Dan Arcamone

“Dan Arcamone presents: “Standards, Vol.2.”

Dan Arcamone’s latest musical offering comes in the form of the album “Standards, Vol.2.” As the title suggests, the album is a captivating compilation of cover songs, borrowing from the vast songbook of rock and pop music. This release features anything from Radiohead to The Police, and even Rush, highlighting Dan’s varied musical taste. The catch is that the covers offer unique renditions, spiced up with elements of jazz, fusion, world, rock, and progressive instrumental. This unique combination of styles highlights Dan’s remarkably broad creative range, demonstrating his prowess as a guitarist and showcasing his virtuosity.

One of the defining features of Dan’s approach is his remarkable ability to strike a delicate balance between showcasing his skills as a masterful guitar player and embracing the philosophy of “less is more” when the song calls for it. He possesses a creative flair that is evident in every rendition on the album, never resorting to overplaying but expertly complementing each piece with just the right amount of artistry.

The musical chemistry between Dan Arcamone and the accompanying band members, Panagiotis Andreou on bass and Steve Pruitt on drums is truly on-point. The synergy is magical, as each member offers brilliant and well-placed contributions.

Ultimately, this is a fun and engaging album for a broad audience. Rock fans will love listening to new spins on songs they know and cherish, while jazz audiences will appreciate the high-level musicianship on the album.

The album is a testament to the enduring power of amazing songwriting, as these timeless hits still stand out and sound amazing even as they’re wearing their brand-new outfits, courtesy of Dan and his band. “Standards, Vol.2” features ten songs, with room for many surprises. For instance, the avant-garde take on Bjork’s “Army Of Me” is nothing short of unexpected, adding so much creativity to the mix. The outfit’s rendition of “Sober” by Tool also stays true to the nuances of the band’s original vision while completely shifting the song’s landscape more personally.”

“Jazz Guitar Today contributor Joe Barth interviews Norwalk, Connecticut’s jazz guitarist Dan Arcamone.

A great guitarist around the southwest Connecticut area is Dan Arcamone. Dan divides his time between being a gigging guitarist, an educator, and a composer. It has been said that Dan has a “powerful yet elegant” approach to his playing.

JB: How old were you when you started to play jazz guitar and what was most helpful in your personal development as a guitarist?

DA: I started playing jazz guitar as a senior in high school when friends asked me to join the jazz band with them. I ended up going to Western Connecticut State University for jazz guitar after that. I think what was most helpful was having great teachers in both high school and college and being able to play with different people a lot.

DA: Pat Metheny Group’s The Road To You was one of the first albums I remember loving. I bought it at Sally’s Place in Westport, CT when I was in high school and listened to it a lot when I was starting. Pat Metheny is always incredibly melodic and has so much control over the guitar with everything he does.

The next album that stands out is Interchange by Pat Martino. My teacher, Chris Morrison, in college, told me to check out Pat Martino. I was into rock stuff growing up and I think Chris knew that Pat Martino would appeal to me. I was hooked right away and was attracted to how powerful his playing was. I wanted to be able to play long lines like him.

In college, I was also turned on to Allan Holdsworth’s None Too Soon which is still one of my favorites. All three of these guitarists are unique, melodic, harmonically interesting, and wrote beautiful compositions.

JB: What is the musical climate like for you as a guitarist in the Norwalk, CT area, or is your focus in New York City?

DA: There are opportunities to play in different clubs around the state. I tend to only book shows if I’m able to play original music with my group. Places like Black Eyed Sally’s in Hartford do a nice job of getting different groups to play weekly and having a space for musicians to meet and play together in a jam session. I like that place in Connecticut. When I was younger I would go into New York more to play. As I’ve gotten older I’ve focused more on recording and teaching. I can be a bit of a recluse these days.

JB: Tell us about the guitar that you use.

DA: I’ve been playing Canton Custom Instruments since around 2009. I met Rick on MySpace and we became friends. We started talking about music and guitars and I’ve been playing his guitars since.

JB: What amp do you use?

DA: I’m currently using a Quilter Tone Block 202. I use it with their Block Dock 12 Speaker Cab. I use effects all the time. I usually have a Marktronics Overdrive Pedal in front of whichever amp I play through to shape the tone and feel of the amp.

JB: Tell me about one of your CD albums.

