Lino

“In Return to Avalon, Lino has created a sonic wonderland of guitar mastery that is an absolute winner … a totally awesome listening experience!” - Scott O'Brien

“Lino is a brilliant young guitarist … a remarkable new talent.”
- Staff Writer

Virtuoso guitarist Lino has done it again! His third release is an eclectic, sometimes fiery collection of nine original tunes and two covers (Mason Williams' "Classical Gas" and Mozart's "Turkish March"). Like the two albums before it, MIAMI JAM sparkles with memorable compositions and brilliant playing. Lino brilliantly fuses elements of classical, world, and Latin textures into what he calls "Lino Music," utilizing his signature layered-guitar sound accompanied by sax, flute, violin, and piano. He's surrounded himself with World-class players for this project, including the extraordinary Richard Hardy (3rd Force, Carole King, Dave Matthews, Lyle Lovett) on sax, flute and pennywhistle, Chris Frazier (Edgar Winter, Steve Vai, Eddie Money) on drums, and Philip Bynoe (Steve Vai, Kevin Eubanks, Slash, John Robinson) on bass and cello. Lino, originally from Ohio but now L.A.-based, has degrees in both History and Pre-Med, possesses movie-star good looks, and plays with sensitivity and unbridled passion. On MIAMI JAM he once again combines solid writing, masterful performances, and outstanding production. From his sparkling version of "Classical Gas" to the Baroque "Carnaval de Vie" with string quartet accompaniment, from the delightful "Chardonnay after Noon " to the dynamic title track, this is an exceptional collection of music. Lino's MIAMI JAM shines brightly and creatively throughout, and should, without a doubt, be a part of every music connoisseur's collection. It comes highly recommended, from my ears to yours! - SCOTT O'BRIEN

“An artistic masterpiece. This is Lino Music and I love it. Play on Lino, play on!”
- D.J. Fazio

“A great album … Return to Avalon conjures an amazing mix of Baroque classical, smooth jazz, instrumental rock and New Age into one appealing package. Evoking images of John Williams during his neoclassical rock years with Aussie instro rockers Sky, Lino inherits that throne with his own brand of modern classical guitar excellence. Supplying keen melodies and near classical touches on both electrified classical and steel string guitars, Lino's CD is a treat for instro guitar buffs and the elite classical crowd looking for a great album to rock out with.”
- Robert Silverstein

Makes you want to move to Miami

Once again I are fascinated by the high voltage guitar stylings of Lino. His new album Miami Jam is making sound waves whenever it is heard. Smooth jazz versus World joined by snippets of classical guitar make for one electrifying recording. Lino covers one of my particular favorites from Mason Williams, Classical Gas and falling back on familiar classical roots he includes Mozart's Turkish March.

The impetus for the album is the title cut Miami Jam. This is a jazzy kind of tune with a grooving flow and a stimulating guitar lead that lights up the night like a celebration on Calle Ocho. This song could be at home on any dance club menu or a spot on any smooth jazz station on several continents. Joining Lino on this and other cuts is Richard Hardy on sax and flutes, Chris Frazier on drums, Peter Petro on percussion, Phillip Bynoe on bass and yes, cello, and Isabella Ringhen on violin.

Mason William's signature song Classical Gas (did you know it was originally titled Classical Gasoline?) has been tackled by everyone from Chet Atkins to Mannheim Steamroller. I counted almost a hundred other artists giving it a try, but only Lino endows it with a new vitality that may not have been appreciated back in 1968. It has a new, punchy beat and a bright, exhilarating score. Mason would be proud.

The song Riding Midnight gives Lino a chance to display his versatility and he does so in spades. The guitar is alive with his impressive score that guides you through the night like a beacon from afar. Sometimes furtive and at other times very impetuous, the fusion of electric and acoustic guitars is outstanding.

You've heard it in a thousand movies and probably remember it from your childhood. It is the epitome of chase scene music. Turkish March (Rondo alla Turca) is a spirited sonata full of energy and excitement and Lino infuses it with his frenetic finger play and passion. Catch up; the bad guys are just around the bend! Gotta love that sax by Richard Hardy.

Waterfall has got to be my favorite on Miami Jam. Layers of sound from the guitar, flute, piano and percussion blend into a cascade of music the gives musical gravity a busy uphill course. Lino’s fluid acoustic guitar streams merrily along in this one. I just listened to it again and yeah, it's definitely my favorite. Ages is a dramatic piece than calls upon a span of time. It is a memory of a time past and too long in between visits. It is a celebration of renewed friendships and a toast to the future. Great guitar licks and strong background keyboards duel with the sax for the lead. The guitar wins.

To me Ashes to Diamonds may be the best cut on Miami Jam. Lino really frets over the complexity of this piece as he releases hidden energies in his composition. The metamorphosis is one of heat and pressure that result in the ultimate crystal. Philip Bynoe lends a skillful hand on the cello in this remarkable cut and once again Hardy's penny whistle is a bright force that adds color and clarity.

Lino is still having success with his first album Return to Avalon long after it has faded from the charts. His style is exciting no matter what kind of song he plays. Chaquico and Liebert had better stand back, 'cause Lino is coming through and with a freshness all his own. La invito a bailar!
- RJ Lannon (9/23/06)

“Return to Avalon is solid, unfailingly inventive music from an up and coming artist. Both his acoustic and electric guitar work is eloquent and adventurous… a highly satisfying musical session.”
- Staff Writer

“Lino is creative and expansive giving us a real peek at his versatility in music. One moment his intricate finger work makes me think of some of the great nouveau flamenco players out there like Ottmar Liebert and Armik and Jesse Cook and then I hear riffs the likes of Craig Chaquico, Bryan Hughes and Peter White. What I like most is the great range and multiple flavors of this album. One thing for sure -- he is genre defying, original, and remarkable. “
- Evolution Catalog Editor