jazz guitarist | composer
PRESS & ALBUM REVIEWS
Review of Local Dialect - by Brandon Berstein
Jay Azzolina delivers as impressive of a performance as one could possibly hope to achieve on his latest album Local Dialect. Very rarely does a recording contain such broad versatility of styles played to the highest level. Azzolina is a grammy nominated artist who has worked and recorded with artists such as Kenny Werner, Fred Hersch, Herbie Mann, and Carly Simon, along with many others. Local Dialect showcases an all star cast of the world’s finest musicians on an album that can best be described as brilliant. Azzolina demonstrates that he is one of the finest and most talented guitar players on the planet. There is never a dull moment on the entire CD as each song provides contrast from its predecessor. The variety of styles, twists and turns, and highly creative compositions keep the listener on the edge of their seat throughout.
"Friends of Friends” a fusion-like masterpiece, gets things started with a bang. Azzolina’s guitar playing is terrific, changing his tone and effects, and offering contrast between sections. His solo showcases monster chops and execution. Tim Ries is also featured as a soloist on this track and delivers a powerful solo. The rhythm section is dynamic and the arranging is extraordinary.
What makes this album so great is how the tracks are all different and unique. “For me, this variation in styles and language has always kept me interested in listening and pursuing the joy of playing and writing,” states Azzolina in the linear notes. On “Angel's Dance”, Azzolina plays acoustic guitar while mimicking his guitar melodies with his voice. The song is incredibly creative and unique sounding like a collective of world music. Master percussionist, Cyro Baptista, makes this track even more special with his presence.
“Acceptance” features Azzolina on guitar and keyboard with programmed drums. The composition is techno-like with distorted guitar, again showcasing Azzolina’s profound technical ability on his instrument. Azzollina’s influence of hip-hop, techno, jazz and metal guitar can be heard on this track.
A highlight on the CD is the guitar/ organ trio composition “Mind Your Mind” featuring Larry Goldings and Greg Hutchinson. Azzolina and Golding’s execute tremendous solos swinging hard along the way. The interplay is magical as the musicians are engaged in intense listening and dialogue with each other.
Local Dialect is a great record that explores a vast array of musical styles. The contrast from one track to the next is fascinating. The compositions are very well written and highly imaginative. Azzolina proved that he is a premiere guitarist and is comfortable playing in a wide variety of styles.
"Friends of Friends” a fusion-like masterpiece, gets things started with a bang. Azzolina’s guitar playing is terrific, changing his tone and effects, and offering contrast between sections. His solo showcases monster chops and execution. Tim Ries is also featured as a soloist on this track and delivers a powerful solo. The rhythm section is dynamic and the arranging is extraordinary.
What makes this album so great is how the tracks are all different and unique. “For me, this variation in styles and language has always kept me interested in listening and pursuing the joy of playing and writing,” states Azzolina in the linear notes. On “Angel's Dance”, Azzolina plays acoustic guitar while mimicking his guitar melodies with his voice. The song is incredibly creative and unique sounding like a collective of world music. Master percussionist, Cyro Baptista, makes this track even more special with his presence.
“Acceptance” features Azzolina on guitar and keyboard with programmed drums. The composition is techno-like with distorted guitar, again showcasing Azzolina’s profound technical ability on his instrument. Azzollina’s influence of hip-hop, techno, jazz and metal guitar can be heard on this track.
A highlight on the CD is the guitar/ organ trio composition “Mind Your Mind” featuring Larry Goldings and Greg Hutchinson. Azzolina and Golding’s execute tremendous solos swinging hard along the way. The interplay is magical as the musicians are engaged in intense listening and dialogue with each other.
Local Dialect is a great record that explores a vast array of musical styles. The contrast from one track to the next is fascinating. The compositions are very well written and highly imaginative. Azzolina proved that he is a premiere guitarist and is comfortable playing in a wide variety of styles.
"Along with John Patitucci (with whom Azzolina regularly tours), saxophonist Tim Ries, trumpeter Scott Wendholt, trombonist Mike Davis, organist Larry Goldings, and drummer Greg Hutchinson, Azzolina has produced a cubist-inflected computer assisted masterwork. Similar to earlier recordings by John Scofield (Still Warm) and Miles Davis (Decoy), but firmly assaulting the futuristic fronts currently being explored by saxophonist Steve Lehman (Demian As Posthuman), Azzolina’s Local Dialect maneuvers swerving arrangements that were born of a computer but realized with human hands."
Ken Micallef, Downbeat
"A former member of the super-group Spyro Gyra, guitarist Jay Azzolina opts for a straightahead organ-trio format on his third solo effort. Though his rock-and funk-inspired roots are never far from the surface, the more traditional setting allows Azzolina to express more warmth and depth in his playing than he’s exhibited in the past.
The dual nature of Azzolina’s musical personality is best exemplified by 'Piece of Jack,' which features a rock-fueled refrain tempered by a more contemplative theme. Then there’s Azzolina’s style itself: Often when his long free-flowing lines settle into an easy-going groove, he adds a dose of tension by peppering his solos with bursts of staccato phrases.
Among the highlights is the disc’s opening track, 'It’s All About You,' a bluesy number that glides smoothly atop Adam Nussbaum’s bossa nova-style rhythms. Another standout track is 'So Steps The Giant,' a sly interpretation of John Coltrane’s ' Giant Steps' that allows Azzolina and B-3 organist Gary Versace to plow their way through the piece’s original chord changes with their personal stamps.
Versace, in fact, serves triple duty as bass player, soloist, and the group’s harmonic foundation, all the while delivering excellent boppish counterpoint to Azzolina’s slick approach. That type of contrast makes this disc rewarding even after repeated listenings."
John Frederick Moore, Jazziz
The dual nature of Azzolina’s musical personality is best exemplified by 'Piece of Jack,' which features a rock-fueled refrain tempered by a more contemplative theme. Then there’s Azzolina’s style itself: Often when his long free-flowing lines settle into an easy-going groove, he adds a dose of tension by peppering his solos with bursts of staccato phrases.
Among the highlights is the disc’s opening track, 'It’s All About You,' a bluesy number that glides smoothly atop Adam Nussbaum’s bossa nova-style rhythms. Another standout track is 'So Steps The Giant,' a sly interpretation of John Coltrane’s ' Giant Steps' that allows Azzolina and B-3 organist Gary Versace to plow their way through the piece’s original chord changes with their personal stamps.
Versace, in fact, serves triple duty as bass player, soloist, and the group’s harmonic foundation, all the while delivering excellent boppish counterpoint to Azzolina’s slick approach. That type of contrast makes this disc rewarding even after repeated listenings."
John Frederick Moore, Jazziz