DA: The last album I released, Standards Vol. 2, is a collection of songs from the 80s and 90s mainly that I arranged to fit into my way of playing. I had done an album previously where we recorded more traditional jazz repertoire but as I started arranging songs for the second volume I gravitate towards songs outside of jazz that could be considered standards in their own genres. The arrangements on the recording revolve around chord-melody arrangements with solo sections like a typical jazz recording. It’s one of my favorite recordings I’ve done because it includes all the different types of music I love.

JB: Talk about your work with John Stowell.

DA: I met John as an undergrad in the late 1990s when Chris Morrison brought him in for a masterclass. We connected again during the pandemic and I would meet up with him for guitar hangs. When things began getting back to normal, John came out and we played a concert together about a year and a half ago. A month ago, we recorded an album of standards together which will be released later this year. I’ve studied John’s materials/playing on and off since I met him in the 90s. His concepts of playing have shaped the way I look at guitar and music a lot.

JB: What advice would you give to young jazz guitarists?

DA: Spend time on the things you love to do. Play with people that you have fun playing with. Don’t be afraid to reach out to musicians that you look up to. Take lessons from people you’re into if possible. Create and work on things that bring you happiness. If it feels right to you then it’s right. ”

“From Alt-Rock to Jazz
An Interview with Dan Arcamone
by Stacey Zering

I recently talked with Norwalk, Connecticut, artist Dan Arcamone about his iconoclastic new jazz album, Standards, Vol. 2, and the challenge of making jazz from prog rock.

• •
Stacy Zering: I found it inspired you should do a standards collection but cover prog, alt rock, and metal instead of jazz. How did you come up with the idea?
Dan Arcamone: Originally I was arranging traditional jazz standards for this project. I was focusing on standards with lyrics. American Songbook tunes. Songs like “Stella By Starlight,” etc. From there, I followed the idea of “songs with lyrics” to songs outside of the standard jazz repertoire. The first ones I arranged were “Roxanne” and “Fields of Gold.” Those two songs didn’t feel too far off from the songs I was originally arranging, and I considered including them alongside American Songbook tunes. Once I had those two songs, I continued onto other songs, and it snowballed from there.

Have you performed these versions before, perhaps in a live setting?
There are a couple recordings of “Roxanne” on YouTube and my Instagram from gigs I did some months back. I play a lot of my original music, but for upcoming gigs I want to add more of the songs from this recording.

How has the reaction been thus far from both the rock and jazz crowds? After all, both sides have their share of purists.
The reaction has been positive from both sides for the most part. The music has things that fans of either genre could enjoy, I think. The feedback I’ve gotten the most has been about the chord melody arrangements of these tunes. Guitarists that play jazz have expressed that they like the chord melody approach to the rock songs.

Was it difficult to rework these tracks as jazz numbers?
At times it was difficult arranging them. It took about a week to two weeks to arrange each tune, working a little each day. I tend to be a perfectionist when I’m writing. I’m often erasing what I wrote and trying other ways to play or harmonize something. I probably make it more difficult for myself than it needs to be. There are certain things I like to do when I’m harmonizing something so the challenge was to find a variety of ways and not lean so much on my go-to ideas.

Which of the songs were the most challenging for a jazz makeover?
I remember spending a lot of time on the Nine Inch Nails arrangements. Those songs don’t have a lot of harmonic movement. Working to create movement in a melody that stayed over one chord was challenging at times. Rhythmically those songs have a lot of movement, but it’s easier to arrange when there are a lot of chords in the song. Movement happens more easily with countermelodies and chord voicings when the harmony changes a lot.

When did you decide to become a musician?
I’ve loved music ever since I was a kid. I’m not sure when I decided. It’s just something I always liked to do. I guess going to school for music would’ve been a definitive decision that music was going to be a job in some way. It’s just always been a part of my life.

Growing up, what artists influenced you the most?
Before I went to college for music I listened to mostly rock/metal. Bands that are featured on my recording, as well as Led Zeppelin, Megadeth, Slayer, Mötley Crüe, etc. I still love all that stuff. When I was in college, my teacher Chris Morrison told me to check out Pat Martino. That was the first time I’d heard jazz music that I connected with. I liked the energy of his playing and compositions. It had the same power as rock music to me. John Coltrane, Michael Brecker, Dave Liebman, Pat Metheny, John Stowell, and Ben Monder were influences as well early on.

