Rhythm Brothers reviews

Reviews

ROYAL STREET, reviewed by David McCarty for Acoustic Guitar Magazine, Jan. 1998, No.61

One of the leading proponents of Gypsy jazz guitar, Raul Reynoso first gained attention playing bluegrass guitar with banjo player Larry McNeely, but he now concentrates on the music created by Django Reinhardt and Stephane Grappelli. Reynoso's mature, secure solos emerge almost effortlessly on Hot Club of France tunes like "Dinah", and original compositions like "Matelot," and "Waneta's Waltz." Unlike many other purveyors of this style, Reynoso sounds energetic without being frenetic; his technique is controlled yet inspired. The result is exquisite acoustic jazz guitar music, further enhanced by the brilliant solos of Chicago's legendary Johnny Frigo and a talented rhythm section.
/ David McCarty

ROYAL STREET review by Rick Shubb

Raul Reynoso is driven by his love of music. His spectacular guitar technique, which could be a weapon in the wrong hands, is the medium rather than the message. He wields it with taste and maturity. What I enjoy most about his playing is the way he has thoroughly absorbed various, rich traditions without becoming their slave. His own touch is always evident, whether playing music born in the 30s and 40s as if it were just written, or creating new music which seems as though it has always been here.

Royal Street is not Raul's first recording, but it is his debut in the center of the spotlight. As player, singer, composer and producer he has masterfully avoided the uncomfortable urgency which often marks first efforts. On Royal Street, he is not saying "look at whatI can do," he is saying "I have some music here I'd like to share with you." And what wonderful music it is.

... Rick Shubb, 1997

ROYAL STREET reviewed by Paul Shelasky

The release of Royal Street is Raul Reynoso's first as a leader, and it marks the debut of a major voice on the acoustic jazz guitar. One look at the cover might lead even the casual jazz fan to observe; " He plays like Django Reinhardt." The truth is, when the mood strikes him, Raul can play a solo as close to Django Reinhardt as you would want to hear; informed with a sensibility that can only come from a life-long study of Reinhardt's work.

A major legacy of Reinhardt, and what distinguishes Raul from most of the current crop of Gypsy-Jazz guitar virtuosi, is the matter of tone. In these days when a phenomenal technique is considered a prerequisite for any jazz recording artist, Raul displays a skill and dexterity that will compare to any guitarist of the past or present. But for those who are familiar with the somewhat thin and 'clattery' sound of some European guitarists, this recording will come as a revelation.

With a background in Bluegrass guitar, Raul first rose to national prominence in the late 1970s with Larry McNeeley's band. Following this, a ten year stint at Disneyland playing acoustic jazz and Bluegrass guitar, largely in non-amplified situations taught Raul how to produce the maximum, full-bodied tone from his instrument and to play clearly and cleanly at ungodly fast tempos. ( I know - I was there, right alongside, trying to keep up! )

In recent years, Raul has begun to compose for the guitar. Some of these tunes are in the best Gypsy-jazz tradition and could well become standards for the next generation. Others, like Sambali, are more Latin in fell and show a hint of the influence of another of Raul's guitar idols - the great Argentine guitarist - Oscar Aleman.

Raul has played many of the finest traditional Jazz Festivals in the Western United States and has played rhythm guitar in small and large musical combos. As you can hear on Exactly Like You and Dinah, he sings and swings in the American style (with a bit of the Argentine thrown in at the end of Dinah!) His fine singing is showcased on the familiar Blues For Dixie and a less familiar song that will be an introduction to many listeners - I'm Gonna Lock My Heart.

The legendary jazz violinist Johnny Frigo is featured on most of the selections and he is finally (in his early eighties - no less) receiving wide exposure and world-wide acclaim for his immense talent. His typically Chicago style, as with his contemporaries Eddie South and Ray Nance, has a beautiful, rhapsodic quality that fits perfectly with Raul's compositions Alicia Waltz, Waneta's Waltz and Royal Street. On Daphne and Dinah, Johnny's playing swings hard, but at the same time is always elegant and uniquely personal.

Clarinetist Bob Reitmeier must be the living personification of Downbeat Magazine's phrase - "Talent Deserving of Wider Recognition". His playing is technically flawless, swinging and appropriate. His section work on the opening theme of Matelot and his statement of the melody on Nuages is a textbook example of understated jazz artistry.

