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”...Chicago Sessions work proves first-rate, the compositions refreshingly unfamiliar, the possibilities endless. No wonder some of this city's best musicians jumped on board.” - Howard Reich, Chicago Tribune, March 2009.

Visit www.chicagosessions.com for more information, and to purchase or subscribe.

SERIES 1 : 2008 - 2009.

VOLUME 1: LARRY GRAY • 1,2,3... with John Moulder and Charles Heath

"...a warmly recorded showcase for his smart post-bop compositions and imaginative solo work. The album is marked by sophisticated arrangements, gorgeous acoustic and electric string textures ... and sensitive trap-set work... The tunes are sturdy and the playing inspired…”
– Philip Booth, Downbeat, February 2009.

"It is a journey through an accomplished musician’s musical life. Combining expert compositions, superb interaction and depth of creativity, 1,2,3 is a journey through the many different styles and layers of Larry Gray’s playing."
- Mike Jeffers, Chicago Jazz Magazine, January 2009.

"Gray's compositions are inventive and modern... His solo work is at the highest level... These pieces display staggering technique and musicality... Gray is a unique voice on the bass, full of musicality and inventive ideas..."
- Dave Miele, Jazz Improv, Winter 2009.

”’1, 2, 3…’ is a masterful contemporary jazz release… John Moulder[‘s] playing pays tribute to the jazz tradition while at the same time striking new sonic ground with his vast harmonic and melodic vocabulary…. Charles Heath[‘s] strong command of groove and feel pushes the soloists to higher levels of creativity. Gray’s playing … adds further proof as to why he’s often referred to as the top jazz bassist in the Midwest. His total command of the instrument is never in doubt.”
– Matthew Warnock, All About Jazz, June 2009.

”Intelligent, ultra-sensitive music-making from one of Chicago’s pre-eminent bassists.”
– Howard Reich, Chicago Tribune, March 2009.

”Chicagoan Larry Gray is one of those dazzling virtuoso bassists who turns up on sessions by everyone from Larry Coryell to Ramsey Lewis… Gray composed all of the tunes on his excellent trio disc ‘1, 2, 3…’, and his clean, Metheny-esque writing is beautifully displayed throughout… Gray showcases an exquisite tone and sensitivity, never clubbing listeners over the head with his considerable prowess. Instead, the pieces feel like intriguing three-way conversations…”
– Jazziz, Fall 2009.

”He has a big earthy sound that reminds me of a stately tree with plenty of rings… His solos sing, especially when he takes up his bow… Guitarist John Moulder shows real kinship to Gray’s work. He taps into the plainspoken folk cast of many of the melodies, expanding on them with long, shapely lines articulated by a shimmering tone…”
- David Dupont, Cadence Magazine, Oct/Nov/Dec 2009.

"This trio outing... yields some provocative material like the angular, Ornette-ish 'No Doubt' and the distortion-laced romp "E-e-e-lectricity". Luxurious, harmonically rich ballads "Monk and Duke" and "Reflect" show Gray's more introspective side... Gray also delivers some expressive solo bass pieces..."
- Bill Milkowski, Jazz Times, April 2009.

"’No Doubt’, the album’s energetic opener, offers intoxicating interwoven lines by Moulder and Gray… ‘One Look’, a Brazilian-influenced acoustic duet, shows off Gray’s outstanding bow work… Two of the disc’s longest pieces are placed near the end, but each displays the trio’s imaginative interplay… "
- Bill Meredith, Jazziz, Summer 2009.

”Moulder’s clean, fresh lines, along with the sensitive colorations supplied by drummer Charles Heath, yield a sound both familiar and novel… The result of this collaboration is a striking snapshot of Larry Gray’s career: a summation of his writing and his soloing, performed for the first time in one of his favorite formats [guitar trio] – and an impressive introduction to the ambitious new Chicago Sessions label.”
- Neil Tesser (from the liner notes).

VOLUME 2: MARSHALL VENTE TRIO • MARSHALL ARTS (Marshall Vente, Isi Perez, Scott Mason, Jim Batson, Luiz Ewerling, Glenn Reitsma, Joe Sonnefeldt and Chip Gdalman)

”’Marshall Arts’ is an entertaining and engaging album… Ever the musical chameleon, Vente’s playing and compositions flow smoothly between each genre resulting in a recording that is both creatively dexterous and musically cohesive at the same time... filled with memorable melodies, highly creative improvisations and energetic ensemble interaction.”
- Matthew Warnock, All About Jazz, June 2009.

