Even before bandleader Silvano Monasterios’ first piano solo, bassist Jon Dadurka steps forward on Unconditional’s opening cut, “Farmacia del Angel.” Dadurka, soloing after the brief but melodic head, establishes a tone the rest of Monasterios’ assembled musicians follow. Unconditional is the fourth album from the Venezuelan pianist, and while its eight original compositions can be considered Latin jazz, the scope of the music defies easy categorization.
Saxophonist Troy Roberts busts out some intense work on “Monsieur Petit Noir,” nearly stealing the track from Monasterios. Roberts proves a valuable ally throughout Unconditional, adding sweet soprano to “Sno’ Peas.” Monasterios relies on Roberts’ sax to guide most of the melodies throughout the album. The other musicians match his standard, with drummer Rodolfo Zuniga and percussionist Jose Gregorio Hernandez combining to create a wide variety of rhythmic textures. “Black Saint” glides on an easy groove that intensifies near its end, with Monasterios' smooth keys becoming increasingly percussive to match the edgy rhythm section. Unconditional is a stellar collection.
Read more: http://blogcritics.org/music/article/music-review-jazz-in-brief-charlie/page-2/#ixzz1UplM2HoO
Silvano Monasterios: Press
Para oídos inquietos. La música nunca es de un lugar ni tiempo concreto, sino de donde se siente y se hace Silvano Monasterios - Fostered. Cuando oí hablar hace unos años de Silvano Monasterios, pensé: otro talento venezolano que se apunta a la moda. Para entonces, gozaba de gran demanda como pianista acompañante de Franco De Vita, Frank Quintero y Yordano, entre otros. Pero, con el tiempo, pude comprobar con regocijo que, como en otras ocasiones, me había equivocado; que Monasterios no era otro del montón, ni de esas perpetuas promesas que transitan sin rumbo fijo, sin saber conjugar ficción y realidad, tradición y actualidad, sin que pierdan un gramo de autenticidad. Los buenos músicos, al igual que el oro en polvo, sólo requieren tiempo para aumentar su valor, y Monasterios, a sus 41 años, ha sabido sacarle provecho a todo lo aprendido. Radicado en Estados Unidos desde comienzos de los 1990s, lleva bastante tocando en diversos países y en grabaciones como la que ahora nos ocupa, donde demuestra que ha sabido crecer sin tener que hacerse mayor. Y lo hace con su piano y sus composiciones, huyendo de los artificios y aventurándose por un sonido categórico, propio de los quintetos de jazz (trompeta, saxofón, piano, contrabajo y batería), esmerándose en conciliar sus raíces y experiencias sin malgastarse en esfuerzos inútiles. El título de su disco proviene del vocablo Foster, que en castellano refiere a todo aquel que temporalmente acoge a un niño en su seno, sin adoptarlo legalmente, así como a quien fomenta esperanzas, abrigo, sueños, realizaciones. Entre 2002 y 2004 Monasterios formó parte del Bop Brothers Ensamble, conducido por Vince Maggio, su maestro, mentor y amigo, a quien va dedicada la producción. De allí que la gratitud se comprima en una simple palabra: Fostered. Estamos ante un trabajo producido en un gran momento de inspiración, imprescindible para todo amante del jazz universal, e indicado para los que quieran adentrarse en el seductor mundo de Silvano Monasterios, uno de los músicos venezolanos más respetados en tierras ajenas.
"...Figueroa's first album won a grammy nomination, and THE MAGICIAN could do the same. He has assembled an outstanding band... Michael Orta and Silvano Monasterios split the piano duties, and each is a technically gifted, stirring soloist. ...Monasterios composed the title tune, an ingratiating cha-cha, as well as the vibrant and mysterious 'Crossroads'..."
Jazz Impressions 1 | Dogleg Music (2007)
Silvano Monasterios / Mark Egan / Paul Wertico
By John Barron "Comments"
Recorded live in Fort Lauderdale, Florida in the spring of 2006, Jazz Impressions 1 is an inspired, piano-led set of straight-ahead jazz, co-led by Venezuelan-born pianist Silvano Monasterios, bassist Mark Egan and drummer Paul Wertico. Monasterios, who regularly performs with Latin jazz percussionist Sammy Figueroa, demonstrates astonishing facility throughout. The notes fly fast and furious on modern jazz gems like Wayne Shorter’s “Wildflower,” Bill Evans’ “Very Early” and Steve Swallow’s “Falling Grace.” The pianist’s take-no-prisoners approach inspires intuitive group interplay, especially on his free-wheeling original “Jerusalem” and the standard “Softly As in a Morning Sunrise.” Egan’s fretless bass dances gracefully around Monasterios’ lines—reminiscent of the way Eddie Gomez used to poke and prod at Bill Evans in the 1970s. The veteran bassist, who came into prominence some thirty years ago as a member of guitarist Pat Metheny’s group, solos with the kind of melodic playfulness usually lost to overzealous electric bassists. His vigorous and inventive lines on “Softly As in a Morning Sunrise” are a disc highlight. Wertico, also a Metheny alumnus, swings tastefully and solos with dynamic sensibilities. The Chicago native gets in the last word on the bombastic closer “Avila/Drum Solo.” With an abundance of technical flourishes and unwavering camaraderie, Jazz Impressions 1 is an impressive release. Hopefully these three stalwarts have plans to develop into a regular working unit. Visit Silvano Monasterios / Mark Egan / Paul Wertico on the web. Silvano Monasterios / Mark Egan / Paul Wertico at All About Jazz. Track listing: Alone Together; Wildflower; Very Early; Falling Grace; Jerusalem; Softly As in a Morning Sunrise; Avila/Drum Solo. Personnel: Silvano Monasterios: piano; Mark Egan: electric bass; Paul Wertico: drums. Style: Mainstream | Published: December 24, 2007
Silvano Monasterios - Unconditional - All About Jazz CD Review
Silvano Monasterios (Savant Records) By Greg Simmons
Miami pianist Silvano Monasterios' Unconditional doesn't announce its qualities with musical histrionics: it's far subtler than that. This collection of eight original tunes shows craftsmanship, fine improvisation and coherence. Monasterios has constructed a compelling musical statement with an emphasis on composition and attention to detail. This is an entire album, not simply a collection of songs. Even in places where the percussion is prominent, it is integrated with a vision that never becomes frenetic. There are passages on the album where the double team of drummer Rodolfo Zuniga and percussionist Jose Gregorio Hernandez are playing hard, with a mix of congas and kit that has the potential to be really loud. But nothing ever gets out of hand, remaining, instead, within the framework and relaxed feel of the songs.
