Jim Snidero
“
He must be listened to very carefully: he is a counter player of enormous depth and with very advanced melodic and above all harmonic concepts
„
Tony Mancuso, Suono
«I really appreciated San Juan, Snidero’s third work for Red Records, which has always been committed to documenting the most important testimonies of modern saxophonism in a very careful and scrupulous way that artistically distinguishes it from most other labels. A savored production, wisely managed and aimed at the production and promotion of real talent, sometimes, unfortunately, ignored due to the hidden mechanisms and logic that more or less latently regulate the world of jazz. Snidero must be listened to very carefully: he is a counter player of enormous depth and with melodic concepts and, above all, very advanced harmonics. All compositions in this work bear his signature, except for La Mesha, which is the work of Kenny Dorham. Certainly there is no shortage of solo pieces in this record, endowed with a consolidated technique and a surprising mastery of the range of tonal nuances offered by the alto sax. Excellent is also the contribution of Steve Nelson, who appears in the first four tracks. Nelson is a refined vibraphonist, versed in tradition but with a personal style and projected forward in time. Tim Hagans is nothing short of exceptional. The trumpet player now has his own style and seems mature enough to further emancipate himself from the Hubbardian influences that sometimes transpire in his parts (however appreciable because they are natural components of his style without harnessing it). Here Hagans, especially in The Web, takes aggressive and ‘heavy’ solos, both for timing and for the skilful recourse to the execution of atonal phrases and in contrast with the harmony of the piece, brilliantly resolved in the moments in which the tension reaches its acme: a style that we could say postbobbish that harmonizes well with the common matrix of the other musicians of the quintet / sextet. The rhythm is excellent, with bassist Dennis lrwin in a really inspired state, not to mention Billy Hart, solid and precise, with drums and cymbals full of swing. Cannonball Adderley, Parker and Sonny Stitt are the main references of Snidero’s style, and coexist in his musical expression, made of soul and swing. This personal and very interesting syncretism makes Snidero one of the most important references for contemporary saxophonists. A record that is warmly recommended to all!». Quartet Live
Tony Mancuso, Suono
«I really appreciated San Juan, Snidero’s third work for Red Records, which has always been committed to documenting the most important testimonies of modern saxophonism in a very careful and scrupulous way that artistically distinguishes it from most other labels. A savored production, wisely managed and aimed at the production and promotion of real talent, sometimes, unfortunately, ignored due to the hidden mechanisms and logic that more or less latently regulate the world of jazz. Snidero must be listened to very carefully: he is a counter player of enormous depth and with melodic concepts and, above all, very advanced harmonics. All compositions in this work bear his signature, except for La Mesha, which is the work of Kenny Dorham. Certainly there is no shortage of solo pieces in this record, endowed with a consolidated technique and a surprising mastery of the range of tonal nuances offered by the alto sax. Excellent is also the contribution of Steve Nelson, who appears in the first four tracks. Nelson is a refined vibraphonist, versed in tradition but with a personal style and projected forward in time. Tim Hagans is nothing short of exceptional. The trumpet player now has his own style and seems mature enough to further emancipate himself from the Hubbardian influences that sometimes transpire in his parts (however appreciable because they are natural components of his style without harnessing it). Here Hagans, especially in The Web, takes aggressive and ‘heavy’ solos, both for timing and for the skilful recourse to the execution of atonal phrases and in contrast with the harmony of the piece, brilliantly resolved in the moments in which the tension reaches its acme: a style that we could say postbobbish that harmonizes well with the common matrix of the other musicians of the quintet / sextet. The rhythm is excellent, with bassist Dennis lrwin in a really inspired state, not to mention Billy Hart, solid and precise, with drums and cymbals full of swing. Cannonball Adderley, Parker and Sonny Stitt are the main references of Snidero’s style, and coexist in his musical expression, made of soul and swing. This personal and very interesting syncretism makes Snidero one of the most important references for contemporary saxophonists. A record that is warmly recommended to all!». Quartet Live
Tony Mancuso, Suono