When did you learn to play the guitar? Any formal training?
I started sometime around 15 or 16 years old. I used to learn songs that were in the guitar magazines. I took lessons for a few months when I was a senior in high school to be able to play in the jazz band. That was my first formal training, and then in college.

Will there be another volume? If so, what can we expect?
There could be more volumes. I’ve been having fun recording both jazz and rock standards. I have a few rock songs arranged that didn’t make it onto this recording. Maybe one day I’ll do another volume like this one. The next one could end up being American Songbook songs, too, if I end up doing another volume. I also have originals that I’ve been working on for a while that I want to record at some point. ”

“Guitarist Dan Arcamone has produced one of the year’s most unique albums, jazz or otherwise.
In fact, Arcamone checks several boxes here in terms of being one of a kind. For a collection of covers, Arcamone turns the songs on Standards, Vol. 2 inside out. Don’t get me wrong — they are respectful to their roots. Still, some purists will be shocked at the creative direction the artist took. On the contrary, remakes shouldn’t sound exactly like the originals. Otherwise, what’s the point?
Secondly, these aren’t the kind of standards jazz die-hards are accustomed to. Many of them might not even know the groups represented here. But I love that irreverence. Jazz artists tend to cover the same classics, sometimes in a blandly similar way. Therefore, they all blur together. Perhaps there are jazz fans out there who absorb everything, even the saturation of redundant material.
Thankfully, Arcamone cuts through all that and delivers a stunner of a plot twist, taking alternative-rock classics from Soundgarden, Nine Inch Nails, and Tool and reworking them as jazz pieces. The pummeling synth-throb of Nine Inch Nails’ “Closer” becomes a compelling jazz instrumental. Steve Pruitt’s robust drumming plays an integral role here as he keeps the track moving, remaining propulsive like Nine Inch Nails’ ’90s club favorite. Arcamone’s version of the Police’s scrappy “Roxanne” returns Sting to his jazz roots and away from the New Wave energy he adopted. This is possibly the most startling rendition of Tool’s “Sober.”
For those who blasted MTV and Modern Rock stations in the ’90s, “Sober” symbolized the loud, ominous aesthetic of alt-metal. Arcamone turns down the noise but keeps its somber feel. The sadness hasn’t faded.
”

“Dan Arcamone’s idea of standards is probably not the same as your father’s. Unless, of course, your dad grew up in the ‘90s on alternative and progressive rock.

When a jazz album uses the standards label, it usually means Irving Berlin and Duke Ellington. Without a doubt, those songs remain timeless classics.

But there are only so many times one can sit through another version of “My Funny Valentine.” Worse yet, many of them either sound identical to the original or each other. Even faithfulness to the source becomes old after a while.

On Standards, Vol. 2, Arcamone avoids that entirely. Instead, Arcamone reworks tracks from altogether different genres. Miraculously, without forcing the issue, the transformation feels oddly natural.

In some cases, transcendent.

Tool’s dark metal lament “Sober” is perhaps the most shocking. In its initial form, “Sober” is a slow dirge with cathartic cries of pain. In 1993, Tool’s “Sober” dominated MTV with its ominous stop-motion animation video. But the tune itself is particularly gloomy. Suprisingly, in Arcamone’s hands, the song retains that intense tone. Panagiotis Andreou’s heavy bass captures Tool’s stark atmospherics but without the loud volume. The pounding drums gives it the same emotional weight. Arcamone’s acoustic guitar exposes the melody beneath Tool’s din. Impressive.

”Fields of Gold” shares Sting’s lush prettiness. With or (as in here) without vocals, “Fields of Gold” is poetry in motion.

Björk’s “Army of Me” somehow manages to capture the synthesized, mechanized rhythms of her classic with a guitar/bass/drums set-up. It is clever and engaging.

If you’ve never heard these singles back in the day, you might be surprised by what they originally sounded like. Arcamone makes them his own, fresh takes that inspire repeated spins.”

“Guitarist Dan Arcamone has a very individual style that is a bit difficult to describe. Like John Scofield (who he sounds nothing like), he has an electronic sound that would seem like a natural fit for fusion, but his improvisations are quite sophisticated and fit more into post-bop jazz. The tones that he gets out of his guitar synthesizer sometimes sound closer to a keyboard than a guitar, but his fluency, skill at bending notes, and general style is much more like a guitarist. Mostly active in the New England area, Mr. Arcamone has been leading stimulating albums since 2008 with Standards, Vol. 1 being at least his sixth.

