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Bill Barner | Ten Tunes (feat. Stan Smith, Roger Hines & Danny Aguiar)

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United States - Virginia

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Jazz: Modern Creative Jazz World: Afro-Brazilian Moods: Instrumental
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Ten Tunes (feat. Stan Smith, Roger Hines & Danny Aguiar)

by Bill Barner

Listeners have written that a cool vibe and easygoing joy permeates the ten tunes--each of which has a strong, emotion-packed melody, some fresh harmony, a powerful, world-music inspired groove; and you'll hear frequent surprises, twists and turns.
Genre: Jazz: Modern Creative Jazz
Release Date: 

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  Song Share Time Download
1. Opening Gambit
3:43 $0.99
2. Flying Monkeys
6:20 $0.99
3. Charm Offensive
4:32 $0.99
4. Wide Stance Dance
3:02 $0.99
5. Barbaro
5:38 $0.99
6. Squeaky Rico
4:30 $0.99
7. Connecting Dots
6:55 $0.99
8. Toddler Dance
1:52 $0.99
9. A War of Words
5:00 $0.99
10. Palmas
8:23 $0.99
Downloads are available as MP3-320 files.


Album Notes
Ten Tunes reached #10 on the CMJ jazz chart. Reviewers have written:

“This enjoyable and always interesting session highlights the versatility of the clarinet--and also the high level musicianship of Barner and his band mates--but also breaks it free from the narrow niche to which the instrument, unfortunately, is often relegated to in modern music. (AllAboutJazz.com)

TEN TUNES has an unusual clarinet-guitar front line working in light jazz-rock territory with leader Bill Barner playing serpentine clarinet.  The music covers funk, reggae, and Mediterranean and Arabic sounds all propelled by Danny Aguiar's drumming. Barner really excels on the dreamy lines of the ballad “Barbaro” as he intertwines with Stan Smith's melting guitar and “Connecting Dots” is a crisp jazz-rock raga with delay effects that evolves into a musical spinning dervish with Roger Hines' bowed bass prominent.
~Jerome Wilson, Cadence Magazine

For his new album Ten Tunes, Barner decided to largely ignore genres and infuse the foreign flavors of the Middle East, Spain, and Brazil, liberally adding rock rhythms alongside swinging ones. He’s ably assisted by longtime cohorts Stan Smith (guitar) and Roger Hines (acoustic bass), as well as Brazilian drummer Danny Aguiar. Barner himself sticks entirely with his original instrument, the clarinet, and is an economical, affective and melody-minded player on this disc, allowing his crack guitarist Smith to soar on his solos, and Hines does as well (who shines on tunes like “Charm Offensive” and “Barbaro”). But what I enjoy most about Ten Tunes is Barner’s willingness to take his clarinet to music other clarinet players might not dare go. Songs like “Flying Monkeys,” “Charm Offensive,” “and “Squeaky Rico” are such a seamless assimilation of styles, it’s often hard to spot the influences. The music, all composed by Barner, is fresh and contemporary without anyone but Smith plugging in, a testament to Barner being so in tune with so many styles of music that he doesn’t need to take any shortcuts. (SomethingElseReviews.com)

More intricate pieces, such as "A War of Words" and "Flying Monkeys" have enough harmonic substance to challenge the musicians, yet remain faithful to the discs overall emphasis on groove. (thejazzword.blogspot.com

Cheery and relaxing, clarinet player Bill Barner traverses through a myriad of melodic patterns including soul, funk, blues, bebop, fusion, and free style jazz on his new CD, Ten Tunes. Fusing European and American elements, Barner's combos are melodically-bound ribbed in tendrils of improvisation. He endeavors to show that the clarinet is a versatile instrument able to enrich melodic textures and adapt to a wide scope of genres.
~Susan Frances, Yahoo!

Ten Tunes is a loose and playful recording. The band hints at a multitude of styles; they touch on rock, country and funk, as well as Middle Eastern and Latin music, all within a jazz context. Despite the group's eclectic influences, Ten Tunes works well as a cohesive whole. This can be attributed to two reasons. First, the group assembled here—leader Bill Barner on clarinet, Stan Smith on guitar, Roger Hines on bass and Danny Aguiar on drums—establish in the pocket grooves on each track, so that each song has an easy rhythmic appeal. Secondly, though the context of the songs may change, Bill Barner always writes around simple, singable melodies.
~Eric Prinzing, Jazzreview



to write a review

Joe Ross

Buoyant music with a powerful groove
Jazz music allows for the exploration of many avenues of creativity. Clarinetist Bill Barner wrote these ten tunes while thinking of music from various continents. Accompanied by Stan Smith (guitar), Roger Hines (bass), and Danny Aguiar (drums), the Virginia-based musician is blessed with a smooth touch that moves effortlessly from one emotional note to the next. Smith’s virtuosic guitar-playing also has some great lines … as lyrical, fluid, and tricky as they need to be. Bill Barner is also an accomplished saxophonist, and I was a bit surprised that he didn’t lay down a few tracks with that instrument too. Barner currently plays with two jazz combos (Night and Day; Some Like It Hot), as well as lead tenor sax in the 17-piece Difficult Run Jazz Band.

Together, the quartet on this album creates buoyant music with a powerful groove with influences from around the world. Listening closely for those twists and turns, one has to appreciate the musical mojo in “Charm Offensive” with its Brazilian beat. Or the unique flair of a peppy “Squeaky Rico.” When you hear the funky “Wide Stance Dance,” you wanna shout let’s boogie! Inspired by clarinet players of Turkey, the Balkans, and the Middle East, “Connecting Dots” uses an enchanting improvisational prelude and interesting scale for its presentation. As in “Barbaro,” bassist Hines is also given the opportunity for some inventive exploration in that piece. I understand that he’s toured the world with Ray Charles and Diane Schuur. The album’s closer, “Palmas” evokes the excitement of Spanish flamenco and has a slightly annoying clap track that fortunately lasts only about a minute during Smith’s guitar solo. The album has moments of dazzling brilliance, and the musicians’ imaginative improvisations and interpretive variations are quite impressive. (Joe Ross, Roots Music Report)