Reviews_Carli

"...We musicians are like transmitters spreading the signal of intangible and otherwise elusive messages that penetrate our emotional vehicles and our higher consciousness. That message moves our being; makes us love sic; makes our hearts tender; brings us joy; makes us sad; makes us smart; it'll get us inspired; motivates soldiers at war; helps stop wars; enhances patriotism; makes rebels; we could be starving, sick, abused and even dying and music will redeem us; makes us fly; yes. I think music is connected to spirituality."

". Virtuosic without being superfluous, Muñoz' playing style matches his writing--direct, unassuming, and to the point."

"... You might not expect to hear much in the way of great jazz from a pianist who played keyboards behind the Beach Boys for more than a decade - and who spends much of his energy these days running a restaurant in Puerto Rico . But Carli Munoz is a revelation (.)"

". Kudos to Muñoz for inspiring the best from the eminent sidemen that appear with him on his latest album, Maverick."

". here's Muñoz, 57, reuniting bassist Eddie Gomez and drummer Jack DeJohnette in a trio with chemistry to burn. The electricity between the three is authentic; most of nine recordings are early takes, captured without rehearsal."

".A few years ago we discovered the brilliant Marc Copland. Then along came Russ Lossing. And now here's Munoz, a dizzyingly impressive player who sounds in his prime even though no longer in the first flush of youth. That this relatively unknown figure can assemble a cast of such A-listers as DeJohnette, Gomez, Byron and Sanchez says much about the esteem in which he's held and from the opening bars of Maverick , it's clear that the leader is a force to be reckoned with. His touch at the keyboard is sensitive yet strident and his single note melodies have a pert yet engaging lyricism. But it is perhaps Muñoz's harmonic range that intrigues the most as it sweeps throughout classical references such as Debussy as well as Latin touchstones like Lecuona and Valdes to land in jazz territory that, as with most modern trios - especially ones with Eddie Gomez on bass - betray a love of Bill Evans at some point or another. Yet Munoz has an eloquence that is sufficiently personal to rise above any derivative cheap shots. His sense of swing is assured without being overpowering and his willingness to settle into a thematic line without quickly rushing to extemporize after the perfunctory statement of the head, is also wholly refreshing."

". Carli Muñoz was born in Puerto Rico, spent 16 years on the Los Angeles rock scene (including 11 with the Beach Boys) and sounds absolutely real playing jazz. He has a crisp attack, a distinctive piano sonority and the unexpected phrasing and note choices of the autodidact. He also plays hard at all tempos. His own tunes are promising frameworks for improvisation, and his covers work. (.) 'In the Wee Small Hours of the Morning' sings because Muñoz's touch makes piano notes pop like small explosions"

".Not the fierce, manic joy of a Bud Powell or the serene joy of Bill Evans on a good night, but just plain joy -- with every note he (Munoz) plays you get the impression that he's thrilled to be playing and feels blessed to be where he is."

"... Pianist Carli Muñoz hails from Puerto Rico, where his Bill Evans-inspired take on contemporary jazz caught the attention of a globetrotting Van Dyke Parks. Muñoz is in town to recreate the knotty lyricism on his new Maverick (Pelosenel Q Lo), and album guests Eddie Gomez and David Sanchez will be on hand to help out. (At the Jazz Standard)"

"... Muñoz's piano sounding crisp and succinct, a mix of delicacy and deft percussive beauty. (.) insistent energy and momentum and marvelous group interplay (.) A truly fine outing. What can you say but... 'Yeah!'"

"... Carli demonstrates a depth and diversity of musical understanding, and creativity, bolstered by his ample technique. Right away, we sense his solid sense of time, and well developed ability to swing and float above the rhythm section. (.) Carli's solos, indeed his music, breathe deeply and healthily. There is an indescribable balance - one that highly developed players express through music. His approach is steeped in the rich history of the grand tradition of this music, and augmented by the lessons of such masters as Bill Evans, McCoy Tyner, Jarrett and Hancock."

". Completely spontaneous, yet perfectly collective. Only kindred spirits can achieve this sort of communication."

". He is an outstanding pianist and composer. I think you too will be impressed by Carli Muñoz."

".The trio itself forms a happy marriage, in which there is an ongoing elegant conversation between the piano, bass and drums."

The New York Resident, by Barry Bassis - This week on the town - November 28, 2005

". Carli Munoz on "Maverick" takes a giant step toward gaining recognition in North America as a bona fide jazz pianist. (..) If Munoz's résumé sounds odd for a jazz musician, his collaboration with bassist Eddie Gomez and drummer Jack DeJohnette is the real deal. Happily, he isn't some crossover artist seeking jazz cred, or a businessman indulging in Walter Mitty fantasies of jazz keyboard conquests. A pianist with an unabashed romantic streak and strong melodic sense, Munoz digs deeply into six of his own compositions, Keith Jarrett's "Margot" and two standards. Perhaps because he's self-trained and thus free of conservatory constraints, Munoz isn't at all inhibited from heart-on-the-sleeve self-expression. In fact, he's proud to go over the top in a lyrical, expressive manner. Always concerned with creating colors and moods, he loves bright block chords, ringing tremolos and single-note lines instantly selected for their beauty."

".Muñoz weaves a smoky, after-hours vibe on piano, floating like gauze over the lilting grooves of Gomez and DeJohnette, who propel the samba inflections of such gems as "A Cool Night in the City" skyward."

"An album featuring bassist Eddie Gomez and drummer Jack DeJohnette has some strong elements right at the start. But "Maverick" features fine piano work from Carli Munoz and guest visits from sax star David Sanchez and clarinetist Don Byron. Five of the nine tunes are original and are highlighted by Munoz's "Three Little Steps to Heaven," a takeoff on the Miles Davis piece of a similar name. It also features a fluid solo from Byron. But "Entre Nous," with its deceptive rhythm probably is the best of the album."

". A thunderous chord, flattened notes, and a rollicking melody turn out to be the calling cards for Carli Muñoz. He gets off to a fine start with "Maverick," underlining his prowess as a pianist with some delightful runs and heady harmonics. (.)

"... the music flows naturally with a common thread uniting the beautiful melodies, the phrasings and solos. (...) the listener can truly appreciate the brilliance of Gómez and Muñoz' creative and expressive musical dialogue."

"Free association on this musical level, in any genre, is more than a rare charm."

"Favorite Artist: Sarah Vaughan; Ella Fitzgerald; Arlee Leonard; Nat King Cole; Horace Silver; Junior Mance and Carli Munoz"

Rebecca Doggett , Senior Fellow WBGO, ( the world's premier jazz radio station, NYC and NJ) Board of Trustees.

". In short, Maverick announces in no uncertain terms that Muñoz may well be the most exciting fifty-something improviser you've never heard of."

The pianists of a certain age who play fabulously yet have lived in obscurity for half of their careers are legion. A few years ago we discovered the brilliant Marc Copland. Then along came Russ Lossing. And now here's Munoz, a dizzyingly impressive player who sounds in his prime even though no longer in the first flush of youth. That this relatively unknown figure can assemble a cast of such A-listers as DeJohnette, Gomez, Byron and Sanchez says much about the esteem in which he's held and from the opening bars of Maverick , it's clear that the leader is a force to be reckoned with. His touch at the keyboard is sensitive yet strident and his single note melodies have a pert yet engaging lyricism. But it is perhaps Muñoz's harmonic range that intrigues the most as it sweeps throughout classical references such as Debussy as well as Latin touchstones like Lecuona and Valdes to land in jazz territory that, as with most modern trios - especially ones with Eddie Gomez on bass - betray a love of Bill Evans at some point or another. Yet Munoz has an eloquence that is sufficiently personal to rise above any derivative cheap shots. His sense of swing is assured without being overpowering and his willingness to settle into a thematic line without quickly rushing to extemporize after the perfunctory statement of the head, is also wholly refreshing.

"A lot of piano players put out their own records these days, but not many hire Eddie Gomez and Jack De Johnette to fill out the trio, bring in David Sanchez and Don Byron for guest appearances, and provide excellent recorded sound and a classy CD package.

Carli Muñoz was born in Puerto Rico, spent 16 years on the Los Angeles rock scene (including 11 with the Beach Boys) and sounds absolutely real playing jazz. He has a crisp attack, a distinctive piano sonority and the unexpected phrasing and note choices the autodidact. He also plays hard at all tempos. His own tunes are promising frameworks for improvisation, and his covers work. He is constitutionally upbeat yet can genuinely confront the despair of "You don't Know What Love Is." "In the Wee Small Hours of the Morning" sings because Muñoz's touch makes piano notes pop like small explosions.

You can't lose by bringing Gomez and DeJohnette into your rhythm section, but there is a risk to adding Sanchez and Byron for only one tune apiece: the album might not survive their departures. While Sanchez and Byron smoke their cameo appearances Muñoz' trio is strong enough that we hardly miss them when they're gone. "

Puerto Rican pianist Carli Muñoz has one of the most diverse resumes in the business - including stints with The Beach Boys and Wilson Pickett, in addition to a side career as a club owner in San Juan . That's not exactly the kind of background that leads naturally to heading a piano trio with two of the most accomplished rhythm mates in the history of the format, yet here's Muñoz, 57, reuniting bassist Eddie Gomez and drummer Jack DeJohnette in a trio with chemistry to burn. The electricity between the three is authentic; most of nine recordings are early takes, captured without rehearsal.

