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Here are some reviews on my more recent recordings |
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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). |
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CD Review: IMPROVIJAZZATION NATION Doug Munro - BIG BOSSA NOVA 2.0: It must be "latin" month here at Zzaj Productions - this is the 3rd or 4th CD that's flavored with that "hot-blooded" sound. Mr. Munro's guitar & hand percussion are joined by bass from Michael Goetz & drums from two players, Jason "J Dog" Devlin & Jason Anderson (track 1 & 6). Let there be no doubt that if you're looking for high-spirit & talent in jazz that leans south of the border, Doug & crew have what you WANT! As usual, it is the originals that really seem to capture the heart & soul of an artist/group, & cut 6, "A Day At The Races", is perfect aural evidence of such... totally integrated recording, the players are tight as you can imagine, and it's my favorite track on this album. Doug's interpretation of Freddie Hubbard's "Little Sunflower" also caught my attention - it's a "different" arrangement, to be sure, but displays his love for the music & his talent just shines right through. There are 10 pieces in all, with 4 of them original - if you love guitar jazz, you'll be hard-pressed to find better than this. It gets a HIGHLY RECOMMENDED from these ol' ears! It will be officially released 4/2/2008, but in the meantime, you can get more information at <http://www.dougmunro.com> Rotcod Zzaj |
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Midwestrecord.com January 30th , 2008 Chris Spector DOUG MUNRO/Big Boss Bossa Nova: See, now one of the things that sucks for the rest of us about not being in New York is there’s all these great jazz cats that never seem to leave town and are even flying under the local radar even though everyone that’s needs to be in the know seems to be. Top shelf jazz guitarist Munro releases the hydraulics for some easy times with sawing music that feels like vacation ought to. Simply a snappy set that has some edge and bite, jazz guitar fans are in good hands here with this big apple ace that certainly deserves wider recognition beyond the insiders who haven’t been shy about heaping the decorations accordingly and deservedly. (CMG) |
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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. |
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http://www.jazzchicago.net/reviews/2008/DougM.html Review by Brad Walseth |
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Jazz Imrov Magazine Spring 2008 Big Boss Bossa Nova 2.0 Review by Brandon Bernstein Doug Munro showcases his musicality and sheer virtuosity on his latest release Big Boss Boss Nova 2.0. Accompanying Munro is an extremely impressive rhythm section with bassist Michael Goetz and drummers Jason Devlin and Jason Anderson. Munro is a well-established New York guitarist that has recorded ten albums as a leader and nearly thirty as a sideman, producer or arranger. Some of the diverse musicians he has worked with include Michael Brecker, Dr. John, and Dr. Lonnie Smith. Big Boss Boss Nova 2.0 represents Brazilian flavored music at it’s best. The CD begins with Chick Corea’s famous composition “Spain”. Munro begins with a beautiful guitar introduction, which sets the song up perfectly. When the melody begins the band is in high gear, executing a brilliant arrangement of this jazz classic. Munro proves he not only plays with great tone and musical taste, but he has incredible facility on his instrument. His solo demonstrates blistering lines and very creative ideas. I especially enjoyed how effortlessly he incorporated Ary Barroso’s song “Brazil” into his solo. The CD continues with the Thelonious Monk composition “Bemsha Swing”. This is the first time I have heard this song played as Bossa and it works great. The band is “locked up” nicely throughout as Munro offers another impressive solo, playing more rhythmically free in the spirit of Monk. The album also contains some rarely played jazz classics that are a pleasant surprise to any jazz enthusiast. These include Sonny Rollins Lydian based blues, “Blue Seven”, Wayne Shorter’s “Fee-Fi-Fo-Fum”, and Freddie Hubbard’s “Little Sunflower”. The trio shows incredible creativity and imagination in their renditions of these compositions. The last two tracks on the album feature two Munro originals “Something I Heard” and “Prayer”. “Something I Heard” creates the feeling of an old mob movie with a taste of gypsy guitar. Munro continues to demonstrate that he is a technical master on the guitar, playing lines not only at rapid speed but very musical as well. “Prayer”, the last tune on the album is a beautiful original that engages the listener on a deep level. Relying on a more contemporary triadic harmony, the anthem-like song is a great way to close out a very well done record. |
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http://geezermusicclub.wordpress.com/2008/05/03/review-doug-munro-big-boss-bossa-nova-20/ « Uncle John And The Deep-Freeze REVIEW: Doug Munro - Big Boss Bossa Nova 2.0 Posted by BG on May 3, 2008 As I listened to guitarist Doug Munro performing on his newest album, Big Boss Bossa Nova 2.0, on the Chase Music label, the thought came into my mind that sometimes simpler is better. Munro keeps it very basic indeed on the album, performing as part of a trio in a studio setting, where he’s joined by bassist Michael Goertz, and either Jay Devlin or Jason Anderson on drums. The result for listeners is a very involving and intimate musical experience, with a simplicity that’s very appealing. It’s a little surprising when compared to its predecessor, 2004’s Big Boss Bossa Nova. That album did very well for the artist, but featured a much larger group of musicians and a sound that was more expansive and orchestrated, but it’s probable that the performer wanted something more than just more of the same. Although he’s flown a little below the radar, Munro is an experienced and respected guitarist who has forged a nice career in appearances and recordings, with a half-dozen albums to his credit. He’s a versatile instrumentalist, equally at home with acoustic or electric, and isn’t afraid to venture into different musical arenas. The name of the album will pretty obviously tell you that he’s focusing on Brazilian music, but the pieces selected and the arrangements used allow for a surprising amount of deviation from the theme. The opening track, Munro’s take on Corea’s “Spain,” demonstrates his outstanding playing ability while at the same time expanding the geography a little. It’s just one of several of Munro’s energetic and ambitious attempts at recreating some classic jazz pieces. Others include his version of Monk’s “Bemsha Swing,” and “Blue Seven,” a piece best-known as a work from saxophonist Sonny Rollins. There are a number of other good listens here. Overall, a nice collection that will please most jazz lovers, leaving them with just one question. Will there be a Big Boss Bossa Nova 3.0? |
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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 |
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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 |
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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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