"It's an album of musical heft, taking us through tunes in a variety of styles representing Vente's compositional interests and output... Starting out with the lovely waltz, "A Bill Evans Tune for RA," one is immediately taken by his clean shimmering sound; something that always seems ideal. Solos grasp you, going beyond simplistic concepts to discover something more intriguing... "Pathos 2.75" provides some of his nicest work. Rich and substantive ideas flow forth in this contemplative piece."
- Tim Gault, Chicago Jazz Magazine, March/April 2009.

"Clearly one of the elite trio albums around, 'Marshall Arts' blends a sophisticated version of straight jazz with tender bossa rhythms in one nice musical package... Marshall Vente's talents as a composer, arranger and musician are all displayed on this recording and let's not forget the excellent musicianship of his combos - all together making this album a must for the discerning jazz audience"
- Edward Blanco, EJazz News, March 2009.

"Vente’s compositional prowess is evident in a full set of well-wrought originals. The pared-down instrumentation gives Vente license to stretch his piano chops. Latin numbers like “Brasilian Folk Song”, and “Ted’s”, with its grooving interplay of steel pan, guitar and piano, are the standouts.”
- Dimitry Ekshtut, Jazz Improv NY, May 2009.

”…an accomplished pianist following in the line of Bill Evans. He loves long, springing rhapsodic lines, and he opens ‘Marshall Arts’ with tracks in that manner. It’s highly appealing music…”
- David Dupont, Cadence Magazine, Oct/Nov/Dec 2009.

”Marshall Vente displays smoothness and control throughout ‘Marshall Arts’ that refelect his accessibility as an entertainer… [Vente’s compositions] mirror influences of vintage bossa nova and Bill Evans to varying degrees, with sophisticated changes supporting tunes that emanate an elegant air… they testify to admirable craftsmanship.”
- Robert Doerschuk, Downbeat, May 2009.

"How refreshing to find a piano trio record devoid of standards, quotations or clichés. Vente's shimmering piano tone is the golden thread that holds this set together. One can actually see the sunlight dancing on the water and the sails swelling with summer breeze on the gentle original "Samba Into The New Age.” "Black Circle" is a dense layer cake of textures, improvisations and rhythms that would make Herbie Hancock grin."
- Peter Coppock.

“Looking back over the last 30 years, you won’t find a busier Chicago musician than Marshall Vente. You’ll hardly find one as versatile, either... The opening track – an homage to piano giant Bill Evans but dedicated to Vente’s wife Ruth Anne (“RA”) is one of his finest compositions, a lovely, graceful waltz that ought to inspire lyrics and cover versions.”
- Neil Tesser (from the liner notes).

VOLUME 3: STEVEN HASHIMOTO'S MOTHRA • TRADEWIND (Steven Hashimoto, Neal Alger, Kathy Kelly, Dan Hesler, Michael Levin and Heath Chappell)

”It has that feel of tapping contemporary energy while paying heed to the music’s roots. Covering a lot of stylistic territory isn’t much of a trick, but doing so and still projecting a unified ensemble voice is, and Mothra carries it off with aplomb. Credit the boss’ stinging, melodic bass and his compositional voice that speaks through as strongly on the wistful ‘Haiku’ as it does the title track, a prowling, stalking fusion number… All the members contribute complementary solos, but it’s the way they meld as a group that distinguishes Mothra.”
- David Dupont, Cadence Magazine, Oct/Nov/Dec 2009.

”’Tradewind’ is an intellectually stimulating and highly entertaining modern jazz album… Their adventurous grooves, complex chord progressions, and twisting and turning melody lines flow naturally throughout with a high level of ensemble interaction… their heightened sense of communication may be the main ingredient of the album’s success.”
- Matthew Warnock, All About Jazz, June 2009.

"'Haiku' is a beautiful ballad that features Michael Levin on some beautiful flute work. Hashimoto's solo on this one, which opens up the solo section, is reminiscent of Jaco Pastorius, with all of Jaco's horn-like tones. Underneath Hesler's tenor solo, his bass takes on an eerie tone fitting the intensity of what's going on around him. Kathy Kelly’s vibes work on here is gorgeous, as well... "
- Paul Abella, Chicago Jazz Magazine, March/April 2009.

