Artist and Song Press Reviews
Brownstone - "The
song is inspiring much jammingness in my loins, and my funk bone doth quiver
mightily."
- Artie J - Artistarea.com
Brownstone - "This is as good as anything out there in smooth jazz today, in my opinion and based upon what I have heard."
- Chris Burnett, ASR Records Jazz recording artist
A Dichotomy of Silence
Phil Traynor | Llarion's Lair Music
Reviewed on All About Jazz
Review Published: June 25, 2003
Phil Traynor's debut release on his new independent label, Llarion's Lair Music, is titled A Dichotomy of Silence. Traynor became relatively well known to a significant number of worldwide listeners because his music was initially distributed exclusively on the internet. The realization of this album in CD form demonstrates how technology has given more musicians access to professional production and distribution. This project is well done and could easily find a happy home in most any smooth jazz lover's CD collection.
The opener, "Dewpoint," settles into a comfortable groove. The mood is peaceful, as the title might suggest, however there is enough spice within the unique chord progression to draw the listener into the inviting guitar work of New Jersey native John Kelly. "Sunday Morn'" features another New Jersey native, Mike McKinley, on two noteworthy guitar solos which present his versatility in performance styles. Again, the listener is invited into the music without being overwhelmed by simultaneous complexities. The smooth groove and uplifting mood of the music stand foremost.
The next tune, "Across the Miles," features Traynor in several roles. The haunting (and mostly improvised) muted trumpet sample does indeed recall the later contemporary work from the great Miles Davis. Traynor's fans should enjoy this one too. "Shades of Gray" features another smooth jazz groove with synth melody and pads, punctuated by electric guitar. A melodic bass solo highlights this piece, along with a Joe Sample-like Rhodes piano solo.
A personal favorite, "Legacy #5," captures the unique smooth jazz concept that Traynor has displayed glimpses of to his online listeners for a few years. A nice song to listen to while doing most anything in your life, from driving to dining to just "chillin' out with loved ones and/or good friends"...
"Footsteps" follows in the similar mold of legacy... Those who enjoy the music of Oregon, Paul Winter, or Paul McCandless will appreciate the mood of this song. Rick Garner presents another thoughtful solo here with an able demonstration of his roots in the blues, along with his own unique and versatile artistry. "Aicha" is probably the most "urban sounding" piece on the disc, with its Latin groove and darker mood than most of the other compositions here. A nice change of pace.
"The Night We Met" is the closest thing to a ballad on A Dichotomy of Silence. The bass maintains the pulse with no percussion during the entire song. Another interesting aspect about this piece is the combination of digital instruments with instruments (other than keyboards) played by a human. The impact of the piece recalls a Bob James-like presence... The groove tune "To the Summit" has a melody that recalls influences of soul music from the late 1960s - which is cool. Again, the listener isn't necessarily encumbered by superfluous material unrelated to the pulse and smooth vibe. It is a good finale to the pieces presented on this debut.
Most songs on this CD also come across as compositionally focused. The improvisations may sometimes wander beyond the point for some tastes, but the creative impact of the solos never loses focus. Listening to A Dichotomy of Silence elevates one's thoughts to just the music being shared.
For more information about this release and the music of Phil Traynor, visit www.llarion.com.
Legacy #5 - "Melodic Fusion, Smooth Jazz, call it what you want... but listen to it. Gently rolling piano sounds and fantastic production. A masterwork of sweet feeling and soft sounds. This is relaxing and peaceful..."
- Banker, MP3.com listener and artist patron
Legacy #5 and The Night We Met - "Well, of course, there's a reason Phil does so well... and that's the sheer tasteful- and tunefulness of his work. With nary a sharp edge or harsh sound in sight... As soft as a cloud made out of marshmallows and cotton candy... and almost as sweet..."
- Blue2Blue - MP3.com Artist Reviewer
Legacy #5 - ARTISTLAUNCH REVIEW
- Scott Griffin
Very nice. I could here Ann Murray singing over this with ease. (not a slam). The repeated melody keeps the listener's attention without being bored by repetition. I especially like the change at 1:54. The slap bass near the end of this section adds flavor without overpowering the song or general theme. Production and performance as also top notch. I especially liked the drum track. Good fills and slightly busy all while being tasteful. Good job.
