Arto Tuncboyaciyan

In February 2004, Arto Tuncboyaciyan recorded his new solo-project "Artostan" in Yerevan – a selection of songs from his solo performances - a radiophonic travel diary through Arto’s unlimited soundscapes and his philosophical homeland.

Maria Pia De Vito is an Italian jazz singer, composer, and arranger. A native of Naples, Italy, she studied classical music, opera, and Italian folk music. In 1976 she performed folk songs as a singer, guitarist, and pianist. In 1980 she sang with jazz musicians such as Art Ensemble of Chicago, Michael Brecker, Uri Caine, Peter Erskine, Paolo Fresu, Billy Hart, Maria Joao, Nguyên Lê, Dave Liebman, Bruno Tommaso, Gianluigi Trovesi, Steve Turre, Miroslav Vitous, and Joe Zawinul. In the 1980s she worked with Toots Thielemans and Mike Stern. She collaborated with Rita Marcotulli in the 1990s on the albums Nauplia and Fore Paese. She has often worked with the British composer Colin Towns and with pianist John Taylor.

Various Artists - Abstract Logix Live! The New Universe Music Festival 2010 (2011) {Abstract Logix ABLX030} (John McLaughlin)
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© 2011 Abstract Logix | ABLX030
Jazz / World Fusion / Jazz Rock / Guitar

On the face of it, this live double-album is an expert genuflection to jazz-rock fusion, with five guitarists and a crop of punchy drummers (including Return to Forever's Lenny White and percussion virtuoso Zakir Hussain) to confirm it. But the playing of the seven bands is anything but predictable. The members sit in with each other here, and their embrace of risk and the pleasure they take in spontaneous performance are palpable. John McLaughlin and the 4th Dimension have Hussain sit in for usual drummer Ranjit Barot in two fiercely vivacious pieces, including an infectious, choppy, 20-minute Hussein showcase, Mother Tongues. Barot leads a violin-dominated Indian-inflected sextet featuring the New York guitar maverick Wayne Krantz as a guest; Krantz also appears with an edgy avant-fusion trio. The chord-crunching, metal-inspired guitarist Alex Machacek opens proceedings with a fast-moving group extensively featuring electric bassist Neal Fountain.

In the tradition of Weather Report and the Joe Zawinul Syndicate, two powerhouse pan-global bands that have greatly influenced generations of musicians around the world, Human Element is staking out a new corner of the musical map on its self-titled debut. Comprised of keyboardist Scott Kinsey (Tribal Tech), electric bassist Matthew Garrison (Zawinul Syndicate, John McLaughlin's Heart of Things, Herbie Hancock), percussionist-vocalist Arto Tuncboyaciyan (Al Di Meola's World Sinfonia, Joe Zawinul, Marc Johnson's Right Brain Patrol) and drummer Gary Novak (Chick Corea's Elektric Band), Human Element incorporates elements of fusion, funk and Armenian folk tunes into a potent 21st century brew that defies easy categorization.

Arthur Blythe - Night Song (1997) {Clarity Recordings CCD-1016}
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© 1997 Clarity Recordings | CCD-1016
Jazz / Contemporary Jazz / Post Bop / Saxophone

This is a particularly intriguing and enjoyable release. Arthur Blythe, who has always had a piercing, passionate, and fairly accessible sound on alto, is joined by Bob Stewart on tuba, Gust Tsilis (doubling on marimba and vibes), three hand drummers (Arto Tuncboyaciyan, Josh Jones, and David Frazier), and occasionally his producer, Chico Freeman, on bass clarinet and percussion. The instrumentation varies from cut to cut, with several duets (including one in which the bass clarinet and tuba blend perfectly together), opportunities for Blythe to play with just the percussionists, and rather unusual versions of Thelonious Monk's "We See" and Billy Strayhorn's "Blood Count." Whether it be hints at New Orleans parade rhythms, Afro-Cuban jazz, older styles of jazz, or freer explorations, this is a fascinating set that is well worth several listens.

Oregon's first recording in a while features the three surviving original members (Ralph Towner on guitar and keyboards, bassist Glen Moore, and Paul McCandless, who switches between soprano, English horn, sopranino, oboe and bass clarinet) with either Arto Tuncboyaciyan or Mark Walker on percussion. They perform 14 originals that usually avoid blue notes, making the music sound very folk-oriented. There is plenty of variety in the atmospheres, and the consistently intriguing music should appeal to many listeners, including those who are into mood music, world music or folk songs in addition to jazz.

On this CD Bob Berg is in good form and this is how we would like to remember him. Both the writing and the playing are very good. Berg's saxophone playing is robust and sensitive throughout the entire CD and there are strong contributions from both Jim Beard on piano, keyboards, and organ and Jon Herrington on guitars and mandolin. Overall, Berg has created a "Virtual Reality" of interesting impressions played in a variety of styles. The first track "Can't Help Loving that Man" falls right in line with Berg's earlier CDs where the listener is introduced to phenomenal playing and writing that is enhanced by unusual instrumentations. It took me a while to figure it out, but the percussionist Arto Tuncboyaciyan is singing in rhythm while at the same time blowing through a flute, highly original for a Latin interpretation of this tune.

If one must indulge in categories, My People, featuring the Zawinul Syndicate and a United Nations coterie of guests, probably belongs on the vast world music shelf, the links to so-called jazz now so tenuous as to be nearly, but not quite, invisible. On the percolating "Slivovitz Trail," "Orient Express," "Many Churches," and the Caribbean-tinged cleverly titled "In an Island Way," the music does suggest earlier versions of the Syndicate, and Joe Zawinul's nostalgic evocations of Wayne Shorter on the Korg Pepe reach back even further. Otherwise, Zawinul is looking entirely toward ethnic cultures for musical sustenance. The musical structures are linear, the rhythms full of intricacies welded to Zawinul's love affair with the groove, the synthesizer textures usually sparer than ever.