Trumpeter Russell Gunn has always been a forward-thinking musician, incorporating his love of hip-hop and electronics along with his obvious talent for edgy post-bop improvisation. So, it should come as no surprise that Russell Gunn Plays Miles, while obviously a record paying tribute to one of Gunn's biggest influences, the legendary trumpeter Miles Davis, is an edge-of-your-ear experience. Not only has Gunn not made a straight-ahead, acoustic jazz album, he's made a '70s-'80s fusion-era Davis album that defies expectations even on those far-reaching terms.
Brooklyn singer, songwriter, and guitar slinger Steve Gunn makes his Matador debut with Eyes on the Lines, a windblown set of road explorations that, despite its meandering nature, is one of his most accessible records yet. The Pennsylvania native has maintained a prolific output over the previous decade, much of it in the form of one-off projects and collaborations, but his solo releases all seem to spring from the same well of wanderlust. Expanding on the spacious sound of his excellent 2014 LP, Way Out Weather, Eyes on the Lines is more of a free-flowing rock affair, finding Gunn and his band locking into bucolic grooves that take their time to unfurl.
This 1999 release precedes the excellent new recording from perennial prog-rockers King Crimson, titled The ConstruKction of Light. Yet with The Repercussions of Angelic Behavior, electric guitarist and Crimson founder Robert Fripp, touch bassist Trey Gunn and hard hitting drummer Bill Rieflin mesh gears for some truly energetic interplay! Spearheaded by Fripp’s signature style attack consisting of loops, EFX, and sinuous lead soloing along with a keen (if not legendary) sense of the dynamic, the trio pursues booming, driving rhythms and abstract themes amid fiery improvisation and otherworldly effects. Throughout, touch bassist Trey Gunn displays the synergy and intuitiveness exhibited on recent collaborations with Fripp in King Crimson and elsewhere.
Love is strange, all right, and Love Stories is stranger still. Hardly a bouquet of ballads, the album is inspired by “love in all its dysfunction,” as trumpeter Russell Gunn explains in David R. Adler’s revealing liner notes. But don’t leap to logical conclusions. Gunn also points out that “Because I Love You (The Stalker Song)” and “Bitch, You Don’t Love Me” aren’t the residue of some soured love affair. The former has more to do with Hitchcock-ian atmospherics than heartbreak, apparently, and the latter, notes Gunn, is “basically a song about being used.
Fusion and electric avant-garde jazz are two different things. Fusion–as envisioned by Miles Davis, John McLaughlin, Chick Corea, and others back in the '70s – combined jazz with rock and funk in a way that didn't emphasize outside playing, whereas electric avant-garde jazz (as in Ornette Coleman's Prime Time, Jamaaladeen Tacuma, Ronald Shannon Jackson, and James Blood Ulmer) savors the dissonant pleasures of the outside. But there are times when the two merge, and that is what happens on guitarist Trey Gunn and drummer Marco Minnemann's Modulator.
Based on the Cornelius Ryan novel of the same name, Richard Attenborough's film A Bridge Too Far recounts the failure of World War II's ill-fated Operation Market Garden and the impact it had on soldiers and civilians alike. John Addison's score matches the epic, tragic scope of the movie; this remastered reissue of the soundtrack captures Addison's musical vision in all its doomed glory.
Nicholas Gunn spent 31 nights deep in the jungle and on the beautiful shores of Mexico s Yucatan Peninsula. He watched ancient Mayan ruins shimmer against aqua blue waters, witnessed a reverence for a simpler way of life, and emerged with a newfound passion for music. Thirty-One Nights expresses the story of his journey. The real time connection of a scenic, tropical atmosphere gives reflective depth and balance to the 13 songs of serenity that waltz hand in hand with songs rich in auditory intensity. Beautiful acoustic instrumentals and vocals paired with flute are key elements that have made this recollection one of true excitement.
Classically trained, and with a reputation as one of the world's best selling flutists, Nicholas Gunn is in the upper echelon of contemporary instrumentalists. Having released over thirteen solo projects and selling over two million copies he is a double platinum artist. His music can best be described as a fusion of Native American and ambient/world music. He masterfully employs the guitar, piano, and percussion and infuses his beloved flute and other wind instruments extensively in most of his songs. Beautifully rhythmic, it deeply touches the heart, mind, and soul. Longing, nostalgia, and sentimentality are triggered by Gunn’s passion and respect for Native Americans and a purer and simpler way of life.