"...the music is performed in a compelling manner that should please fans of Hashimoto's group as well as newcomers. The blend of well-written compositions, highly talented players... and a warm and clean recording add up to an album well worth owning in your collection."
- Brad Walseth, JazzChicago.net, March 2009.

“For a band that’s been around for a few decades, Hashimoto’s Mothra sounds remarkably fresh. The work of newer recruits, such as guitarist Neal Alger, and the luster of the arrangements explain why.”
– Howard Reich, Chicago Tribune, March 2009.

“Several years ago, the lineup gelled into the one heard on this disc. It stars guitarist Neal Alger – whose work with vocalists Patricia Barber and Typhanie Monique has brought his self-assured solos to a wider audience – and several artists who, though lesser known, are no less forceful in realizing Hashimoto’s goals: Kathy Kelly (founder of the Chicago Jazz Composers Collective); … Dan Hesler, whose gigs range from country-swing to world-music jazz; … Michael Levin, who’s shared stages with bluesman Charlie Musselwhite and also the Illinois Philharmonic Orchestra; and Heath Chappell, whose own internationalist tendencies – seen by his membership in such bands as Sueños and the world-music outfit Flippojazz – make him a perfect fit…”
– Neil Tesser (from the liner notes).

VOLUME 4: PAULINHO GARCIA • MY VERY LIFE (Paulinho Garcia, Heitor Garcia, Geraldo de Oliveira, Brett Benteler, Grazyna Auguscik, Michael Allemana, Ernie Denov, Steve Eisen, Julie Koidin, Don Stiernberg)

"Singer-guitarist Garcia always caresses the ear, but this disc offers an impressive collection of original compositions steeped in Brazilian musical culture. Each is a revelation."
- Howard Reich, Chicago Tribune, March 2009.

“‘My Very Life’ is a stunning, beautiful jazz journey through the sounds of Brazil, featuring the original compositions of Paulinho Garcia, and his memorable performances. This collection of songs will delight the fans of Paulinho Garcia, and those who love the jazz sounds of fine Brazilian music... his music is among the finest available in contemporary jazz music... His stylings are highly original and unique.”
- Lee Prosser, JazzReview.com

"Singer, composer and guitarist Paulinho Garcia’s latest release, ‘My Very Life’, offers a tour of Brazilian musical styles… the musicality and creativity of Paulinho Garcia is on full display. Whether delivering a gentle melody or scatting a notey solo, gently comping or energetically improvising on the acoustic guitar, Garcia provides constant evidence of his mastery of the art of the Brazilian song. Endlessly inventive with styles, Garcia is an innovative composer with a firmly rooted tradition."
- David Miele, Jazz Improv NY, May 2009.

"With over a dozen albums released in the U.S., ‘My Very Life’ marks a new beginning for Paulinho. The album is his first CD with all original songs. ‘My Very Life’ is a Brazilian musical map done with style and meticulous care… courageously diverse and yet very homogeneous when it comes to its classy performances… Together the ensemble carries on Paulinho’s musical vision with impeccable finesse… an excellent and original album.”
- Egídio Leitão, Música Brasileira, May 2009.

”Garcia's singing and guitar work on the album is exceptional. Drawing from his Brazilian background, he is able to weave in and out of different grooves with the greatest of ease… His solo on “Cintura Fina” bridges the gap between the soft timbres of the human voice and the acrobatic melodic lines of a saxophone, providing the perfect link between the opening and closing melodic sections of the tune. While Garcia is the leader of this recording the band he has chosen is made up of highly-gifted musicians that bring with them a wealth of experience… My Very Life is an exceptional album written and performed by exceptional musicians.”
- Matthew Warnock, All About Jazz, June 2009.

”… the strongest recording Garcia has delivered to date… because of the textures and excitement a bigger band can provide, especially one that’s this sparkling… this recording stands out for the quality and versatility of the songs, the excellence of their production, and the honest emotionality of Garcia’s singing, which is tender and passionate without ever being soppy.”
- Dr. Judith Schlesinger, All About Jazz, August 2009.

”…a beguiling eduction. Garcia and Auguscik have seductive, quiet vocal styles, and the leader’s acoustic guitar is caressing… Eisen’s saxophone work is seductive, with the peaceful charm that Getz brought to the form in its first American recordings. The veteran Chicagoan mandolinist Steirnberg adds much to the overall sound. This CD offers varied, entertaining music.”
- Michael Steinman, Cadence Magazine, Summer 2009.