- Loren DiGiorgi
I think this tune - if I'm not mistaken - goes back a few years in the Traynor catalog. [Yes - PT] Comparing this tune to Passage for instance is like night and day from a production standpoint. Seems like a vast array of studio know how was acquired between point Passage and point Legacy. Legacy is a pleasant listen but it lags well behind more recent Phil Traynor works.
- Paul Laginess
The Haunted - ARTISTLAUNCH REVIEW
- Paul Laginess
Nice interplay between the fretless bass and piano. Very moody, reflective piece, with subtle pads gently enhancing the dark and somber piano. Extremely well mixed - the piano maintains the spotlight yet still allows the bass and pads to breathe in and out of the composition. Just long enough to make its statement, yet short enough to leave the listener wanting more. Stellar work.
- Scott Griffin
I don't usually listen to this type of music, but this really blew me away. The playing is superb throughout and the bass (real or not) adds a vocal quality to it. The synthesizer in the background really makes this crawl right up my spine. I can feel the emotion pouring out of my speakers as the piano tells the story and the bass seems to narrate the whole mystical tale. Well written and excellently performed and produced. Well done.
- Loren DiGiorgi
The Journey - ARTISTLAUNCH REVIEW
- DD Ess
Genre issues aside (this sounds like New Age to me) the general vibe of the song is pleasant if not ambient with trappings of electronic music and jazz performance, smooth and to the song's credit not a series of 16 measure backing measures played ad nauseum as a vehicle for the piano to solo over, the break around the three minute mark seems less inspired than the rest of the composition, something to consider if this is meant to comply with commercial arrangements, overall a likeable song.
- Bruce Satinover
I'm feeling the need to curl up in my recliner and just relax....this is sweet.. *does a lil' slow dance*...Jazz is not my forté but this is something that would draw me into finding more...
- Pe'tra Faulk
Shades of Gray - ARTISTLAUNCH REVIEW
- DD Ess
Brings me back to sitting in a nightclub and watching a friend's jazz band play....song is quiet for a bit then catches your attention the next... like "Hey, we are still here.."....Beautiful arrangement and production....
- Pe'tra Faulk
Very pretty melody in the head and a nice dynamic shift with the lead guitar; although not crazy about the tone...bit too much of an edge; tasteful soloing.
- Paul Laginess
To The Summit - ARTISTLAUNCH REVIEW
- Pe'tra Faulk
Tune is nicely representative of the genre, but I'll admit up front, smooth jazz is not my fave. Playing is good throughout but guitar is uncomfortably up front...guitar sound is OK on head, too dry on acoustic solo, and a bit too overdriven on outro solo. Could've been shorter by a minute or so.
- Paul Laginess
Nice chord progression, however the song goes on a bit too long. Performance is strong, however, at times the the guitar notes at the high end are not quite in tune. Production-wise, the guitar overwhelms the other instruments. I think a piano sound would have been more appropriate as the soft sounding synth pads get lost. I question the use of the 'clicking' that has been added as percussion - sounds like a dolphin to me...
- Elle
Across The Miles - ARTISTLAUNCH REVIEW
- Bruce Satinover
Starts off with a bit of Béla Fleck flavor....awesome...but reverts back to classic jazz and leaves me kinda cheated wanting more of the acid flavor....again good performance and production...
- Pe'tra Faulk
Aicha - ARTISTLAUNCH REVIEW
- Pe'tra Faulk
A sleepy jazz track, with a groove that very nearly hearkens to "Laguna Sunrise". The synthesized sax is glaring, however, and really detracts. What I wouldn't give to hear a real saxophone, right up front in this mix instead of that artificial one. Guitar is very tasteful, bass is smooth, drum work is tight, production is very solid.
