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Chuck Weirich’s 2011 debut CD, You Don’t Know Me, is a comfortable
stroll down memory lane of what could be considered most of the pop standards for trumpet of the last 40 years; while also throwing in contemporary smooth jazz takes on some of Weirich's favorite vocal pop tunes, and even arrangements of classics like the 1955 Eddy Arnold-penned title cut. He brings to them a fluid sensibility and a tasteful respect for the original material. He is clearly not attempting to break new ground with divergent arrangements and deliberate artistc departures, but rather is gleefully paying tribute to his influences, and one is compelled to happily go along for the ride when the treatments are presented with such respect, but also when brought to bear with Weirich's formidable skill on the trumpet.
As you progress through each piece, the same thing keeps jumping out time and again; Chuck Weirich is a masterful and well-rounded player. He conveys great emotion with his playing, and his versatility shows differently at every
turn. Weirich is not afraid to explore both the upper and lower registers of the instrument, and both ends are equally enjoyable; with the sparkling clarity and confidence of the high end, to the soulful, full bodied, and surprisingly powerful lows. I was particularly impressed with the level of mature nuance that permeates Weirich’s sound. His improvisational
soloing is restrained and artful; never overreaching or boastful, but always tasty, appropriate, and inordinately pleasing. He plays with a dynamic and malleable tone, creating a unique and emotive voice with his instrument.
Weirich made some solid choices with the musicians he partnered with as well. Dan Hause’s tenor sax solo on Chuck Mangione’s “Feels So Good” was especially noteworthy, and Stacey Knights’ playful, yet sultry tenor sax on “Grazing in the Grass” was pure delight. Robin Foreman and Skip Nallia support the effort on keyboards with grace and aplomb, with Dennis Smith anchoring the drums on most selections.
A tip of the production hat goes to Mike Conway, who assembled the pieces with skill, clarity, dimension, and warmth. His exceptional bass playing and other versatile instrumental contributions to this CD must be noted as well. I wondered at the use of sequencing in some places; but on the whole that did not detract significantly from what is a very enjoyable journey.
Among these tunes, I found personal favorites in the title cut, James Blunt’s “You’re Beautiful”, James Ingram’s “Just Once”, and the Herb Alpert cover, “Rise”. My taste aside; there is enough variety presented here to satisfy almost anyone; and all of the songs are so skillfully punctuated by the riveting sound of Chuck Weirich’s trumpet that every
tune is a worthy listen. The CD is a worthy addition to the collection of any trumpet lover.
TRACKS:
• Tijuana Taxi
• You Don’t Know Me
• Whipped Cream
• You’re Beautiful
• A Taste of Honey
• Just Once
• Winelight
• Feels So Good
• Grazing in the Grass
Visit Chuck on the Web at http://www.smoothjazztrumpet.com
CD Review by Phil Traynor
The Wholetones were once described by a good friend of mine as folk/metal/jazz, and the band themselves defines their genre as "Folkcore". I like the term, but it is hard to sum up this bands style in two syllables. I say, The Wholetones are a very versatile group of players, they mix advanced instrumentation and poetic lyrics, with Americana influence, haunting tenor and bass vocal harmonies, and an energetic rhythm section; including stand-up bass and fast, hard hitting drums.
Whether the arrangement includes a cello, or a banjo, or a (Doc Watson remnant) flat-picked guitar, the instrumentals as well as the vocally driven songs are all fresh, tight and original. And it is clear that this band values music as the journey and the challenge that it truly is.
On their Latest Self-Titled EP, they show their versatility to the fullest. On the opening song "To The Arlenes", the drums are very active, following the banjo melody at times and moving on to abrupt stops and percussive phrasing. And like many of their songs, the tenor lead vocals blend well with the bass harmony and the occasional aggressive scream.
"Hail" is a Folkcore power ballad, with beautiful cello, a marching snare drum, and lead vocals with unbridled emotion.
Their bluegrass influence shows clearly in "Puckered Faces", a glimpse into the modern American public, and in the banjo driven instrumental finale called "Way Down".
"The Quarry" is a highlight in my opinion as it has a strolling bass and cello leading the way through a lament of frustration and anger, and a solo that will impress and terrify, I only wish the song were longer (repeat is useful).
Being a Musician myself, I realize that it’s typically not fair to draw comparisons. But I think that if you are a fan of the band "Tool" (which I am), with a consistently fast and more acoustic sound, these guys definitely scratch the same itch for me. Their songs are honest, emotional and slightly tormented; and the lead vocals have a similar ring to Maynard James Keenan (of "Tool" and "Perfect Circle"). And with the amount of talent they share within the band, it seems that the songs are built around the compositions as well as the words, and sometimes leaving out words completely.
Folkcore is on the rise, and The Wholetones are a must hear and a must see. They’re from Naples, Florida. And they regularly play in the entire south Florida region. Their live set includes many original songs, as well as a great mix of covers. They will take on anything from well-known Indie rock to classic or modern country.
From The Decemberists and Modest Mouse to Johnny Cash, they always give a song their own Folkcore arrangement. It is impressive to see a band rock as much as The Wholetones do, playing on acoustic instruments, with no distorted electric guitars or Marshall stacks necessary.
CD Review by Clint McWilliams
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