"Brazilian guitarist-vocalist Paulinho Garcia showcases some of the lesser-known rhythms of his native country on this appealing disc."
- Bill Milkowski, Jazz Times, May 2009.

”Most of his projects over the years have revolved around bossa nova, but his new album, ‘My Very Life’, shows off his knowledge of and facility with many other styles from his homeland, from choro to baiao… the 11 original tunes provide lovely testimony to his sensitivity and depth of understanding.”
- Peter Margasak, Chicago Reader, September 2009.

“Alone with his guitar, his voice conjures a romantic figure balancing serenity and saudade (the Brazilian word for “that happy sadness” which has no easy equivalency in English) – a soundtrack for the famous Picasso portrait “The Old Guitarist.” And working with a broad range of Chicago musicians – reflecting relationships forged over 30 years in America – Paulinho’s voice becomes the sunlit jewel at the center of the various small ensembles heard here… The real surprise of this album lies in the fact that so fine a modern exponent of bossa nova as Paulinho Garcia emerges as so effective an interpreter, and so accomplished a composer, of the bossa’s many cousins.”
– Neil Tesser (from the liner notes).

VOLUME 5: TONY DO ROSARIO'S NEW CHICAGO JAZZ QUARTET • NEW BEGINNINGS (Tony do Rosario, Geof Bradfield, Nathan Kawaller, Greg Wyser-Pratte)

“…guitarist Tony do Rosario and his band display the spark that indeed often accompanies new beginnings. With an expansive tone that brings to mind the bleeding of a drop of watercolor into paper, Rosario runs off quick, single-noted lines that have equal parts warmth and punch… the rhythm section supplying soft, yet solid backing to the spirited solos from Rosario and saxophonist Geof Bradfield, creating a sense of pulling, a fever to get out and get going.”
– Matt Marshall, Jazz Improv NY, June 2009

"Brazilian/American guitarist Tony Do Rosario delivers an energetic and engaging performance with his sophomore album New Beginnings… The four musicians come together to produce an album of original modern jazz that is mentally engaging and possesses broad appeal… The ability of the musicians to solo and bring their own voice to each tune only acts to contrast the moments when the group dynamic is so tight that it feels as if they are a single instrument… New Beginnings is a strong sophomore album for Do Rosario and his new quartet. With a seamlessly never-ending supply of creativity at his fingertips, Do Rosario should be a leading voice on the Chicago jazz scene for some time to come."
- Matthew Warnock, All About Jazz, March 2009.

”…he hits you hard with his phenomenal solos, which, alone, make owning this CD worthwhile. Then, just as quickly, he falls back into being just another member of the band… This semi-backseat approach begs us to be drawn in further to appreciate the value of the compositions, which we discover to be essentially pleasing for the casual listener, while also offering depth and complexity. In that sense, this is valuable art that contains ever-increasing layers to be unpeeled as you replay the music… The recording particularly proves to be a showcase for the extraordinary talents and thoughtful paths that Geof Bradfield brings forth with his tenor sax…Tony Do Rosario has assembled a band that has given us something new worth hearing.”
- Tim Gault, Chicago Jazz Magazine, July/August 2009.

"The title track opens things moodily with Wyser-Pratte and the up-and-coming young Kawaller simmering underneath as Bradfield and Do Rosario play tastefully modulated solos. "On This Day" follows and is one of the most engaging compositions on the session. Do Rosario takes a thoughtful approach to his solo, as does the well-regarded and as of late, ubiquitous Bradfield. The interplay throughout the recording between the two, with support from their rhythm section is perhaps the highlight of the recording. And Wyser-Pratte shows his stuff with some excellent and energetic work on the outro. Meanwhile, the lovely "First Hint of Autumn" slows things down with Do Rosario providing the framework on acoustic guitar. Wyser-Pratte's delicate brushwork here is noteworthy while Bradfield builds ladders of sound rising above. This is an engaging effort and one that bodes well as a new beginning for this talented guitarist…”
- Brad Walseth, JazzChicago.net, April 2009.

”This exploratory music is quite lovely, and the quartet works together as a cohesive improvising group… Several of the originals – among them “On This Day” – have catchy melodies that stick. And he can write in many moods: the sauntering “On This Day”, the ruminative “April 27”, the peaceful “K”, and more. I was impressed with Bradfield’s airy tenor, do Rosario’s luminous sound, and the thoughtful, melodic support from Kawaller and Wyser-Pratte. The quartet’s Jazz is full of ideas but it won’t scare the neighbors.”
- Michael Steinman, Cadence Magazine, Oct/Nov/Dec 2009.

