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Brian Lynch 
Tra i migliori trombettisti oggi in circolazione. Ben conosciuto per le brillanti doti solistiche che ne hanno fatto uno degli interpreti mondiali di spicco del bop moderno, al punto da suonare stabilmente, già in giovane , in gruppi storici come il Quintetto di Horace Silver, i Jazz Messengers di Art Blakey, il quintetto di Phil Woods, per i quali ha prestato la sua opera anche come compositore e arrangiatore, e nella Big Band di Toshiko Akiyoshi, Brian Lynch è oggi un musicista e compositore dallo spettro di interessi molto ampio, che va dai numerosi progetti come leader, alle collaborazioni in area latin jazz (fra gli altri, con un decano come Eddie Palmieri), all’arrangiamento per Big Band e persino per produzioni pop di qualità .
Spesso alla guida di differenti progetti è molto attivo anche in Europa dove collabora stabilmente con alcuni musicisti di differente estrazione .In Italia è molto attiva e proficua la collaborazione con il pianista Michele Franzini con cui ha inciso un disco per Abeat intitolato " Odd stories " . www.abeatrecords.com

Born September 12, 1956 in Urbana, Illinois, Lynch grew up in Milwaukee, Wisconsin where he apprenticed on a high level with such local residents as pianist Buddy Montgomery and organist Melvin Rhyne, while earning a degree from the Wisconsin Conservatory of Music. Towards the end of 1981, Lynch moved to New York, and soon linked up with the Horace Silver Quintet (1982-1985) and the Toshiko Akiyoshi Jazz Orchestra (1982-1988). Simultaneously, he played and recorded on the Latin scene with salsa bandleader Angel Canales (1982-83) and legendary cantante Hector LaVoe (1983-87). He began his association with Eddie Palmieri in 1987, and at the end of 1988 joined what turned out to be the final edition of Art Blakey and the Jazz Messengers. He began his association with Phil Woods in 1992, and also worked frequently with Benny Golson around this time.
In 1986, Lynch recorded his first album as a leader, Peer Pressure, for Criss-Cross. There followed Back Room Blues and At The Main Event [Criss-Cross], In Process [Ken], Keep Your Circle Small [Sharp Nine]), and a string of sideman dates with Art Blakey and Phil Woods. On each, Lynch documented his fiery, coherent tonal personality. Whether limning a ballad or tearing through a searing bop structure, he projects a rich tone that ranges from warm to brilliant, uncoiling serpentine lines that land in the most surprising places.
He also made a name for himself as a composer, through numerous songs that play with and stretch harmony while never losing melodic essence and rhythmic thrust. In tunesmithing he's much influenced by former employer Horace Silver. "I look to get that clean sound that Horace's compositions have." he comments. "You can play complicated or simply on them, always with something that connects to the public." Art Blakey recognized Lynch's skills, and recorded originals like "Chippin' In," "Chandek's Den," "Byrdflight" and "Green Is Mean" on albums for Timeless, A&M, and In-n-Out.
A 1997 recording called Spheres of Influence [Sharp Nine], which earned a 4-1/2 star Downbeat review, was Lynch's first project to reflect the panoramic range of interests that influence his working life as a musician. During these years he documented cross-cultural investigations with Eddie Palmieri's seminal Afro-Caribbean Jazz Octet on Arete, Palmas and Vortex [Nonesuch and RMM]. As the ‘90s progressed, he steadily refined his concept, eventually collaborating with Palmieri as an arranger, co-composer and musical director. In a rare gesture, Palmieri took advantage of Lynch's pen on the recent albums La Perfecta II and Ritmo Caliente [Concord Picante]. The synchronistic nature of their relationship will continue in 2005, when Palmieri collaborates with Lynch on his ambitious project for Artists Share.

Lynch has continued to advance the Spheres of Influence concept, gathering around him a repertory company of top-shelf Pan-American oriented musicians. These include drummers Dafnis Prieto, Horacio Hernandez, Robby Ameen, and Ernesto Simpson; percussionists Richie Flores, Pedro Martinez and Roberto Quintero; pianists Luis Perdomo, Edsel Gomez, and David Kikoski; bassists John Benitez, Ruben Rodriguez, and Hans Glawischnig; and saxophonists Miguel Zenon and Yosvany Terry.

The fruits of his work in this area are now becoming apparent through a remarkable series of recordings.

On Conrad Herwig's The Latin Side Of Miles Davis [Half Note] and on Que Viva Coltrane [Criss-Cross], a Herwig-Lynch collaboration, Lynch reharmonizes tunes like "Freddie Freeloader," "Miles Mode," "Wise One" and "Straight Street," fluently navigating the changes over dynamic guaguanco, songo, bolero and timba beats.

Joined by tenor saxophonist Ralph Bowen and pianist Luis Perdomo, he addresses his own compositions similarly on an upcoming 2005 Criss Cross date entitled Jazz Con Clave. Also, in 2005, EWE, a Japanese label, will release Lynch's piece de resistance; a commissioned six-part composition fo

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