Here are some reviews on my more recent recordings

Downbeat Magazine December 2011

A Very Gypsy Christmas (GotMusic) 3.5 stars
The real pleasure of New York guitarist Munro’s album rests in his obvious fondness for Django Reinhardt and the Quintette du Hot Club de France. His care and craft are at a high level that allows him to recharge 15 overfamiliar seasonal songs. Howard Bujese is his Stephane Grappelli. To change things up, clarinetist Ken Peplowski and singer Cyrille-Aimee Daudel contribute to the fun on a few tracks.

- Frank-John Hadley

Wall Street Journal December 2011

Think of gypsy music and Django Reinhardt's frantic guitar and Stéphane Grappelli's pleading violin likely come to mind. Here, guitarist Doug Munro applies the same rhythmic fervor of the Hot Club to 15 holiday evergreens. Joining him are violinist Howie Bujese, rhythm guitarist Ernie Pugliese, bassist Michael Goetz and singer Cyrille-Aimee Daudel. All syncopate smartly, but the big surprise is Ken Peplowski's clarinet, which adds a swinging blue coolness to the festive heat, particularly on "Sleigh Ride" and "Winter Wonderland."

- Marc Myers

Just Jazz Guitar December 2011

Our Readers Must be thinking: A Gypsy Jazz Christmas CD! However, Doug Munro and his group of superb musicians make it work. Taking fifteen popular Christmas tunes and arranging them in the Gypsy Style is an interesting undertaking and this group does it justice.

Doug playing a Dell Arte guitar, has surrounded himself with Ken Peplowski on clarinet, Cyrille-Aimee Daudel on vocals, Ernie Pugliese on guitar, Howie Bujese on violin and Michael Goetz on bass in this live recording in the style of Django and the Hot Club of France.

There are fifteen cuts in this 55 minute CD. Some of the tunes are the Leroy Anderson favorite Sleigh Ride, The Christmas Song, Have Yourself A Merry Little Christmas, Let It Snow, Winter Wonderland and I’ll be Home For Christmas to mention a few.

The improvisations and rhythm guitar work are outstanding and Ken Peplowski’s clarinet is terrific. Vocals are handled beautifully by Cyrill-Aimee Daudel on Santa Claus Is Coming To Town and The Christmas Song as she is backed by a solid rhythm guitar. Winter Wonderland features clarinet, rhythm guitar and violin all working together beautifully.

A toe tapping fun CD worth adding to your collection. Django would be proud!

Reviewed by Ed Benson

Jazz-Blues.com December 2011

Guitarist Doug Munro leads a swinging quartet that borrows from Django Reinhardt’s Quintette du Hot Club de France style. Joining him on fresh renditions of 15 familiar Christmas tunes are Ken Peplowski (clarinet), Howie Bujese (violin), Michael Goetz (bass) and Ernie Pugliese (guitar). Cyrille-Aimee Daudel contributes vocals on three tunes.

Playing tight and clean, these masterful musicians give new flavor to chestnuts such as “Sleigh Ride,” “Little Town of Bethlehem,” “Let It Snow,” “Santa Claus Is Coming to Town,” “Greensleeves,” and more. Throughout, Munro shows the impressive chops that have made him a favorite on the New York music scene. Peplowski shines in his melody head on the mid-tempo version of “Have Yourself A Merry Little Christmas” and his smooth improvisations on a cleverly remade and swinging “Winter Wonderland.”

Munro has released 11 albums as leader since 1987, as well as appearing as sideman, producer or arranger on more than 50 recordings. He has published over 75 original compositions and has had over 300 of his arrangements recorded by other artists. Munro was Director of the Jazz Studies Program at The Conservatory of Music at Purchase College from 1993-2002 and continues to teach there as Director Emeritus. I love gypsy jazz, Django and, most of all, the cleverly rearranged music on this disc.

This is one of the most enjoyable, toe-tappin’ holiday albums to cross my desk in recent years.

Nancy Ann Lee

Jazz-Blues.com

Canadian Audiophile December 2011

Recorded live, this record features jazz guitar virtuoso Doug Munro and a band that many jazz cats will love. Ken Peplowski (clarinet), Cyrille-Aimee Daudel (vocals), Howie Bujese (violin), Michael Goetz (bass), and Ernie Pugliese (guitar) conspire to bring about gypsy jazz-inspired Christmas carols.

Fans of Django Reinhardt’s work will dig what Munro is up to, with 15 cuts of classic Christmas stuff getting some serious reworking. Munro doesn’t play with the melodies much, but he does jazz up traditionals like “Let It Snow” and “We Three Kings” with his distinctive style.