"This recording features cool interplay between guitar and saxophone, captivating guitar solos, and really wonderful material. Tony do Rosario has a fresh and exciting approach to the guitar and with this CD, Tony once again has a real winner. ‘New Beginnings’ is well worth the price of admission.”
- Doc Dosco, GuitarSite.com, May 2009.

“The sheen draws you in; the depth keeps you from leaving. Do Rosario does this with his guitar, offering a plummy tone and gracious attack as initial enticements; only then does he reveal the sturdy, enveloping improvisations that continue to expand with repeated listenings. He also does this with his compositions, almost all of which sound attractively familiar, and then turn out to be richer and more rewarding than the initial impression.”
– Neil Tesser (from the liner notes)

VOLUME 6: AARON KOPPEL QUARTET • FALLING TOGETHER FALLING APART (Aaron Koppel, Matt Nelson, Graham Czach, Robert Tucker, Greg Ward, Geof Bradfield)

”Across 10 originals, the emphasis is on group interplay, with active basslines and lively arrangements… Among the standouts is pianist Nelson, who gets the nod more often than not… There are a fair number of introspective moments on ‘Falling Together Falling Apart’, thanks again to Nelson’s knack for getting off the beaten path, but there is the occasional up tune that suggests these guys might be used to people dancing at their shows. ‘Electric Cowgirl Boogaloo’ is just such a number, featuring some bouncy funk swing with saucy playing from Ward along with lots of spritely lines from Czach, his bass playing a driving if delicate force. In the end, what makes this disc enjoyable is the way the 26-year-old Koppel takes a conventional form (mainstream jazz) and makes something of it, breaking up the material, avoiding the tendency to just write blowing vehicles and, when his own guitar isn’t happening (e.g., ‘Falling Together’, ‘Our Tribe’), letting his sidemen take most of the spotlight.”
- John Ephland, Downbeat, December 2009.

”…a veritable Who’s Who of Chicago’s young talent on the jazz scene. Featuring amazing saxophonists Greg Ward and Geof Bradfield, bassist Graham Czach and wunderkind pianist Matt Nelson, this is a band of heavyweights… the writing is varied, the arrangements are smart and the songs are clever… What makes Falling Together, Falling Apart so interesting is the fact that this really is a composer’s album. Unlike the vast number of discs that we’ve all heard that are made up of quick melodies meant to get to chord changes or to inspire finger-busting solos, this is an album of songs. Melodies are deliberate, and even the solo orders are shuffled around in order to serve the song first and foremost. That’s a sure mark of a mature leader, which Koppel proves himself to be… To put it simply and without hyperbole, Falling Together, Falling Apart is a fantastic album… This disc is easily recommended.”
- Paul Abella, Chicago Jazz Magazine, July/August 2009.

”On his quartet’s 2009 disc ‘Falling Together Falling Apart’, mainstream guitarist Aaron Koppel established himself as an inventive composer and surprisingly mature 20-something leader, unafraid to allot plenty of solo space to his sidemen. Inspired by the writing of Dave Hollad and Avishai Cohen, the Chicago-area native studied guitar with Bobby Broom, which probably helps account for his tasty melodicism.”
- Neil Tesser, Jazziz, Fall 2009.

”… an emotionally charged excursion through the realm of modern jazz… The ensemble… reflects the best and brightest of the highly creative Chicago modern jazz scene… a cohesive band, strong soloing, well-crafted compositions/arrangements and gripping guitar playing… Koppel delivers a masterful performance on ‘Falling Together Falling Apart’. He is at the top of his game as a soloist, his writing shows a depth and understanding of modern jazz harmony that is as exciting as it is engaging…”
- Matthew Warnock, All About Jazz, June 2009.

”Chicago Sessions has done it again, this time featuring a group of stellar up-and-coming young Chicago jazz artists led by guitarist Aaron Koppel. The line up is exceptional, with saxophonists Greg Ward (alto) and Geof Bradfield (tenor) making up a dream front line, and drummer Robert Tucker and bassist Graham Czach providing a solid rhythm section. I've been singing secret weapon pianist Matt Nelson's praises for years now, especially for his fine work with saxophonist Shawn Maxwell, and this recording will hopefully be a breakthrough to help bring this extremely talented young man to the attention of Chicago and the world… The saxes sparkle and write down the name: Matt Nelson is quite simply a star on the rise… Koppel's songwriting is impressive, mature yet fresh, versed in tradition, but new. And the band members construct these compositions with energy and care… explanations do not do justice to the music and you would be best served to pick up a copy.. Take the step to hear some of the best young players (and composer) the city has to offer, and let's hope we hear much more from Koppel and this praiseworthy bunch.”
- Brad Walseth, JazzChicago,net, May 2009.

