matt marvuglio: Press
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Here's a youtube clip of the Jazzet performance in Barquisimeto, Venezuela
Here's a nice review of the Panama Jazz Festival
Here's a cut from the Heineken Jazz Fest. click on the link to hear it.
For anyone who enjoys a tango, this is one of the best. click on the link to hear it.
Check out this performance of Estate. Click on the link to hear it.
Phil Wilson's CD
The opener, “Desafinado,” is wrapped in a lilting and angular bass line that simultaneously anchors and lets sail the lush solos. Wilson’s warm tone is complemented beautifully by the ensemble, and the standout here is Matt Marvuglio on bass flute—Jobim’s tunes seem perfectly suited to these dreamy, low-register “voices.”.....
Check out this tribute to Miles with Randy Brecker as soloist. Click on the link to hear the cut.
Celebrates the Music of Antonio Carlos “Tom” Jobim, Phil Wilson’s Pan-American All-Stars.
Trombonist Wilson’s tone is distinctive.....Here he has assembled a group of players to play some Jobim, and the cast, featuring a rhythm section from the Caribbean Jazz Project plus a few talented others, works the music with tenderness, energy and passion. Jobim would have loved these smooth-as-silk arrangements, especially the haunting bass flute work by Matt Marvuglio, which adds something we’ve rarely heard on bossa favorites...
An album of standards and original compositions in the "swing bop" style, performed by two soloist musicians: Matt Marvuglio on flute and Ed Saindon on vibraphone, a marriage of two instruments uniting to the perfection.
Matt, is an enchanting flutist with lots of language and technique... Ed, a virtuoso vibraphonist in solo, with a pure cristal sound, neat harmonies, and Barry Smith on double bass, adds a strong swing to the duo.
The ensemble: an acoustic jazz revisiting standards we will always listen to with pleasure, and, Someday my Prince will come, on Green Dolphin street !
Ah jazz music, what a gift !
Phil Wilson's CD
Bossa nova music has a cool, light feeling, with delicate melodies drifting on gentle rhythms. It floated out of Brazil in the 1960s, spearheaded by Joao Gilberto, Vinicius de Moreas and, of course, Antonio Carlos “Tom” Jobim. The music was popularized in the United States in the 1960s via albums that teamed Jobim with saxophonist Stan Getz and guitarist Charlie Byrd.
Phil Wilson's Pan American All Stars Celebrate the Music of Antonio Carlos “Tom” Jobim--which may compete for the longest CD title of the year--brings us traditional bossa nova with something of a twist: Wilson's trombone.
The Brazilian sound normally makes you think of lilting guitars and airy flutes, and simple, insistent rhythms. That's in evidence here, with the big brass trombone beefing the sound up and enhancing the beauty. Joining Wilson in the front line--and adding a rich, cool beauty to the harmonies--is Matt Marvuglio on bass flute, the C flute's more robust-sounding brother.
The set represents a Jobim's greatest hits workout--”Desfinado,” “Corcovado (Slightly Out of Tune),” “Triste,” “Samba de Uma Nota So,” “Chega de Saudade” and from the Wave (A&M Records, '67) CD, “Look to the Sky.”
Wilson has taught at Boston’s Berklee College of Music since 1967, and has led student bands there that have turned out dozens of high profile musicians, including John Scofield, Roy Hargrove, Terri Lynne Carrington, Dino Govoni, John La Barbera and Tiger Okoshi, to name just a few. With his Pan American All-Stars he stays true to the tradition of Antonio Carlos Jobim's music while making it very much his own.
"Two Ones" by Harry Skoler
"We reviewed Skoler's superb clarinet work way back in issue 29 ... Ed's vibes create a really mellow atmosphere through all 14 original compositions on this album, with a really strong jazz flavor. The rest of the quintet are featured on the first 7 tracks, then after cut 8, it switches to purely duo action (piano/clarinet) ... my favorite song was 7, "Silent Serenity", which is (actually) far from silent... yes, it's serene & mellow, but full of the vibrant spirit of life & the living thereof... Matt Marvuglio played flute on that track, & it's some of the most soulful wind I've ever heard blown - he literally paints sonic landscapes for your aural pleasure! I'm highly impressed with "Two Ones", & declare it MOST HIGHLY RECOMMENDED for jazz listeners of all persuasions."
One of the marks of great musicianship is the ability to defeat the associative notion. Flute, vibes and bass could have you guessing at a gig that would have to be mild or moderate, even (heaven help us) pleasant. Not so with this one. "Why Cry" (the lovely title track) is a CD that flows effortlessly forward with a compulsive swing and a good selection of explorative ballad performances. The men all work well together and there is an obvious professionalism. Smith on bass performs exceedingly well on track 4, Saindon's 18th Child (there has to be a joke there). The Marvuglio composition, Kick the Can, shows a strong melodic line, not easy to come by nowadays, and could easily be given a lyric. The standards all have treatments that are unusual. I'll bet you have never heard Stella By Starlight done with such intricacy, and again it is Smith who gives it a special groove.
