Flavio Zanuttini - La Notte (UMLAND RECORDS 2018)

"La Notte" è un disco pensato, suonato, registrato e ispirato dalla notte. Non solo come momento della giornata, ma anche come buio spirituale, oscurità morale e opposto di chiarezza e luminosità. Ne "l'uccellino azzurro" di Maurice Maeterlinck la Notte è custode di segreti, misteri e mali che affliggono la vita da sempre. Sono segregati dentro a caverne di basalto chiuse da porte di bronzo. Con questo disco Zanuttini apre quelle porte e descrive le entità all'interno delle caverne: spettri, paure, segreti, misteri e i peggiori istinti dell'uomo.

“Notte” di Flavio Zanuttini è un’opera che rimanda al rapporto primordiale tra sensorialità e squarcio visionario sull’Oltremondo. E’ l’annuncio della notte vichinga, del crepuscolo di uomini e déi che fa da preludio al Ragnarok. E’ il viaggio solitario dell’eroe sconfitto che canta le epiche gesta di una dialettica impossibile tra umano e sovrumano. In un certo senso, il viaggio solipsistico di Odisseo/Flavio è quello dell’involuzione sonora centripeta che si rivolge all’intimo di una geografia psichica. Un viaggio a ritroso che prende l’abbrivio dalle rovine delle Colonne d’Ercole. Ciò è evidente nel contrasto tra Tenebre e Luce, addirittura palese, ad es., nella relazione tra la traccia 1, ove un demone sonoro rievoca le sperimentazioni d’un Phil Minton, e la traccia siderale numero 4, ovvero quella che porta il nome di “Cantabile”. Un cd che evoca atmosfere sconcertanti e che segna il passo di una maturità progettuale e strumentale da parte del trombettista friulano. In “Scelsi”, Zanuttini restituisce la vibrazione della nota al regno dell’Ogdoade, alla realtà che non “diviene”, alla muta logica delle cose che è ciò che la musica dovrebbe essere prima di diventar Musa. Definirei questo lavoro “Prolegomeni per un ascolto iniziatico”.

Francesco Cusa

"La Notte" by Flavio Zanuttini is a work that refers to the relationship between the primordial sensoriality and vision of the Underworld. It's the announcement of the viking night, the twilight of men and gods that serves as a prelude to Ragnarok. It's the lonely voyage of the defeated hero that sings the epic deeds of a impossible dialectic between human and superhuman. In a certain sense the solipsistic journey of Odysseus/Flavio is that of the centripetal acoustic involution that addresses the intimate of a psichic geography. A backwards journey that begins from Pillars of Hercules. This is evident and blatant in the contrast between darkness and light for example in the relationship between track 1, where a sound daemon recalls the experiments by Phil Minton, and track 4 by the name “Cantabile”. A CD that evokes disconcerting atmospheres and that marks the milestone of a instrumental and project related maturity in the friulian player. In “Scelsi”, Zanuttini gives back the vibration of the note to the kingdom of Ogdoade, to the reality that doesn't “become”, to the logical state of things that is what music should be before it becomes Muse. I would define this work as "Prolegomena for an initiatory listening". 

Francesco Cusa

1. 1-audio-1 02:34

2. Doppelgänger 04:07

3. Secrets 03:39

4. Cantabile 03:38

5. ME & me 03:01

6. Bipede 02:21

7. Scelsi 04:26

8. Nucleo 04:07

9. Éveil 03:39

Flavio Zanuttini: tromba (trumpet)

Prodotto da Creative Sources Rec e Umland Records

Produttore esecutivo Ernesto Rodrigues

Registrato e mixato da Flavio Zanuttini presso Ecate Studio, Udine a Novembre 2017

