"The recipe for this album is the recipe for the best Spanish jazz; black Spanish rhytms, Moorish themes, island rituals plus the swinging jazz instrumentalists from the N.Y. cooker. Add to this a great dancing spirit and you have a moving anthology. Big orchestral statement, small band dynamite and swinging solos make... The Spanish Side Of Jazz." (Inlay van de cd)
"Dim omschrijft de muziek van zijn vrienden en hem als stevige, swingende, enigzins modern getinte mainstream met een flinke scheut blues. Dat is pretentieus. Het wordt echter op deze cd waargemaakt. Wie goed luistert hoort echter meer: plezier, vrolijkheid, lichtvoetigheid en enthousiasme." (Hans Dijkstal, inlay van de cd)
" Our friendship with Dado Moroni (pianonist) is such that we need to play and record once in a while. As on other occasions we played a few concerts, had goo fun, good foof, good crowds, good responses... We talked a lot, but not about what we would do musically. We just allowed that to happen... In this case we invited long time friend and fine bassist Theo de Jong to join in. Just listen why. We can't wait to record the next '4 of a kind'. " (Frits Landesbergen (vibes/drums), Jeroen de Rijk (Percussion)
" The pairing of vocalist Phil Minton and pianist Veryan Weston is not so unusual. That their performance took place in a German restaurant and is constructed of a selection of songs by Ives, Schubert, Leiber & Stoller, and the principals themselves are, perhaps. Opening with a satirical song by Ives, Weston plays a shimmering set of harmonic changes based on the original awaiting Minton's entrance; he groans before entering the song with relish and verve. It sounds like a war march, but its lyrics are irreverent and humorous; they are interspersed with various improvisations between the verses. " (AllMusic)
"Check out those track timings, more like 1960 doowop singles than jazz jams. The cd era has seen too many flabby but undernourished albums, stretching meager material over 70 minutes. Penguins is lean as rabbit, and as chewy, and for the same reason:hyperactivity. “I like pieces to be short, the two or three motives as clear as possible so you can always hear if the theme is present in the improvisations or not. If it’s not, that could speak to the quality of the improvising, or the clarity of the material.” It’s the old jazz steeplechase with updated rules: prove yourself improvising on this material, interacting with these players." (Bandcamp)
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