Right! This is the kind of CD a musician may wish to bend an ear to. Nobody is overly funky. Nobody riffs like mad. This is music, music and music again.
Flautist Matt Marvuglio is the Dean of the Berklee College of Music's Professional Performance Division and with this album one can easily see why he was appointed to that post. Preconceptions creep in when I pick up a flute CD. First, the harmonic range possibilities are more limited than other instruments; second, the music is guaranteed to be smooth and saccharine. Marvuglio and his cohorts put those unwarranted preconceptions to rest with some sterling swinging throughout this CD, mixed with some romantic ballads played with feeling and imagination. The presence of vibes player Ed Saindon is a major factor in the successful outcome of the session. Listen to his clean percussive sound he gets from the metal bars on such tunes as a cleverly arranged “On Green Dolphin Street”, with Barry Smith's bass getting plenty of play. Marvuglio has a decided lilt to his instrument when he's playing the melody line. Then when he starts to move away inserting his own ideas, he does so with a sense of confidence that makes the music take on a life of its own. The interplay between Marvuglio and Saindon on the classic “Stella by Starlight”, with the flute riding the melody and the vibist roaming around underneath before he takes his solo, makes for a worthy melange of sound and structure. The icing on the cake is added as Smith sneaks in with his dark bass lines....
It's clear from the outset of this that session these three professionals have settled on the way they want to present the play, strong, innovative and above all swinging. These objectives are admirably met and this album is highly recommended.
Why Cry is an elegant mix of standards & originals capably performed by a somewhat unconventional trio. The combination of flute, bass and vibraphone results in music that is rich in timbre and easy on the ears. At first, the band seems a bit frantic, missing the anchoring presence of a drummer. Once, however, you get used to the group's particular sound, you don't feel the absence of drums or any other element.
Stylistically, this group of music professors (all three players are faculty members of the Berklee College of Music) has a fair amount of range. The group's arrangement of "On Green Dolphin Street" is the epitome of straight ahead jazz, while the gentle melody of vibraphone player Ed Saindon's "18th Child" is reminiscent of the 1980s work of both Bob James and Lyle Mays and Pat Metheny. This cut and others, in particular the title track by Marvuglio, also display some influence from European Impressionism.
The decision of this group not to use a drummer is integral to their sound and has many musical consequences. Most notably, it opens up a lot of space for Matt Marvuglio's virtuoso flute playing. It frees Saindon and bassist Barry Smith at times as well, although at other times the effect is restrictive as they are forced to bear more fully the music's rhythmic burden. For the most part, particularly on their introspective sounding originals, the trio is so tight that it is difficult to imagine the band with a drummer at all.
A HUGE Surprise!! (5 stars)
I LOVE Jazz...so when I came across this new artist, I was intrigued by the flute spin. I decided to try this out. New to Jazz Flute, I listened to "Why Cry"...and was so moved by this sound. While "Eighteeth Child" wasn't a favorite (I'm not a fan of Vibes), I was amazed at how much I LOVED the rest of the CD! If you love Jazz...you really have to try this Artist. I'm a new fan to Flute in Jazz! Marvuglio....FABULOUS!
This CD is great! (5 stars)
I have recently bought this CD and I am very impressed with Matt Marvuglio, the CD is a pleasure to listen to and I usually have it on continuous play, as I never tire of listening to it.
This CD is great! (5 stars)
I have recently come to appreciate jazz and this CD is a pleasure to listen to. I found it very relaxing and usually have it on continuous play as I feel you would never tire of listening to it.
Great Jazz CD (5 stars)
I'm not a lover of jazz, but after receiving this CD as a gift, I was converted -- not only to jazz, but to the flute. Listening to Matt Marvuglio on the flute was such enjoyment for me -- relaxing, soothing and appreciating the intricateness of the flute! I'm looking forward to hearing more from him in the future!
Amazing burning jazz flute! (5 stars)
I am a classical flute player, with an appreciation for jazz and contemporary styles. I have never heard a great jazz flute player with solid and consistent "classical" sound, nor have I heard of any classical players (myself included) who can play really amazing be-bop PLUS have an amazing clarity of sound. Usually, classical players sound wonderful, yet can swing; and jazz players usually have a fuzzy flute sound. Matt Marvuglio somehow combines the best of both worlds! His technique is effortless, yet exciting to listen to. The lack of drums is actually a breath of fresh air, as this trio (with vibes and bass) is really tight! There's a good mix of straight-ahead jazz tunes, as well as some original compositions that are pretty, flowing, gentle, yet still demonstrating amazing sound and technique. I have been fortunate to see this trio perform live, and this CD actually captures their "live" sound -- listening to this CD is like having your own private concert played for you by one of the world's best flute players!