Flavio Zanuttini Website

Flavio Zanuttini

Un trombettista estremamente versatile che non trova mai pace nella ricerca di un suono ed una poetica personali. Nominato tra i migliori trombettisti d'Italia secondo la rivista Musica Jazz nel 2011, il suo suono e il suo approccio sono unici e si possono riconoscere in tutti i contesti dov'è impegnato che variano dalla lead trumpet in grossi ensemble (Abbey Town Jazz Orchestra, Folkwang Jazz Orchestra, North East Ska*Jazz Orchestra, Udin&Jazz Big Band, Improvvirussoundexperience, Big Tartini Band, L'Insiúm, Das Große Ding, Greetings from Saturn, Naked Musician e altre) al solista improvvisatore in gruppi più piccoli (Francesco Cusa & The Assassins, Mizar Duo, Camatta Monk, Martello, Arbe Garbe, Radio Zastava, Kick the Kid, Le Retour des Oiseaux e altri).

Tra il 2004 e il 2013 con il gruppo Arbe Garbe suona in tutta Europa (Italia, Slovenia, Bosnia, Serbia, Croazia, Austria, Svizzera, Francia, Spagna, Svezia, Germania, Francia) e oltreoceano (Argentina, Uruguay, Australia) e pubblica cinque album di cui ha curato composizioni, arrangiamenti e produzione. Due di questi assieme al chitarrista e cantante statunitense Eugene Chadbourne. 

Dal 2007 al 2015 è prima tromba della Abbey Town Jazz Orchestra con la quale ha collaborato con diversi artisti di fama internazionale come Michael Abene, Kyle Gregory, Mauro Ottolini, Marco Tamburini, Emilio Soana, Jamie Davis, Tre Allegri Ragazzi Morti, Ray Gelato, Klaus Gesing e molti altri, ed ha accompagnato diversi cantanti ospitati al Summer Jamboree di Senigallia per diversi anni durante la serata di punta del festival con un'affluenza di pubblico che ha superato in più occasioni le 10.000 persone.

Dal 2011 al 2017 è parte del gruppo Francesco Cusa & The Assassins, tra i più attivi nella scena jazzistica italiana e richiestissimo in tutta Europa. Con questo realizza tre album, il primo dei quali (The Beauty and The Grace) è stato premiato tra le migliori 100 produzioni discografiche del 2012 secondo la redazione della rivista Jazzit.

Ha suonato in festival e club come: International Jazz Festival (Münster), Zomer Jazz Fietstour (Groningen), Jazzy Colours (Parigi), Catania Jazz, Udin&Jazz, Süd Tirol Jazz Festival (Bolzano), Cormons Jazz & Wine, Trentino in Jazz (Trento), Pordenone Blues Festival, Veneto Jazz, Tarcento Jazz, Issue Project Room (Brooklyn), B-flat (Berlino), Casa del Jazz (Roma), Jazzstudio (Norimberga), Bunker Ulmenwall (Bielefeld), Domicil (Dortmund), Projazz Festival (Dortmund), Jazz Club (Ferrara), Jazz Wide (Pisa), Novara Jazz e molti altri.

Ha avuto il piacere di suonare con Francesco Cusa, Cristiano Arcelli, Axel Dörner, Torben Snekkestad, Glauco Venier, Marco Tamburini, Andrea Toffanelli, Fabrizio Puglisi, Luca Dell'Anna, Euegene Chadbourne, Nevio Zaninotto, Kyle Gregory, Michael Abene, Giorgio Pacorig, Giovanni Maier, Sebastian Gramss, Ryan Carnieaux, Giulio Stermieri, Giovanni Benvenuti, Paolo Sorge e molti altri.

The Dorf & consord - Die Vollkommene Larve (UMLAND RECORDS 2018)

This project is based on a short story by polish SciFi author Stanislaw Lem, called “The Mask“. 

Roughly it is about a young woman, coming to consciousness, realizing that she is at a king´s court. She meets a young man and discovers, after short romance, that she is in fact a killer in form of an insect with artificial intelligence - built by the king to kill the lover. 

The question of awareness in machines, a reoccuring theme in Lem´s work, has a special reading here. The woman/ machine develops a conscience here and in the end it´s open, if she can get rid of her programming. 