Doug Mattocks plays the light, swinging rhythm guitar in a uniquely different style, mainly due to his use of the "Carl Kress" tuning - a hybrid banjo tuning adapted to the guitar. Doug has developed an impressive chord-melody solo style that can be heard to advantage on Matelot, Daphne and especially Dinah.

Bassist Charlie Warren, along with Doug, has been a frequent musical partner of Raul's for more than fifteen years. Charlie has a light, deft touch, that in company with Doug and the light, tasteful drumming of Dick Hardwick, gives a distinctly "American" feel of swing to the whole project.

This is what I find so fascinating about this group and its unique, rhythmic feel. "Gypsy-Jazz", as we understand the term, is American Swing music re-interpreted by French gypsies in the 1930s, and it is still a vibrant, ever-evolving musical language throughout Europe today.

This same music comes back to America and is re-interpreted yet again by this fine group of California musicians who are equally at home in many diverse styles of music. All the players here are solidly grounded in the most traditional American jazz - Mattocks and Hardwick have spent a good part of their careers in New Orleans - and the result on this recording combines the best of two wonderful styles of Jazz.

Many of Raul's friends and admirers may wonder why it has taken almost twenty years of waiting for his first solo project. I believe anyone who hears this CD will agree that it comes at exactly the right time - for Raul is now at the height of his powers as an improviser, composer and tonalist of the guitar. I believe the jazz world and especially the guitar fraternity, will instantly acclaim this fully realized and beautifully recorded project.

...Paul Shelasky, Los Angeles, 1996

"Of the 13 cuts here, seven are original compositions, and even with the melodies penned by Django Reinhardt himself- Daphne" and "Nuages," -Reynoso's songs shine."
Michael Dregni, Vintage Guitar Magazine

""Few American artists have captured the lighthearted gaity and effervesence of the original Hot Club recordings as well as Raul Reynoso and his talented cohorts on this CD. Play on mon ami!"
...David McCarty, Acoustic Guitar Magazine

"A brilliant record" ...Dan Willging, Dirty Linen Magazine

"The only thing better than hearing this recording, is seeing this group in person." D.D. Trent, FIGA News

"Royal Street is Raul Reynoso's first release as a leader, and from start to finish, it's a real winner!" Jim Hilmar, Vintage Guitar Magazine

"How nicely this group blended on Royal Street-a great street to visit"
Dr. Frank Forte, Just Jazz Guitar Magazine

The Rhythm Brothers show at the Curtis Theater

Wow! What a pleasure it was to host the performance of the Rhythm Brothers!

Not only was the show a sell out, but to hear the audience having such a great time reminded me of why I do what I do. Several people have asked when we were going to have them back.In all my years of theater, I can't remember when a small band of musicians have been able to make the house, sing, tap their toes and fall down laughing. Please pass along my gratitude to the group and let them know they will always be welcomed back to the Curtis Theater.

Also, if anyone who might be thinking of bringing this show into their venue wants a recommendation, please have them call me. I will be happy to sing their praises. Although it may be off-key, it will be sincere.

Sincerely, Christian P. Wolf
Manager, Curtis Theater

The Rhythm Brothers Review by the AVCA Allegheny Valley Concert Association, Inc.

This is the kind of letter that is a joy to write! On Sunday afternoon, April 18, members and guests of our concert association thoroughly appreciated the high- intensity, action-packed virtuosity of the Rhythm Brothers.

Many people approached various Board Members after the concert to express their delight in the sounds and sights of this group during their entire show.

Audiences have come to expect "talent" from professional performers. When exceptional talent is displayed, the audience will interrupt during a musical presentation with applause, just as was observed on a number of occasions last Sunday. The Rhythm Brothers learned a long time ago how to please their harshest critics- themselves. Out of that crucible of introspection came:

* The necessary honing of natural individual skills
* The blending of these talents into a cohesive musical group
* The delightful presentation which appealed to the audience.

It is, therefore, very easy to recommend highly the "Rhythm Brothers" to any audience which appreciates a wholesome presentation that is relevant to all ages. The performers have the ability to reach beyond the footlights with their personalities, their program material and especially their prodigious musical talents. Whenever this happens, both audience and performers are winners!

Sincerely,
Arvid N. Anderson, Board member