A Very Gypsy Christmas kicks off with “Sleigh Ride.” Peplowski adds clarinet inflections as the track trots off in the snow. Munro draws a vivacious solo over Pugliese’s sound time-keeping. “Green Sleeves,” the romanesca, gets a slower treatment that draws out the traditional folk song’s more haunting qualities. Bujese’s violin is a welcome touch.

Munro has released some 11 albums as a leader and has been in over 60 recordings as a sideman, arranger and producer. He also has over 75 original published compositions to his name. He’s no slouch in the guitar department, either, bringing a subtle but sturdy essence to every note he plucks and chord he strums. Munro is an incredibly balanced player, too, and knows when to step back in the arrangement to bring its full feeling to bear.

My favourite carol, “Silent Night,” is treated with the delicateness it deserves. Once more Bujese’s violin hits the perfect notes, singing over graceful guitar strumming. The arrangement is aptly calm and Munro’s solo is beautifully discreet.

For a touch of something different this Christmas, A Very Gypsy Christmas may well be the ticket. It has tender spirit but still swings, fuelling dreams as much as grooves.

Jordan Richardson

Guitar International.com December 2011

Doug Munro is a veteran New York jazz guitarist with eleven albums to his credit as a leader. He has recorded and appeared and recorded with artists such as Dr. John, Michael Brecker and Dr. Lonnie Smith. Munro has had a long standing love of the gypsy jazz genre. Like so many guitarists he was influenced by the great Django Reinhardt. This album pays homage to that musical style and sound.

Munro is surrounded on this project by very fine musicians. Clarinetist Ken Peplowski contributes his always stellar sound and musical genius. Others include Cyrille-Aimee Daudel (vocals), Howie Bujese (violin), Michael Goetz (bass) and Ernie Pugliese (guitar).

There are fifteen hard swinging versions of all time classic holiday tunes. Titles include “Sleigh Ride,” “The Christmas Song,” “Christmas Time Is Here,” “Oh Tannenbaum” and “God rest ye Merry Gentlemen.” Each is performed with a serious level of enthusiasm and hard strumming rhythmic accompaniment. Munro has the gypsy tone nailed and recreated the original style perfectly.

This is an excellent CD, not just to be played at Christmas time. Fans of this musical sound should find it to be a welcome addition to their library.

Reviewed By: Vince Lewis

Alone But Not Alone Review JJG, August 2010

Doug is the founder and former director of the Jazz Studies department at SUNY Purchase. He has written four books for Warner Brothers (now Alfred) and released 11 CD’s as leader. Some of his lessons grace the pages of this publication as well. Doug has performed with, arranged for, and produced numerous others (evening earning two Gammy nominations). His current CD, Alone But Not Alone, features Doug on solo guitar. All playing is live with no overdubs. Doug used a loop station where he created numerous guitar and percussion sounding parts live with his guitar. The compositions represent spiritual thoughts and expressions. He includes thoughts and Biblical verses for reflection as the songs play. Alone But Not Alone is a beautiful CD. Compositions and Arrangements take you to a place of a playful and lighthearted spirit to quiet and solemn reflection. "People Get Ready", "Down By The Riverside", and "Amazing Grace" are wonderfully arranged and played. Doug’s own compositions like "Alone But Not Alone", "Glorify", "Joy" and "Worship" are beautiful pieces. "Static In the Attic" is gun and funky as is "The Journey". Doug is clearly comfortable in any number of musical situations. He Plays his nylon string Godin on this CD and coaxes tones that run the sonic range from classical guitar to a bluesy strat. His percussive tapping and rhythm guitar add a great sense of groove and texture to the songs. Doug’s sophisticated improvisations and chordal work are interspersed over the loops and percussive grooves, and Doug’s lines seem to flow effortlessly. Alone But Not Alone is a wonderful CD and one that is definitely worth adding to your library.

Doug Munro “Alone But Not Alone”

EJazzNews

By: Edward Blanco

After a twenty-year career in the mainstream jazz genre, two-time Grammy-nominee and jazz guitarist Doug Munro releases his very first solo album “Alone But Not Alone.” A sideman on over 300 recordings and with eleven previous albums as a leader to his credit, Munro takes on a concept project employing a combination of pure improvisation and a bit of technology on a repertoire of spiritual music. As stated in the brief liner notes “This is a recording of spiritual songs from the spirit for the spirit.” Except for the traditional “Amazing Grace,” “Down By the Riverside” and Curtis Mayfield's “People Get Ready,” Munro provides original music inspired by brief biblical verses.