1. Schöpfung 05:01

2. Debütantin 06:13

3. Weise 07:54

4. Kutsche 07:10

5. Garten der Liebe 04:34

6. Ausgeburt 06:19

7. Verfolgungsschwarm 07:43

8. Beichte 08:42

9. Gralsburg 10:36

libretto - Ruskin Watts

music - Jan Klare

live film - Achim Zepezauer

young womann - Marie Daniels

lover - samples from Franz Schubert´s Winterreise, Text: Wilhelm Müller

king - tetxtsamples from Michael Scriven „The Compleat Robot“ and "Kosmos Insektenführer"

consord 

Pavel Tseliapniou Flöte 

Vanessa Hövelmann Klarinette 

Diyi Li Fagott 

Enrico Taubmann Saxophon 

Timothy Page Horn 

Norbert Fabritius Trompete 

Karsten Süßmilch Posaune 

Jan Termath Tuba 

Gereon Voß Percussion 

Jaime Moragas Percussion 

The Dorf 

Julia Brüssel Geige 

Martin Verborg Geige 

Emily Wittbrodt Cello 

Ludger Schmidt Cello 

Stephan Gerhartz Trompete 

Markus Türk Trompete 

Felix Fritsche Saxophon 

Florian Walter Saxophon 

Christoph Berndt Saxophon 

Maria Trautmann Posaune 

Maximilian Wehner Posaune 

Adrian Prost Posaune 

Moritz Anthes Posaune 

Alex Morsey Tuba 

Kai Niggemann Buchla Synth 

Gilda Razani Theremin 

Serge Corteyn Gitarre 

Christian Hammer Gitarre 

Andreas Wahl Gitarre 

Oliver Siegel Keyboard 

Johannes Nebel Bass 

Marvin Blamberg Drums 

Simon Camatta Drums 

Jan Klare Airmovement 

recorded/ mixed/ mastered by Denis Cosmar 

artwork by Achim Zepezauer

Fred Lonberg-Holm / Simon Camatta - crazy notions (UMLAND RECORDS 2018)

1. Night is here 08:40

2. Again, Baby 06:46

3. Streched out of my bed 08:57

4. Seeing all kinds of crazy notions 21:26

5. Running Around 04:46

6. Through my head 11:29

Fred Lonberg-Holm - cello

Simon Camatta - drums

Recorded at Goethebunker, 4th Dec 2017 by St.Kirchhoff 

Mixed by St.Kirchhoff & Simon Camatta

More info...

Handsome Couple - Handsome Couple (UMLAND RECORDS 2018)

While working together at the Theater Bremen, St.Kirchhoff and Simon Camatta started playing instrumental HipHop music with banjo and drums. Shows at parties, festivals and vernissages followed. Beginning with improvisations concrete tracks developed gradually.

1. Lol 00:39

2. Afterhour 04:49

3. Noon 02:15

4. Goetheplatz 03:40

5. Ein Paar 04:13

6. WG 00:43

7. Espresso 05:50

8. Intercity 04:57

9. Ladidadi 02:09

10. Easy Way Out 04:47

St.Kirchhoff – Banjo

Simon Camatta – Drums

Recorded at Goethebunker, 5th Jan 2018 by St.Kirchhoff

Mixed by Handcome Couple, Mastered by Oliver Siegel

Crashing Airplanes - French Kiss (UMLAND RECORDS 2018

1. Thai Massage 16:13

2. Einen Astronauten Schubsen 05:43

3. Japanese Boy (Andrea Jürgens) 08:22

4. Serbian Knot 18:47

5. Stringtheorie 09:08

Jan Klare - reeds 

David Krüger - guitar 

Yasin Wörheide - basilisk, dudelsack, akkordeon, darbuka, computer tastatur

More info...

