Brian Betz Discography

double-disc package by musicians who are, again, new tome. But their aesthetic credentials are impeccable: anyone who dedicates a CD to the octogenarian master Bucky Pizzarelli gets my approval. DiBlasio and Betz create lilting melodies, swing effortlessly, let their
creations breathe. Technicially assured, they never overwhelm listeners with notes. DiBlasio plays the baritone saxophone as if were pocket-sized, with an easy lightness. His work on "That's All" reminded me of Zoot Sims; it has the same indefatigable rhythmic engine. His samba-flavored
"Sophisticated Lady"was respectful but innovative. And his flute work on five tracks is delightful, because he avoids clichés. The first thing to praise about Betz is his lovely sound I could enjoy hearing him play the notes as written, and he, too, has a singular rhythmic drive. His introduction to
"I'll Never Be the Same" is fulfilling in itself, and he could easily support a large group on his own. In this duo, two voices combine to make something far larger than themselves. The second CD, recorded live at Chris Jazz Café, adds notable players (melodic bassist Varner shines on "Solar")
in front of a well-behaved, clearly appreciative audience, showing how nicely DiBlasio and Betz fit into a more straight-ahead Jazz combo, with fine work from tenorist DeLoach (DiBlasio's equal at constructing logical yet twisting lines) and the concise, crackling drummer Miller.