Muñoz strikes a nice balance between ebullient originals like the hooky title track and strong balladic covers like Keith Jarrett's pretty "Margot" and "In The Wee Small Hours Of The Morning." There's some Jarrett's influence in Muñoz playing, but he also underplays to good effect, leaving phases unfinished or pausing prior to subtle changes in directions.

Despite effective guest spots by countryman David Sanchez and Don Byron, the most valuable player here is clearly DeJohnette, who brings his full repertoire of techniques into play. Opportunities to hear DeJohnette in a pure support role are rare these days, and freed from the burden of sharing the spotlight he lets his imagination run wild. On the easy grooving "A Cool Night In The City" he's consistently contributing-from galloping accents, to single bell-like notes, propulsive flams and tempo changing gambits that color the entire flow of Muñoz solo.

The defiant album title and the sternly antiwar liner notes might lead you to expect a program of dull and earnest musical sermonizing, or of vapid free-form doodling. That is, if you don't know pianist and composer Carli Munoz, whose work seems always to be so suffused with joy. Not the fierce, manic joy of a Bud Powell or the serene joy of Bill Evans on a good night, but just plain joy -- with every note he plays you get the impression that he's thrilled to be playing and feels blessed to be where he is. On Maverick he's supported by bassist Eddie Gomez and drummer Jack DeJohnette, a rhythm section that any pianist would give his eyeteeth for, and there are guest appearances by saxophonist David Sanchez and clarinetist Don Byron as well. The program is a nice combination of standards and Munoz originals, among which the most exciting is the title track, along piece with a written structure that recalls "On Green Dolphin Street". But his "Yellow Moon Tune", which closes the album on a sweetly quiet note, is drop-dead gorgeous as well, and features an unusually attractive part for arco bass. Other highlights include beautiful renditions of "You Don't Know What Love Is" and Keith Jarrett's lovely "Margot". Don Byron's solo on "Three Little Steps to Heaven" isn't spectacular, but it's not bad either, and the fact that it's about as close as this album gets to anything resembling an actual disappointment speaks volumes for its overall quality. Very highly recommended.

Another pianist with a bright future ahead of him is Carli Muñoz, whose CD Maverick, with Eddie Gomez and Jack DeJohnette, features Don Byron and David Sánchez. This is straight-up jazz performed by a trío at its best, with marvelous exchanges by the soloists that give you a clear look into Carli Muñoz's composing talents.

>>> When your rhythm section features bassist Eddie Gomez and drummer Jack DeJohnette-two monster heavies of modern jazz-then you be onto something good. Muñoz weaves a smoky, after-hours vibe on piano, floating like gauze over the lilting grooves of Gomez and DeJohnette, who propel the samba inflections of such gems as "A Cool Night in the City" skyward.

"You might not expect to hear much in the way of great jazz from a pianist who played keyboards behind the Beach Boys for more than a decade - and who spends much of his energy these days running a restaurant in Puerto Rico . But Carli Muñoz is a revelation. He'll introduce material from his new CD Maverick at a Jazz Standard gig on November 30. Bassist Eddie Gomez will be on the band, along with drummer Lennie White and other guests."

An album featuring bassist Eddie Gomez and drummer Jack DeJohnette has some strong elements right at the start. But "Maverick" features fine piano work from Carli Munoz and guest visits from sax star David Sanchez and clarinetist Don Byron. Five of the nine tunes are original and are highlighted by Munoz's "Three Little Steps to Heaven," a takeoff on the Miles Davis piece of a similar name. It also features a fluid solo from Byron. But "Entre Nous," with its deceptive rhythm probably is the best of the album.

THE HARTFORD COURANT / THURSDAY, DECEMBER 8, 2005

Carli Munoz on "Maverick" takes a giant step toward gaining recognition in North America as a bona fide jazz pianist.
Although jazz has been his greatest musical passion since he was a teenager growing up in San Juan , Puerto Rico , you wouldn't know it from a pop résumé that includes an 11-year stint as keyboardist for the Beach Boys. Since 1998, the peripatetic pianist has also owned and operated Carli Café Concierto, a cosmopolitan supper club in historic Old San Juan.
If Munoz's résumé sounds odd for a jazz musician, his collaboration with bassist Eddie Gomez and drummer Jack DeJohnette is the real deal. Happily, he isn't some crossover artist seeking jazz cred, or a businessman indulging in Walter Mitty fantasies of jazz keyboard conquests.
A pianist with an unabashed romantic streak and strong melodic sense, Munoz digs deeply into six of his own compositions, Keith Jarrett's "Margot" and two standards.
Perhaps because he's self-trained and thus free of conservatory constraints, Munoz isn't at all inhibited from heart-on-the-sleeve self-expression. In fact, he's proud to go over the top in a lyrical, expressive manner. Always concerned with creating colors and moods, he loves bright block chords, ringing tremolos and single-note lines instantly selected for their beauty.
Gomez and DeJohnette are superb, inventive yet supportive. Tenor saxophonist David Sanchez and clarinetist Don Byron also sparkle in cameo roles, performing on one track apiece.
- OWEN MCNALLY, THE HARTFORD COURANT

Somebody, low in the mix, says, "Yeah!" as bass and drums shuffle and throb into "A Cool Night in the City," the fourth tune into Maverick . "Yeah!"--like this sounds so good. And indeed it does. The tune serves as something of a centerpiece on pianist Carli Muñoz's excellent new disc, and it's not alone in the "yeah!" factor among these nine tunes, which include three standards and six Muñoz-penned compositions.

Muñoz has worked with Wilson Pickett and George Benson, and he had an eleven-year tenure with the Beach Boys. Here he displays straightahead jazz chops on a (mostly) piano trio outing. Mention piano trio and two names immediately come to mind: Keith Jarrett and Bill Evans. Muñoz has brought in two veterans of those groups--Jack DeJohnette, who worked with Evans and has maintained a long association with Jarrett; and Eddie Gomez , who worked with Evans for eleven years. Gomez has a big, thick, assertive sound, and DeJohnette is the classy, ebullient, and always fascinating texturalist.

Muñoz pens an engaging melody on these tunes, which fit in nicely with well-chosen standards. The opening title tune features saxophonist David Sanchez, cooking; "Three Little Steps to Heaven" brings in clarinetist Don Byron; the closing "Yellow Moon Tune" features some lovely dark hues from Jane Scarpaloni's cello. The guest slots are surrounded by the piano trio efforts, and these are absolutely top notch: "Katira's Waltz," with as pretty a melody as you'll hear, Muñoz's piano sounding crisp and succinct, a mix of delicacy and deft percussive beauty; and "A Cool Night in the City" (a highlight), which has an insistent energy and momentum and marvelous group interplay.

The standards include "You Don't Know What Love Is," Keith Jarrett's "Margot," and "In the Wee Small Hours of the Morning," the last piece veering into an appealingly abstract zone.

Some feel the only way to remain true to the jazz tradition is to focus one's energies exclusively within that domain. Others believe that all experience is valuable, and that a stylistically broad career needn't tarnish an ability to remain truthful to a jazz aesthetic.

Carli Muñoz clearly fits into the latter camp. The Puerto Rican pianist has been involved in the music industry for over forty years, both in PR and on both coasts of the United States . Over the years he's recorded and/or performed with artists as diverse as Wilson Pickett, Rickie Lee Jones, and the Beach Boys, with whom he toured for eleven years.

While Muñoz's passion for jazz remained, it always seemed to take a back seat until 1982, when he decided to devote more of his energies to it. After concert and recording dates with artists like George Benson, Chico Hamilton, and Les McCann, he returned to Puerto Rico , opening a successful jazz dinner club in Old San Juan called Carli Café Concierto. In addition to supporting touring artists who came to the club, Muñoz recorded a number of albums, including Both Sides Now --an album of duets with bassist Eddie Gomez , who first met Muñoz at Carli Café Concierto.

While Muñoz has forged a successful space for himself at home, greater recognition in North America has eluded him, something that Maverick should change. On this recording Muñoz is accompanied by Gomez and drummer Jack DeJohnette, plus guest appearances by clarinetist Don Byron and saxophonist David Sanchez--a younger fellow Puerto Rican whose performance at this year's Ottawa International Jazz Festival was a highlight. Maverick is a showcase for Muñoz's vivid improvisational style and melodic compositional skills.

It's great to hear DeJohnette and Gomez together again. They collaborated heavily during the late 1970s and early 1980s on a number of ECM recordings, and it's clear that the passage of time hasn't diluted their uncanny chemistry. Sessions where relative unknowns recruit big name stars often feel like perfunctory session work, but Maverick has an energy that suggests the three musicians had more than their share of good times recording it.

The trio swings hard on Muñoz originals like the title track--featuring a hard-edged solo from Sanchez--and more elegantly on "Katrina's Waltz." "Entre Nous" is darker fare, given gentle motion by Gomez and DeJonette's ability to subtly imply ideas without clearly stating them. "Three Little Steps to Heaven" is another fiery swinger which shows that Byron may aspire to greater adventure on his own projects, but he ultimately never leaves his roots behind.

