The Painter by Ari Hoenig

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Free Jazz | Traditional Jazz Combo

8 tracks | 72 minutes

Released Feb 2004
on Smalls Records

Click for a 30-second preview. All tracks are 192kbps high fidelity sound quality. Protected WMA $0.77 or unprotected MP3 $0.88.

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sample lyrics "album only" 07:38 I Mean You lyrics "album only" 07:38 I Mean You lyrics "album only" 07:38 I Mean You

sample lyrics "album only" 07:55 The Painter lyrics "album only" 07:55 The Painter lyrics "album only" 07:55 The Painter

sample lyrics "album only" 05:00 For Tracy lyrics "album only" 05:00 For Tracy lyrics "album only" 05:00 For Tracy

sample lyrics "album only" 09:26 Condemnation lyrics "album only" 09:26 Condemnation lyrics "album only" 09:26 Condemnation

sample lyrics "album only" 10:58 Remembering lyrics "album only" 10:58 Remembering lyrics "album only" 10:58 Remembering

sample lyrics "album only" 09:08 Birdless lyrics "album only" 09:08 Birdless lyrics "album only" 09:08 Birdless

sample lyrics "album only" 06:13 Pilc-ing Around lyrics "album only" 06:13 Pilc-ing Around lyrics "album only" 06:13 Pilc-ing Around

sample lyrics "album only" 16:29 Summertime lyrics "album only" 16:29 Summertime lyrics "album only" 16:29 Summertime

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Modern Agressive Straight Ahead Jazz. This record Ari's brand new first release as a band leader. It features Jacques Swartz Bart - Tenor, Jean Michel Pilc - Piano Matt Penman - Bass and Ari Hoenig - Drums

Editorial review

For a truly communicative jazz drummer -- which could be anyone from Art Blakey to Shelly Manne to Rashied Ali -- chops are only part of the story. There's also intuition; there's also the ability to put your own ego aside, listen attentively, and understand where your colleagues are coming from. Technically, Buddy Rich was arguably the greatest jazz drummer who ever lived, but he was no humanitarian; Blakey, on the other hand, was a tough yet compassionate coach who could be demanding and nurturing at the same time. The Painter, Ari Hoenig's first album as a leader, indicates that he is the sort of jazz drummer who is genuinely interested in what his colleagues have to say. This 72-minute CD, which was recorded live at Fat Cat (formerly Smalls) in New York City in 2003, gives listeners plenty of reason to believe that Hoenig is a real team player. Stylistically, The Painter is best described as advanced post-bop with mildly avant-garde expression at times. This album has an inside/outside perspective (more inside than outside), and whether Hoenig's sidemen (who include pianist Jean-Michel Pilc, bassist Matt Penman, and tenor saxophonist Jacques Schwarz-Bart) are communicating in a way that is considered inside or outside, the Philadelphia native has a real dialogue with them. That is true on Hoenig's own compositions (which dominate the CD) as well as Thelonious Monk's "I Mean You" and a 16-minute examination of George Gershwin's "Summertime." Saying that Hoenig isn't motivated by a swollen, bloated, inflated ego isn't saying that he is totally selfless 100 percent of the time; in post-swing jazz, a certain amount of self-indulgence usually comes with the territory. But if Hoenig is willing to go off on some tangents, he also cares what Pilc and Schwarz-Bart have to say during their tangents -- and that spirit of camaraderie makes The Painter a memorable debut for the Philly-born drummer. ~ Alex Henderson, All Music Guide

Bio / Background

Not many musicians have risen so quickly and deservedly into the upper ranks of the jazz world as has drummer Ari Hoenig. Ari was born in 1973 in Philadelphia, PA to parents whose talents helped to shape his early musical experiences. His father is an educator, conductor, and classical singer, and his mother a violinist, pianist. Ari first played the violin and piano, finally settling on the drums at age 12. He started playing jazz in high school, honing his skills at Philly clubs like Ortliebs Jazz Haus, and playing with other young gifted jazz musicians.

Ari attended the prestigious University of North Texas for 3 years, where he studied with Ed Soph while playing and recording with the "One O'clock" jazz band. Wanting to be closer to NYC, he then transferred to William Patterson College in northern New Jersey. There he found himself playing for legendary Philadelphia organist, Shirley Scott, and working in New York.