Jersey jazz guitarist Paul Meyers presents one sparkling album of light contemporary jazz fused with slice of Brazil and a fondness for pop making. World On A String is a highly entertaining and appealing session of music that critics and jazz audiences alike will rave about. A rhythmically melodic player performing on the nylon-string acoustic guitar, Meyers draws from his experience playing the music from a variety of genres to paint a canvas of seven delightful originals and a couple of reworked standards.

Album Information:

Artist: Paul Meyers
Album: World On A String
Label: Mils High Records
Release Date: June 16th, 2009

Being active in the Brazilian scene in New York for the past twenty years, Paul Meyers calls on two Brazilian musicians to help him lay down the various genre style pieces on the album and so features pianist Helio Alves and drummer/percussionist Vanderlei Periera prominently. Leo Traversa tackles the electric bass while much in-demand reed man Donny McCaslin does the honors on the sax and flutes.

An accomplished arranger, Meyers displays the measure of his talents as an arranger with a dazzling transformation of the Harold Arlen standard “I’ve Got The World On A String,” performed in a straight jazz approach featuring a dynamite piano run from Alves and glowing guitar riffs from the leader. “Eyes That Smile” is the first piece that delivers the Brazilian flavor in a warm and embracing style. On this same vain, “Twilight” offers a gentle bossa featuring delicate finger play from Meyers and a calming influence from McCaslin’s tender alto flute.

Loosely based on the Brazilian baiao rhythm, the upbeat “Stars” highlights exciting interplay between the guitarist, McCaslin on flute and the bassist trading salvos. One piece that certainly breaks out of the pack has to be the electric hard-driving “Panama,” an old Meyers composition brought back to life with the help of his guitar synthesizer producing a different sound that sets this chart apart from the rest. Changing gears a bit, Meyers performs a somber read to John Lennon’s stylistic “Because” with a little help from the sax voice of McCaslin, the tune is quite humble yet beautiful.

The session ends with the light-centered “River” which unfurls as one of the better pieces here and then ends with the boisterous and very spirited “North Meets South” featuring sizzling tenor sax lines and a final dance on the strings from Meyers to close out an outstanding set of vibrant jazz.

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