Tag: Amanda Monaco
Amanda Monaco
Amanda Monaco
Enjoy the ride and sit back and relax to the sounds of “Glitter” by Amanda Monaco
I first met guitarist, composer, and educator Amanda Monaco when she played in my hometown early in the new Millenium as a member of The Lascivious Biddies, a quartet that combined witty lyrics, strong vocals, and sharp musicianship. Turned out that Ms. Monaco has grown up in nearby Wallingford CT and had been schoolmates with tenor saxophonist Wayne Escoffery and pianist Noah Baerman. After leaving the Biddies in the mid-2000s, she has led several ensembles, released four albums as a leader, and built upon her teaching career.
“Glitter” (Posi-Tone Records) is her fifth release and finds her leading an ensemble that features Lauren Sevian (baritone saxophone), Gary Versace (organ), and Matt Wilson (drums). Just looking at the lineup and several of the song titles (“Gremlin From the Kremlin“, “Mimosa Blues“, “The Mean Reds“), one gets the feeling the listener is in for a good time.
And this truly is a good time. Opening with the swinging “Dry Clean Only“, this band digs in and lets loose (yes, that’s possible). Keeping the solos short, the song has an urgency that’s hard to resist (plus, who swings harder than Matt Wilson?) Ms. Sevian is a versatile player whose solos really dance (as she does on “Mimosa Blues” and Tommy Flanagan’s “Freight Trane“). Versace’s roller-rink organ introduces “Gremlin…” (check out the martial drums as well) – the Eastern European-style melody and chord changes open up to playful solos sounding like a Lieber & Stoller tune from the late 1950s mixed with Micky Katz. “The Mean Reds” also could have come from the ’50s, the organ splashes and “rocking” guitar riffs being pushed along by Wilson’s splashy cymbals.
There is a serious side to this fun session. “Theme For Ernie“, a Fred Lacey composition recorded by John Coltrane in his Prestige Records, is a lovely ballad (amazing how Wilson can play so softly and still be integral to the music) with lovely solos from baritone, guitar, and organ (although Versace does dance through his chorus).
Best advice about “Glitter” is to enjoy the ride – no doubt that these four musicians are having a blast. This is the best and “loosest” I have heard Amanda Monaco play. That’s not a slam against her earlier work. This program works so well because of the temperament and talent of the ensemble as well as how the composer understands how to let her music “breathe.” Play it loud and relax. Just maybe the world is not coming to an end.
All About Jazz says all that “GLITTER”s is gold on Amanda Monaco’s new one
The multi-talented Mae West once said that “personality is the glitter that sends your little gleam across the footlights and the orchestra pit into that big black space where the audience is.” West, of course, thrived in a different era, worked in different formats, and was more than likely addressing another artistic discipline entirely with that specific statement. But those remarks still apply here. In fact, everything in there—minus the orchestra pit and footlights—is really dead-on.
Guitarist Amando Monaco’s Glitter is the kind of recording that hits the sweet spot for lovers of straight ahead jazz who appreciate a good amount of artistic character and playfulness in their music. These songs swing, simmer, and smile, projecting warmth and joy while showcasing Monaco’s no-nonsense playing. If anybody out there still believes musicians can’t be serious and have fun at the same time, Glitter may very well cure them of that belief.
Monaco’s bandmates for this project—baritone saxophonist Lauren Sevian, organist Gary Versace, and drummer Matt Wilson—are a truly simpatico set, equally comfortable paving a zany and crooked path or walking a straight line. There’s nothing this crew isn’t good at. Looking for a ballad to bring a tear to the eye? Check out this quartet’s take on “Theme For Ernie,” with Sevian delivering some of the most heart-warming bari work you’re likely to hear today. Want something a little more left-of-center instead? Give “Mimosa Blues” and/or “Gremlin From The Kremlin” a try. Versace’s puckish wit is painted all over both numbers. Craving something exciting or a pure groove tune instead? This foursome has you covered with the up swing of “Dry Clean Only” and the boogaloo-buoyed “The Mean Reds.” Monaco offers something for almost everybody with this playlist.