A technician on the guitar, Munro's performance includes a bit of masterful picking of the strings as on the opening “Static in the Attic” along with good deal of creative technical wizardry like that found on his unique transformation of “Amazing Grace,” and the most challenging piece on the album, “The Journey.” Other notable songs include the title track, “Worship,” “Joy,” and the delicate finale “Prayer.”


Listening to his crisp guitar work throughout the entire album, there are times where you think there are two instruments playing at the same time. In fact Munro uses a “loop station” effect to create the multiple parts sound. Recorded live with no over dubs, Doug Munro—a master guitarist in the modern jazz genre—leaves no doubt about his appreciable chops with the instrument and his knack for writing for “Alone But Not Alone” is more than a spiritual set of music, it's a cozy warm and spirited session on beautiful music that leaves one anything but feeling alone.


 

FAME Review

Mark S. Tucker

This collection of 10 superb solo guitar compositions epigrammatized by Biblical quotes is titled as it is because Doug Munro, though unaccompanied, makes use of the rarely used 'loop station' device, an electronic box allowing guitarists to sample and loop (put into a circular repeating mode) their own lines and then play atop them. I'd seen Neal Morse use one live for his nominally progressive,nominally rock, most definitely Christian set (but upbeat folk when all was said and done) at the first CalProg years ago, and I wasduly impressed. Munro has likewise made the eee-leck-tronik thingamajig his backing ensemble and in surprising ways, though hejust as gracefully goes completely solo in sections and songs when the mood hits.The first cut makes brilliant use of body and string percussives to provide a rhythm track, and the third cut, his take on Amazing Grace, employs reversed looping to sound like psychedelic bagpipes. Throughout, however, what's most impressive is the man's picking, use of negative space, and toying with time structures, perhaps best heard in the title cut, where he not only brings infragmenting stutter steps but also starts shredding (catch Down by the Riverside for a bit more and for very layered loop clustering). Let me relate the fact that though each cut is inspired by citations from Ephesians, Isaiah, and etc., the CD is anything but Sundaygo-to-meetin' music, instead as fulfilling a menu of solo takes as one could hope for from Kelly Philips, a CandyRat release, or some of those great old Guitar Recordings forays entablaturing modern mastery. This release embraces the sort of acoustic (and, here, mildly electric) work we six-string enthusiasts waited breathlessly for when Larry Coryell, Steve Khan, Philip Catherine, and a clutch of others were ushering out specialized releases in the 70s. One can never get enough of that stuff. Fortunately, the changing times have seen an increase in flow, and Alone but not Alone, Vol. 1 is riding the crest of an adventurous and musically literate wave. Thus, Volume 1's promise of more to come can only be greeted with cheers…and if this is religious music, let me know when the services start. I'll be there.

Allaboutjazz.com February 9th , 2008

By Edward Blanco

Veteran jazz guitarist Doug Munro presents an encore performance to his critically acclaimed Big Boss Bossa Nova (Self Published, 2004), recording another monster of an album with Big Boss Bossa Nova 2.0. With four originals and a select repertoire of uncommon standards, BBBN2.0 is a more bare bones session than the more highly orchestrated BBBN, done in an intimate trio setting and showcasing Munro at his best.

Featured with the guitarist are bassist Michael Goetz and drummer Jason “J Dog” Devlin, who plays on all tracks except “Spain” and “A Day at the Races,” where Jason Anderson subs. This trio arrangement works to Munro’s favor, pronouncing an incredible performance by the guitarist. Whether plucking the Labella nylon strings on his acoustic guitar using a Carvin amplifier, or playing the Takamine guitar, Munro produces different sounds to enhance the album's decidedly Brazilian-flavored music.

He begins with a spirited rendition of Chick Corea’s signature tune “Spain,” plucking away with effortless ease and providing intricate rhythmic riffs on Thelonious Monk’s “Bemsha Swing.” His own “Sticks N' Stones,” features a bit of flamenco, with his play on the acoustic guitar.

Goetz and Devlin introduce Sonny Rollins' “Blue Seven” without Munro, but the guitarist catches up a bit later with some fast and furious play. Munro’s “A Day At The Races” sounds hauntingly similar to Dizzy Gillespie's “A Night in Tunisia.”.