- Scott Griffin
In Aicha, right at the beginning there are some moments where the song could easily go a traditional jazz route or the smooth jazz route Phil Traynor frequents. On this song more so than others in his catalog, I wish he would take more risks and go the traditional jazz route. While everything here is trademark of Traynor's style the idea nearly begs to be treated as a trio or combo, if not with live musicians than through synthesized parts. There is much space in simplicity and someone with Traynor's performance skill should take some risks. Again, this is a well crafted song, well played and produced; yet there is more beneath it and it is something that in this reviewer's opinion would open a completely different dimension to Traynor's music both as performer and arranger. Sometimes lush production helps to remove other challenges such as maintaining interest in a song with more constraints, such as the trio or quartet concept. All is good but this particular song convinces me that a bit of change, even if it is going back to roots would result in a more enlightened approach in future works.
- Bruce Satinover
Passage - ARTISTLAUNCH REVIEW
- Paul Laginess
The master of atmospheric jazz tries his hand at pure atmosphere soundscaping - and pulls it off spectacularly. The interplay between the instruments and the background nature effects is just stellar, and the wandering flute brings a thread of continuity to the piece. As we've come to expect, even in this complex an arrangement Traynor's production is pristine. Well done.
- Scott Griffin
I enjoyed this on first listen, but more so on repeat. Phil has certainly become adept in all aspects of music creation. The most minor criticism might be with respect to the pan flute "brightness" as it is very distinct. It will depend on the listener, I think. Just lay back and enjoy the trip, eh?
- DD Ess
Footsteps - ARTISTLAUNCH REVIEW
- Paul Laginess
Superlative...smooth...this piece has a lovely flow to it.
- DD Ess
What can I say? Phil Traynor consistently brings a smooth, tight sound to his recordings. Footsteps presents very much an Adult Contemporary arrangement; nice instrument choices, good movement, tight performances. My only complaint would be that the clave is a bit too loud, and the snare and bass drum need to come up a bit. Outside of that, the performance we've come to expect from this fine jazz composer.
- Scott Griffin
Silent Night - ARTISTLAUNCH REVIEW
- Pe'tra Faulk
Nice fretless bass work (that is what that was, right?) and found I wasn't at all put off by the deviations to the melody once I recovered from the shock. Quite pretty all in all.
- Paul Laginess
A beautiful reworking of this timeless Christmas song. The arrangement is very sophisticated and moves effortlessly through the changes. Performance-wise, the keyboard playing could be a bit more dynamic and the phrasing more smooth. The production of this piece is extremely good; however, the synth line at the top of the soundscape should not be so prevalent; this sound becomes distracting at certain points throughout the song. Overall, a wonderful take on Silent Night, Holy Night.
- Elle
Footsteps - "...Footsteps includes a tasteful solo by guitarist Rick Garner. The song, a finalist in the Billboard Song Festival, is a breezy taste of southern Florida lifestyle.... A well crafted song with an enticing melody..."
- Jeremey Frederick, MP3.com Artist Reviewer
Listen.com Artist Review - "Wandering merrily down a garden path, you find yourself contemplating the love that's just been kindled in your heart. Will it be forever? Yes. Yes. You sigh contentedly. Life is perfect."
- Noah E., editor, Listen.com
Artist Review - "I'm here to persuade you to check out his take on smooth instrumental jazz over at www.artistlaunch.com/llarion - its been decades since I've been blown away as much as I have with this guy's music. So what's going on? Well, forget Easy Listening, Smooth Jazz, etc. For sure, that's happening with Phil's sound - however, Phil's very own description 'Melodic Fusion' is perhaps a better indication of what you are going to get. I'm talking great jazz, great arranging, great free style improvising, great lyrical playing and on top of all that, great songwriting. And, all of this comes with a kind of introspection and focus that I've not felt through a series of songs since maybe Bill Evans or Metheny/Mays at the height of the tension we know they could/can create."
- Blueside, MP3.com Artist Reviewer
- Artie J - Artistarea.com
Brownstone - "This is as good as anything out there in smooth jazz today, in my opinion and based upon what I have heard."
