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Music Style
Progressive, Modern and Latin |
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Musical Influences
Jimi Hendrix, John Cippolina, Jorma Kaukonen, Wes Montgomery |
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Similar Artists
Jimmy Page, Pat Metheny |
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Artist History
Nationally recognized for his recordings and live
performances, Carl Filipiak has been reviewed in
Billboard, Jazz Times, JAZZIZ, Guitar World,
Guitar Extra, Cadence Magazine, Atlanta's Strictly
Jazz, The Washington Times and The Washington Post.
Recent collaborations have included bassists Victor
Wooten (Bela Fleck), Steve Bailey (The Rippingtons),
& Scott Ambush (Spyro Gyra) drummers Dennis Chambers
(John McLaughlin), Will Calhoun (Wayne Shorter &
Living Colour); and saxophonists Bob Berg and Gary
Thomas (both with Miles Davis). |
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Group Members
Carl Filipiak - Guitar
Jay Dulaney - Bass
John Thomakos - Drums
Paul Soroka - Keyboards, Sax and Lyricon |
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Instruments
Guitar, Bass, Drums, Sax, Keyboards, Lyricon |
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Albums
Peripheral Vision, Hotel Real, Right On Time, Blue Entrance, Electric Thoughts |
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Press Reviews
All About Jazz Review 01/01
Look at one of Carl Filipiak's hands, and the
number of fingers will tell you how many albums
he’s released under his own name. All of them,
from Right On Time, to the recent compilation
Peripheral Vision, are full of uncommonly
wonderful music. If you want labels, the Baltimore
guitarist's muse has pointed him in the direction
of Jazz-Fusion; but if all you want is good music,
follow Filipiak down the road that he's staked out
for himself. You’ll hear world-class writing,
arranging, and – check all ten fingers now –
guitar playing.
Filipiak adapts the lyricism of the great rock
guitarists – Page, Hendrix, John Cippolina,
Jorma Kaukonen – to the improvisational format of
jazz-fusion. The clincher in his immense talent is
that he brings the structural and expressive
approaches of a seasoned jazz musician to bear on
everything he does, resulting in music that
bristles with electricity, and satiates the senses.
Borders Books in Newark, Delaware, has hosted
Filipiak's band for three consecutive years now,
giving away for free the same great music heard at
Filipiak's recent sold-out engagement at Blues
Alley, in Washington, DC.
The guitarist immediately added subtly kicking
colors to the mid-tempo opener, "Sunrise."
Filipiak uses all manner of shading, from dynamics
to tempo, to color and emotional hue. Jay Dulaney's
work showed him to be a bassist possessed of both
graceful agility, and rock-solid strength. After
being asked to "turn down" by a Borders staffer
(upon which an audience member remarked, "There's
always Barnes & Noble!"), the band's "One For Wes"
moved into jazzier territory. After the fashion of
the great Montgomery brother who inspired it, the
tune was driven by octave chords, moving into a
slight reggae feel, to which Paul Soroka added
incisive keyboard work.
"Brothers" took the light island tone of the piece
further, as Filipiak's punchy solo demonstrated
what a master of dynamics he is. Both he and
Soroka used wah-wah settings to drive "4 PM"
through an impressive display of rhythmic
ingenuity, Filipiak telling the crowd that the
tune was "based on some changes I heard Pat
Metheny play." Here, Filipiak's bent tones and
soulful playing heightened awareness of what a
superb blues player he is, and the tune was a
highlight of the first set. Stevie Wonder's "Cause
We've Ended As Lovers" is a song that Filipiak has
been playing for a number of years, and his
finger-picked solo was full of flexing shapes, and
cleanly executed runs that were chock-full of
sonic information. Soroka's Lyricon solo was
hushed, clarinet-like, except for a great
bottom-end growl at the end.
Drummer John Thomakos accentuated the snowy,
post-Christmas Sunday afternoon with his bell
tree on the opening section of "Purple Chickens."
A gutbucket feel took over behind Soroka's tenor
sax solo (this guy’s a real triple-threat), until
the tremendous punch of a Hendrixian ensemble
passage, in 15/8, took the audience's collective
breath away. Dulaney drew applause with his
athletic, bluesy solo, and Filipiak's snaky
execution of the melody was impeccable.
Two more tunes drew the set to a close. Filipiak's
arrangement of the Beatles' "A Day In The Life,"
inspired by Wes Montgomery's treatment of the
piece from an old A&M record, had the deep-fried
economy of a Booker T. and The MG's, and the wild
psychedelicizing of the Sgt. Pepper’s-era Fab Four.
Filipiak executed the tune's famous orchestral
buildup via slide guitar, and a wicked loudness
that raised a few eyebrows in the store. In the
final buildup of the tune, Filipiak alluded to the
orchestral possibilities of heavy metal, with
smart use of dynamics and massed volume. Ornette
Coleman's "Broadway Blues" was a perfect set
closer, and a prime example of Filipiak's ability
to fuse jazz with the power play of rock’n’roll.
After a break, Filipiak and crew returned for a
short, but intense, second set."4 AM"'s cousin,
"2 AM," had Filipiak floating a George
Benson-esque suaveness over the tune's bluesy
foundation. Perhaps in conciliation towards the
burning ears of the Borders staff, the band played
"Hotel Real," the title track from one of
Filipiak's albums, at a lower dynamic level than
usual, and the resulting creativity added even
more depth to this sterling composition. The
guitarist's chops were obviously on fire by this
point in the gig, but he kept his playing at a
slow burn, with no loss of sweat generated.
Charlie Parker's "Au Privave" took Bird into
space/funk mode, the funk at odd angles with the
frequently wah-wah'd groove. Like Ornette's Prime
Time, the dense rhythms being generated in this
ingenious arrangement were like a forest of R&B
trees. |
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Location
Baltimore, Maryland - USA |
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