The standout chart here is clearly Freddie Hubbard’s “Little Sunflower,” where the guitarist provides sophisticated improvisations, changes in guitar sounds, tempos and an excellent performance with a ten minute-plus musical journey. The album ends with Wayne Shorter’s “Fee-Fi-Fo-Fum” and a pair of originals, completing a marvelous session of bossa-shaded music performed by a master guitarist in one of the finest releases of this New Year.

Track Listing: Spain; Bemsha Swing; Stick N' Stones; Devil's Haircut; Blue Seven; A Day At The Races; Little Sunflower; Fee-Fi-Fo-Fum; Something I Heard; Prayer.

Personnel: Doug Munro: acoustic guitar, Takamine guitar, hand percussions; Michael Goetz: bass; Jason "J Dog" Devlin: drums (2-5, 7-10); Jason Anderson: drums (1, 6).

CD Review: http://therunoffgroove.blogspot.com/2008/02/run-off-groove-192.html

By John Book

Doug Munro plays the guitar like there's no tomorrow, and he does it in a way where you want to hear his work all day. If you could, you'd put him on pause, and he would be there when you came back. He's that reliable, and he is that good, or at least I think so. Big Bossa Nova 2.0 (Chase Music Group) sounds like a pre-digital album, as the sound is very warm, as if it was recorded directly to tape. That is due to engineer Eric Helmuth, and while it doesn't list what kind of microphones or equipment used to capture everything, Helmuth definitely has the ears to determine what will make everything sound perfect, or at least the closest thing to perfection. For those who seek Brazilian albums from the 60's or 70's for its sound, this is that album that will make you stand up and weep.

Then there's the music and the musicianship itself. I like Munro's sense of space, where he knows how to carry the melody but occasionally flirts in and out with the kind of elegance that comes from someone with knowledge of music. The selection of jazz songs he covers are amazing, from Wayne Shorter's "Fe-Fi-Fo-Fum" and Sonny Rollins' "Blue Seven" and Chick Corea's "Spain", which sets up the colors and tones as the opening track. Bassist Michael Goetz is subtle in this and the rest of the album, but one can sense when he's going into his space too. Then you have another major highlight: a guitar-based album where you can actually hear the drums, an important part of a lot of "world" music. Musicians can show off all they want, but when the drums are there and it's pushed way back in the mix, I tend to think that the engineer, producer, and artist didn't care enough to share the talents of their drummer. On this album the drummer role goes back and forth between Jason Anderson and Jason Devlin, and their playing is ear candy for any fan of percussion, and well recorded percussion at that.

The big surprise is Munro's gentle cover of Beck's "Devil's Haircut", and I say gentle because while it lacks the sampled soundscape of the original, the listener gets a chance to focus on the melody and Munro gets a chance to explore that melody through his improvisational playing. That's the one thing I also like about this album too, that it is improv, the jazz influence of course is everywhere, so this isn't one of those Starbucks-type albums where everything is put in cruise control, "just add spice".

Big Bossa Nova 2.0 carries the traditions of all of those jazz and bossa nova hybrids that continue to thrill the cratedigger, and is not an imitation of what was, but a continuation of what is. This is a "vinyl-worthy" recording, and I hope Munro and/or his label will consider releasing this on vinyl in the near future.

JAZZ TIMES AUGUST 2008

BIG BOSS BOSSA NOVA 2.0 (Chase)

After a string of gritty organ group dates, guitarist Doug Munro hit on an appealing concept with 2004’s Big Boss Bossa Nova, which blended originals and jazz standards performed on nylon-string acoustic guitar and reconfigured through a Brazilian sensibility. On this follow-up, which continues that winning formula, Munro again summons up warm, alluring tones on nylon-string acoustic. With spare accompaniment from bassist Michael Goetz alongside either Jason Anderson or Jason Devlin splitting the drum chair, Munro runs through an exhilarating program that includes a faithful rendition of Chick Corea’s "Spain" as well as bossa-nova takes on Sonny Rollin’s"Blue Seven", Freddie Hubbard’s "Little Sunflower" and Wayne Shorter’s "Fee-Fi-Fo-Fum." He switches to steel string guitar for a unique bossa-nova interpretation of Thelonious Monk’s "Bemsha Swing."

Munro’s originals here include the rhythmically charged "Something I Heard," in which he navigates a challenging head with demanding intervallic leaps on steel string acoustic, the jaunty "A Day At The Races" (his take on Dizzy Gillespie’s Afro-Cuban classic "A Night In Tunisia") and the hymn-like closer "Prayer" (reminiscent of Eric Clapton’s "Tears In Heaven"). Guitar aficionados and bossa-nova-philles will be delighted.