A philosophy equally applicable to Muñoz. He may have spread himself out stylistically over his career, but it's clear where his heart truly lies. Virtuosic without being superfluous, Muñoz' playing style matches his writing--direct, unassuming, and to the point. But he's also an interpretive pianist with wide open ears, and he's never overshadowed by the more illustrious reputations and experiences of his musical partners on Maverick .

The best jazz always comes from kindred spirits. When artists share a vision and a thirst for innovation, they can always come together and make a great record. It doesn't matter if they've ever played together, or if they've been gigging together. The best bands can just rip right into a tune without missing a beat.

Sometimes, when artists share a heritage or nationality, they can be kindred spirits without ever meeting. Chick Corea and Gonzalo Rubalcaba are a prime example. So are Carli Muñoz and Eddie Gomez . Maverick is the latest project that the two have worked on together. The disc is essentially a straightahead piano trio record (the unparalleled Jack DeJohnette plays drums) with a few like-minded artists (David Sanchez, Don Byron, and Jane Scarpantoni) adding their unique contributions to certain pieces.

The astounding interplay among the players helps distinguish this album from other piano trio efforts. Gomez and Muñoz have played together on many occasions at Muñoz's Carli Café Concerto, and Gomez and DeJohnette have crossed paths many times, most notably with Bill Evans' trio. That leaves Muñoz and DeJohnette. Said the pianist, "I mentioned that I felt a connection with Jack DeJohnette. We're close to the same age and I like Jack's feel, his vibe, all the different things he's done." DeJohnette is also a veteran of some of the greatest trios to have graced the stage, including those with Evans, Hank Jones, and Keith Jarrett. When three artists of this caliber are put together in a room, sparks are bound to fly.

A second distinguishing feature of this album is Muñoz's compositional acumen. His compositions are deceptively simple and could very easily be mistaken for standards. "Yellow Moon Tune" is sprawling in its beauty, evoking a landscape or a starry night. Scarpantoni contributes magnificently on cello. "Three Little Steps to Heaven" incorporates the playfulness of Chick Corea with the simplicity and heavy chords of Herbie Hancock. And each composition is given reverential treatment by the trio.

Muñoz's style gives the trio a very full, almost orchestral sound. At no point does the music feel rushed; the pianist's lush chords engulf each soloist, giving him a space in which to improvise. Gomez's elastic style alternates between giving the music such support that he is nearly lost in the mix and soloing perfectly over the melody. DeJohnette's signature cymbals and perfect pitch pervade the record, giving each tune the right backbone and just enough of an edge and swing backbeat.

David Sanchez, another Puerto Rico native, adds his tenor to the title track, another brilliant Muñoz composition. Gomez solos first, playing around the chord changes with ease. Muñoz evokes a softer McCoy Tyner with his solo, bringing the tune to a crescendo before Sanchez brings it back to earth with a few simple notes. Those few notes are jazz at its best. Sanchez suggests musically which direction he would like to go, and the other musicians follow immediately. Completely spontaneous, yet perfectly collective. Only kindred spirits can achieve this sort of communication.

A thunderous chord, flattened notes, and a rollicking melody turn out to be the calling cards for Carli Muñoz. He gets off to a fine start with "Maverick," underlining his prowess as a pianist with some delightful runs and heady harmonics. But saxophonist David Sanchez cuts to the chase, dissecting the melody and spiriting it in to some high energy invention with a wealth of ideas.

The opening title tune casts the perfect shadow for Muñoz, who has been active in pop as well as jazz music circles. The later now eclipses the rest, and among his recordings are Love Tales, a solo piano set, and Both Sides Now, with Eddie Gomez , Paul Chambers, and Jeremy Steig. Gomez has been a compact partner for Muñoz, and they bring Maverick to fruition with drummer Jack DeJohnette, with whom Muñoz says he "felt a connection."

Muñoz is a lyrical player. "Katira's Waltz" is an elegant tune, the playing spare yet capturing the essence, with a light swing adding to the appeal. Muñoz soon ups the tempo and even as his right hand describes some elevating musical arcs, his left pegs down some incisive chords. The mood on "Three Little Steps to Heaven" is upbeat and vibrant. The trio pushes the pulse, and when Don Byron comes in on the clarinet, the groove gets a lighter pliancy that juxtaposes the evolution nicely. The whole outing comes off in high gear.

Carli Muñoz, MAVERICK - Pelosenel Records. Web: www.carlisworld.com. Maverick; You Don't Know What Love Is; Margot; A Cool Night In The City; Katira's Waltz; Entre Nous; Three Little Steps To Heaven; In The Wee Small Hours of The Morning; Yellow Moon Tune.

PERSONEL: Carli Muñoz, piano; Eddie Gomez , bass; Jack DeJohnette, drums; David Sanchez, tenor sax; Don Byron, clarinet.

This latest album release from pianist Carli Muñoz assembles a superb band of stylistically unique players performing a collection of originals by the leader, and several Great American standards.

It is a big, deep, dark, rumbling opening chord. That's what Carli plays to open the first track, "Maverick." No tempo - for the moment. The opening gives way to the unexpected. Tenor saxophonist David Sanchez states the initial eight measures of the melody, played twice, backed only by drummer Jack DeJohnette. The melody is still dark. Bass and piano enter, with tenor and piano playing a second and quite different section - one that is quite upbeat and colorful - a distinct contrast to the first solo. If you didn't know Eddie Gomez was the bassist, you will pick up his signature sound and phrasing instantly. Carli takes a second solo spot.

(...) Carli demonstrates a depth and diversity of musical understanding, and creativity, bolstered by his ample technique. Right away, we sense his solid sense of time, and well developed ability to swing and float above the rhythm section. Sanchez sound turns in a commanding solo, full of glitter, not glitz.

Muñoz plays an out of tempo opening to the classic "You Don't Know What Love Is." It is a magnificent song. The tempo is laid back - ideal for the kind of interplay between the bass, and drums (DeJohnette colors the music with signature cymbalwork). Muñoz demonstrates his light touch, and sensitivity to dynamics. He creates a lush landscape, alternating between linear ideas and lush chords. Serenity, romance, beautiful sunsets, pensive moments - that's what I feel as I listen to this superb rendition.

The band switches gear into a Latin groove on "Margot," is a Keith Jarrett composition. Gomez' throbbing bass in tandem with DeJohnette's driving canvas of sound-at once, delicate and powerful - provide the base for Muñoz radiant, toe-tapping solo.

"A Cool Night In The City" is another original by Carli - rendered at a medium groove, primarily with a two-beat feel. His high level of creativity is consistent throughout this album, and this track in no exception. Carli's solos, indeed his music, breathe deeply and healthily. There is an indescribable balance - one that highly developed players express through music. His approach is steeped in the rich history of the grand tradition of this music, and augmented by the lessons of such masters as Bill Evans, McCoy Tyner, Jarrett and Hancock.

Following two more originals "Katira's Waltz" and the relaxed "Entre Nous," Carli changes the tempo. "Three Little Steps To Heaven" is a bright, swinging piece. The overall harmonic direction of the song is characterized by movement in major thirds-conceptually, like Coltrane's Giant Steps, but not quite the same. The melody is characterized by stoptime, staccato expression-somewhat like "Seven Steps To Heaven".but not. (...) It's a fast tempo, but Muñoz floats confidently, turning in several splendid choruses. Don Byron follows on clarinet. His sound is rich. his groove is unmistakably locked-in, and he delivers a commanding solo that on the most basic

"In The Wee Small Hours of The Morning" is rendered as a ballad - expectedly. More great music. Both Muñoz and Gomez are exceptional here. Kudos to Muñoz for inspiring the best from the eminent, articulate and prolific sidemen that appear with him on his latest album, Maverick . He can take pride in creating an outstanding set of performances on which his commanding musicianship stands on equal footing with that of his lofty associates.

"I was impressed the first time I met and heard Carli Muñoz. He is an outstanding pianist and composer (.) When Carli approached me about recording, I said yes, If I could co-produce his album (.) I think you too will be impressed by Carli Muñoz".

Eddie Gómez, 2003

"Carli Muñoz must be one of the finest pianists alive".

"The desire to help the masses on the island better appreciate jazz has united the artistic expressions of Old San Juan's "piano man" and those of a pioneering Puerto Rican bassit bred in NY whose resume includes playing with Miles Davis and Bill Evans(.)

(...) the music flows naturally with a comon thread uniting the beautiful melodies, the phrasings and solos. (...) the listener can truly appreciate the brilliance of Gómez and Muñoz' creative and expressive musical dialogue.

For Gómez, his collaboration with Muñoz marks the first step in their plan to push jazz in Puerto Rico (.) Both Sides Now is an impressive album that overflows with originality, fluidity and sentimentality, a truly remarkable artistic offering that gives new meaning to locally-produced jazz".

" A delivery that exudes a particular chemistry of much feelings and sensibility, as if pianist Carli Muñoz and bassist Eddie Gómez had shared -in another life- their love and respect for swing, blues, improvisation and other elements inherent in good jazz(...) I got three surprises. I found a fabulous club, where the food was terrific and the music was in a high level with Carli and his trio. We met, we talked, and the different influences on Carli -such as Oscar Peterson, Bill Evans, and Bud Powell- resulted obvious to me, but most of all I liked the fact that Carli was developing his own voice in jazz, explained Eddie Gómez".

