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Rating: There are areas of musical memory that, once their official time has passed, will never be explored again (or almost never). We all go crazy for contemporary jazz, or for that of the '60s, with plenty of swing, bop experimentations, hard bop, and revolutionary messages included. Our shelves are full of the Davis of the '70s and his diaspora, the contaminations with rock, and more. Classical music? As much as you want: tons of it. Conversely, early 20th-century jazz is almost never spoken of; it's almost as if it were something to be ashamed of: primitive, rudimentary, approximate, or otherwise. Completely wrong! Davis said that everything he did had already been abundantly stated by Louis Armstrong. And Armstrong said that what King Joe Oliver, Bunk Johnson, and Buddy Bolden did with their instruments and their bands was fabulous. We have no trouble believing him, of course. However, when it comes to concretely carrying forward that style and tradition: almost no one! Among these very rare "salmon swimming upstream," we certainly count Matt Munisteri, a third-generation New Yorker. This record is simply a pure pleasure (both intellectual and auditory) to place on the player and let go.
The name Brock Mumford comes directly from the guitarist of Buddy Bolden, a legendary early-century trumpeter of whom unfortunately we have no documentary trace. Being Matt a musician who directly draws his tastes, atmospheres, and instrumentation from that era, he thought it right to pay a due homage to the old guitarist by naming the group that accompanies him after his name. The recording features the contribution of drums only in the second track; the entire album has a discreet, soft mood but certainly not "weak"; with an utterly retro flavor. But it is perhaps a must-buy for all those who wish to broaden their jazz horizons beyond the already explored.
1) "Lonely acres in the west" is a traditional where we get to know the guys: Matt on guitar, Will Holshouser on accordion, Jim Whitney on bass, Jon Erik Kellso on trumpet (often muted: pujè trumpet). A lot of rhythm, decisive, and relentless swing for the representation of a typically American hope song. Accordion that decidedly recalls Marseille or New Orleans and a very discreet trumpet. Matt has a particular voice; he indeed loves to sing his songs or others'. As a pure musician, he is nonetheless exceptional: listening to him perform standards live at an impressive speed with remarkable technical mastery of the "medium" directly makes you wonder: "Why don't you also do this?" And he answers you with a modest smile, "Because early jazz is what I really enjoy doing..."
2) "Let's do something bad" is composed by Matt and is a medium slow, danceable, and engaging song where, after a "no tempo" intro of singing and few chords, the song takes off to gently cradle you. Evening atmospheres of NY from the beginning of the last century; with smoke in the air, radio slowly spreading the same music in the living rooms of American homes. Rest after work. Atmospheres of positivity and a growing future. Someone perhaps already far, on the European front. Jazz penetrates everywhere and cements souls.
3) "Sign me up" by Matt, is a pure waltz that rises from Munisteri's DNA directly to his fingers and recalls Sicilian town square festivals, with processions and trumpet at the lead of the band. It's incredible how things bounce from one side of the ocean to the other. Development very similar to a classic band piece. Matt's voice tells stories. Read the whole booklet, to smile and feel it as a distant emigrated cousin who is settling in the USA.
4) "Johnny" is a blues composed by Matt; dragged and beautiful. It perfectly connects the rural USA blues tradition with the extensive background of the singer-songwriter. Particularly well executed. Stunning solos. Live, it constitutes one of the highlights of the performance.
5) "Cry cry cry" is a rag-time style piece that is interesting to listen to verify how the guitar has many yet unexplored potentialities, despite detractors. Beautiful and fascinating. Fingerpicking influences; short but effective trumpet solo.
6) "Mysterieuse" is an instrumental piece with a high accordion presence. Holshouser pervades the dance hall with his sounds and leaves you agape at his skill. The guitar is used in a rhythmic function. All excellent guitarists are, above all, excellent rhythm players. Without a drum, then, the burden of time management falls in equally distributed parts. But guitarists and bassists must be more equal than others. The trumpet and guitar solos rival the accordion's skill in a delightful and full call and response atmosphere.
7) "Lazybones" is a standard where Matt performs with voice and guitar. To be enjoyed with a bit of Siculo zibibbo. It is mandatory in this case. The piece is a little jewel of singing and counterpoint. Impressively remarkable tempo changes in the guitar solo. Oh, I forgot: Matt doesn't know a single written note!!!
8) "The signifying rag" is by Matt and develops fascinatingly as you listen. This album nails itself in your temples, and all you lack is going out to buy yourself a double-breasted suit with a waistcoat and an appropriate felt hat (by the way: at least 72 phases of workmanship for a rabbit belly hat to be a real headgear of brand and excellent quality!)
9) "Lucky ole trump" also by Matt is a very romantic piece that brings past stories to mind. A dragging, discreet swing and pervasive theme.
10) "Picciaridu" is the obvious homage to his Italian roots, here we have a nice waltz where the father despairs for his daughter who will leave tomorrow. The grammatical errors are hilarious, starting from the title, which contains at least three, including the change of... "gender" (Picciridda)!
11) "Sparkle" (Munisteri) is a little three-minute jewel to discover and enjoy.
12) "Sidestep" (Munisteri) is a great track in line with the whole album, its atmosphere is peculiar, and the beauty of the work is also deciphering the lyrics in union with the music. Real joints that reflect the more modern singer-songwriters' way of composing but in an ancient guise.
13) "Don't think twice it's alright" is a homage to... well if you don't know to whom, you can't buy the album: you're too young (lucky you!). A training ground for blistering solos and pure R&R enjoyment, for "young at heart" and knees with non-neglectable signs of arthritis.
14) "Orange crate art" is the final 2'56'' piece. A light ballad that leaves you with the retro flavor of a unique record in the international jazz scene.
Well, what kind of production and investments are there, behind a work like this, right? Wrong: The record was recorded live, quickly, and with very few means. Like only true great artists do. Dedicate half an hour to explore the website and the world of Matt, who regularly performs also in a trio with his partner Rachelle Garnier (a pianist and accordionist of French origin) and the violinist Jenny Scheinmann. Discover, if you wish, a chapter full of unpublished, brilliant, and intimate melodic-rhythmic treasures, for a new experience that will surely enrich your spirit!!! (On Amazon used starting from... 0.75 $!!!)
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