Edo Castro
Phoenix
© 2006 (c)&(p) Passion Star Records (837101186049)
CD IN STOCK. ORDER NOW. Will ship immediately.
SPECIAL: 20% discount if you buy more than one copy of it today!
Delightful jazz blended with tracks that reflect more of a world music blend creating wonderous soundscapes. An intimate showcase for the phenomenal talents of composer and bassist, Edo Castro. His talent for artist collaboration - inspirational.
tracks
try this
albums you will love
genres you will love
By Location
Recommended if you like ...
links
notes
Edo Castro is an eclectic modern instrumentalist borrowing from jazz, ambient, folk and world music - a chameleon who adapts his musical surroundings to create his montage of compositions.
Phoenix, Castro's latest CD follows his first effort entitled simply "Edo", “The name Phoenix is not only a beautiful name, it's also the mythical representation of change or transformation. Phoenix is about transforming personal moments,” Castro explains. Many wonderful musicians are featured on this album including Mark Egan, former bassist with Pat Metheny, who has played on over 100 albums and is a guest artist on Phoenix.
Phoenix was produced by Ray Cooper on the new boutique label, Passion Star Records, who Castro signed with recently.
Castro is a SF Bay Area Native who grew up in the Haight-Ashbury during the 60’s. “ I was influenced by Sly Stone, Tower of Power, Cold Blood and Santana. There was so much music going on, it was practically oozing out into the neighborhood. You couldn’t help not being affected,” Castro recalls.
He initially was a self-taught bassist but later attended the American Conservatory of Music in Chicago. During his stay in Chicago he played with some of the finest young bloods of the music scene at that time including Jim Trumpeter, Fareed Haque, Mark Walker and Hassan Khan. Of course there were the jazz icons, Miles Davis Guitarist- Pete Cosey and drummer - Roy Haynes that Edo was fortunate enough to play with. Castro recalls,” After playing a set with Roy Haynes, there was a bunch of us standing around talking to him and out of the blue Roy handed me his card and said, ‘Man when you’re ready, come to New York give me a call. That was the greatest stamp of approval in front of all my peers.’
He completed his studies earned his Bachelor of Music degree in 1987 and continued to hone his craft in Chicago.
reviews
Please log in to review this album.
A stellar recording!
author: Ron RutherfordExcellent stuff. Highly recommended.
...a great pickup if you’re either in a mellow mood or looking to instill one
author: The Daily VaultThey don’t call it mood music for nothing. Whether my mood is upbeat or downbeat, serious or playful, extroverted or introverted, there are musical choices aplenty to complement, enhance or counteract it. Edo Castro -- in addition to playing one of the coolest-looking instruments ever built, a fretless eight-string bass – on his sophomore solo release Phoenix delivers what I can only describe as mood music. It has flavorings of instrumental jazz, world music and New Age, but, perhaps surprisingly for someone whose primary instrument is generally thought of as a rhythm anchor, the emphasis is on sonic textures rather than beats or structures. Early tracks “Beneath An Evening Sky,” “Bone Dreams” and “Song Of The Electric Whales” have a contemplative, unrushed, elegant feel, becoming almost hypnotic in places. The synth textures, percussion and Debopriyo Sarkar’s tabla on “Bone Dreams” are especially evocative. “Blue Asia” has greater structure, lending it more of straight jazz feel, but it could hardly be called mainstream when it’s built around a duet between two bass players, Castro and guest Mark Egan. This tasty cut also features intricate percussion work from Paul Van Wageningen and Ian Dogole, as well as production crisp enough to remind of Steely Dan. “Chance Of Rain” and “The Gift Of Blue (Parts 1 & 2)” carry forward the earlier contemplative mood and pace, though “Chance” has a particularly steady-thrumming bass line that adds firmness and tension. In between, the title track returns to straight jazz, with a stuttering rhythm section underpinning some terrific sax work from George Brooks, complemented nicely by Lorn Leber’s electric guitar and Tommy Kesecker’s vibes. Castro is a San Francisco Bay Area musician who has played with numerous local luminaries, including Jill Knight. Phoenix is his second solo outing and a great pickup if you’re either in a mellow mood or looking to instill one. While this is music you could work or play to, it’s most suited to simple contemplation, and isn’t that something we could all use a little more of in our lives?
...a great pickup if you’re either in a mellow mood or looking to instill one
author: The Daily VaultThey don’t call it mood music for nothing. Whether my mood is upbeat or downbeat, serious or playful, extroverted or introverted, there are musical choices aplenty to complement, enhance or counteract it. Edo Castro -- in addition to playing one of the coolest-looking instruments ever built, a fretless eight-string bass – on his sophomore solo release Phoenix delivers what I can only describe as mood music. It has flavorings of instrumental jazz, world music and New Age, but, perhaps surprisingly for someone whose primary instrument is generally thought of as a rhythm anchor, the emphasis is on sonic textures rather than beats or structures. Early tracks “Beneath An Evening Sky,” “Bone Dreams” and “Song Of The Electric Whales” have a contemplative, unrushed, elegant feel, becoming almost hypnotic in places. The synth textures, percussion and Debopriyo Sarkar’s tabla on “Bone Dreams” are especially evocative. “Blue Asia” has greater structure, lending it more of straight jazz feel, but it could hardly be called mainstream when it’s built around a duet between two bass players, Castro and guest Mark Egan. This tasty cut also features intricate percussion work from Paul Van Wageningen and Ian Dogole, as well as production crisp enough to remind of Steely Dan. “Chance Of Rain” and “The Gift Of Blue (Parts 1 & 2)” carry forward the earlier contemplative mood and pace, though “Chance” has a particularly steady-thrumming bass line that adds firmness and tension. In between, the title track returns to straight jazz, with a stuttering rhythm section underpinning some terrific sax work from George Brooks, complemented nicely by Lorn Leber’s electric guitar and Tommy Kesecker’s vibes. Castro is a San Francisco Bay Area musician who has played with numerous local luminaries, including Jill Knight. Phoenix is his second solo outing and a great pickup if you’re either in a mellow mood or looking to instill one. While this is music you could work or play to, it’s most suited to simple contemplation, and isn’t that something we could all use a little more of in our lives?
Masterpiece
author: Jean-Christophe AcquavivaDiversity is the word. Listening to PHOENIX is like watching a great movie. Lots of landscapes and feelings. You never get bored. EDO CASTRO you are a gift for our ears.
Another outstanding piece of Bass Mastery !!
author: Jazz ManWhen I recieved my email that EDO had another CD I could not wait, and I was not disappointed ! This offering was awesome, and the quests on the album were superb. Thanks again Edo for showing us what imagination and talent can do ! I can hardly wait for your next cd !
This is just brilliant! Listen to the samples if you don't take my word for it.
author: Colin JonesThis is full of textures and subtlety and great ensemble playing. No fireworks, no virtuosity for virtuosity's sake, but a depth that bears repeated playing.
Very expressive - from ethereal to grooving - great writing and playing!
author: Bill HarrisonThe best place to start for me is that this CD is by a bass player but you wouldn't know it. Edo is first and foremost a composer here and the album is a complete statement from beginning to end. The bass playing is top notch and the sounds he draws from his many stringed electrics range from ethereal to deep and in the pocket. But Edo's respect for the music shines through so beautifully here as it often doesn't when a bassist gets the opportunity to "step out". There's no showing off here as the compositions and textures are pre-eminent. I especially like how Edo lets the other musicians express themselves in a very un-selfish way. In fact, expression is what this CD is all about.