Gérard Amsellem - Recife (JUSTIN LOOKING PRODUCTIONS 2018)

Talented musicians gathered for an exceptional Jazz album. This album was initiated by Gerard Amsellem and a gathering of friends and talented musicians.

The great jazz guitarist Sylvain Luc leaves his guitar to take the bass for an album. We also find legendary drums by André Ceccarelli, Robert Benzrihem’s keyboards and Eric Seva’s saxophone on some tracks. Gerard Amsellem’s music is inspired by the sounds and rhythms of the Berber peoples, Brazilian music and jazz. All his music has rocked the musical life of the artist and allowed him to create the bonds of friendship that we find in this album. This music smells of joy, sharing and friendship.

Berbère Blues

Mar hôtel

BC Road

Sindolfo

La belle colombe

Recife

Shorashim

Le long du riff

Clin d’oeil

Sur le volcan

Nimrod (For Meïr)

Gérard Amsellem : guitar

Sylvain Luc : bass, guitar in 5, 7, 10, 11

Robert Benzrihem : piano, Fender Rhodes

André Ceccarelli : drums

+

Eric Seva : saxophone in 2, 4, 9, 10

Vigh / Guérineau / Ascal - Suites pour vielle pas seule (EPM Musique 2018)

Ces Suites interprétées par un trio réunissant Andràs Vigh à la vielle, Sylvain Guérineau au saxophone et Gaël Ascal à la contrebasse  sont une musique de l’instant présent. Elles s’improvisent et se métamorphosent au gré des surprises que les trois comparses se ménagent mutuellement. Elles sont à la croisée des chemins entre le nostalgique et le foutraque, le traditionnel et le contemporain, le solennel et l’humoristique, les réminiscences d’un folklore imaginaire et l’anticipation d’un futur inouï. C’est le résultat en musique d’un usage joyeux de la liberté.

01. Romorantinaise Part 1

02. Romorantinaise Part 2

03. Romorantinaise Part 3

04. Romorantinaise Part 4

05. Cosnoise Part 1

06. Cosnoise Part 2

07. Cosnoise Part 3

08. Cosnoise Part 4

09. Cosnoise Part 5

10. Limougeaude Part 1

11. Limougeaude Part 2

12. Limougeaude Part 3

13. Limougeaude Part 4

Sylvain Guérineau : saxophone ténor

András Vigh : vielle à roue

Gaël Ascal : contrebasse

The Glenn Crytzer Orchestra CD Release Party Wed., May 9th 7:30pm @ the Montauk Club

The Glenn Crytzer Orchestra

"Ain't It Grand?"

CD Release Party

Wednesday, May 9th  7:30pm

@ the Montauk Club

25 8th Ave.

Brooklyn, NY 11217

Tickets & Info

New Double CD Set

This may sound like a left-field introduction to this exceptional album by Glenn Crytzer, but bear with me: have you ever heard any of the classic big bands of the 1930s as recorded by the Associated transcription service? (Technically, the company was known as “Associated Music Publishers” and in 1936, their office was located at 25 West 46th St, Manhattan.)  The recordings made by Associated sound very different from the standard 78 RPM singles that were commercially released by the various labels, major and minor, and they also sound very different from the other transcription services at the time, like Thesaurus, Standard, or MacGregor. The Associated recordings all sound like they were made in a huge studio space, with lots of reverb, and plenty of sonic space around the instruments; they’re incredibly “live,” as an engineer might say.  When you listen to the Associated recordings of, say, the John Kirby Sextet, Teddy Wilson, the Ray Noble Orchestra, or that rather amazing 1934 Joe Venuti big band date (with Louis Prima and Red Norvo), just to name a couple, there’s a very specific kind of a disconnect happening. You don’t quite feel like you’re listening to historical recordings from 80 years ago, but you know they’re not newly-recorded either. They seem to exist in a unique space all their own, one that’s completely timeless.

