Marcus Monteiro Quartet
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Marcus Monteiro Quartet

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"Live Review: Marcus Monteiro Quartet and The Kinetix at Bridge Street Station 12/06/05"

Story and Photos by Paul Sanguinetti correspondent

I walked into Bridge Street Station at about twenty past ten on this Tuesday evening. I was hoping to catch some good tunes on this otherwise uneventful night. Someone had told me that I should check out these guys (the Kinetix) and when I heard they were from Colorado, my former stomping ground, I figured I would check them out. I also heard Marcus' band was opening up so I had a feeling that I wouldn't be leaving the place without hearing at least some good music. I dished out the three dollar cover at the door figuring it wasn't any more than I would have spent at Pearly Baker.
When I stepped inside, Marcus Monteiro and his Quartet were already in full swing, busting out frenetic, rhythmic grooves that were deep in the pocket. My head instantly bobbed to the music as I made my way to the bar for my gin and tonic. For a Tuesday night show, the place had a decent amount of people, but not nearly as many as weekend performances tend to bring in. I got my beverage and continued to rock out. I was really digging the tunes.
One of the first things that caught my attention was the drummer, Ryan Loud. (No joking that's really his name). His grooves were infectious and tight, keeping the rhythm section in lock while pushing the grooves forward. Being the baby of the group, he reminded me of Tony Williams, hanging tough with the veterans. On top of that was Mike Jupin on bass playing like I've never seen him before, strechin' out bass lines in a grimy jazz funk fashion. His style and choice selection of notes laid the foundation for the group. John Fernandes was featured on guitar this evening, ripping tight solos and accompaniment which fueled Marcus on the horn. The sound John brought was rugged, raw, and funky, almost like some of the stuff you would hear McLaughlin shredding during Miles' fusion years. Marcus Monteiro on alto sax played like the four horsemen of the apocalypse were upon us. He played fast and furious as he and John traded phrasings and soloing. The whole group fed off of each other's energy and the music was spontaneous.
Overall, the group jammed tough and before I knew it, the set was over. It was a refreshing sound in this city's talented, yet predictable and comfortable music scene.
Soon after, the Kinetix took the stage. The place had thinned out further, and what was left was a small devoted crowd ready to get down some more. In spite of the small turnout, the Kinetix busted out with Stevie Wonder's 'Superstition', the whole band dancing and playing and having a good time. The place was rockin' again. They did a good job with it too, considering it's a song many cover but few do justice to.
The Kinetix are a self-proclaimed jam band that calls Denver, CO their home. A few of the members are originally from Missouri, while Adam Lufkin on guitar and vocals is from Marion, MA. They are currently on tour.
The band continued throughout the night playing a mix of covers and originals. For the most part I thought the band played pretty tight while at times I thought there was too much going on. Such is the case, however, with many a jam band. Eric Blumenfeld played a good set of keys and led with a lot of the vocals. Jack Gaargan played a tight set on the drums. Jordan Lindt, on lead guitar played some nice licks along with Josh Fairman on Bass. Adam Lufkin led a spirited and energetic performance on guitar and vocals, helping to bring a good time to his former locale.
All in all, I wasn't blown away by any of the performers, but as group they brought it all together. They all performed with high energy and were clearly having a hell of a time onstage. For this I have much respect for them, and am curious to see how their sound may mature in the future.
After they finished, they came out to the crowd and hung out for a while as they started putting away their gear. I talked to most of the band and they were all really friendly. It reminded me of my days in the good ol' west, where people know how to have a good time and don't walk around with a chip on their shoulder. A bunch of us were all supposed to hang out at another bar after they were done packing up but time was short and last calls were soon approaching. The next thing I knew I was being rushed off to another spot. Sorry, guys, maybe next time. I'll buy you a round when I see y'all.

- Southcoast247

"CD Reviews: The Marcus Monteiro Quartet “MM4” CD-2006 Whaling City Sound"

Reviews By Glenn Astarita

Alto saxophonist Marcus Monteiro institutes a jazz-fusion sequence of events with mobility amid some slightly off-kilter use of loops and studio processing techniques. On the opener “Resemblence,” he snakes and weaves atop a bustling piano-drums-bass motif with the employment of electronics effects, where his sax lines generate an alien soundscape. And with electric guitarist Jim Robitaille sitting in on several tracks, the ensemble executes a series of angular and rapidly-paced choruses, augmented by climactic progressions.

Monteiro tempers the flow with an interesting multi-tracked sax spot during “Love Text,” as he renders a hallowed wall of sound to accommodate his baroque-esque themes. In other areas he partakes in tricky unison lines with Robitaille, featuring vicious sonic assaults and bluesy tone poems.