As if we were in New York witnessing a be-bop or hard-bop or swing recital at the Iridium Jazz Club & Restaurant or at the basement of the Village Vanguard, the audience went dumb to the first cord Carli played at the grand piano(...) His block cords, his dominion over the octaves, his fine digitation, and his expressive phrasing in tunes such as "Be my love","Katira Waltz", -a romantic and passionate, pastoral love confession to his wife Katira- and his version of Consuelo Velázquez' Bésame Mucho earned the unanimous applause from a crowd that at the end did not know how to exit the event.".

"Both Sides Now will be a melodic feast which will be highly appreciated by all jazz lovers. Also, it has the potential to please all of those who posses a special taste for good music, without the barriers of musical genre. We recommend it highly. Our grade in a scale from 0 to 5 radios: 5 radios".

Elmer González, Radio Universidad Web Page / Audiotomía section (01/20/2004).

"Music is a very powerful healing source, especially if it comes from one's deepest yearning to make a difference."

Carli Muñoz has ridden the wave from Puerto Rico's jazz scene to the mainland as both a sideman and a leader. Established among the Puerto Rican’s famed and honored musicians, he is finally delivering his gift to the rest of the world. His companions in this journey have included legendary musicians such as Eddie Gomez, Charles Lloyd, George Benson, and Jack DeJohnette. Outlining the scene no matter where he is found, Munoz demonstrates his pulsating voice through an enriched and strong dialect. His voice is one many have missed, but he will soon be heard.

I was born to be a musician with no one musical in my family. I don't believe it was really a choice, at least on a conscious level; I guess everyone has a calling and I’m just on the continuum of what I was meant to do. Music is in my spirit, reaching to something beyond my DNA or any other physical explanation, considering that I am completely self-taught. One can argue that, given sufficient diligence and intelligence, one can excel in whatever one focuses on, but music was all too familiar and easy to know for me to neglect.

So, my life became music and music became my life. I loved music so much - and this may sound contradictory to some- that I chose not to study music formally. Instead I went to study cinematography, which I did enjoy and practiced for some time, but without departing from always keeping music front stage. To me, not taking on music studies formally was a way to keep it real, since I had already developed my own learning method and was developing my own style. Of course, I was nurtured tremendously from listening to many of the masters in jazz piano and other instruments. Between listening to the masters and playing frequently with great musicians, I evolved and set out to master the art of playing, improvising, and composing.

The other thing that became significant and important in my life was life itself. What I mean by that is that it has been hard to ignore all the suffering that goes on in the world. It is all around-be it self inflicted or inflicted by another, I believe that ignorance, hence spiritual blindness, is the culprit. Music is a very powerful healing source, especially if it comes from one's deepest yearning to make a difference. I have often been bugged by the idea that I "don't do enough," that maybe I should be a missionary of sorts, that I should join this or that charity group, et cetera. But it is in those moments when someone viscerally reminds me that music has made a difference in his or her well-being that I feel that something is really working by just doing what I do-music.

JI: Tell us about the creation of your new album, Maverick -the creation and or selection of repertoire.

CM: Ok, I'd say Maverick became Maverick along the way of its own process. It all started in the winter of 2003 when my friend and bass player, Duke McVinnie, from my old fusion L.A. group "Your Own Space" (the band existed in between Beach Boys tours), invited me to play on his solo record Flying Lessons . The recording took place at a studio called Allaire which is a top notch setup located in an old mansion at the top of a hill overlooking a lake in Shokan, upstate NY, very close to Woodstock. Duke's engineer and producer for the session was a young man by the name of Brandon Mason, whose respect I gained very quickly. I notice not only his dominium and inventiveness on the technological aspects, but also I was really impressed by his musical sense and intuitive connection with the musicians. Basically, Brandon was like having another hip and creative musician on the set but working resourcefully from the other side of the glass, or rather the other side of the monitors. So, at the end of the two day session I approached Brandon to ask him if he'd be interested in co-producing and engineering my next album project. Of course, Eddie Gomez and I had been already working together and the idea of having Jack DeJohnette on the session (an idea that Eddie and I had discussed previously) also came up in the conversation. Brandon had worked with Jack previously and also with Don Byron. From that conversation we went on planning and exchanging ideas via email and by the fall of 2004 we were all gathered at Allaire for the Maverick recording session. That was, you could say, the successive aspect of creating Maverick.

Creative wise, having the canvas or scenario in place along with players from which to create a new CD, the creative process of defining a concept and choosing material began. Since I never got a formal education in music, at some point in my life while living in California, I enrolled in college to study a career in film making (in some strange way I made this choice out of my own love and respect for music and to keep my playing free from academic nuances). There I learned certain aspects of film making and especially for directing, that became analogous and very useful aids for the process of creating music and projects in general. One such concept that I borrowed is the Mcguffin , a concept coined by the film director Alfred Hitchcock that refers mostly to a device; like a thread that catches your attention and runs throughout the whole movie. The other one, and the one that I chose to use with Maverick , is the Mise-en-scene, which allows plot and character to be seen as foregrounded aspects. What that meant to me was having Maverick players doing what they did best, or choosing the material that would best feature the players. For example; when I composed "Entre Nous", I could hear Eddies' ubiquitous (in a good sense) playing, along with jack's signature cymbal work. On the other hand, Maverick was a tune that I wrote in the early 70's which I had named differently. It was called "Goza Nova" and it was originally meant to be played in the form of a bossa. But still, with a change of beat, I could "visualize" Jack's and Eddie's energetic playing bursting out on that tune. Jack and Eddie's on the spot arrangement ideas certainly made the tune happen and David Sanchez of course was a real natural choice to up the ante even further. "A Cool Night in the City" was also scraped from my early 70's writing and it worked like a charm from the go. The take we used on the CD wasn't even a take.I was just showing the tune to Eddie and Jack with the tape rolling and they just played along.and that was it! I can't say for sure that I exactly hit the mark with all of the tunes, but I'll leave that to the listener. As for the name concept, I could say that the term maverick evolved for me as the process went along. The name first came on a semi sleep state to my mind's eye in big letters and from then on the concept of what defines the term maverick became central to the project. During that visualization, maverick evoked for me strength and independence. A quick Google-search confirmed its meaning, and I knew I was on track. The liners that I wrote honoring my heroes sealed the concept. As I went on and researched maverick even further, I also found out that the term was also being referred to as a movement of composers basically associated with big cluster chords and avant - garde music, which seemed appropriate enough.at least for the first 9 seconds of the track! From a simple and straight forward perspective I could say that central to creating the Maverick project was my innermost desire to take my recordings to the next level. This meant continuing the work with Eddie and also adding the dimension of working with someone like Jack, whom I had admired and identified with since the mid 60's, when he played with the Charles Lloyd Quartet. I can give you a big' all impressive eloquent essay of how I planned this and that and how everything came out brilliantly according to plan, but the simple truth is that it is love and honesty that allows beautiful things to happen. I wouldn't like to see striving musicians out there buying the myth that a great work of music is as predictable as some artists egotistically tend to describe as they do with their own work after the fact. It is true that the best possible choices should be made beforehand to maximize success and a sound degree of direction, experience, knowledge, talent and an adequate budget will help, but I would still hold love, passion and allowing things to flow in tandem with an ideal as the source for a great work of art.

JI: Could you talk about dialogue that you might have had with bassist Eddie Gomez , drummer Jack DeJohnette, or Don Byron clarinet during the creation of the CD that made a significant impact on you?

CM: Truthfully, we basically had fun. We all had our little daily life story to tell. We talked about dogs, birds, heartburn and (of course) Bush and other maladies. When we were having our cover picture taken on the grounds outside of the studio by my wife Katira, Jack and Eddie were reminiscing and goofing on the funky, but very popular photo that was used on the album New Directions they did with Lester Bowie and John Abercrombie. I guess our photo session had an air of that old shoot. In between all the chatting we did have some substantial conversations about social injustice and spiritual connectivity. Jack is an ultra conscientious human being and he stands fully vertical with important social issues. I found it highly stimulating listening and sharing with him. On the other hand, Eddie and I have really stimulating conversations but in a whole different and pragmatic way; he is really a funny guy and keeps me on the laughing edge. He doesn't try to be funny-- he just is! He is also one of the warmest and caring people that I've ever met. Don Byron kept pretty much to himself. My co-producer/engineer Brandon had warned me that Don likes to have his parts charted beforehand, but that wasn't on my agenda for this type of project; I wanted it all to be intuitive and spontaneous. Anyway, he did a fine solo on "Three Little Steps to Heaven".

JI: How did the creation of this album expand your artistic development and musical understanding?

CM: Maverick , like other recording projects did in the past, gave me the platform to take it all to the next level. The expansion is more like a catharsis which works for me as a bridge leaving some old stuff behind and creating a new space for ideas to come. On every one of my recording projects, with the exception of Live at Carli's Vol.1 , I have managed to include songs that I composed many decades ago and that has liberated me from holding on to them, at the same time allowing me to conceptually move forward. Every project I do gets me closer to creating new ideas and new material. But I see a long road ahead of me because I have many songs that I'd written in the past which includes crossing over genres and they are still active underneath like a volcano waiting to erupt. As far as musical understanding, it is an everyday thing for me. Not having come from a formal music education, I evolve musically by being on a constant path of discovery. Also, I've been fortunate enough to have been playing live practically every night for many decades, by myself, duo, trio and with a variety of musicians and that's what has really contributed to keep developing my musical understanding. Artist development, I could say, started for me 45 years ago, when I first got paid to play on a stage. So this is just a continuation of the same process. On the other hand, it would be blind and arrogant on my part though to deny that this project with its outcome and the alchemy of gathering such great musicians has been a major catalyst in advancing my career-and I'm grateful for that.