- Chris Burnett, ASR Records Jazz recording artist
A Dichotomy of Silence
Phil Traynor | Llarion's Lair Music
Reviewed on All About Jazz
Review Published: June 25, 2003
Phil Traynor's debut release on his new independent label, Llarion's Lair Music, is titled A Dichotomy of Silence. Traynor became relatively well known to a significant number of worldwide listeners because his music was initially distributed exclusively on the internet. The realization of this album in CD form demonstrates how technology has given more musicians access to professional production and distribution. This project is well done and could easily find a happy home in most any smooth jazz lover's CD collection.
The opener, "Dewpoint," settles into a comfortable groove. The mood is peaceful, as the title might suggest, however there is enough spice within the unique chord progression to draw the listener into the inviting guitar work of New Jersey native John Kelly. "Sunday Morn'" features another New Jersey native, Mike McKinley, on two noteworthy guitar solos which present his versatility in performance styles. Again, the listener is invited into the music without being overwhelmed by simultaneous complexities. The smooth groove and uplifting mood of the music stand foremost.
The next tune, "Across the Miles," features Traynor in several roles. The haunting (and mostly improvised) muted trumpet sample does indeed recall the later contemporary work from the great Miles Davis. Traynor's fans should enjoy this one too. "Shades of Gray" features another smooth jazz groove with synth melody and pads, punctuated by electric guitar. A melodic bass solo highlights this piece, along with a Joe Sample-like Rhodes piano solo.
A personal favorite, "Legacy #5," captures the unique smooth jazz concept that Traynor has displayed glimpses of to his online listeners for a few years. A nice song to listen to while doing most anything in your life, from driving to dining to just "chillin' out with loved ones and/or good friends"...
"Footsteps" follows in the similar mold of legacy... Those who enjoy the music of Oregon, Paul Winter, or Paul McCandless will appreciate the mood of this song. Rick Garner presents another thoughtful solo here with an able demonstration of his roots in the blues, along with his own unique and versatile artistry. "Aicha" is probably the most "urban sounding" piece on the disc, with its Latin groove and darker mood than most of the other compositions here. A nice change of pace.
"The Night We Met" is the closest thing to a ballad on A Dichotomy of Silence. The bass maintains the pulse with no percussion during the entire song. Another interesting aspect about this piece is the combination of digital instruments with instruments (other than keyboards) played by a human. The impact of the piece recalls a Bob James-like presence... The groove tune "To the Summit" has a melody that recalls influences of soul music from the late 1960s - which is cool. Again, the listener isn't necessarily encumbered by superfluous material unrelated to the pulse and smooth vibe. It is a good finale to the pieces presented on this debut.
Most songs on this CD also come across as compositionally focused. The improvisations may sometimes wander beyond the point for some tastes, but the creative impact of the solos never loses focus. Listening to A Dichotomy of Silence elevates one's thoughts to just the music being shared.
For more information about this release and the music of Phil Traynor, visit www.llarion.com.
Legacy #5 - "Melodic Fusion, Smooth Jazz, call it what you want... but listen to it. Gently rolling piano sounds and fantastic production. A masterwork of sweet feeling and soft sounds. This is relaxing and peaceful..."
- Banker, MP3.com listener and artist patron
Legacy #5 and The Night We Met - "Well, of course, there's a reason Phil does so well... and that's the sheer tasteful- and tunefulness of his work. With nary a sharp edge or harsh sound in sight... As soft as a cloud made out of marshmallows and cotton candy... and almost as sweet..."
- Blue2Blue - MP3.com Artist Reviewer
Legacy #5 - ARTISTLAUNCH REVIEW
- Composition - 8.00
- Production - 7.67
- Performance - 8.17
- Overall - 8.00
- Scott Griffin
Very nice. I could here Ann Murray singing over this with ease. (not a slam). The repeated melody keeps the listener's attention without being bored by repetition. I especially like the change at 1:54. The slap bass near the end of this section adds flavor without overpowering the song or general theme. Production and performance as also top notch. I especially liked the drum track. Good fills and slightly busy all while being tasteful. Good job.
- Loren DiGiorgi
I think this tune - if I'm not mistaken - goes back a few years in the Traynor catalog. [Yes - PT] Comparing this tune to Passage for instance is like night and day from a production standpoint. Seems like a vast array of studio know how was acquired between point Passage and point Legacy. Legacy is a pleasant listen but it lags well behind more recent Phil Traynor works.
