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Tobin Mueller | Come in Funky

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Album Links
The Muller's Wheel Come In Funky Tobin Mueller's Official Website RAIN BATHER Liner Notes

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United States - Connecticut

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Jazz: Jazz-Funk Jazz: Contemporary Jazz Moods: Instrumental
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Come in Funky

by Tobin Mueller

Funk and Jazz featuring Ron Carter, Woody Mankowski & Tobin Mueller. From old school Big Band Funk to eclectic small combo Jazz, this album invites you to Come In Funky.
Genre: Jazz: Jazz-Funk
Release Date: 

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  Song Share Time Download
1. Come in Funky (feat. Ron Carter & Woody Mankowski)
4:18 $0.99
2. Frankenfanny (feat. Ron Carter & Woody Mankowski)
3:34 $0.99
3. Deconstruction of a Glance (feat. Woody Mankowski)
6:45 $0.99
4. Interlude 1: Grandfather Clock (feat. Ron Carter)
1:51 $0.99
5. Forrest's Fire (feat. Woody Mankowski)
3:25 $0.99
6. Interlude II: Falling Throught the Clouds (feat. Ron Carter)
3:48 $0.99
7. Hitchhiker Tales (feat. Woody Mankowski)
3:01 $0.99
8. Interlude III: Prowl
3:02 $0.99
9. Beam Up the Funk
5:50 $0.99
10. Interlude IV: Rubber Submarine Dreams (feat. Ron Carter)
3:12 $0.99
11. Blue Tats (feat. Woody Mankowski)
5:45 $0.99
12. Island Lost in Time (feat. Woody Mankowski)
7:35 $0.99
13. What I Was Thinking While You Were Talking (feat. Fran Dagostino)
6:00 $0.99
Downloads are available as MP3-320 files.


Album Notes
From the moment Ron Carter's fingers tap on his legendary double bass, as if knocking on a doorway to Jazz-Funk heaven, this album invites you in. Diverse sessions of original instrumental Jazz and Funk fill these tracks with coolness and joy, courtesy of keyboardist Tobin Mueller, saxophonist Woody Mankowski and bassist Ron Carter.

Some of these tunes will transport you back in time, to when almost everything (music, clothes, language) owed its hipness to the Funk wing of 1970s Jazz. Some are unique contemporary Jazz etudes that resonate with playfulness and humor.

Unlike most Funk recordings, 7 of the 13 tracks have no percussion, relying instead on the bass or keys for momentum. This lends a nimble clarity to the music. Mankowski's sax drives the Big Band pieces. Mueller's organ, electric pianos and synths provide more than the connective tissue, they resonate with energy. Carter's dancing bass lines shape several Interludes (along with Mueller's keys) into whimsical duets that act like pallet cleansers between the larger pieces. It all adds up to a smorgasbord of Jazz delights.

In addition, a Bonus Track (featuring recently deceased guitarist Fran Dagostino, known to his friends as Ziti), becomes the perfect place to chill at journey's end. Ziti would have loved the way his acoustic blues guitar is magically mangled by inspired electronics.

"Come In Funky" is the second collaboration between Tobin Mueller and Woody Mankowski. Their first, "The Muller's Wheel" (2010) charts small combo Jazz from Bop-Swing to Fusion. (It was re-issued in 2012 as "Müller's Wheel.") Mankowski also appears on Mueller's award-winning Jazz album "Rain Bather" (2009), as well as "A Bit Of Light" (2006) and "Song of Myself" (2012).



to write a review

Bill Barner

Tobin Mueller is funky, and so is Ron Carter
Well this recording is a lot of fun. What caught my eye when I first saw the cover were the words funky and Ron Carter. And I thought, if the legendary modern jazz bassist wants to lay down some funk I want to hear it. So, Carter plays on about half of the pieces on “Come in Funky”. A couple of the them are funky tunes, but three of them are duets with Tobin Mueller’s keyboards and Ron’s bass that provide a contrast to the 70s funk that is this record’s main focus. I like the drummerless pieces that make up about half of “Come in Funky”. The groove is there, but there is more space without the percussion. I also like the tunes that feature screaming TOPowerful horns. “Forrest’s Flower”, for example, is terrific. Finally, about the writing: in the 1970s a lot of funk jazz could be pretty repetitive and kinda boring. But, you won’t find that here. Tobin’s writing has enough harmonic and melodic twists and turns to keep it interesting.

