| | Cyrus Pace Straight From The Source CD Cyrus Pace Discography of CDs
Straight from the SourceCyrus Pace: GuitarDr. Lonnie Smith: OrganRene' Marie: VocalsAdam Clark: Drums/PercussionIn a world that often seems crowded with talented musicians, the light often shines on those artists who seek their personal voice at any cost. Cyrus Pace has spent the last 16 years doing just that. Through the fortunate contact with musicians who stressed the importance of self-expression and originality in music early in his career, Cyrus learned of the power of music as a tool of expression. The long and continuing search for meaning in music has lead to a realization for him that the guitar is not the instrument, the player is the instrument. He is as influenced by Ray Charles, Aretha Franklin, and James Brown as he is by Miles Davis, John Coltrane, and Wes Montgomery. Cyrus seeks to serve the source that is independent of form, style, and classification. Cyrus played his first professional gig at 15, toured extensively with the Navy Band, and received his Master's Degree in Performance from Manhattan School of Music where he studied with Rodney Jones, Jack Wilkins, Gary Dial, and Mike Abene. His previous ensembles include the Guitarmageddon Guitar Quartet he started with his 3 guitarist roommates in their Harlem Apartment. He is a guest lecturer at Roanoke College and Virginia Tech. Straight From The Source Music | Category | Jazz Albums | | Label | Bright Soul | | Orig Year | 2005 | | CD Universe Part number | 7164787 | | Discs | 1 | | Release Date | Jan 10, 2005 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Recording Time | 38 minutes |
Cyrus Pace Straight From The Source Songs | 1. | Straight From the Source |
| 2. | Doin' the Thing |
| 3. | Poor Wayfaring Stranger |
| 4. | Taxman |
| 5. | Lullaby For Helene |
| 6. | Sort of Softly |
| 7. | Pure Imagination |
| Straight From The Source Review
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$15.19 The jazz piano trio is alive and well! "Skyline," the new CD from Bennett Paster, Gregory Ryan and Keith Hall, emphatically proves it. Recorded in Brooklyn, NY, this recording showcases three young musicians who have a broad vision of modern jazz. These guys really swing, but they also cover significantly more ground. Insightful, melodic original compositions by all three musicians incorporate R&B, funk and Latin grooves with comfortable authority. Plus, they've included their interpretations of two favorite standards: Coltrane's "Naima" and Bernstein's "Some Other Time." This CD gives jazz a good name: the sonic fidelity is amazing, the playing is masterful and the groove always feels good.I recently got a chance to interview pianist Bennett Paster about "Skyline." His words and thoughts about the music provided clear insight into what the CD is about: the "Good Feeling" is in effect. -L.C. Taylor, Jazz Critic* * * * *LCT: Why did you make this recording?BP: Gregory Ryan, Keith Hall and I decided to record this CD, "Skyline," because, during the past several years, the three of us have felt a strong musical connection, but our busy careers as sidemen prevented us from documenting any of the music by our own trio. The title reflects our experiences living and performing in New York City, where we are surrounded by diverse music and culture. "Skyline" is window looking onto the landscape of our collective musical vision. I went through a period of my musical development where I was concerned that everything I played or composed had to be different from music that had been made before. I was fascinated by contemporary classical and avant-garde jazz and my music reflected these styles- the harmony was atonal and rhythmically the music was very free, often not in a steady pulse. When I stepped back and listened to what I had created, often I didn't find the results compelling or pleasing. After some reflection, I finally admitted to myself that, in spite of my intellectual desire to create "new," unique music, most of the music that really moved me had a strong groove. Simultaneously, I started paying more attention to the lyrics of songs (especially in popular music) and noting how they related to the melody. Perceiving this connection really made me appreciate the strength of a lyrical melody. Once I learned to stop caring whether my music was unique and "hip" I felt better able to find my voice through my compositions and improvisation. The resulting music was more genuine and interesting to me and I hope also to the listener. LCT: What do you enjoy most about playing with this trio? Why ...
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