Moneteiro puts his classical hat on, during “Paganini Caprice No. 18,” to coincide with his EFX-drenched, mutated horn. Nothing remarkably trend-setting here, but Monteiro’s overall muse is awash with an idiosyncratic outlook. He does inject a personalized approach to jazz-fusion practices and there are some genuinely exciting moments throughout… - Glenn Astarita - eJazz News

"The Marcus Monteiro Quartet - MM4"

The Marcus Monteiro Quartet
Whaling City Sound 032

by Matt Pivec

In an industry that is steeped in labels, what does the listener do when he or she comes across improvised music that is seemingly unclassifiable? Perhaps there are two options. One can spend time considering whether or not the performance meets the standard criteria to be labeled jazz or one can take the music for what it is. If the listener chooses the former, he or she might spend valuable time in search of walking bass lines and ride rhythms. If the listener chooses the latter, he or she might be able to more easily reach the intent of the music. In the case of this release, I chose the latter. If unpredictable, unclassifiable, and exciting improvised music is what interests you, take a listen to saxophonist Marcus Monteiro’s 2006 release MM4 from Whaling City Sound records.

As a group, Monteiro’s quartet has plenty to offer. The quartet presents each selection with great energy and conviction. There is no shortage of compelling electronic sounds or instrumental technique from either Monteiro or guitarist Jim Robitaille. The compositions on this album (all by Monteiro) are very diverse. Drummer Pete Antunes and Bassist Mike Jupin are solid on the drum-and-bass grooves throughout the recording, while Robitaille contributes outstanding solo work.

It is evident that the selection of electronic sounds, loops, and samples is very much a part of the musical process for Monteiro and his band. While listening to the CD, I was consistently surprised by the new sounds that greeted me from track to track. On the album’s first track “Resemblence,” Monteiro synthesizes his tone into a brighter, reverberated, electronic version. On “Love Text,” a piece seemingly constructed with overlapping saxophone parts, Monteiro offers a contrasting approach to his tone. He applies a delay effect to the most prominent voice, while the other voices, each of equal importance, are made to sound like a pipe organ. Monteiro’s most extensive and compelling use of electronic sound effects and samples is presented on the album’s final track “Esoteric.”

As represented by his pieces “Anisometropia,” “Digital Robber Barons,” and “Brute Force Algorythm” Monteiro’s composition style favors the drum-and-bass grooves. However, Monteiro’s compositions show other musical influences as well. “Love Text,” perhaps modeled after the sound of a chorale prelude, is quite striking. “Esoteric,” the most convincing and bold musical statement on the album, is perhaps more of a concept than a composition. Monteiro’s samples and electronic sounds seem to engage in battle for foreground supremacy with synthesized improvised lines while a drum-and-bass groove is intensely maintained in the background of the musical texture.

Monteiro’s supporting cast performed admirably during this recording session. In particular, Jupin and Antunes maintain great intensity throughout the album. Robitaille contributes a stellar guitar solo on “Lousy” and demonstrates a beautiful tone while comping on the same piece.

MM4, Monteiro’s debut recording, has a great deal to offer the listener. Like some other modern improvising musicians (Cuong Vu immediately comes to mind), Monteiro is clearly interested in pushing the boundaries of sound capabilities by combining his natural instrumental tone with electronic technology. His compositional influences seem diverse. His fellow band members share his concept, and support it with remarkable sustained energy and plenty of “chops.” I look forward to his follow-up recording.

- Jazz Radio 24seven


Marcus Monteiro Quartet: MM4
Marcus Monteiro Quartet: Live at Bridge Street Station



The Marcus Monteiro Quartet is a South Coast favorite with a sound that defies definition and appeals to fans of jazz, funk, rock, fusion, blues, and dance. MM4 has been playing for five years in a variety of New England venues, including Copperfield’s in Boston, MA, The Middle East in Cambridge, MA, The Alehouse of Portland, ME, and The Galapagos Art Space in New York City. MM4 also performs regular gigs at The Bridge Street Station in Fairhaven, MA and The Catwalk in New Bedford, MA. Recently, the group made a return trip to perform in Quebec City, Canada, urged back by popular demand. Currently associated with The Whaling City Sound label, our musicians have a combined performance history spanning two decades: Marcus Monteiro, saxophonist of 14 years, leader of MM4 and saxophonist for The New Image Band, has performed with Mike Jupin, bass player of 13 years in a variety of bands including Gala Jive Jut and Grand Army. Drummer Peter Antunes, whose hands and feet defy the laws of nature to bring the band’s musical pulse to climactic levels, also performed with Monteiro and Jupin in Gala Jive Jut from 2000 to 2003. A life-long percussionist, Antunes was the Section Leader of The Cadets of Bergin County from 1997-1998 before pursuing more expressive musical styles. Rounding out this Quartet is Jim Robitaille, award winner of the 9th Annual Thelonious Monk Composers Competition, who brings over 20 years of guitar experience to MM4 from performances and recordings with The Jim Robitaille Group, The Dancing Dogs, Rick Frank, and Matt Richard. When combined, the mastery and talents of these four musicians blend into an extraordinary experience that will enthrall audiences and have them wanting “one more song.”