newport '58 (Blue Note)

Brian Lynch and band performing Louis Smith's "Wetu" in the studio:

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EDDIE PALMIERI/ BRIAN LYNCH QUARTET

At: Scullers, Friday and Saturday night, 8 and 10 p.m. Tickets: $30. 617-562-4111,www.ticketweb.com.

A&E /

MUSIC

From bebop to latin jazz, and backLynch brings energy, variety to foursome

(Nick Ruechel)

By Andrew GilbertGlobe Correspondent April 1, 2011

Brian Lynch’s latest album, “Unsung Heroes,’’ is a project exploring compositions by overlooked jazz trumpet masters, players who developed powerfully individual voices but are mostly forgotten today. That’s not a fate he’s likely to share.

At 54, Lynch has attained rarified status as an improviser as deeply versed in Afro-Caribbean idioms as straight-ahead jazz. As the last horn player to hold down the storied trumpet chair in Art Blakey’s Jazz Messengers, and a longtime sparring partner with alto saxophonist Phil Woods, Lynch blows with all the fire, funk, and finesse that makes hard bop such a swaggering pleasure. And from his formative experience accompanying beloved salsero Héctor Lavoe and his key role in the evolution of Latin music

legend Eddie Palmieri from dance bandleader to Latin jazz maestro, Lynch has walked two paths simultaneously.

“I think in clave even when I’m playing bebop eighth notes, and I think in bebop when I’m playing a montuno,’’ says Lynch, who opens a two-night Scullers run on Friday with the quartet he leads with Palmieri. “It’s never a jump to go from one to another.’’ Both men are also featured in the April 9

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Sanders Theatre concert celebrating the Harvard Jazz Band’s 40th anniversary.

Lynch joined Palmieri’s salsa orchestra in 1987, and they have forged an enduring relationship that has paid steep creative dividends. Deeply influenced by Thelonious Monk and McCoy Tyner, Palmieri jumped at the opportunity when the prestige label Nonesuch approached him about changing formats and recording a Latin jazz session in the mid-’90s.

Lynch brought his former Jazz Messengers bandmate Donald Harrison into Palmieri’s new octet, joining trombonist Conrad Herwig in the era’s most potent frontline. The band released a series of classic recordings, including the 1994 Nonesuch debut “Palmas,’’ and 1995’s “Arete’’ and 1996’s “Vortex’’ (both on RMM Records).

Long revered as a composer of dauntingly intricate compositions, Palmieri increasingly encouraged Lynch to contribute charts to the band, showcasing his work on the Concord Picante albums “La Perfecta II’’ and “Ritmo Caliente.’’ But their relationship attained new visibility with Lynch’s album “Simpatico’’ (ArtistShare), the 2007 Best Latin Jazz Album Grammy Award winner that surrounded Palmieri with a cross section of players who share the trumpeter’s culturally ambidextrous sensibility, such as pianist Edsel Gomez, Cuban drum star Dafnis Prieto, and bassist Ruben Rodriguez.

“Brian is one of the greatest trumpet players I’ve ever heard,’’ says Palmieri, 74. “He’s a great bandstand buddy, and a great catalyst for me. I really played dance music my whole career, and he made it possible for me to cross into the Latin jazz category. Since then we’ve had an incredible relationship.’’

While the Palmieri-Lynch quartet plays some of the “Simpatico’’ material, the band has developed its own powerful synergy, with all four players contributing tunes. The group is anchored by Russian-born bassist Boris Koslov, best known for his work with the Mingus Big Band, Dynasty and Orchestra, and powered by Prieto, a prolific bandleader and composer who shares deep interlocking ties with Lynch. Since meeting at the Stanford Jazz Workshop in 1988, they have performed on each other’s albums and hired each other on numerous gigs.

“Brian is a master of the instrument, and he goes in and out from these two styles very fluidly, though we think of it all as one,’’ Prieto says. “With him coming from bop, playing with Art Blakey, and going and playing salsa with Héctor Lavoe, and then connecting with Eddie Palmieri, it makes him a musician of a very wide range of ideas.’’

Raised in Milwaukee, Lynch started gigging in his teens with resident masters such as pianist-vibraphonist Buddy Montgomery and organist Melvin Rhyne. At the same time, he earned a degree from the Wisconsin Conservatory of Music. While never studying jazz formally, he gained an invaluable bandstand education.

“They didn’t write anything down,’’ Lynch says. “You had to learn it by rote, and figure out the changes and the melody. It was great old-school training at the same time I was going to music school. Buddy used a lot of percussion and his music is very amendable to Latin influences.’’

Over the years, Lynch has continued to develop and refine an encompassing concept called Spheres of Influence, an ongoing project featuring like-minded artists exploring jazz as part of a pan-American continuum. But he keeps a foot firmly planted in the straight ahead world, too. As a leader he has focused on projects such as “Unsung Heroes,’’ and as a sideman he continues to write and arrange for Phil Woods.

“I think you can still play with originality and freshness within established

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forms,’’ Lynch says. “It’s so important that guys like Phil and Charles McPherson keep on representing that classic style of improvisation. Bebop is still the music of the future.’’

Bebop has certainly stood the test of time, a trial that Lynch looks likely to pass with flying Caribbean colors.

Andrew Gilbert can be reached at jazzscribe@aol.com.

© Copyright 2011 Globe Newspaper Company.

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Entre Brian Lynch y El Prodigio se dio unacomplicidad musical que emocionó a todoel público. (Fotos: Carlos Chicón).

Brian Lynch ofrece magistralconcierto en SantiagoPor Mariela López

El trompetista Brian Lynch hizo suyo el escenario de la sala Restauración del GranTeatro del Cibao, por donde se paseó demostrando que la música es sinónimo delibertad.En el concierto auspiciado por el Centro Franklin de la Embajada de los Estados Unidos,cada integrante del Quinteto Jazz lució su habilidad, motivando aplausos al públicocompuesto en su mayoría por conocedores de música.El ganador de los premios Grammy 2007 por su álbum "Simpático", acompañado deZacaii Curtis, piano, Luques Curtis, bajo, Pedro Martínez, congas y Obed Calvaire,batería, protagonizó una magistral descarga musical que inició con, "Liberated Brother"de la autoría de Weldon Irvine.Con "The Palmieri Effect", "Afinque" y "J.B'S Dilemna", "Que sería la vida" dondecomparte la autoría con Lila Downs y "One For Mogie", continuó la actuación de quienactualmente se sitúa entre los diez primeros trompetistas del mundo.Para hacer brillar los colores de la dominicanidad fue invitado Krency García, El Prodigio.El anfitrión demostró que su nombre artístico no es fruto de la casualidad. Junto a subanda y teniendo a Lynch de frente, el popular "Amarillo" le puso el sabor criollo a"Autumm leaves de Mercer" y "Manteca" .El concierto fue la despedida de Rex Moser, como Agregado Cultural de la Embajada delos Estados Unidos en el país.

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Empleos Oficina

Cursos Salud

Computadoras Animales

Diversos

Es correcto launificación de laseleccionespresidenciales ycongresuales

Si

No

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