Prolific and earnest bassist/composer, Matt Ulery, helps to spearhead a musical movement of art and beauty emerging out of the vibrant, blossoming scene in Chicago with his 7th album, “Festival.” Featuring his quintet (Loom) and an expanded 27-piece jazz orchestra (Loom/Large), this major work in three parts is available on double vinyl, CD, and digital download formats on his own label, Woolgathering Records.
“Festival” presents a rich variety of instrumental music with dramatic intensity and dynamic, choreographic aesthetic design with deep historical roots in American jazz and folk forms while celebrating the survival of experimental art music presentation.
Music composed and arranged by Matt Ulery except “The Peacocks,” composed by Jimmy Rowles, done over by Ulery / featuring violin soloist, Zach Brock.
“Not surprisingly, Ulery’s newest album — “Festival” – continues his pursuit of the unconventional… When Ulery celebrates the release of “Festival” at the Green Mill Jazz Club this weekend, he’ll be leading the Loom quintet, giving listeners a taste of the array of colors, tones and musical sensibilities he articulates on “Festival.” — Howard Reich, Chicago Tribune
“Bassist Matt Ulery has established himself as one of the most rigorous, thoughtful and ambitious figures in Chicago’s jazz scene, a composer with a deep curiosity and an ability to deftly assimilate his wide interests. His new double album, Festival, serves as a summation of what he’s been working toward the last decade, but it delivers a statement more sophisticated and accomplished than anything he’s done yet.” — Peter Margasak, Downbeat Magazine
“With imagination, power and chops merging into one undeniable mass, Ulery is a Chicago jazz treasure that keeps his claim valid here.” — Chris Spector, Midwest Record
“The larger ensemble includes more brass, reeds and strings for a pair of songs. “The Peacocks” has some rich pastoral textures” and “Hubble” lets the string section glide over the suave drum pulse, with harmonies and moods being the main purpose here. Modern Copland?” — George Harris, Jazz Weekly
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