“You may have heard small-group compositions as strong and flavorful as the ones on this album, but if you can’t remember exactly when, you should again not worry: it’s probably been a while… Koppel serves more as bandleader and composer/arranger, guiding his small yet versatile ensemble and letting his writing speak louder than his guitar… [Pianist Matt] Nelson’s suave command of his material matches up neatly with his fertile imagination and his knowledge of jazz history; Koppel gives him the majority of the solo space on this disc, and Nelson transforms it into his personal debutante’s ball, emerging as an impressive new voice well worth tracking. He kicks it off with a rangy concerto of a solo on the opening track and doesn’t flag, with a series of improvisations that illuminate (and at times deconstruct) the underlying compositions… All in all, Aaron Koppel and company – most of whom you’ve never heard of – have produced a lovely, lively collection marked by intelligent writing, emotional depth, and sterling musicianship.”
– Neil Tesser (from the liner notes)

VOLUME 7: ZVONIMIR TOT • ELOQUENT SILENCE (Zvonimir Tot, Larry Gray, Ernie Adams, Orbert Davis, Mark Colby, Julie Koidin, Stefan Milenkovich)

”’Eloquent Silence’ is an introspective yet powerful album by Chicago guitar virtuoso Zvonimir Tot. The album features an all-star band… Bouncing between hard-driving funk tunes, laid back ballads, rock-inspired grooves and Latin beats, Tot’s compositions spin a web of musical eloquence that is both engaging and intellectually provocative… Each tune on the album reflects a different side of Tot's compositional palette. While Tot is firmly based in the modern jazz tradition, he also borrows heavily from other genres including funk ("Bruce's Dilemma"), rock ("Mira's Do-Re-Mis") and bossa-nova ("Sub Rosa")… Tot's virtuosic chops and strong sense of melody shine throughout… Eloquent Silence is an entertaining jaunt through the myriad of Tot's musical influences and favorite genres.”
– Matthew Warnock, All About Jazz, June 2009.

”…a fantastic guitarist who has surrounded himself with some of the most sympathetic support anyone could ask for anywhere. Tot keeps one-upping himself with every disc he puts out, and ‘Eloquent Silence’ is a fantastic example of just how brilliant a guitarist, writer and arranger he is.”
– Paul Abella, Chicago Jazz Magazine, Sept/Oct 2009.

”A much-in-demand player, Tot enlists some of the cream of the crop of Chicago artists on his second album as a leader, and it is the delicious interplay between the guitarist and his fellow players that gives this release much of its energy. Masterfully balancing his own exemplary solos with those of such talented players as bassist Larry Gray, drummer Ernie Adams, trumpeter Orbert Davis, flautist Julie Koidin and tenor saxophonist Mark Colby, Tot creates a simmering musical environment that allows everyone involved to present themselves to great advantage… highlights include several brilliant solos from Gray (check out his incredible bow work on his solo on "Mira's Do-Re-Mis" a perfect complement to Tot's fiery guitar), Colby's sensitive playing on the ballad, "Jurre," Adams (who plays excellent support as always) provides a couple incendiary solo spots, and Serbian classical violin prodigy Stefan Milenkovich adds a romantic gypsy feel to the haunting "Sarabande Blue." Another compelling release from Chicago Sessions…”
– Brad Walseth, JazzChicago.net, July 2009.