JI: What is it about working with bassist Eddie Gomez that you find inspires your creative energy?

CM: Eddie Gomez is the personification of E=mc2. All I can say to that is that if the energy released by an object is equal to the object's mass times the speed of light squared, every bit of his body mass is used when he plays. When we first started to play together, it wasn't easy for me because I would get overwhelmed by his energetic (creatively and physically) playing. At some point I realized that I shouldn't listen directly to what he was playing or else I could get thrown off. Later on as we played more often, I got to a better understanding of where he was coming from and the more we played, the more I felt on the level and got to savor more and more the joy of playing with him. You could think of it as driving a Ferrari; you get a little surprised at first, but eventually you'll really get a joy ride. you just have to stay on your toes.

JI: What were the challenges and benefits that you experienced as the keyboard player for the Beach Boys for many years?

CM: When I first started playing with The Beach Boys in 1970, they had an impressive band with some great musicians, especially in the horn section. Some of these were: American trombonist Glenn Ferris, who later in the 70's migrated to France; Sal Marquez on trumpet, Joel Peskin on reeds and other LA and NY session players from that time. The rhythm section was respectable, but I also was able to bring in musicians of my choice such as bassist Potter Smith, drummer Bobby Figueroa and percussionist Robert "Rogi" Kenyatta, whom I had enjoyed playing with before. At the time I was tugging between Hammond organ, electric and acoustic piano and I was able to stretch out from time to time. My relationship particularly with Carl and Dennis Wilson was magnificent. We had a deep and nourishing personal and musical interaction. Also another two great musicians; drummer Ricky Fataar and guitarist/lead singer Blondie Chaplin from South Africa , joined the group in 1972 and we also became very close friends and collaborators. For a time the ethnic composition of the band was Jamaican, South African, Filipino, Mexican, Polish, Irish and Puerto Rican; we used to kid about it and regard ourselves as the United Nations band! We got voted "Best Concert Band" by the Rolling Stone Magazine , and we certainly were-within the rock concert genre. In all, I contributed with the Beach Boys in song writing, producing and arranging. Also I was billed as opening act with the band performing my own compositions in some of the concerts. It was a great experience in many levels; the depth of their music (although sometimes over simplistic), the great arrangements, the great vocals- the heart felt relationships -Brian's relentless perfectionism-- the a cappella singing used to kill me.I liked the Beach Boys! I grew up in San Juan in a beach community where surfing, bonfires and hot rods were popular and the Beach Boys were part of that scene. Also, as I matured musically, I was able to appreciate their musical depth even more. So I was happy to be asked to play and later contribute with them; a sojourn that lasted until 1981, when I chose to move on.

JI: Who were some of the key musicians that you met in Los Angeles that helped shape your direction-and could you cite something you might have learned from one or more of those that made a memorable impact on you?

CM: An encounter definitively worth mentioning was meeting organist Jimmy Smith. We met back in the mid 70's at Dante's, a club in North Hollywood where I had been performing with my in between Beach Boys tours fusion group Your Own Space. He had been in the crowd listening to me, which I wasn't aware of, and when I finished the set he sent me a note with a waitress to come and meet him. When I finally came up to him he put his arms around me and lifted me into the air asking me; "Who do you listen to: Mc Coy or Herbie? It was a pretty crazy encounter; he would only talk about music! That same evening he invited me to hang out at his club in the San Fernando Valley . There he had a spinet piano behind the stage where he had his legendary Hammond organ set up and drums, and we hung out and played throughout the night. It was on the piano where he went off to show me his vast knowledge of harmonic structure and interweaving improvisations; an aspect of his musical knowledge that was rarely expressed through his organ playing-a real feast. There were many other musicians that impacted and influenced me in different ways like drummer Jerry Zitro, who knew the meaning of free avant garde playing (and living); bassist Potter Smith, whose vast knowledge and unique playing graced my first trio in the early 70's; late pianist/singer John Larkin's passionate and energetic approach to jazz made also a lasting impact on me. Pianist John Hartman, who for a short time was my roommate, was the first person I saw dissecting a song for improvisation --Pensativa on F#, was such an example. Freddy Hubbard once gracefully asked me to join his touring band-unfortunately I had to decline because at the time I was committed to another touring band but the invitation alone inspired me to write some tunes with Freddie's ensemble in mind that later became some of my favorite tunes to play. One time I had a near death experience seconds before the arranger-conductor Jimmy Haskell told me "not to worry, the orchestra will follow you" after I confessed to him that I didn't know how to read music and I was about to perform a piece with the LA Chamber Orchestra as a gift from Dennis Wilson (Beach Boys) to Christine Mc Vie (Fleetwood Mack) on her birthday! Al Jarreau impacted me with his talent, his passion, inventiveness and risk taking and with his perseverance showed me that anything was possible; I will always cherish his friendship. Maverick musician/composer and friend Van Dyke Parks has also been a great influence and of course Brian Wilson, whose legacy on being a musical genius is no hype at all. There were many other better and lesser known musicians that crossed my path leaving something with me that I would treasure and that would certainly have an impact on my future development as an artist and as a human being.

There were also experiences on the negative side. One example is when I was touring with the R&B king, Wilson Pickett, and somehow rumors got to him I that I had other plans. So he had me escorted to his room (this was in Las Vegas), where he sat in the middle of the room on a stately chair wearing his red silk robe, flanked by his valet and bodyguard, and threatened to cut my fingers off if I'd stop touring with him. I left even sooner than expected.thankfully he never caught up with me!

JI: Could you discuss how your associations with several musicians with whom you have been involved-for example, George Benson, Les McCann, Chico Hamilton, Wayne Henderson, Charles Lloyd-and the significant understandings you have gleaned from one or more of those associations?

CM: My encounter with George Benson was short, but sweet. Before he ever started singing on records I was a big fan of his guitar playing and when he started singing on his recordings I was one of those disappointed fans, not because I thought his singing wasn't good, but because his playing was so extraordinary that it was hard for me to conceive the two together at the same level-wrong! It took destiny to put me on a recording session with George Benson to prove me differently. Before the beginning of the session, I think it was at Ocean Way on Sunset Boulevard; Benson wanted to jam so we could get a feel for each other and loosen up some. At first he just played his awesome George Benson guitar playing, trading solos, etc., but then at some point he started singing, and it totally blew my mind! From that point on I knew how wrong I had been on my judgment about his choice on singing. Also, at some point during that first jam, I tried to open the structure a little towards the outside with suspended chords. George definitely didn't like that-- I guess he liked staying inside within a tight harmonic structure. I also drew wisdom from that. Wayne Henderson, who was the producer on that project, was saying to Greg Phillingames and to Benson emphatically that he thought I was the most sensitive pianist he's ever heard and wanted to place me on double piano with Phillingames on one of the ballads that Benson was recording. If I've ever reached the apex of the art of minimal but tasteful playing, that was it! I never heard the track commercially released, but it did caused a roar at the studio.

Now speaking of Wayne , I don't remember who originally told Wayne Henderson about me, but the first time we worked together I had gotten a call on his behalf to show up at a recording studio to play on a record (Nomad, Electra) that he was producing for Chico Hamilton. I think it was at the Total Experience studios in Hollywood where we first met and when we first saw each other we both started laughing hysterically as if we had made a major discovery. The experience was like the meeting of kindred spirits, and that is what our relationship was like from then on. Wayne , being the soulful and expressive person he is, was probably who most inspired me to come out of a shell. I used to be extremely inward and introspective and I suppose that it showed on my playing at the time (hence the great sensitivity on ballads!). He used to egg me on to playing more aggressively and that became a lifelong revelation to me, I loved working with Wayne ; he certainly knew how to get the juices flowing on either direction! Les McCann was another positive force on my playing. In the late 70's Les was putting together an all keyboard trio (quartet with the drums) and again someone made a recommendation and he hired me. The concept was Les and I on piano switching between Rhodes and acoustic, another keyboard player doing bass on moog (I can only remember his first name Andy), and a great drummer by the name of Kevin (Moon) Calhoun. During the concert tours, Les was more than generous on sharing the lead spot with me and while I had a lot to draw from his soulful playing, the mutual admiration and respect was ever present.

JI: What was it about Puerto Rico and its music scene that motivated you to return in 1985 ?