That’s the same way that this album landed upon my ears: it doesn’t quite feel like any kind of a recreation, rather it seems like some contemporary scientist who specializes in both sound recording and astrophysics found a way to send a microphone drone into the past and make new recordings of historical big bands.  I had a similar sensation when I watched the 2013 re-release of The Wizard of Oz, in which the classic 1939 film was re-jigged somehow for two 21st century movie technologies, digital 3D and IMAX.  (I’ve also heard the original soundtrack adapted for 5.1 surround sound on DVD.) The 3D IMAX Oz was fascinating and highly illuminating.  Naturally, going forward, I would still want to re-watch The Wizard of Oz in the original 1939 format again - this might have been just a one-off experience - but that it gave me a whole new way to look at a classic.  And that’s what this album does, it allows us hear vintage big band swing in a whole other way, auditorily speaking, and takes classic music and makes us hear it in the audio equivalent of 3D IMAX - it’s a quite a wonderful, unique sensation.

The combination of the familiar and the unfamiliar is consistently startling, to the point where we can say that the music is being re-imagined rather than re-created.  I keep feeling like some collector friend of mine stumbled across a set of previously undocumented Associated transcriptions recorded in the immediate pre-war period. In some cases, where the tune is very familiar, I feel like these are newly-discovered versions by alternate bands, like “Jive at Five” being played by Charlie Barnet rather than Count Basie, say, or Alvino Rey playing the central guitar part on “Solo Flight” with own his orchestra back around the same time that Charlie Christian and Benny Goodman introduced it.  And this “Well Git It” makes me wonder what that classic flag waver might have sounded like if it came from the band book of Jimmy Dorsey rather than Tommy. Other tracks make me feel like I’m discovering some previously unknown local local or territory band that never made it into the history books or the discographies.

Some of Glenn’s arrangements truly sound like a wrinkle in time: the North American popular song “I Get Ideas” originated in 1927 as an authentic and famous Argentine tango titled “Adios Muchachos.”  In 1951, it was adapted into “I Get Ideas” (with most of the tango rhythm extracted), wherein it became a hit for both Tony Martin and Louis Armstrong. Glenn’s treatment sounds like if some early swing bandleader - say, Alex Hill, or maybe the Mills Blue Rhythm Band - somehow got a hold of the 1951 lyrics (by Dorcas Cochrane of “Again” fame), even though they weren’t written for many years.  There’s more than a hint of Louis Armstrong in Jason Prover’s trumpet solo at the heart of it, but more like Armstrong’s 1930s big band, the one led for him by Luis Russell, rather than the groups he recorded with in the 1950s, and Crytzer’s vocal here is clearly part and parcel of the 1930s idiom.

And I find myself surprisingly impressed by Glenn’s originals; normally I try to encourage contemporary musicians and singers to avoid the temptation of writing their own original songs if only because the overwhelming majority of them are lousy at it.  (Make that extremely lousy at it!) But Glenn has succeeded in his highly commendable goal of creating new songs that sound like they were written in the late 1930s and recorded by bands of the period (if only on Associated Transcriptions). “Just Like a Broken Record,” for instance, really sounds like something that Larry Clinton would have played in a 1938 Vitaphone short - or on a 1938 buff Bluebird.  (So does “Marche Slav”; I had a hard time believing that was a new arrangement of the iconic 1876 Tchaikovsky piece, not a transcription of Clinton or Les Brown’s Blue Devils or some other historic band that specialized in “swinging the classics.”)

There are also plenty of surprises in the vocal department: Hannah Gill is a name new me, but a formidable singer who sounds so authentic to the period that I don’t think she would even mind if I referred to her as a “band canary.” (That term has somehow become un-PC in the millennial era, go figure.)  I know Dandy Wellington, as does anyone who has attended any kind of swing-centric event in New York, but mainly as a dancer and an emcee for contemporary retro-burlesque events - in fact, so much so whenever I hear his name and his voice, I expect to see a woman start taking off her clothes. Clearly he’s developed into the most perfectly appropriate male singer for this band on both ballads and novelties (especially “Swing My Soul”).  And Glenn also captures the idiom very well, adding vocalist to the list of many hats (and caps) that he wears, along with bandleader, arranger, conductor, composer, lyricist, and guitarist.