	Brian Betz Discography
	All Brian Betz CD's are available thru www.dreamboxmedia.com or www.amazon.com including the latest releases "DENIS DIBLASIO / BRIAN BETZ PROJECT" and "MUTED BEBOP"
	Review from new Cadence Magazine: double-disc package by musicians who are, again, new tome. But their aesthetic credentials are impeccable: anyone who dedicates a CD to the octogenarian master Bucky Pizzarelli gets my approval. DiBlasio and Betz create lilting melodies, swing effortlessly, let their creations breathe. Technicially assured, they never overwhelm listeners with notes. DiBlasio plays the baritone saxophone as if were pocket-sized, with an easy lightness. His work on "That's All" reminded me of Zoot Sims; it has the same indefatigable rhythmic engine. His samba-flavored "Sophisticated Lady"was respectful but innovative. And his flute work on five tracks is delightful, because he avoids clichés. The first thing to praise about Betz is his lovely sound I could enjoy hearing him play the notes as written, and he, too, has a singular rhythmic drive. His introduction to "I'll Never Be the Same" is fulfilling in itself, and he could easily support a large group on his own. In this duo, two voices combine to make something far larger than themselves. The second CD, recorded live at Chris Jazz Café, adds notable players (melodic bassist Varner shines on "Solar") in front of a well-behaved, clearly appreciative audience, showing how nicely DiBlasio and Betz fit into a more straight-ahead Jazz combo, with fine work from tenorist DeLoach (DiBlasio's equal at constructing logical yet twisting lines) and the concise, crackling drummer Miller. ~Cadence
		Personnel: Baritone Sax and Flutes: Denis DiBlasio Guitar: Brian Betz Bass: Steve Varner Drums: Jim Miller with Gerry DeLoach: Tenor Sax
	What the critics say: George Rabbai play(s) each of these Bebop classics using a different type or make of mute. So he plays 'Scrapple from the Apple' on a cup mute made of mica while he plays 'Dexterity' with a stone-lined cup mute...And indeed, they do sound different with the mica mute a little rounded and the stone-lined brighter with a bit of a quack. Rabbai picks a trio format (except 'Half Nelson' where he’s joined by his student, Jon Barnes) with guitar and bass that exposes the different textures. The combination of the drummer-less combo and the muted lead horn also does bring out certain lyrical qualities in these tunes that often get overlooked in more traditional hell-bent jam situations. The composers in the so-called Hard Bop explored the lyrical possibilities of all those extended harmonies that Beboppers indulged in. The inclusion of Tadd Dameron’s 'Hot House' is an especially apt choice. I’ve always felt that the tune served as a bridge between the two styles. And Rabbai’s clean, colorful playing brings this out. He’s deeply rooted in the style, but not indebted to any one player. Same is true of his compatriots. Guitarist Brian Betz has a fluid style that harks back in spots to Swing guitarists. Bassist Steve Varner is solid, providing just the rhythmic propulsion and harmonic resonance the musicians and the tunes deserve." - Cadence "This is muted bebop and I like it...bebop is mainstream. Muted Bebop, recorded in Philadelphia during 2006 is cool, relaxed, but no less technically demanding. Except for 'Half Nelson' by Miles Davis the tunes are Parker anthems, many played in Bird's group by a teen-aged Miles at the start of his influential career. What is accomplished with just three instruments (trumpet, guitar, and bass) reflects the strength of the musicians. George Rabbai is a trumpet master who toured and recorded extensively with the Woody Herman orchestra during the eighties. Both he and guitarist Brian Betz are associated with the Maynard Ferguson Institute of Jazz at Rowan University in New Jersey. From the relatively unadorned blues, 'Bluebird,' to the high-intensity 'Scrapple,' Rabbai varies the musical flavor and salutes Miles through the use of a variety of cup, bucket and Harmon mutes. He and Betz are very much together on the tricky unison opening and closing choruses and both solo with dexterity. Bop without a drummer demands strong support by the bassist, and Steve Varner is just right. On 'Half Nelson' the group is augmented by Jon Barnes, a promising young trumpeter. Today's bebop ... and very tasty." - jazzreview.com
		Personnel: Trumpet: George Rabbai Guitar: Brian Betz Bass: Steve Varner Trumpet on Half Nelson: Jon Barnes
	What the critics say: "'Dichotomy' is one of your 'best Betz' for 'real jazz' listening. Betz...was named one of nine finalists in the 2004 Betty Carter International Jazz Competition at the Kennedy Center in Washington, D.C. The lead cut, 'Cohabitation' proves Betz to be a fresh and facile voice on the local scene with a lyric facility and sense of ease devoid of pretentiousness... The Afro-Cuban influenced title cut, 'Dichotomy' seemingly has no contradictions, musical or otherwise, but rather maintains a consistent energy as the guitar and piano work unfolds... Betz shifts gears and turns to the great, American songbook and Johnny Mandel’s 'The Shadow of Your Smile.' This is a really tasty treatment with subtle reharmonizations and some very nice swinging solo work by Betz, Ridl, and an overdue turn by Varner... Betz sticks with the standards for one more track with 'You Stepped Out of a Dream.' Ridl plays counterpoint piano over the guitar melody from the very start, resulting in an interesting and creative rendering of an old warhorse... 'The Twenty-Second Day' evokes the thoughtfulness of Chick Corea’s 'Crystal Silence' and the ethereal charm of Mancini’s 'Dreamsville.' I find myself pondering its inspiration but not that of the next cut, 'Razor Sharp (For Denny).' This tune is a burner. Check out Jim Ridl’s blistering solo and his exchange with Betz. Great drum work by Miller. ...This is a well-recorded, nicely produced collection of originals and evergreens, displaying top-shelf musicianship." - Record-Breeze
		Personnel: Bassist Steve Varner, drummer Jim Miller and pianist Jim Ridl. "Cohabitation" / "Dichotomy" / "This Way to the Cape" / "The Shadow of Your Smile" / "Chelsea Bridge" / "You Stepped Out of a Dream" / "The Twenty-Second Day" / "Razor Sharp (for Denny)" / "Carrot Cake" / "Multicolored"
	WhWhat critics say: "Guitarist Brian Betz...assembles a heavyweight crew for this respectable outing...(a) dark, often quiet disc of mostly Betz originals... He sounds dreamy at slow tempos and is developing well, but the baritone sax and flute work of Denis DiBlasio takes matters to a high level. DiBlasio...serves as an energy generator, and pianist Jim Ridl's poetic sense of color keeps you wanting more. Bassist Steve Varner and drummer Jim Miller help make this intelligent session happen." - Philadelphia Inquirer "Philadelphia guitarist Brian Betz is the latest in a series of exceptional musicians...deserving of notice. Saxophonist and flutist Denis DeBlasio in particular assists with force and sensitivity, enlarging the sonic perspective of the music that Betz has written...on 'Peaches,' the second track, Betz’s fluid and reassuring tone comes through in leisurely three-four time...it becomes clear that Betz’s attention remains fixed on tonal quality as he develops wordless narratives in each of his tunes. 'Williams Redemption,' for example, starts with Betz’s unhurried introduction as the chord changes are considered for their intrinsic value before pianist Jim Ridl deepens the richness with broad harmonies of slowly shifting internal movement. 'Without A Doubt' proceeds with a slight shuffle of repeated phrases, allowing for improvisational elaboration after the first chorus. But still, the salient characteristic of the tune is Betz’s glowing tone and his apt choice of notes as he constructs layer upon layer of meaning with grace and professional maturity. 'Without a Doubt' is a fine first recording for Betz as he fulfills his compositional intentions with engaging performances that reach out to listeners in reassuring musical conversation." - Jazz Review "'Water and Oil' gets the show rolling with DiBlasio's boisterous baritone playing the latter substance to Betz's former in a galvanizing opening salvo...forwarded on the propulsive current of the Ridl-led rhythm section. 'Peaches' cools the mood through the demulcent tones of DiBlasio's flute, which mesh melodically with the leader's mellow, slowly evolving figures. Once again Varner and Miller shape a porous surface for the soloists to stretch out across and the piece shows the quintet to be equally versed in ballad fare. '5th St. Bossa' covers the Brazilian-flavored bases in laidback fashion and offers another opportunity to witness the close communication between Betz's gossamer smooth strings, DiBlasio's lilting, trilling flute and Ridl's attentive comping. The clean riffing of 'Williams' Redemption' marks a welcome return of DiBlasio's weighty horn as muscular foil to Betz's serpentine frets and the pair trade off solo choruses to fine effect on the cerulean suffused changes. Betz's a capella preface on 'Monday Morning' delivers some of his most contemplative chording of the session...'Wine Is Fine' develops an enveloping tension thanks to the minor-keyed interplay of the rhythm section and Ridl's sparse, vaguely unsettling right hand accents. Betz's own spidery patterns find an accomodating niche in the loping time signature of the piece...Guitarists abound with nearly the same populous frequency as pianists in Jazz and it's a tough prospect carving out a personalized sound. On the impressive merits of this release, Betz seems well on his way." - Cadence
		Personnel: Bassist Steve Varner, drummer Jim Miller, pianist Jim Ridl and special guest Denis DiBlasio (baritone saxophone and flute) interpreting seven original compositions by Brian Betz: "Water and Oil" / "Peaches" / "Without a Doubt" / "5th St. Bossa" / "Williams Redemption" / "Monday Morning" / "Wine Is Fine" / "All of Me" / "Smoke Gets in Your Eyes"

	TTo Contact Brian please email at brian@brianbetzjazz.com
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