CM: Creating one.I'm not kidding! There have been many exceptional jazz players that came from Puerto Rico and develop there (here) but they don't stay; some current examples that come to mind are David Sanchez, John Benitez , Miguel Zenon and Edsel Gomez. It is an island 10 by 135 miles (I know Manhattan is also an island but a lot closer to mainland!) and the jazz mentality does not prevail. From the moment that I returned to San Juan , I formed a jazz trio and I was fortunate enough to keep the trio working regularly. For that I had to work mostly at the big hotels because the jazz clubs ceased to exist by the early 70's. During the 50's and the 60's there was a healthy jazz scene in San Juan but with the popularity of rock and then disco for the final kill, only a handful of clubs managed to survive. My efforts paid off. As new large hotel complexes were spouting around the island, a demand for more jazz music developed. Meanwhile some newer and more progressive restaurants were hiring some form of jazz on certain nights of the week. At some point my trio was drawing a respectable crowd and became high in demand. In December of 1998 I opened the first hip and dedicated restaurant/jazz club ever known in the island, Carli Café Concierto. It was an immediate success and to date, it remained the #1 option for live jazz with fine dining in Puerto Rico for the seven years that it's been operating.

JI: Who are some of the players with whom you play in Puerto Rico that are an integral part of your creative efforts?

CM: When I first started playing professionally in the early 60's, there were a good number of great veteran jazz musicians that were actively playing at the clubs, and that was my school. Although I was very young, I was taller than most for my age and during the summer school brake I wore a suit every night to look old enough to be allowed in the clubs. Eventually I got familiar enough with what some of these cats were playing and got my first shot at playing with them. Playing with cats like drummer Monchito Muñoz, Cuban conguero Sabú Martinez, bassist Freddy Thomas, Juancito Torres on trumpet, jazz diva Myrna Pagan and drummer Joe Morello as a frequent guest gave me some of my earliest experiences playing jazz. These older players were helpful and demanding-- often through tough love pushing me to the limits. Sabú and I got to be particularly close and I learned much from him. Although there has been quite a gap between 1963 and 1985, when I came back to Puerto Rico I hired drummer Monchito Muñoz to play with my first trio since my return to the island. It was a way of returning something back, but also Monchito handled the brushes masterfully and had great swing; which I liked and fitted very much what I was doing. The bass player with that first trio back in San Juan was Eddie Guagua, who is known mostly for playing salsa, but who also has a great swing and could play jazz very well. When Guagua left the island, again I auditioned a young bassist by the name of John Benitez that I thought was promising. The only problem was that he didn't own and also didn't think he could play an acoustic bass. I told him to borrow, rent or steal one, but that there would definitely be no compromise. He borrowed one and for the first few weeks he played it awfully out of tune. His playing was so out of tune that it incited other senior bassist to come close to the stage while performing and yell insults at him! If that wasn't enough, he didn't own a suit or dress shoes, didn't own an amplifier (I advanced him money to buy one) and had the tendency of showing up late with half a dozen excuses. As much as my good reputation was on the line, I hung in there for John, and he eventually got it all together (when he sees me he warmly calls me maestro!). Eventually he migrated to NY and now John enjoys the well earned status of being rated one of top jazz bass players in the US . Among his many accomplishments and accolades he was chosen by the United States Information Agency and the Kennedy Center to represent the United States as a Jazz Ambassador on a tour of South America . Later on, I experimented with other more seasoned players such as master contra bassist Federico "Freddy" Silva, who had an incredibly unique way of playing and who was a master with the bow. Besides playing trio, we also played a lot of duets and played many years together until he sadly retired when he became ill with Parkinson's decease. It was playing with Silva that I met Eddie Gomez ; they were friends and shared mutual respect for each others playing. Another major player back in San Juan and kindred spirit that I enjoyed most and who became one of my dearest friends was Lucille Dixon. She passed away in the summer of 2004 at the age of 81, but she did allow me and our grateful audience to enjoy the last three years of her life playing regularly with me at Carli's. Her playing reflected her rich and deep history in jazz. She had performed with the best throughout the 40's the 50's and the 60's and had led her own band with players such as Taft Jordan, Tyree Glen, Fats Navarro, Buddy Tate, Sonny Payne and many others who spiced the decades of the 40's and the 50's in New York City. A true maverick; she is featured and honored on my CD,. "Live at Carli's Vol. 1". Besides Lucille Dixon, several other bassists have worked regularly with me at Carli's since I opened the club. Among some promising young players who have evolved with my trio are Ricky Rodriguez, now playing the New York scene, talented young Gabriel Rodriguez, three and a half years now with my trio; drummer Gonzalo "Gonchi" Sifre, almost six years with my trio, and now I'm beginning to groom another young talented bassist, Juan Carlos Acosta. Friends and "semi-local" colleague players on the move like Eddie Gomez , David Sanchez, Miguel Zenon, Edsel Gomez, Benny Green, Gonzalo Rubalcaba , Al Jarreau and John Benitez do show up at the club on moments notice whenever they visit Puerto Rico and we have a blast.

JI: Could you discuss some of your experiences working as a sideman that have given you a direction to pursue as a leader?

CM: I did a lot of side work when I was living in L.A. and it was bitter-sweet. I did perform with a lot of excellent unknown bands and also at times with some middle of the road ones so I could eat and pay my rent. There was a time when I was working three gigs at a time on one night and they were all at funky topless joints and nude bars. My schedule then would be 8pm till 1am, then 2am till 6am, then 7am till 11am. Some of these bars were owned by mafia and I remember one of those mornings getting paid with a hundred dollar bill that turned out to be fake when I innocently gave it to the cashier at the Farmers Market on 3 rd and Fairfax, and I had to leave the food and I was so upset and tired that I sped back to the club, stormed into the private pool parlor upstairs where the bosses would gather and with kitchen knife demanded my money. If that wasn't enough motivation to want to pursue a new direction, I don't know what is! But even in the worse case scenario, I was always working with good musicians, relative to the music genre. I even played with a country western band for two years, which I really enjoyed. These guys were a lot of fun to be with and they really cared about the music, and each other. Some of the players were great improvisers: like North Carolinian Brantley Kerns on the fiddle - a great musician. Part of what was interesting is that in country western swing all the lead players get several rounds of solos in every song - like in jazz, and it gave me the opportunity to develop a more linear way of improvising which has been beneficial to date. I had to keep up with the speed of the banjo, the fiddle and pedal steel, and gel with the blues nature of the harmonica, the guitar and the mandolin- it was really cool! I even became a part of a small bluegrass unit of the same band and that was even more challenging.but it was still a gig and I was composing a lot and eager to move on, do my own projects and lead my own group. I distinctively recall a time when I swore to myself that no matter what, including starvation, I would not play again for hire, unless for a major group or artist that I really liked or with my own group; It just had to be something I really believed in or necessary for my development. I nearly starved for three month. My diet became rice with ketchup and when lucky with a fried egg on top. My girlfriend got very sick, but the call finally came and from then on it snowballed.

JI: Tell us about the development of the jazz club that you operate,Carli's Café Concierto.

CM: At the time of conception, I was living by myself in Old San Juan, and in between gigs I had plenty of time to wander about the old city and catch on to the needs of the city dwellers. In a way, it was a self serving idea to want to open the restaurant because many times I couldn't find a real cool place to hang out. There are some very good restaurants and many funky little water holes and some of them had live music occasionally, but there wasn't a real hip and permanent restaurant/jazz club in the island, let alone in old San Juan . The level of the dining was also real important to me, since I dine out a lot and really enjoy the experience. But at the same time I didn't want it to be stuffy, but highly professional, artistic and classic at the same time. After having spent a year creating a concept, I met my partner Jim Bonbright, and we secured a historic local with a plaza overlooking the San Juan bay. I gathered my closest friends who were mostly artist, sommeliers, and chefs, and in a loving joint effort created the logo, remodeled the room, painted the walls, built a new classic bar, equipped the kitchen, trained a staff, created a menu, selected the wines; a process that lasted at least six month, and finally with the hanging of some of the (artist) paintings and some of my own stuff like a gold record, some of my paintings, pictures, etc, the place came alive.not to forget the Steinway 9' concert grand that I rolled in from my apartment! The place was successful beyond my expectations from the first day it opened, but we did go though our growing pains; there are so many details to handle in the restaurant business on a daily basis that it is some times overwhelming. It is certainly not a get rich scheme-at least for a right brain thinking artist like me. Many times I have felt that I've just been doing a public service; if it wasn't as rewarding as it is in regards to seeing the costumers leave as happy and satisfied as they do, I would have thrown the towel long ago. It has been the management skills of my wife Katira during the last five years that has enabled us to stay open and to keep moving forward.

JI: How does the club provide you with an opportunity to expand your own artistry?

First of all, I get to play almost every night for a live audience, I play basically what I want, I get to experiment and get audience feedback, I get to bring in other players, I can try a new composition or arrangement, and I can't get fired.

CM: My original idea was to record a series of sweet songs like "Little Girl Blue", "Surfer Girl", "Very Early", etc, with the trio format to follow on my previous CD, Love Tales . During that process, Eddie Gomez came to my club and when I mentioned to him that I was planning on coming to New York to record my next project, he offered his involvement. He said that he liked what I was doing and he was interested in playing and co-producing. We agreed and after exchanging some ideas over the phone and emails, in the days to come I took a short trip to New York to do studio and piano shopping. We selected the big room at Clinton Studios in mid town Manhattan , and The Studio downtown in Soho for some additional duet tracking. Hiring Joe Chambers on drums and Jeremy Steig as guest on flute was Eddie's suggestion. During the session we did record "Little Girl Blue" and "Very Early" but we chose other tracks for balance and continuity. To me, the highlight or my favorite is the understated track "Remember Bill". It was my must current composition and had the mood that I really wanted to create for the record. I also like the duet on "The Morning After", which I wrote in the early 70's along with "A Cool Night in the City", which I recorded later on Maverick . These two compositions were part of a three piece suite-the third one was lost in time.