For this consistently intriguing set, the guitarist is featured in a trio with bassist Rich Zurkowski and drummer Steve Pruitt. Rather play earlier standards from the Great American Songbook, Mr. Arcamone mostly plays jazz tunes from the 1960s including numbers from Herbie Hancock, Wayne Shorter, Freddie Hubbard, Joe Henderson, and McCoy Tyner, along with a later song apiece by Pat Metheny and Allan Holdsworth. While one may be familiar with such songs as “Maiden Voyage,” “Little Sunflower” and “Inner Urge,” these versions sound much different than the famous recordings and could pass for brand new compositions.

The instrumentation, with the guitar synthesizer in the lead, is one reason that Mr. Arcamone’s renditions are unique. But other more important reasons are the close interplay between the musicians, the willingness of these artists to stretch themselves and take the music in unexpected directions, and the consistently creative flow of ideas, particularly from the leader. Among the highlights is the general sound of the band on a concise version of “Maiden Voyage,” the complex rendition of “Fall,” the unexpected catchiness of “Witch Hunt,” the way that Mr. Arcamone draws out the beauty of the melody of “Little Sunflower,” and a rather spacey “Passion Dance.”

“This is a thought-provoking set of adventurous 21st century electronic jazz that is full of surprises.””

“A fusion guitar album with a difference: Connecticut guitarist/composer Dan Arcamone wrote pieces based on some of saxophonist John Coltrane’s most complex chord progressions (“Giant Steps,” “Countdown,” “Satellite,” and “26-2”)—all dating from his Atlantic Records period, and sometimes called “Coltrane changes.” He and his trio (bassist Panagiotis Andreou and drummer Steve Pruitt) then treated them as if they were open, modal tunes. The resulting music has the spiritual tone of an album like Coltrane’s A Love Supreme (Impulse!, 1965), but with a more complex harmonic base.

”Psalm, Pt. One” begins the set with one of the fast, knotty chord progressions, initially played chord-melody style with a clean tone—setting the pace for the rest of the album. Arcamone begins his solo with rippling arpeggios played with a contrasting over-driven sound. Then he introduces an overdubbed rhythm part, which eventually leads back into the theme. After a dramatic stop, lead and accompaniment guitars take it home. The whole thing is quite a workout for the rhythm section (especially Pruitt’s drumming), as they never stop pushing forward.

”Psalm, Pt. Two” gives Andreou’s bass the first solo; he contributes another lyrical turn in Pt. Three. Pruitt’s drumming plays an active role throughout the set, but Pt. Four finally gives him some solo space, with interspersed accompaniment from the rest of the trio. But wait, there’s more. The album concludes with an unexpected coda, a hidden track introduced by chiming percussion sounds.

It is unusual to hear saxophonists attempt to emulate Coltrane’s famous “sheets of sound” approach, and even rarer to hear a guitarist dare to try it. Arcamone’s liquid legato lines are remarkable, even reminiscent of virtuoso guitarist Allan Holdsworth.
Track Listing: Psalm, Pt. One; Psalm, Pt. Two; Psalm, Pt. Three; Psalm, Pt. Four.

Personnel: Dan Arcamone: guitar, Panagiotis Andreou: bass, Steve Pruitt: drums”

“About Psalm

The album is inspired by John Coltrane’s iconic four-part album, A Love Supreme. Arcamone describe’s it this way:

”I took four of his compositions (Giant Steps, Countdown, Satellite, and 26-2) and composed melodies that fit my concepts. My intention was to play over these Coltrane chord changes in a way that sounds modal and open like the compositions originally on A Love Supreme”

Whereas A Love Supreme finds Coltrane exploring the form and subject of a composition (and an album), PSALM finds Arcamone exploring the harmonic and melodic edges of the compositions themselves.

Arcamone approches the material using chord voicing for the main melodies, scalar explorations of the modes during the solos, and a clean, transparent arrangement that allows you to hear the three musicians working their way through the material.

In short, prepare to have your brain twisted. This album is a “lean forward” listening experience that will invite you to stretch your own understanding of these tunes. It’s goovy, it’s mind-expanding, and it’s fresh. It’s a great listen.

(And, by the way, make sure to listen all the way to end of Track 4 to get it all.)
”

“This is a great recording [Psalm]. Dan and his group are the epitome of modern music.”

