Album Review: Cuerno Exotica from Ken Wiley
Album Review: Cuerno Exotica from Ken Wiley
Label: Krugpark Music
Website: www.kenwiley.com
Cuban jazz elements flavor a handful of classic standards and originals on Ken Wiley's new release Cuerno Exotica from Krugpark Music label. Wiley's French horn takes centerstage as he shows that the understated instrument is plenty vibrant to hold up solos that hypnotize the listener. He certainly proves as much on his new release as he traverses through a plethora of narratives from soothing island-imbued atmospheres to tingling jungle-infused tempests.
The exotic swivels of the French horn laced along Maurice Ravel's "Bolera" garb the classic number in sparkling accents over its rhythmic cadence, brandishing a Caribbean radiance. The tousling exchange between Wiley's horn and his bandmates ferment a playful interaction that is aurally stimulating. Moving forward, the warm tones of "Cariló," which shares its name with a beach resort in Argentina, is shrouded in tranquilizing atmospherics that resemble the ambience of a beach resort, bathing the listener in sheer merriment. Wiley arouses balmy sensations with the flickering toots of his French horn.
"Cubano Blue" has an intense timbre that projects the ambience of a dangerous jungle. The composition resonates with audiences that seek a passionate caress in their music. Whereas, "Black Orchid" has a mesmerizing island sway spruced in tribal-imbued trimmings that whisk the listener away to a tropical getaway. Conversely, "Gato Magico" is cratered in mysterious passageways that narrate a dramatic tale through its weaving strands, twisting and bending into a labyrinth of contortions. Its serpentine curves form an entangled dance with island-hued accents emanating from the higher registered horns.
The curt, staccato beats of "Sama Layuca" are flanked by slinky horns and rustling keys giving the number an Asian glaze. Skillfully, "El Gorrión" induces a Cuban-swing lattice garnished in a slow winding horn trellised by a rumba rhythm. Employing a resourceful mind, the title track is decorated in scintillating chimes over a sleek syncopated rhythm. The original number composed by Wiley is tailored to emote a euphoric simmer.
The music is inviting, stimulating listeners senses from the start and holding them mesmerized. Both haunting and soothing, the music of Ken Wiley arouses many sensations, all of which engulf the listener in the mood being projected via his French horn and the band.
Ken Wiley - French horn and piano
Dan Higgins - Tenor saxophone, Flutes, Clarinet, and Piccolo
Mark Leggett - acoustic guitar
Dave Loeb - piano
Rene Camacho - bass
Dominick Genova - bass
Bernie Dresel - drums
Luis Conte - percussion
Kevin Ricard - percussion
*Playing horns on "Bolero" are: Gary Grant, Larry Hall, Steve Holtman, and Dan Higgins
Label: Krugpark Music
Website: www.kenwiley.com
Cuban jazz elements flavor a handful of classic standards and originals on Ken Wiley's new release Cuerno Exotica from Krugpark Music label. Wiley's French horn takes centerstage as he shows that the understated instrument is plenty vibrant to hold up solos that hypnotize the listener. He certainly proves as much on his new release as he traverses through a plethora of narratives from soothing island-imbued atmospheres to tingling jungle-infused tempests.
The exotic swivels of the French horn laced along Maurice Ravel's "Bolera" garb the classic number in sparkling accents over its rhythmic cadence, brandishing a Caribbean radiance. The tousling exchange between Wiley's horn and his bandmates ferment a playful interaction that is aurally stimulating. Moving forward, the warm tones of "Cariló," which shares its name with a beach resort in Argentina, is shrouded in tranquilizing atmospherics that resemble the ambience of a beach resort, bathing the listener in sheer merriment. Wiley arouses balmy sensations with the flickering toots of his French horn.
"Cubano Blue" has an intense timbre that projects the ambience of a dangerous jungle. The composition resonates with audiences that seek a passionate caress in their music. Whereas, "Black Orchid" has a mesmerizing island sway spruced in tribal-imbued trimmings that whisk the listener away to a tropical getaway. Conversely, "Gato Magico" is cratered in mysterious passageways that narrate a dramatic tale through its weaving strands, twisting and bending into a labyrinth of contortions. Its serpentine curves form an entangled dance with island-hued accents emanating from the higher registered horns.
The curt, staccato beats of "Sama Layuca" are flanked by slinky horns and rustling keys giving the number an Asian glaze. Skillfully, "El Gorrión" induces a Cuban-swing lattice garnished in a slow winding horn trellised by a rumba rhythm. Employing a resourceful mind, the title track is decorated in scintillating chimes over a sleek syncopated rhythm. The original number composed by Wiley is tailored to emote a euphoric simmer.
The music is inviting, stimulating listeners senses from the start and holding them mesmerized. Both haunting and soothing, the music of Ken Wiley arouses many sensations, all of which engulf the listener in the mood being projected via his French horn and the band.
Ken Wiley - French horn and piano
Dan Higgins - Tenor saxophone, Flutes, Clarinet, and Piccolo
Mark Leggett - acoustic guitar
Dave Loeb - piano
Rene Camacho - bass
Dominick Genova - bass
Bernie Dresel - drums
Luis Conte - percussion
Kevin Ricard - percussion
*Playing horns on "Bolero" are: Gary Grant, Larry Hall, Steve Holtman, and Dan Higgins
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