“When he improvises, Zvonimir evidences many things, from the intensity of a conservatory virtuoso to the serene patience of a Zen guru, and always, the love of lore that characterizes griots and troubadours the world over. Jazz musicians have long used storytelling as a metaphor for improvisation, and Zvonimir’s solos exemplify that concept. They start here and get to there; in between lies the wealth of color and detail shared by narrators from Chaucer to Updike. So keep an ear open for that quick descent into a blues cellar, or that unexpected detour into a Balkan village, or the volcanic burst of activity on which the entire plot might turn: you’re likely to hear all those and more, even as these improvised stories barrel on with clarity and power.”
– Neil Tesser (from the liner notes)

VOLUME 8: DARWIN NOGUERA'S EVOLUTION QUINTET • THE GARDENER (Darwin Noguera, Victor Garcia, Greg Ward, Joshua Ramos, Juan Daniel Pastor, Howard Levy, Ernie Adams, Rocky Yera)

”… an expressive and experimental take on the Latin jazz vernacular… The music here represents a new branch on the tree of jazz… a very strong outing for Noguera and his entire ensemble – a bold and refreshing look at the Latin jazz genre from an artist who will, no doubt, continue on his musical evolution for many years to come… Ernie Adams makes incendiary appearances on three tracks… Howard Levy graces the recording with some stellar harmonica work.”
- Matthew Warnock, All About Jazz, September 2009.

”As one of the city’s brightest young talents, Noguera has striven to promote a modern way of thinking about Latin Jazz… an attitute… of love and respect, but also of a determination to move forward within the genre. This is serious music, but also serious fun… [Noguera and trumpeter Victor Garcia] are two of the new generation of Afro-Latin players involved in reshaping the sound of the music.”
- Brad Walseth, JazzChicago.net, August 2009.

”Noguera’s recent release with the Quintet, ‘The Gardener’, displays the pianist’s outstanding range and musicianship with a wide range of exciting and memorable tracks.”
- Chip Boaz, The Latin Jazz Corner.

”Noguera delights in combining traditional Latin forms and hard-hitting jazz, to the benefit of both idioms… From the very beginning of this irresistible recording – the spiky piano intro to ‘Señor del Pozo’, a Peruvian festejo – Noguera’s dizzying command of both Latin and jazz idioms comes into focus. (So does his partnership with trumpeter Victor Garcia… Garcia has a unique affinity for Noguera’s writing, and even after repeated hearings, it remains one of this music’s indelible strengths.)… Noguera’s work with the Chicago Afro-Latin Jazz Ensemble explains one more gift he brings to this musical banquet – his ability to condense his voluptuous and detailed big-band writing down to just these few horns, while still suggesting the depth and variety of the larger format.”
- Neil Tesser (from the liner notes)

VOLUME 9: HOWARD LEVY • TONIGHT AND TOMORROW (Howard Levy, Ernie Adams, Larry Gray)

”When you combine this iconoclastic skill with his energetic yet lyrical approach to improvising, you get a style that has beguiled artists from across the musical spectrum – from newgrass banjoist Béla Fleck to post-bopper Ben Sidran, folkies Steve Goodman and Bonnie Koloc to the Lebanese oud player Rabih Abou-Khalil, Cuban saxist Paquito D’Rivera to “word jazz” creator Ken Nordine, all of whom have featured Levy’s harmonica on their recordings. His harp playing can easily detract from Levy’s piano praxis, which he displays on many of the more than 200 recordings he’s made. The piano remains his first instrument, and he always greets it like an old friend, embracing it in his lanky limbs and long thin fingers, before putting it through its paces. Levy has technique for miles, matched by a sterling musicianship that lets him blister the ears with rapid-fire runs or soothe the senses with lullaby harmonies. And his piano work, like his repertoire, reflects his unique and wide-ranging set of influences, comprising balkan folk tunes, bluegrass, several Brazilian idioms, klezmer, mainstream jazz, various middle-eastern traditions, and rock through the ages.”
- Neil Tesser (from the liner notes)

VOLUME 10: PAUL WERTICO’S MID-EAST/MID-WEST ALLIANCE • IMPRESSIONS OF A CITY (Paul Wertico, John Moulder, Brian Peters, Dani Rabin, Danny Markovitch)

”… a soundtrack waiting for a film… This is the soundtrack I suspect Hieronymus Bosch would have written had he been a modern composer watching the news… Despite the sometimes nightmarish and chaotic nature, the level of musicianship never ceases to attain a high level. Moulder and Rabin handle the guitars with exuberance, Markovitch soars on saxes, while Wertico himself plays at times like a dervish possessed by his own personal demons looking to break free… Peters provides some chewy bass, synths, violin and an assortment of unusual instruments and sounds, while Rabin’s loops and sounds also add layers of texture to the overall atmosphere. Haunting and memorable, ‘Impressions of a City’ is an engaging musical experiment and one that is highly unique.”
- Brad Walseth, JazzChicago.net, November 2009.