There’s a lot to appreciate in these nine tracks—Wilson’s sterling support and repartee, Versace’s wide-ranging vocabulary, and Sevian’s flexibility and near-telepathic connection to the leader all certainly register—but Monaco’s guitar work is at the very top of the list. Her clean-toned approach, directness, and concision—qualities that may seem antithetical to the concept of establishing one’s own voice—actually help her to stand out, both in this mix and in the grand scheme of the jazz guitar world. It’s downright refreshing to hear somebody really focusing on putting over melody and delivering a satisfying solo chorus or two of fully comprehensible ideas. All that glitters may not be gold, but this album and its creator certainly are.
An insightful review of our record “Playdate” (featuring Amanda Monaco, Wayne Escoffery, Noah Baerman, Vinnie Sperazza and Henry Lugo) taken from the pen of AAJ writer John Barron…
Playdate brings together a trio of long time friends and musical collaborators. Guitarist Amanda Monaco, saxophonist Wayne Escoffery, and pianist Noah Baerman have known each other since high school, studying music together at the Educational Center for the Arts in New Haven, Connecticut. The ensemble is rounded out by bassist Henry Lugo and drummer Vinnie Sperrazza for a lively quintet set of originals and lesser-known jazz gems.
The disc opens with Monaco’s spirited hard-bopping swinger “Copper Tone,” a perfect warm-up vehicle for the lyrical guitarist, as well as Escoffery and Baerman. The three deliver succinct solos, spurred by Lugo’s pulsating walking lines. Baerman’s waltz “Remember the Goldfish,” a disc highlight, has a rhythmic give-and-take with catchy thematic sweeps. Here, Escoffery builds his tenor solo to a level of otherworldly intensity, followed by an explosive drum excursion by Sperazza.
A colorful rubato guitar introduction sets the pace for “Yes, Yes, Oh Yes!,” a groovy minor blues by the late pianist James Williams. “T-Time,” composed by Baerman is the most intricately composed piece from the session, utilizing the instrumentation at hand to skillfully weave together a variety of motifs into a coherent unit. Refreshingly, the tune settles into a more straightforward middle section, allowing Escoffery to soar on soprano saxophone.
The disc slows to a melancholic turn with “Baby Man,” a swaying ballad by the late saxophonist John Stubblefield. Escoffery and Monaco seem to relish in the tune’s laid-back groove, exhibiting patient and thoughtful lines. Sperrazza contributes the disc’s closing tracks, “Milan Kundera,” an exotic sounding piece with an odd-metered funky feel and “Memday,” a light-as-air ballad featuring a strong bass solo by Logo.
The camaraderie and shared musical vision of the ensemble is evident throughout this superb recording. Hopefully, there are more playdates scheduled.
Track listing: Copper Tone; Remember the Goldfish; Yes, Yes, Oh Yes!; T-Time; Baby Man; Milan Kundera; Memday.
Personnel: Wayne Escoffery: saxophone; Noah Baerman: piano; Amanda Monaco: guitar; Vinnie Sperrazza: drums; Henry Lugo: bass.
Dan Bilawsky’s AAJ review for “Playdate” featuring Amanda Monaco, Wayne Escoffery, Noah Baerman, Vinnie Sperrazza, Henry Lugo….
by Dan Bilawsky
While children spend after school-hours and weekends working on homework and spending time with their families, they also have play dates. They get together with other like-minded friends to let loose and blow off some steam. Musicians often do the same thing and, appropriately enough, three of the five performers on Playdate have been friends since high school. Guitarist Amanda Monaco, saxophonist Wayne Escoffery and pianist Noah Baerman have a shared history, having studied music together in Connecticut, and they’ve joined forces with bassist Henry Lugo and drummer Vinnie Sperrazza to form Playdate.
The group/album title makes perfect sense because of the relationship of the participants but it can be misleading if viewed from a musical stance. This isn’t a loose blowing session with overdone standards. The press materials mark the album as a “delightful combination of the hard bop tradition and modern sophistication” and, while this is largely accurate, the scales tip a little toward the latter. Five of the seven tracks on this record were written by the participants and each song has something different to say. Monaco’s tone is warm and inviting and Escoffery—lacking rough edges here—matches her with his own sound.
