Jani Kovačič / Big Band RTV Slovenija / conductor
   Igor Lunder - CERBERUS HOTEL Jazzitette
 
Songs by Jani Kovačič in oustanding jazz arrangements by Igor Lunder.

Mario Batelić, Odzven, 2011


Igor Lunder has remarkably arranged Kovačič's songs founding just the right sounds for them.

With small details and skillful conducting Lunder added a dramatic effect to Kovačič's texts.

Mario Batelić, Radio Študent, 2010


Cerberus Hotel Jazzitette is undoubtedly one of the highlights of Slovenian musical creativeness of the past years and by far the best album I have heard this year. It will definitely be very hard to beat.

The texts excellently connect with music and acoustically full and rich arrangements.

Jure Potokar, Polet, 2010
 
     
  Igor Lunder with Zagreb Saxophone
Quartet & Guests – Reeeeeeeeds
 
 
In all the compositions for saxophone quartet and guitar, Lunder does an excellent job of writing and playing the guitar so that it is blended within an overall ensemble sound. The guitar’s sound blends very nicely in these compositions, and is used at times as an extension of the saxophone timbre, and other times as a slightly different color in the fabric of tones employed in the compositions.
Lunder successfully uses Bartók’s compositional foundation in his arrangement (Six Dances in Bulgarian Rhythm – 6) producing a newly transformed creation with jazz influences. Nestorović, plays a fine tenor solo on this arrangement while capturing the character and feeling of the piece and arrangement.
In Your Own Sweet Way is tastefully rendered with a light swinging jazz feel, and contains smoothly performed solo improvisations by Nestorović on soprano saxophone and Lunder on guitar.

In each of the cuts for saxophone quartet only, Lunder’s writing for the quartet is quite good, and the ensemble’s musical rapport is not only excellent, but transports the music to a higher level of appreciation and understanding for the listener. The quartet plays with character and poise to communicate the composer, as well as arranger’s intent.
Lunder’s saxophone quartet arrangements of The Screech Owl Got Married and Waltz for Debby contain some interesting jazz harmonies as well as improvised solos by the quartet’s tenor saxophonist, Saša Nestorović.

Time Remembered features a wonderfully lyrical solo by soprano saxophonist Primož Fleischman.

Lunder’s understanding of writing for the saxophone produces a lush textured composition (The Hymn for Saxophone Octet) with colors that complement the instruments’ tone and timbre.

Reeeeeeeeds is a very listenable CD as the saxophone is used tastefully throughout and the compositions not only bring out the beauty of the instrument, but the performers talents also make it sound easy for a listener to enjoy and be satisfied in the end.

Frank Bongiorno, Saxophone Journal (USA), Jan/Feb 2008


There is adventure here on this disk, and, all in all some good arranging, some of it stunning.

Grego Applegate Edwards, Cadence (USA), 2007


Showcasing the work of some of the best Slovenian jazz saxophone players, each selection sets the tone for the next piece, making for a interesting listen.

Natasha Washington, Jazzreview (USA), 2007
 
 
  Igor Lunder Sextet       
 


In a session of his own modern mainstream compositions, Igor Lunder's sextet explores integrated harmonies and the kind of acoustic counterpoint that distinguishes Straight-Ahead Jazz from its neighbors. The guitarist's cohesive ensemble approaches each piece as a tightly-knit unit, revealing their shared appreciation for a consistent rhythmic groove, a swinging atitude, and instrumental voices that complement one another.

Lunder's guitar provides the session's most favorable solo highlights. His suave touch and fluid articulation provide a conversational thrill. Laden with Blues inflections, his soloing provides an aspect of beauty fulfilled.

Lunder's guitar and his stellar musical arrangements capture the essence of his goals. His sextet provides a recommended Straiht-Ahead outing that preserves the ensemble's passion for musical unity.

Jim Santella, Cadence (USA), 2005


The self-titled debut album by the Igor Lunder Sextet features exceedingly tasteful and smooth performances of material composed and arranged by guitarist Lunder, which is uniformly melodic and tranquil. The first listen tends to be absorbed with little effort into one’s consciousness. The next few listens reveal the artful arrangements and subtle skill of the musicians.

For a decent-sized band, the members of Lunder's sextet do an admirable job of getting out of each others' way and creating a sound that is uncluttered and transparent while maintaining the necessary lushness the arrangements call for. The cultivation of space by both the rhythm section and the front line soloists is commendable and makes for fine late night listening when the jittery, caffeinated urge to plaster notes over every second is way too unsettling. Lunder’s opening statement on “O.K. No K.” is particularly lovely and ushers in a slightly melancholy reverie from the rest of the band.

Stephen Latessa, All About Jazz (USA), 2005


There is a lovely guitar introduction by Igor Lunder on “O.K. No O.K.” In the last sections of this tune, Lunder has a terrifically nuanced solo that for the two or three minutes is masterful.

John Doll, Jazzreview (USA), 2005

 
  Igor Lunder with Reeds - Jazz Menu       
 


Guitar and four winds with outstanding arrangements, full of witty turns, swing, unusual sonorous combinations and excellent improvisations.

Ognjen Tvrtković, Ljiljan (BiH), 2004


Leader Igor Lunder ensures that his ensemble swings throughout, with a genuine spirit that's steeped in the Jazz tradition.

Lunder's guitar supplies the temperament necessary to swing his ensemble through Big Band arrangements as well as through creative Chamber Jazz explorations.

Jim Santella, Cadence (USA), 2003

 
           
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