JI: Could you discuss your plans for the continuing series of recordings, Live At Carli's?

CM: The Live at Carli's CD series came out of the clients request for a.souvenir.or better said a "to go" piece of the experience at Carli's. Capturing moments like my trio with guest performers such as the legendary bassist Lucille Dixon and other guests, became a natural thing to do. I actually have hundreds of performances recorded on DAT and login them have been really time consuming, but worthwhile. There is some really good and spontaneous stuff there particularly with just the trio on fire! We dedicated Volume 1 to Lucille Dixon because such a great and contributing musician had to be honored and she was running out of time. Volume 1 was pressed, delivered and played for Lucille in New York three days before she passed away. We all have missed her very much. Sometimes I like to leave periods of no recording to just experiment freely and to get out of the box-- I can still get self-conscious at times while I'm recording and occasionally fall in the pit of playing it safe; something I'd like to fully overcome. But we keep on recording while the means are available and keep collecting plenty of exciting releasable material for many years to come. The next Live at Carli's (Volume 2) that I have planned for release will feature my trio "on fire" doing standards along with some originals.

JI: What were some key lessons that you learned about human nature and business as a result of your varied music industry activities?

CM: Hmmm.ok.The dichotomy that we are alone and at the same time we are dependent on every single human being we come in contact with; that everyone is afraid and most people are afraid to admit that they are afraid; that everyone wants to be loved, but it is only the fortunate few that deem themselves worthy of receiving love-hence much less are they capable of giving it; that success in a jazz career lies in a gap somewhere between power and humility; and that most of the musicians jokes about club owners are terribly unfair and untrue.

JI: Some people "think from the end" contemplating situations that they imagine themselves to be in. What if any kind of vision did you have about your career in jazz early on?

CM: From an early age I was a wanderer. I used to constantly entertain existential questions in my mind - I was an introvert full of my world of fantasies. I had terrible grades in high school because I wasn't really there-I was either in my musical, sexual or existential fantasy. Somehow, early on I envisioned myself as a trumpet player-it was a romantic and melancholic view of self. At another time, I fell in love with a big bright baritone saxophone sitting in a store front next to my school. I really wanted it! I even took a lesson with a rental and I was so frustrated for not being able to get a sound out of the reed that I tossed it away and that was it for sax. Then I wanted to be a drummer, because I "knew" that I could play them. See, I grew up playing rhythms out of anything that I could put my hands on that had acoustics like the fender or the hood of a car. In those days, the 50's, cars were made of steel, unlike today plastic composites and bogus metals and they sounded really great. There is nothing groovier than the sound of a 1950's Cadillac, a big Old's or an old Packard! Those were some great jam sessions. Also throughout school I would lay my head on my desk and those desks sounded great too. They had a metal face in the lower front and the wood on top, and with my head down pretending I was asleep with my ear right on the wood I could turn out a real jungle party. Even today I always notice "playable items" everywhere I go-like at the supermarket; the cracker containers, etc. Sears is one of my favorite spots whenever I have to go to the mall. In the hardware department they usually have rows of paint buckets and they all sound different because of the different fluid content in them. I feel that I would be a true drummer because I am that all the time. It is hard for me to conceive of professional drummers that don't play on other surfaces; it is for me like they are missing out-the world is a drum! If I had convinced my dad when I was eleven to buy me a set of drums that I really wanted instead of the piano I got, I would have been an incredible drummer - I know it! I guess that was my vision, at least for a time. But in all, I think that I was too busy enjoying the moment to have a conscious vision of the future back then. Once the piano became my main tool of expression I guess I could formulate a better picture of what I wanted. In all, my ultimate vision since has been I think to have people at large be touched, moved or be positively affected by what I do or have to offer. I'd like to contribute to a better world.

JI: How do you strive to develop your own voice - given the impact that these and other overwhelmingly influential artists might have upon your conscious or subconscious awareness?

CM: I never had a teacher, I never learned anyone's solo, and I look at songs as a sketch. I rarely learn a song exactly how it was done - I do like to demystify something that seems difficult at first glance. I've been working on developing a concept of macro playing, where I look at improvising from a wide angle view looking over at the big picture of the song structure. I sing, I know the lyrics to most of the songs that I play that have lyrics, if not-I invent them. When improvising, I follow the advice of the Yellow Pages; "let your fingers do the walking". If I catch myself thinking, I breathe. Once upon a time I visited a very wise sage at the top of a hill and when I asked her what the meaning of life was, she said to me: "A wet bird does not fly at night". And I went on: "you mean that I traveled this far, give up my possessions and climbed up this hill for you to tell me that a wet bird does not fly at night?" and the wise sage. puzzled said, "Do you mean that a wet bird.does fly at night?" To me this old joke illustrates the frailness of absolute truth and meaning. especially in music. It may be obvious that I have listened to the jazz masters and I have great respect for them. They have been, including the entire range of instrumentalist and vocalist, my inspiration to play jazz. But I hear music my own way. Since I try to be as open as I can when improvising many influences may creep in and I don't try to avoid them -- it is just the language- a combination of known words and phrases, and then we invent some here and there, and with it we tell our own story. I've never transcribed a solo, or even think myself capable of playing anything like anyone else.

JI: What words of encouragement or support, from one or more influential artists, have you received that has inspired you and or expanded your awareness or understanding of the music or human nature?

CM: The most significant recollection of inspiring words said to me is "just have fun". I think it was Charles Lloyd who said that to me in a concert just before going on stage. That really made a world of difference!

JI: As accomplished musicians, we know better than critics do, when our music is at the level we want it to be, or if it fell short. Critics cannot possibly understand what the artist might have been thinking. And, compliments or criticism like perfume are meant to be inhaled not swallowed. Could you comment on the impact critics have on your efforts?

CM: That is true, criticism and compliments are about as solid as a handful of water. But not unlike like any other judgmental interaction; sometimes it hurts and sometimes it helps. I've been so far pretty much cruising under the radar so I haven't been fully exposed to the front lines of that battle-front....yet. It is like the fellow who by some questionable actions gets himself called an ass; if it happens once- he should disregard it. If he gets called an ass again and yet by someone else, still is probably of no concern. If he still gets called an ass for a third time; then maybe he should wear a saddle. But I guess different artist have different thresholds. Masters such as Ornette Coleman had the strength of character to go way beyond early criticism and continuous rejection. In all fairness other than being outrageously pretentious or contrived (where the death penalty could be handy), I think that a performer should be allowed to be where they are and who they are at any given time and place. Pressure from criticism itself could hinder what otherwise would be a great and honest performance- an irony, isn't it? And in a world where media rules we learn to tame the beast-unfortunately.

JI: What pitfalls must we be vigilant about encountering or succumbing to in our lives as we pursue life, career, and creativity in music?

CM: On life and career I'd say; self pity, rightfulness, and bad breath (you can get bad breath from self pity and rightfulness); now on creativity.mmmm.laziness, dishonesty, trying figuring everything out, lack of rest or sleep, bad company and cheap coffee.

JI: Would you like to share some foundational philosophies, or ideas by influential authors, artists, thinkers, that help you stay balanced-as an artist, as an individual?

CM: My foundation was Catholic which eventually sent me on a spin when I started demanding some real answers out of life. Eventually I could reconcile many of the contradictions that would surface during my quest, but certainly not all of them. Like most major religions; Catholicism has been plagued from within being responsible for some very dark events in history, but it did give me a solid spiritual background in which to remain unscathed through my perilous journey. I enjoy reading about Edgar Casey. I say about him because he really never wrote a book. I think that although controversial for some he was one of the most remarkable human beings in the 20th century. The book on his life "There is a river" is a real gem and one of the most inspiring books I've ever read. Yeah.I remember myself in early grade school walking around the neighborhood kicking stones and wandering if anyone else really existed. I also remember having heated discussions with some of the other kids about the existence of God. I would argue to tears that God existed-(but then the same thing happened with Santa Claus!) and then growing up didn't change my inquisitiveness and longing to know where I came from or where I was going. As the "problem" matured with me getting older, instead of the question being "where did I come from" or "where I was going" the question became "where am I"; or "who am I". With that in mind and being a rebel and an adventuring musician surrounded by the LSD culture, my quest for self discovery only augmented. It wasn't until I.mm.trying to use an analogy. I can only describe it as a moment of singularity when everything came clear to me. With that experience I was clearly able to "know" that I am a spirit having an earthly experience and not the other way around. Even a more significant realization was that the person next to me is also a spirit or a light (whether they realize it or not) that deserves all the respect and recognition that we so often overlook because we just see a physical mass of flesh or body often reacting with animal like impulses. That moment or realization changed my life. That was the first time that I really could feel connected and able to come out of myself. I used to read a lot of books about eastern and western philosophy, theosophy, occultism and all religions, and for periods of time I would practice different kinds of meditation and a variety of disciplines, although always trying to remain independent of any particular cult or organization. I guess like music; I reached my own conclusions, made my own rules, created my own discipline and chose what I thought worked and discarded what didn't work for me. My quest "ended" when I realized that the quest never ends, so then I just went on with my everyday terrestrial life. For a time I got into stuff like EST in the early 70's and then Life Spring much later on. I found it intellectually stimulating and challenging hanging out with guys like Warner Earhart, John Hanley and most of all with Alexander Everett, who was the precursor or the major forerunner of the large group awareness trainings. Also, after I landed, I became hungry for a different kind of knowledge