Kathy Parsons

From MainlyPiano
"Come In Funky" is the twelfth release from Tobin Mueller (I’ve reviewed them all!), and I have to say that this is one artist who never fails to surprise. I can think of very few artists who come close to Mueller’s versatility and drive in so many artistic pursuits. Musically, he is all over the map from solo piano to jazz to vocals to musicals, folk, classical and progressive rock - and he does them all exceptionally well. Mueller has included original funk-influenced tracks on some of is earlier recordings, but this is the first full album of jazz and funk. Mueller collaborated with legendary bassist Ron Carter and sax player Woody Mankowski to create a collection of thirteen upbeat, often carefree tunes - five with Carter and six with Mankowski; one is just Mueller and there is a bonus track that includes the late Fran Dagostino on guitar. Mueller appears on electric piano, organ, and synth. Some of these recordings go back fourteen years and some go back eight. Finishing touches on the album were being done in 2011 when life got in the way and the project was shelved until Mueller’s son, Woody, recently heard the tracks and loved the sound. Several of these pieces are in a classic funk “big band” style from the 1970’s while others are a bit more subdued. All convey playfulness, humor and the unbridled joy of making music. It is interesting to note that the layout of the album is unusual in that the bigger funk pieces with Mankowski are alternated with the four much cooler jazz “Interludes” that are duets featuring Mueller and Carter.

"Come In Funky" begins with the title tune with Carter’s fingers tapping on the bass (like a knock on the door) and Mueller’s laugh. Then Carter leads off with a catchy bass line that conveys pure fun(k). Organ and sax come in - cool and breezy - and then the trio gets cooking. “Frankenfanny” also features the trio in an infectious jazz groove. “Deconstruction of a Glance” sounds like a huge band of saxes and brass as well as organ and percussion - driving and very danceable. “Interlude I: Grandfather Clock” is the first duet with Mueller (organ) and Carter (bass) - what a duo! “Hitchhiker Tales” returns to the big funk sound of a full band and a really smokin’ organ. I can’t imagine anyone being able to sit still through this one - or not cracking a smile - my favorite! “Interlude III: Prowl” is a slinky little number for organ and bass guitar - intoxicating! “Beam Up the Funk” all but dances out of the CD player, strutting around with a major (good time) attitude - fantastic party music! “Blue Tats” is based on Joni Mitchell’s “Blue.” Quite a bit more stripped down than the big funk pieces, it’s a nice contrast with keyboard and sax and a little bass guitar. The bonus track, “What I Was Thinking While You Were Talking” features Mueller on organ and Fran Dagostino on acoustic guitar (“wonderfully mangled through the magic of electronics” - liner notes). Sometimes cool and aloof and sometimes sparkling and bright, it brings this unique and exhilarating album to a close.

I’m sure you can tell that this isn’t music for massage or meditation, but it can certainly give the spirit a big lift while providing an hour of swirling musical fun. Check it out!

Paul F. Page

Delightfully Funky
Straight away, (1) this album is so absolutely tight in terms of sticking with the genre; (2) the energy and invention in each track is delightful, of the highest artistic and stylistic merit; (3) and the mix of all elements could not be more exacting and satisfying. You guys can play! These are, almost without exception, very complicated numbers in terms of rhythm and the general sync of solos with ensemble playing, a stellar set of recordings that, I believe, adds seriously to the body of jazz that this represents. Ron Carter’s bass drives every track, easily taking the low string timbre, the rhythm, and the funky playing to a level of complete delight. (How does he do that?!) Tobin Mueller’s own work on the organ just fascinates, especially with such a fine-tuned sense of timing as he inserts the do-dads that add such tasty spice to the ensemble. There’s a lot of whimsy here, served up with style and exacting precision. And Woody Mankowski is fairly on fire from track to track with such rich, tasty sax solos and the restrained touch of an absolute artist when backing other solos. Remarkable work in every single way I can think of. This is such a bright and happy album that is played with a spirit of invention and joy from the first notes to the last. A delightful experience to hear such excellent compositions played so beautifully in this most-lively of styles.