“Hailing from Norwalk, Connecticut, guitarist Dan Arcamone leads a new trio, with bassist Tony Grey and drummer Steve Pruitt, into an electric fusion foray. On the new album, X, he sets his mind into a combination of powerhouse rock, improvised jazz, and virtuosic folk ideas, sometimes evoking the work of exceptional guitarists such as Mick Goodrick, Ralph Towner, John Abercrombie, and Pat Metheny.
“Nediam” starts out with thick round bass lines, rattle-instilled drumming, and an expeditious guitar work agglomerating scales, patterns, and nimble rhythmic figures. “Slings” maintain this predisposition, combining alternative rock and folk jazz elements in well discernible passages that sometimes slide into funk.
Rays of light penetrate the sonic grey cloud hovering above “Gamma”, a compound of styles marked by a lively rhythm. Pruitt drives a few tunes with a powerful beat, forming a potent understructure with Grey to better serve the bandleader’s improvisatory zest. The better examples are “Loop”, whose easygoing guitar ostinato soon evolves into a restless improv, and “Luster”, which ends in an invigorating rock excursion.
The thing with this album is that the natures of the songs are practically equivalent, which narrows variety, while the soloing relies on unvarying mercurial procedures that often limit the space to breathe. “Phases” is an exception since it was given a wonderful harmonic treatment, encouraging group dynamics and stirring further emotion.
Although outlined with simple melodic ideas, “Luge” and “Lag” exhibit plucky rhythms, persisting in constant stretches where the tense and the lyrical meet.
Enclosing crafted compositions in its alignment, the cerebral X will certainly attract followers of guitar-driven fusion.
”

“Genius is often bandied about in jazz, but in the case of this thoughtful and formidable artist, I say not - he is a ‘genius’.
”

“In his career, Dan Arcamone has performed with many artists who are based in New England. He is a guitarist whose music can be said to fall into the fusion area since his sound can be rockish while he takes adventurous jazz improvisations. But the word “fusion,” which conjures up John McLaughlin and Al DiMeola, is simplifying matters a bit since he does not sound like either one.
Mr. Arcamone, whose previous releases as a leader were Trioisms (2008), In Motion (2010) and In Colors (2012), is joined on Evolve by tenor-saxophonist Sean Nowell, bassist Henry Lugo and drummer Kenny Grohowski. The music that they create is both electronic and at times electrifying. Mr. Arcamone often utilizes the guitar synthesizer to create keyboard-like solos while Nowell sometimes outfits his tenor with electrical devices that can generate a similar sound. Bassist Lugo and drummer Grohowski are quite active and assertive throughout, whether in ensembles or when they are in the role of accompanying a soloist.
The quartet performs nine of the leader’s originals. The opener, “In View,” lets listeners know that they should expect the unexpected. After the bass and drums bring in the song, the ensemble introduces a multi-themed work. Mr. Arcamone’s guitar solos can be thought of post-bop playing with a rockish sound although his electronic tones are individual. Nowell offers some mellow but creative tenor over the loose rhythm section before Grohowski’s drum breaks takes the song out.
“Burst,” a 16-minute performance, again features fluent work on the guitar synth that becomes high-powered, a relatively laidback tenor, and a powerful drum solo. “Arrows” has a fusion-ish melody with drum breaks, is catchy, and has Nowell coming up with a passionate statement. “Arrows” has Nowell utilizing electronics in order to play chords on his tenor but the performance is actually highlighted by one of Mr. Arcamone’s most intense solos of the set.
“Two Sides” is a thoughtful piece that starts out with an eloquent Lugo bass improvisation. Nowell’s solo picks up some heat as it evolves, leading to another strong statement from Mr. Arcamone.
“Leviathan,” one of the most memorable compositions on the CD, and “Perigee” both find the quartet recalling Weather Report a bit in its emphasis on ensembles and group interplay. As Joe Zawinul once said of his group, “Everyone and no one is soloing.” The interplay between the musicians, particularly on “Leviathan,” is impressive. Evolve concludes with “Apogee” which develops from laidback to passionate, and the brief guitar feature “OutView.”
Listeners who enjoy creative electronic music will find much to savor on Evolve.
”

“Dan is obviously a trained musician. His writing and arranging prove it. His technique and his musicality are the highest level and the musicians he picked do his music justice. [In Colors]”