The album begins in with the mid-tempo swing of Monaco’s “Copper Tone.” Escoffery spins out instantly appealing and simply executed melodic lines that dovetail with Monaco and, to a lesser extent, Baerman. At times, Monaco blends so well with Escoffery, that it almost seems like another horn is present. James Williams’ “Yes, Yes Oh Yes!,” receives a red carpet reading, beginning with Monaco’s solo introduction and moving to a cool swing vibe, highlighted by Escoffery’s nonchalant and incredibly hip delivery. A long run of solos, featuring some deep bellowing notes from Escoffery, is capped off by a sax cadenza and some arco bass toward the end of the song.
Sperrazza proves to be a double-threat here with his fine drumming and intriguing compositions. His “Milan Kundera,” taking its name from the famed author, sounds like a cheery Vince Guaraldi-style Charlie Brown song—in seven—with slight calypso inflections adding to its originality. While Escoffery’s main axe is his tenor saxophone, his work on soprano here is fresh and proves to be one of the highlights of the album. The connection established between these musicians, both in terms of personal history and in musical empathy, is solid; hopefully this won’t be a one-time play date.
Track listing: Copper Tone; Remember The Goldfish; Yes, Yes, Oh Yes!; T-Time; Baby Man; Milan Kundera; Memday.
Personnel: Wayne Escoffery: saxophones; Noah Baerman: piano; Amanda Monaco: guitar; Vinnie Sperrazza: drums; Henry Lugo: acoustic bass.
A nice write-up for Playdate taken from the Audiophile Audition…..
audad.com
By Daniel Krow
Playdate – Playdate – Posi-Tone Records PR8055, 49:23 ****:
(Wayne Escoffery, tenor and soprano saxophone; Noah Baerman, piano;Amanda Monaco, guitar; Vinnie Sperrazza, drums, Henry Lugo, acoustic bass)
Playdate is made up of three high school friends (Noah Baerman, Wayne Escoffery, and Amanda Monaco, who all attended the jazz program at New Haven’s Educational Center for the Arts together), plus bassist Henry Lugo and drummer Vinnie Sperrazza, who play with Baerman in his Noah Baerman trio. The group’s first CD, Playdate, is a delightful album that’s full of complex interplay and melodic invention.
High points of the album include Remember the Goldfish, which has a breezy, Brubeck-sounding melody and a careful restrained guitar solo from Monaco; Yes, Yes, Oh Yes!, a song written by the late James Williams, which starts with slow, “loungey” guitar from Monaco, but moves into a swinging tete-a-tete between Monaco and Baerman, with each taking turns playing eight bar solos that gain intensity from Sperrazza’s shifting tempos; T-Time, which has a funky bass line that sounds like it’s being played by both Henry Lugo and Baerman’s left hand, and Milan Kundera, a tribute to the Czech author that has a buoyant triumphant melody.
As a group, Playdate have an amazing chemistry together. Their generosity as players is highly commendable and leaves one impressed with the unit as a whole, not just as individual players. I highly recommend Playdate’s self-titled album and look forward to their next CD.
TrackList: Copper Tone, Remember The Goldfish, Yes, Yes, Oh Yes!, T-Time, Baby Man, Milan Kundera, Memday
Review of Playdate from allmusic.com
www.allmusic.comby Ken Dryden
Playdate is a reunion of three childhood friends, pianist Noah Baerman, saxophonist Wayne Escoffery, and guitarist Amanda Monaco. Though Baerman is listed first on the cover, this project, which includes drummer Vinnie Sperrazza and bassist Henry Lugo, feels more like a collective project, with no one musician appearing dominant. Escoffrey is likely the most familiar to jazz fans, having recorded extensively as a leader; with his wife, vocalist Carolyn Leonhart; and also with the Mingus Big Band — though Baerman and Monaco have each released several CDs of their own. Monaco contributed the conversational post-bop vehicle “Copper Tone,” while Baerman’s “Remember the Goldfish” is a playful cooker. Escoffery’s infectious soprano and Monaco’s engaging guitar make up the centerpiece of Sperrazza’s African-flavored “Milan Kundera.” Two pieces came from outside the group. The loping ballad “Baby Man” was penned by the late John Stubblefield in honor of his newborn son back in the 1970s; it became a favorite of the late Mary Lou Williams. This version is also a tender affair, with lush, soulful tenor and intimate guitar. “Yes, Yes, Oh Yes!” was penned by former Art Blakey pianist, bandleader, and jazz educator James Williams, an overlooked gem he recorded near the end of his life. Playdate is a rewarding session that merits a follow-up date.