- Paul Laginess
The Haunted - ARTISTLAUNCH REVIEW
- Composition - 8.50
- Production - 8.50
- Performance - 8.67
- Overall - 8.57
- Paul Laginess
Nice interplay between the fretless bass and piano. Very moody, reflective piece, with subtle pads gently enhancing the dark and somber piano. Extremely well mixed - the piano maintains the spotlight yet still allows the bass and pads to breathe in and out of the composition. Just long enough to make its statement, yet short enough to leave the listener wanting more. Stellar work.
- Scott Griffin
I don't usually listen to this type of music, but this really blew me away. The playing is superb throughout and the bass (real or not) adds a vocal quality to it. The synthesizer in the background really makes this crawl right up my spine. I can feel the emotion pouring out of my speakers as the piano tells the story and the bass seems to narrate the whole mystical tale. Well written and excellently performed and produced. Well done.
- Loren DiGiorgi
The Journey - ARTISTLAUNCH REVIEW
- Composition - 8.67
- Production - 9.00
- Performance - 8.83
- Overall - 8.80
- DD Ess
Genre issues aside (this sounds like New Age to me) the general vibe of the song is pleasant if not ambient with trappings of electronic music and jazz performance, smooth and to the song's credit not a series of 16 measure backing measures played ad nauseum as a vehicle for the piano to solo over, the break around the three minute mark seems less inspired than the rest of the composition, something to consider if this is meant to comply with commercial arrangements, overall a likeable song.
- Bruce Satinover
I'm feeling the need to curl up in my recliner and just relax....this is sweet.. *does a lil' slow dance*...Jazz is not my forté but this is something that would draw me into finding more...
- Pe'tra Faulk
Shades of Gray - ARTISTLAUNCH REVIEW
- Composition - 8.00
- Production - 8.33
- Performance - 8.17
- Overall - 8.13
- DD Ess
Brings me back to sitting in a nightclub and watching a friend's jazz band play....song is quiet for a bit then catches your attention the next... like "Hey, we are still here.."....Beautiful arrangement and production....
- Pe'tra Faulk
Very pretty melody in the head and a nice dynamic shift with the lead guitar; although not crazy about the tone...bit too much of an edge; tasteful soloing.
- Paul Laginess
To The Summit - ARTISTLAUNCH REVIEW
- Composition - 7.50
- Production - 7.67
- Performance - 8.17
- Overall - 7.80
- Pe'tra Faulk
Tune is nicely representative of the genre, but I'll admit up front, smooth jazz is not my fave. Playing is good throughout but guitar is uncomfortably up front...guitar sound is OK on head, too dry on acoustic solo, and a bit too overdriven on outro solo. Could've been shorter by a minute or so.
- Paul Laginess
Nice chord progression, however the song goes on a bit too long. Performance is strong, however, at times the the guitar notes at the high end are not quite in tune. Production-wise, the guitar overwhelms the other instruments. I think a piano sound would have been more appropriate as the soft sounding synth pads get lost. I question the use of the 'clicking' that has been added as percussion - sounds like a dolphin to me...
- Elle
Across The Miles - ARTISTLAUNCH REVIEW
- Composition - 7.83
- Production - 8.83
- Performance - 8.33
- Overall - 8.23
- Bruce Satinover
Starts off with a bit of Béla Fleck flavor....awesome...but reverts back to classic jazz and leaves me kinda cheated wanting more of the acid flavor....again good performance and production...
- Pe'tra Faulk
Aicha - ARTISTLAUNCH REVIEW
- Composition - 8.13
- Production - 8.83
- Performance - 7.50
- Overall - 8.03
- Pe'tra Faulk
A sleepy jazz track, with a groove that very nearly hearkens to "Laguna Sunrise". The synthesized sax is glaring, however, and really detracts. What I wouldn't give to hear a real saxophone, right up front in this mix instead of that artificial one. Guitar is very tasteful, bass is smooth, drum work is tight, production is very solid.