Bill Milkowski

Jack Wilkins, Just Jazz Guitar; Sep 8, 2005

Doug Munro Big Boss Bossa Nova. CMD 8071

Here’s a bit of a surprising recording from Doug Munro. Surprising from the point of view that he has usually been associated with a more “straight ahead” type of jazz. Aside from “Stella by Starlight”, “Low Rider”, by “War”, and “Milestones” these are all written by Doug. All the tunes are played on nylon string guitar by Doug. . To quote Doug as it may make it simpler, “For the past couple of years, I have had the pleasure of playing a steady gig in a great Brazilian restaurant called “ Pantanals” in Port Chester, N.Y. During that time I developed a repertoire built specifically around the nylon string guitar. The gig at “Pantanals” has been a blast as well as a musically enriching experience for me. I know this CD represents a departure from my solo recordings but I wanted to share this music with you in the hope that you might dig my slightly twisted take on the bossa nova and samba”

This certainly is a departure for Doug and a good one. Doug uses his “chops” well. One has to wonder what was going on at Pantanals to create such a fun CD. Very arranged and musical. Great cast of musicians as well. Javon Jackson, sax, Ray Vega, trumpet, Harvie S., bass, Richie Morales, drums and percussion and others.

Definitely worth having!

Jack Wilkins 2005

Brian Ferdmana, JAM BANDS.COM, July 23, 2003

Boogaloo To Beck - Dr. Lonnie Smith

Scufflin' Records 8481 During these summer months, tribute albums are like mosquitoes -- you can't walk five feet without getting bitten by a bloodthirsty one of them. Just like mosquitoes, tribute albums seem to serve little purpose except to drain the life from otherwise vital music. When I learned of a Boogaloo tribute to Beck, I had to ask 'why?' Beck's music already cuts across so many genres; why pigeonhole it into one musical category? Well, if you can turn Beck's music into a personal playground for a jazz legend, that's a good enough excuse for me.

Surprisingly, Beck's dense songs benefit from being stripped down into little more than their melodic essence. Of course, it helps when you have giants such as Lonnie Smith, David "Fathead" Newman, and Doug Munro experimenting with the tunes. But these songs work incredibly well in the boogaloo format and provide a nice launching pad for the improvisational talents of these fine musicians.

Dr. Lonnie Smith has certainly aged well. Utilizing his Hammond organ, he pulls out all of his tricks in a variety of ways. On the opening "Paper Tiger," Smith sets the tone of the album by dropping in a slow, slinking groove and building tension during his long, sustained solos. "Where It's At" finds him perfectly at home in the land of '70s funk, while "He's a Mighty Good Leader" effortlessly fits Smith into a gospel feel, and he preaches with fire and brimstone. However, the most underrated aspect of Smith's playing is his ability to comp and shift the groove underneath of solos. His interplay with guitarist Munro serves as the catalyst for the many climaxes on this record.

Tenor saxophonist David "Fathead" Newman has been blessed with a silky smooth tone. Without a vocalist, this unit often relies upon Newman's ability to deliver the vocal line through his buttery instrument. On both "Sexx Laws" and "Jack-Ass," Newman's tone adds a nice counterpoint to the staccato employed by the rest of the band, and he consistently takes soulful solos that are just too cool to reach the point of wailing.

Young drummer Lafrae Sci holds her own in a room of jazz titans. Instead of being awed by the masters surrounding her, she propels them to loftier heights by both pushing and easing off tempos. Her tight and clipped beats give the album its percolating feel, but her wide range of dynamics really move the record to interesting places.

Finally, the unsung hero of this entourage is guitarist/arranger/producer Doug Munro. For some reason, Munro is not even listed on the album cover, and that's a crime because this album belongs to him. His arrangements are clever and fit perfectly within the boogaloo genre. Key decisions, such as slowing down "Loser" or pushing "Jack-Ass" into an uptempo hip-pocket of funk, play perfectly to the talents of this band. As a guitarist, his work provides some of the most interesting textures on the disc. His rhythms are the glue that hold everything together, and his backup lines and improvisations frequently give Smith a nice springboard for big explosions. Munro's soloing always maintains a sense of effortlessness, whether he's busy quoting "Soulfinger" or "Chameleon" or if he's employing a chunky wah-wah on "Where It's At."

Boogaloo To Beck is one of those rare examples of a successful tribute album. By stripping away the clutter of Beck's music and reducing it to little more than melody, the listener discovers that Beck has actually written some fine melodies. Setting those melodies in a boogaloo context feels natural and results in album that is both incredibly smooth and undeniably cool.

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