”Replete with crash, clatter and soundscapes of all stripes, Paul Wertico’s newly formed Mid-East/Mid-West Alliance takes a sonically engrossed look at the modern city via a day-in-the-life motif… the record meshes Eastern and Western tones in exploring the anxiety-enriched landscape we call modern life… Wertico ends the record the way Bob Dylan is prone to do after serving up heaps of distress, with a shrug of the shoulders and a joke: “Good Night and Good Luck.” This is musical narrative at its finest. A fanfare for the common (and mechanistically exploited) 21st century man and woman.”
- Matt Marshall, JazzInside NY, November 2009.

”The music on this album is like nothing you’ve heard recently… these five musicians had never worked as one unit before stepping into the studio, where they improvised everything you hear on this disc… Wertico and company have constructed a panoramic palette of tonal colors and sonic designs, a broad wash of landscape imagery and topographical detail and deep-fathom waves (and even a little smoke-and-mirrors). His instincts remain intact: this quintet of collision, patched together on a whim, achieves the unity of purpose that Wertico imagined – even without preparation or rehearsal. As they’ve done on the trio’s previous recordings, Moulder and Peters manage to give themselves over to the music without subsuming their own unique personae; meanwhile, the new guys add a stream of fresh ideas, renewing the well from which this music springs. Holding it all in his remarkably strong hands is Wertico himself, one of the most energetic, inventive, and masterful drummers in any genre, on one of the most impressively spontaneous albums you’ll find on this planet – or any other.”
- Neil Tesser (from the liner notes)

VOLUME 11: PAT MALLINGER • DRAGON FISH (Pat Mallinger, Dan Trudell) (in production)

”… this album… ripples and roars with the intimacy of two friends engaged in a musical conversation that started a quarter-century ago… So as you listen to the effortless intensity of these collaborations, you’ll hear an artistic collaboration ripened by 25 years of professional interplay and personal interaction … The barreling “CPW” takes its initials from the John Coltrane ballad “Central Park West”; says Mallinger, “I was experimenting with playing it fast and came up with this melody, and the tune just fell into place; it’s kind of a roundabout way to pay tribute to Coltrane.” As for “Just Give It A Chance,” with Mallinger on alto: “I initially wanted to write a bossa nova, and I was trying for some Jobim-influenced chord changes. But it’s a little more elaborate than I’d expected, and rather difficult.” So the title echoes his advice to musicians who react skeptically when they first see the music. The title track has a fiery, fluid melody by Mallinger, with Trudell’s harmonies providing unexpected offshoots that frame and deepen the theme. Although Mallinger gets composer’s credit, the division of labor echoes the way they work on the songs that bear both their names – the somewhat ethereal “Diffuse,” with Coltrane’s influence informing Mallinger’s soprano work, and “Adventures,” which Mallinger describes as “our rock tune” (tongue firmly in cheek)…”
- Neil Tesser (from the liner notes)

VOLUME 12: SHAWN MAXWELL QUARTET (Shawn Maxwell, Matt Nelson, Kevin Martinez, Brandon Dickert) (in production)

”‘Maxwell’s House’, his Chicago Sessions debut, shows off a sprightly but strong-willed style, which grows from his puckered, slightly acerbic, and often kaleidoscopic tone. His alto timbre sits in a lineage exemplified by past giants like Jackie McLean and Eric Dolphy, and by such latter-day players as Arthur Blythe and Steve Slagle. Maxwell gets to all of them through his emulation of Kenny Garrett (one of the most admired contemporary altoists), who folds many of those influences into his own music… Maxwell bases much of his approach to improvisation around his sound: although he can run bebop lines along with the rest, his solos tend to involve fewer, longer-held notes, the better to emphasize the three-dimensional facets of his tone. His songs serve a similar purpose, living in a mid-tempo range that lets his sound breathe deeply. Whether composed or improvised, Maxwell’s melodies have a keening urgency that starts with that sound, which imparts a steamroller intensity belied by his easygoing manner… Throughout the disc, ‘Maxwell’s House’ displays a vibrant and steadily maturing quartet. The youthful Nelson emerges here (and on the standout Chicago Sessions disc by guitarist Aaron Koppel) as one of Chicago’s most promising jazzmen, and one of the freshest pianists on the national scene. Nelson deserves his own disc soon; like his twenty-something contemporary Gerald Clayton, he already knows how to leave things out of his solos to highlight the ideas he chooses to retain – a lesson most musicians don’t learn until much later in life…”
- Neil Tesser (from the liner notes)