Skip to main content

CD Release: Flautist Damjan Krajacic's Brazilian/Cuban/Jazz Grooves on Glide

From a media release:

Damjan Krajacic, Glide (RoundTone Records)
Brazilian, Cuban, and Jazz Through Flute
Release Date: October 1, 2011

The flute is a percussion instrument: Though known for its delicacy and nuance, it can burst, ring, and punctuate. That’s what Zagreb-born, L.A.-based musician and composer Damjan Krajacic discovered as he heard the flute tearing through a Latin jazz number.

Krajacic harnesses the flute’s balance of finesse and force on Glide (RoundTone; October 1, 2011). He explores the Brazilian, Cuban, and jazz sounds and rhythms that first drew him to the instrument, while paying homage to his classical and Balkan past.

“I never really considered the flute at all,” explains Krajacic, who first came to jazz as a young bassist at his U.S. alma mater. “Then I heard [charanga expert and jazz educator] Danilo Lozano play. I thought, ‘Wait a minute.’ In Latin jazz and especially in Cuban music, the flute is part of the rhythm section as well, not just a high-pitched color as it frequently is in classical music. I fell in love with its expressive possibilities.”

Krajacic uncovered expanded vocabularies by experimenting with the flute on his own, as well as learning from Lozano and jazz flute legend James Newton. By speaking and singing different consonants or syllables as he plays, a skilled player like Krajacic can get his instrument to hint at a high hat, snap like a snare drum, or create percussive and charismatic effects unique to the flute. To bring out its many colors, Krajacic pairs his instrument with other sounds, such as his voice singing soaring vocables or the mellow melodica that doubles the flute on “In Life.”

Krajacic uses these techniques not as curious ends in and of themselves, but in service of pieces that move from grooving to reflective, from straight-ahead jazz to Brazilian party. Krajacic’s work draws intently on the Afro-Latin roots music and jazz masterpieces he has studied for years, mixing such influences as Miles and Cuban rumba (“In Life”).

In the big sound of samba-afro on “Glide,” the flute takes the unexpected lead, followed by a joyful burst of percussion thanks to drummer and Brazilian beat master Tony Shogren. Krajacic trades focused licks on the grooving, samba-inflected “About Time” with multi-instrumentalist jazz elder Derf Reklaw, who transforms an ordinary bottle into a jubilant cry.

Krajacic plays with rhythm constantly, whether it’s an Afro-Latin beat or the odd dance meters of the Balkans in “Resemblance” (or both, as in “Heartbeat.”) On “Come Play,” Krajacic’s limber, punchy flute line suggests interlocking polyrhythm, alternating with wide-open melodic spaces where his band—featuring Larry Steen’s muscular, jocular bass and Mike Boito’s thoughtful keys—takes over in pensive contrast.

This contrast points to the flute’s other, subtler side: its connection to the quiet rush of the breath and its deeply lyrical resonance, the almost vocal quality Krajacic finds on “Lara.” Learning classical guitar from his music teacher father as a boy in Croatia, Krajacic gained an appreciation for the low-key refinement of an instrument that can’t shout to make a statement but demands close listening and careful arrangement.

“I liked the immediacy the flute evokes,” Krajacic reflects. “You feel like your breath is carrying the music more than the notes you’re playing.” Breath, creating a shakuhachi-like tone on tracks like “Inspire” or the gentle sighs of “Goodbye,” becomes another means of expression, one ripe with timbral emotiveness.

Krajacic’s close attention to nuance flows throughout his work as a performer and composer. Small things—subtle sounds in a quiet house, brief moments of reflection behind the wheel—suggest melodies for pieces like the upbeat and sunny “Morning Smile.” As Krajacic kept a hushed watch over his sleeping daughter, he heard the first few tones of the track’s melody line, as two glasses clinked together.

“It’s that moment that you realize something is more than just a few notes,” Krajacic muses, “that you know it’s meaningful. That’s the real message in my music.”


Popular posts from this blog

Esmeralda Enrique Spanish Dance Company Spring 2013 Toronto Performances

From a media release:

The new season brings
Esmeralda Enrique Spanish Dance Company
to new heights and new audiences

March 20-24, 2013 - A Night in Madrid
April 25-28, 2013 - Annual Toronto Season - World Premiere of Portales

TORONTO : Following on the heels of Esmeralda Enrique Spanish Dance Company's (EESDC) 30th anniversary year where its production Aguas/Waters was named one of the top five dance shows of 2012 by NOW Magazine, the early months of 2013 are full of excitement and possibility for Esmeralda and the company, which brings the finest flamenco and Spanish Classical Dance to Toronto stages.

March 20-24, 2013 - A Night in Madrid
Company dancers Esmeralda Enrique and Paloma Cortés perform Spanish Classical dance with the celebrated Tafelmusik Baroque Orchestra and Chamber Choir for A Night in Madrid featuring the Iberian flavoured music of composer Luigi Boccherini who made his home in Spain. His work is infused with the sounds of Spanish and gypsy folk music.

March 20-24 …

NU MUSES 2017 Luxurious Fine Art Nude Calendar Now Available

From a media release:

NU MUSES 2017 Luxurious Fine Art Nude Calendar Now Available
24 Fine Art Prints from Celebrated Photographer David Bellemere Available In Three Limited Edition NU MUSES 2017 Calendar Packages

“What spirit is so empty and blind, that it cannot recognize the fact that the foot is more noble than the shoe, and skin more beautiful than the garment” -Michelangelo

Buy the collections
Check them out at Art Basel, Miami - December 1-4, 2016

LOS ANGELES, Calif. – November 22nd, 2016 – NU MUSES, the luxurious 2017 fine art nude calendar, is now available to purchase in three unique limited edition collectors packages. Drawing inspiration from the Pirelli calendar of the 1970s, NU MUSES is set to celebrate the forgotten art of the classic nude and capture the elegance and romance of the female form.

The NU MUSES limited edition art piece is a sublime collectable calendar, featuring nude photographs of 12 of the world’s most stunning models, captured by famed photographer David…

Guitar Rock | Happy Freuds - Echo Of Sounds Independent: May 31, 2019

Guitar Rock
Happy Freuds - Echo Of Sounds
Independent: May 31, 2019
Stream/Buy on Bandcamp
Stream it on Spotify

With tight musicians and intriguing lyrics, Happy Freuds delivers high energy guitar rock with stylistic flair on Echo Of Sounds, their debut release. Produced with a minimum of overdubs or fixes, the album consists of a mix of original material, rearrangements of works from others and selected, less known, classic rock.

A kinetic rhythm section is the bones of the music, offering interesting patterns that augment sometimes unexpected harmonic changes. It's brainy rock, in other words, meant for music lovers who can appreciate the quality. Teo's vocals are raspy and expressive, growly when necessary - perfect for the musical mode. Teo also covers lead guitar, adapt at ear worm leads, with a tone that can be clean or dirty as required

Their sound ranges from straight up hard rock in tracks like The Mountain to the pop-flavoured acoustic Background Noise and folky To …