- Scott Griffin
In Aicha, right at the beginning there are some moments where the song could easily go a traditional jazz route or the smooth jazz route Phil Traynor frequents. On this song more so than others in his catalog, I wish he would take more risks and go the traditional jazz route. While everything here is trademark of Traynor's style the idea nearly begs to be treated as a trio or combo, if not with live musicians than through synthesized parts. There is much space in simplicity and someone with Traynor's performance skill should take some risks. Again, this is a well crafted song, well played and produced; yet there is more beneath it and it is something that in this reviewer's opinion would open a completely different dimension to Traynor's music both as performer and arranger. Sometimes lush production helps to remove other challenges such as maintaining interest in a song with more constraints, such as the trio or quartet concept. All is good but this particular song convinces me that a bit of change, even if it is going back to roots would result in a more enlightened approach in future works.
- Bruce Satinover
Passage - ARTISTLAUNCH REVIEW
- Composition - 8.13
- Production - 8.67
- Performance - 8.33
- Overall - 8.33
- Paul Laginess
The master of atmospheric jazz tries his hand at pure atmosphere soundscaping - and pulls it off spectacularly. The interplay between the instruments and the background nature effects is just stellar, and the wandering flute brings a thread of continuity to the piece. As we've come to expect, even in this complex an arrangement Traynor's production is pristine. Well done.
- Scott Griffin
I enjoyed this on first listen, but more so on repeat. Phil has certainly become adept in all aspects of music creation. The most minor criticism might be with respect to the pan flute "brightness" as it is very distinct. It will depend on the listener, I think. Just lay back and enjoy the trip, eh?
- DD Ess
Footsteps - ARTISTLAUNCH REVIEW
- Composition - 8.00
- Production - 7.83
- Performance - 8.33
- Overall - 8.10
- Paul Laginess
Superlative...smooth...this piece has a lovely flow to it.
- DD Ess
What can I say? Phil Traynor consistently brings a smooth, tight sound to his recordings. Footsteps presents very much an Adult Contemporary arrangement; nice instrument choices, good movement, tight performances. My only complaint would be that the clave is a bit too loud, and the snare and bass drum need to come up a bit. Outside of that, the performance we've come to expect from this fine jazz composer.
- Scott Griffin
Silent Night - ARTISTLAUNCH REVIEW
- Composition/Arranging - 8.83
- Production - 8.00
- Performance - 8.17
- Overall - 8.40
- Pe'tra Faulk
Nice fretless bass work (that is what that was, right?) and found I wasn't at all put off by the deviations to the melody once I recovered from the shock. Quite pretty all in all.
- Paul Laginess
A beautiful reworking of this timeless Christmas song. The arrangement is very sophisticated and moves effortlessly through the changes. Performance-wise, the keyboard playing could be a bit more dynamic and the phrasing more smooth. The production of this piece is extremely good; however, the synth line at the top of the soundscape should not be so prevalent; this sound becomes distracting at certain points throughout the song. Overall, a wonderful take on Silent Night, Holy Night.
- Elle
Footsteps - "...Footsteps includes a tasteful solo by guitarist Rick Garner. The song, a finalist in the Billboard Song Festival, is a breezy taste of southern Florida lifestyle.... A well crafted song with an enticing melody..."
- Jeremey Frederick, MP3.com Artist Reviewer
Listen.com Artist Review - "Wandering merrily down a garden path, you find yourself contemplating the love that's just been kindled in your heart. Will it be forever? Yes. Yes. You sigh contentedly. Life is perfect."
- Noah E., editor, Listen.com
Artist Review - "I'm here to persuade you to check out his take on smooth instrumental jazz over at www.artistlaunch.com/llarion - its been decades since I've been blown away as much as I have with this guy's music. So what's going on? Well, forget Easy Listening, Smooth Jazz, etc. For sure, that's happening with Phil's sound - however, Phil's very own description 'Melodic Fusion' is perhaps a better indication of what you are going to get. I'm talking great jazz, great arranging, great free style improvising, great lyrical playing and on top of all that, great songwriting. And, all of this comes with a kind of introspection and focus that I've not felt through a series of songs since maybe Bill Evans or Metheny/Mays at the height of the tension we know they could/can create."
- Blueside, MP3.com Artist Reviewer