I’ve possibly made too much of a fuss over the way this music plays with notions of chronological time and not enough about how the music is about time in the sense that it really swings - that Glenn and his bandsmen play with a lift, a drive and a danceable imperative that’s all too rare in the 21st century.  Glenn Crytzer has, in fact, achieved something of a temporal miracle, in assembling 17 musicians and singers who have so perfectly absorbed the classic swing idiom that it’s like a language they can speak without any trace of a foreign accent. Astrophysicists may insist that time travel is impossible, but now I have cause to wonder.

-Will Friedwald

TRACK LISTING DISC ONE

1. The 408 Special

2. Black Beauty

3. Just Like A Broken Record

4. Up and at ‘Em

5. Ain’t It Grand?

6. When I Get Low I Get High

7. A String of Pearls

8. Blue Jay

9. Steppin’ In Rhythm

10. Who’s Yehoodi?

11. A Woman Needs A Man

12. Jive at Five

13. I’m Nuts About Screwy Music

14. Thank You for the Moments

15. Well, Git it!

TRACK LISTING DISC TWO

1. Rhythm is our Business

2. The Glory of Love

3. Jubilee Stomp

4. Who Needs Spring?

5. Shorty’s Got to Go

6. Solo Flight

7. Marche Slav

8. I Get Ideas

9. The Ugly Duckling

10. The Little Orange Man

11. The Mooche

12. Massachusetts

13. Swing My Soul

14. Bear Foot Blues

15. Traffic Jam

Glenn Crytzer (g, bj, v, dir, a)

Sam Hoyt, Mike Davis, Jason Prover (t)

Rob Edwards, Joe McDonough, Jim Fryer (tb)

Jay Rattman (as, ss, cl)

Mark Lopeman, Marc Schwartz (as, ts, cl)

Matt Koza (ts, cl)

Henry “Ricky” Alexander (as, bar, cl)

Rob Reich (p)

Ian Hutchison (sb)

Andrew Millar (d)

Hannah Gill, Dandy Wellington (v)

Composers

Disc One:

G. Crytzer (1,3,4,5,8,9,14)

D. Ellington (2)

M. Sunshine (6)

J. Gray/E. DeLange (7)

M. Dennis, B. Seckler (10)

L. Roberts/A. Razaf (11)

W. Basie/H. Edison (12)

F. Rose/J. Lunceford (13)

S. Oliver (15)

Disc 2:

G. Crytzer (4,9,10,12,13,14)

J. Lunceford/S. Cahn/S. Chaplin (1)

B. Hill (2)

D. Ellington (3)

L. Millinder (5)

B. Goodman/C. Christian/J. Mundy (6)

P. Tchaikovsky (7)

L. Sanders/D. Cochran (8)

D. Ellington/I. Mills (11)

T. McCrae/A. Shaw (15)

Production Team

Recorded by Sean Yoo at the NV Factory, Englewood Cliffs, NJ. January 3 & 4, 2018. 

Mixed and Edited by Glenn Crytzer; Additional Mixing by Gary Mula (www.garymula.com). 

Mastered by Steve Turnidge at Ars Divina (www.arsdivina.com). 

Cover Art and Jacket Design by Amore Hirosuke (AMORE’S WEBSITE HERE). 

Photo of Glenn by Don Spiro (www.donspiro.com) 

Album Notes by Will Friedwal

Available From: Amazon • CDBaby • iTunes • Bandcamp

Ben Rice Trio - Shouts Into the Void (2018)

Ben Rice has been leaving huge impressions on audiences around the Northwest and winning awards for his vocals and guitar playing for the last seven years. In 2014 at the International Blues Challenge in Memphis Tennessee he left the audience speechless with a raw emotional delivery of his version of “Key To The Highway.” His second consecutive trip to the International Blues Challenge he made the finals in the solo/duo category. Where he was awarded the St. Blues Guitarist award for best guitarist.