"Masters such as Ornette Coleman had the strength of character to go way beyond early criticism and continuous rejection. .I think that a performer should be allowed to be where they are and who they are at any given time and place. Pressure from criticism itself could hinder what otherwise could be a great and honest performance-an irony, isn't it?"

which I soon enough connected to my old metaphysical findings. This allowed me to look at the same concepts, but from a different angle. I became interested in physics, but in a conceptual way. Today my library is brimming with books on physics, physics encyclopedias and biographies of physicist, in addition to the other stuff I was reading. Physicists became to me something like what a sports hero is to a sports fan! Besides connecting the fine line between physics and metaphysics, I discovered the concept of mind aerobics for myself. When I started reading about physics I was pretty much in the dark, but as I went along my mind expanded exponentially. Sometimes I would carefully devour a book way beyond my ready capacity to comprehend it and if the book was well written, I would go beyond the mathematical formulas and was able to grasp the underlying concepts, which I found fascinating. One of such books was Order out of Chaos : by Ilya Prigogine. My favorite and most challenging all time book became Gödel , Escher , and Bach : an Eternal Golden Braid ; written by Douglas Hofstadter . This book brought brilliantly together in analogy everything I love in the most elegantly and stimulating way. What keeps me balanced? Lemmee see... let's start with breathing-most people don't breathe to full potential, but learning is easy. A yoga instructor, vocal teacher or a professional singer can share or teach proper breathing techniques; moderation in diet; regular sleep; remaining passionate about music but allowing sufficient time for doing other necessary things- got to smell the flowers! Also, regular walks or a swim with my companion; not taking myself too seriously; allowing love to come my way and reciprocate; not committing to doing more than is reasonably possible; having a goal but avoiding expectations; and most of all keeping a state of Grace helps me stay balanced. Of course this is my own version of grace and I will show you how you can do it too: in Spanish, to say "thank you" you say "gracias", which literarily means "graces" or "grace". So, if I am constantly (and you can get used to it) saying in my mind gracias or thank you for everything (be specific), and I mean everything , then I figure that I am in a constant state of "Grace". Pretty cool ha.try it! It may sound silly and over simplistic but think about it-on that mode not only are you being grateful for whatever much or little you have, alleviating the stress of constantly wanting or rejecting something (of course you have to mean it), but you are also simultaneously wishing well on to others and creating a super good vibe of appreciation. Can you go wrong with that?

JI: No. That was great, Carli! If there is one for you, what is the connection between music and spirituality?

CM : To me spirituality is simply being connected to or being conscious of source. Music on the least is the expression of soul and I look at it as a corridor or vehicle, subtle but powerful enough to connect us with source. We musicians are like transmitters spreading the signal of intangible and otherwise elusive messages that penetrate our emotional vehicles and our higher consciousness. That message moves our being; makes us love sic; makes our hearts tender; brings us joy; makes us sad; makes us smart; it'll get us inspired; motivates soldiers at war; helps stop wars; enhances patriotism; makes rebels; we could be starving, sick, abused and even dying and music will redeem us; makes us fly; yes. I think music is connected to spirituality.

"Be not forgetful to entertain strangers for
thereby some have entertained angels unaware."

* With Jack DeJohnette and Eddie Gomez , and guests David Sanchez, Don Byron, Jane Scarpantoni *

"Kudos to Muñoz for inspiring the best from the eminent, articulate and prolific sidemen that appear with him on his latest album, 'Maverick.' He can take pride in creating an outstanding set of performances on which his commanding musicianship stands on equal footing with that of his lofty associates."

"The social dynamics in this CD are filled with great interplay - ensemble symbiosis that can only come from an unflinching group respect for each soloist." - Van Dyke Parks

You can tell a lot about a cat by the company he keeps. In the case of pianist and composer Carli Muñoz -whose new album Maverick on his Pelosenel Q Lo Records features bass master Eddie Gomez and drummer extraordinaire Jack DeJohnette - his rarefied accompanists suggest an artist who should be much better known. A quick spin of the disc confirms the suspicion, as Muñoz instantly establishes himself as a player and composer who confidently holds his own. In short, Maverick announces in no uncertain terms that Muñoz may well be the most exciting fifty-something improviser you've never heard of.

The best explanation for his relatively low jazz profile is that he's spent much of his career on a very different creative trajectory. Born in Puerto Rico and raised in a middle class San Juan family, Muñoz was in his mid-teens when he started performing with jazz veterans such as percussionist Sabú Martinez, drummer Joe Morello (of Dave Brubeck Quartet fame), and legendary trumpet player Juancito Torres. Within a few years he had moved to New York City with his inventive rock combo The Living End, which went on to become the house band at the hip Manhattan club Rolling Stone.

By the early 1970s, he had relocated to Los Angeles , where he became a top-flight sideman working with artists like Wilson Pickett, George Benson and The Beach Boys, with whom he toured for 11 years. Despite his immersion in the world of rock and pop, he always maintained a connection to jazz, his first musical love, finding time to play with artists such as Les McCann, Chico Hamilton, Wayne Henderson and Charles Lloyd.

He gained attention around LA in the '70s with his fusion band Your Own Space, and later formed an inventive trio featuring bassist Potter Smith (best known for his long association with pianist Alan Broadbent). By the mid-1980s, Mu ñ oz had moved back to Puerto Rico , and in 1998 he opened his nightclub, Carli Café Concierto , a world-class restaurant and jazz spot where he performs regularly. It was during a trip to Puerto Rico that Eddie Gomez first met Mu ñ oz.

"We became good friends," Mu ñ oz says. "He'd come down to my club and we played a lot. He always talked about drummers he wanted to bring into a session, and that's how he ended up producing my album Both Sides Now [from 2003], with Joe Chambers and Jeremy Steig. For our next project, I mentioned that I felt a connection with Jack DeJohnette. We're close to the same age and I like his feel, his vibe, all the different things he's done. I went through a lot of musical changes myself. I mentioned it to Eddie and we went for it."

As for the new album's title and concept, Muñoz explains: "The term 'Maverick' came to me during an early morning sleep one day, just before waking. It came up visually in my mind as a title and idea with a particular significance and depth, inspiring me to create the whole concept around it. It meant to me strength, independence, a free spirit and best of all it became a vehicle in which I could honor and bring to peoples' minds some of those mavericks who have contributed in such a way so that we can enjoy a better world today."

He continues: "Now, by engaging in such a lofty conceptual ideal, I could do no less than first of all selecting the best maverick players I could think of (which I think I did), and to remain true to their free spirit. I wanted to conduct a no-holds-barred session where the raw and independent power of each player could fuse along with the material I brought in, into significantly great music."

Muñoz has known Puerto Rican-born tenor sax star David Sanchez, who plays on the album's title track, since he was a kid. Like many top jazz players on the island, Sanchez has stopped by Carli Café Concierto to jam many times. Sanchez lavishes attention on the lovely melody of "Maverick," which Muñoz composed back in the early 70s. "It was meant to be a bossa nova," Muñoz says. "It's true to the form, but we made it more swinging. It's basically a pop song, a simple thing. I used to write anything, for rock or pop sessions, whatever I was into at the moment."

DeJohnette suggested Don Byron for the tune "Three Little Steps to Heaven," a piece that developed out of Mu ñ oz's rigorous piano exercises. "When you're self-taught, you have to make up your own devices and your own way to work on your playing," Mu ñ oz says. "I developed a simple melody and it became the tune. It's only three chords, and it just goes around and around through a cycle and you don't end up where you start."

Another highlight is his arrangement of "Margot," one of Keith Jarrett's deceptively simple, folk-like themes introduced on his early Atlantic album Life Between The Exit Signs (featuring Charlie Haden and Paul Motian). "I love beautiful, almost childlike melodies," Mu ñ oz says. "Normally it's against my rules to do a tune that has been so well done by masters. I don't pretend to better the performance, that's not possible, because it was done perfectly. For me it was more like: 'I'm just going to enjoy doing this.'"

Just as Jarrett wrote "Margot" for his wife, Mu ñ oz's ravishing, moody piece "Katira's Waltz" was inspired by his own spouse. He wrote "Entre Nous" as a feature for Gomez, designed to showcase his huge, elastic sound supported by DeJohnette's trademark cymbal work. The album closes with "Yellow Moon Tune," a tune that evokes a nocturnal epiphany Mu ñ oz experienced years ago driving to his Mt. Washington home in LA.

In many ways the piece captures the essence of his musical journey, from - as he likes to say - pop to bop. No matter what kind of music he plays, Mu ñ oz brings his improvisers' soul to the project. Now all his experiences are grist for his imagination, and he's bringing his fresh, passionate voice to jazz, joined by some cats who have nothing to prove.

Dennis Wilson's 'Bambu' release set, featuring 4 Carli Muñoz songs