His debut on the international stage in 2014, was a landmark step forward in his career from being a regional act playing primarily around the NW to a national and international touring artist. Captivating audiences and presenting himself as someone who has a lot of depth in the various soundscapes of American music. Ben is gaining fans all over the world who love his playing, singing, songs, and stage performance.

His original music blends Soul, Delta-Blues, Rockabilly, Jazz, and Funk into a Roots Stew. Influenced heavily by his parents record collection from Al Green to Alice Cooper, Teddy Pendergrass to Marshall Tucker. Ben at a young age began investigating into Blues and it’s history. Starting with B.B. King and going through the various regions and time periods he is inspired and influenced by historical figures like Muddy Waters, Mississippi Fred McDowell, Robert Johnson, Big Bill Broonzy, and Skip James to name a few. Ben spent his college years studying Jazz Guitar at the University of Oregon as well as classical music. Playing in the Celtic Folk ensemble and Mariachi group on campus. He has been well versed in a lot of musical styles that all contribute to the unique sound of his originals.

As a performer Ben looks to the greats for inspiration. Always striving to connect with the audience through his music and stories. He also has an interesting arsenal of guitars playing resophonic guitars and homemade cigar box guitars. More important than the visual appeal Ben has an amazing way of making these guitars sound, often bringing audiences to tears with his slide playing.

Ben Rice has been a growing talent in the NW,  winning awards for his singing, guitar work, writing, and performing. He is stepping into the national and international scene. Using his vast influences of American music to fuel his music and performance.

1. Speak Normal 10:19

2. December the 3rd, 1969 01:21

3. Blues for Fred Hampton 08:43

4. Born With a Tear in His Eye 05:17

5. Afterthoughts 06:11

6. What Have We Become? 07:15

7. ...Like a Memory 08:53

Ben Rice - Guitar

Patrick Atwater - Bass

Anson Hohne - Drums

Charlie Rhyner - The First Second (June 1, 2018)

Charlie Rhyner is a New York area musician and music educator and has been playing music since age 13.  He graduated from Emory University with a BA music performance, studying classical and jazz guitar.  He then moved to NYC and attended Teachers College Columbia University, graduating with a MA in music education.  He performs in and around New York City in a variety of jazz ensembles.

He has created and led several bands in Atlanta, GA and NYC, including We Fly Standby and The Sounds That Machines Make, writing, producing, and recording several albums with each group.  He has performed internationally, including in Belize and Italy.

In 2009, he collaborated with experimental composer Rhys Chatham for the performance of A Crimson Grail at Lincoln Center during the Wordless Music Festival.  A recording of this concert was released on Nonesuch Records.

He has been fortunate enough to have worked with and taken lessons from many great musicians, including Dr. Gary Motley, Jay Azzolina, Adam Rogers, Brian Luckett, Sharon Isbin, Rhys Chatham, Dave Franckenpohl, Jon Hendricks, and more.

Charlie teaches music in Westchester County and is an active performing musician.

His most recent CD, Kinhin (2017), includes Joe Izzo on drums and Joe Beerman on bass, and features 7 original compositions and 1 standard.  A new recording is in the works for 2018.

1. Jethiya 05:44

2. Golden Cuffs 04:22

3. Pat's Prints 06:59

4. Nardis 06:42

5. Boozy Dough 02:14

6. Juju 06:24

7. Breakdown 04:44

8. Handsome & Healthy 04:19

9. Black Daniels 04:49

Charlie Rhyner - guitar, compositions

Mike Roninson - bass

Graciliano Zambonin - drums

Imraan Khan - saxophone

Dan Schnapp - Rhodes

Recorded 4/2/2018 at Teaneck Sound Studios, Teaneck, NJ

Engineered by Brian Chirlo

Mixed and Mastered by Brian Chirlo