Attention to detail adds discreet appeal to many of the compositions. “Sno' Peas” is a relaxed, mid-tempo workout. But midway through an extended piano improvisation, the drums and bass fall back under aquickened keyboard run--but only momentarily--until the original beat reemerges. It's a smart, subtle bit of composed drama in a place that didn't really require it, but is all the better for it. The album is full of these little touches.
Improvisation is prominent, mostly integrated within a laidback, even romantic atmosphere. But when Monasterios and company cut loose they really stick the delivery. “Forgotten Gods” features an aggressive solo, from tenor saxophonist Troy Roberts, that begins easily enough, but eventually blows like a freight train, deep and heavy, with fast finger-work and a harder-edged bite. It's a great moment--diverging from the overall sound just enough to fulfill the musicians' need to show off a little, but without breaking the established motif.
Unconditional is an album worth hearing all the way through. It never screams for attention, but rewards it very nicely.
Track Listing:Farmacia del Angel; Monsieur Petit Noir; A Song for Jacques, Part I; A Song for Jacques, Part II; Sno' Peas; Forgotten Gods; Unconditional; Black Saint.
Personnel: Silvano Monasterios: piano and keyboards; Troy Roberts: saxophones; Jon Dadurka: bass; Gabriel Vivas: bass (5, 7); Rodolfo Zuniga: drums; Jose Gregorio Hernandez: percussion.
All material copyright © 2011 All About Jazz and/or contributing writer/visual artist. All rights reserved.
By Fernando Gonzalez
A New Release
Silvano Monasterios
Unconditional (Savant)
It might strike as a paradox, but sometimes the brilliance of certain inventions can be measured by how obvious, how commonplace they seem.
The music of Venezuelan pianist Silvano Monasterios is so easy-on-the-ear, so elegantly structured, and has such a casual, lived-in feel that it takes a bit to catch on to how sophisticated his work truly is. It’s only after awhile that one notices the harmonic turns, the storytelling soloing, or his rhythmic vocabulary, especially his discreet use of traditional Venezuelan styles.
Unconditional is Monasterios’ fourth album, and his choices suggest that he feels no need to accommodate any conventional expectations about how Latin jazz should sound. Whatever someone might argue to be some essence of “Latin,” is here integrated into the overall sound. To list the parts is to miss the whole – and, one suspects, Monasterios’ intentions.
Leading a limber, efficient quintet — Troy Roberts, sax; Jon Dadurka, bass; Rodolfo Zuñiga, drums; and José Gregorio Hernández, percussion – Monasterios offers fusion with an accent, richly detailed, lyrical, and remarkably cliché-free. Often, he explicitly draws on Venezuelan folk rhythms as the basis of a piece. In “Sno’ Peas,” for example, he uses gaita zuliana, a rhythm original of the Zulia state which is danced at Christmas time. The slow swinging “Black Saint” draws from the traditional drumming for San Benito, a black saint. He just as easily sets up a passage of straight ahead, driving swing for release or uses a Fender Rhodes to evoke a certain era. Or he might go all in the other direction and set up a straight-ahead hard-driving blowing vehicle such “Forgotten Gods;” or, as in the title track, write a classic jazz ballad in which the melody unfurls unhurriedly before the soloists take over and elaborate, telling their own stories.
The eight pieces in Unconditional are originals by Monasterios and, throughout, there is an arranger’s ear at work in the attention to detail, be it regarding song forms, the structuring of the soloing or the use of unexpected rhythmic shifts. In Monasterios’ music, fun and beauty unfold with a purpose – and jazz becomes an inch wider and deeper.
Best Jazz Musician
Silvano Monasterios
silvanomonasterios.com
Local jazz fans are lucky to have a star such as Silvano Monasterios playing in our mist. A bona fide piano prodigy, he was born in Venezuela and schooled at the University of Miami's prestigious music program. The always-cool Monasterios then stuck around the city and became the most admired and requested piano jazz man in town. He has performed with legends such as Paquito D' Rivera and Nestor Torres. In 2004, he won Downbeat magazine's Best Jazz Instrumental Soloist award. And in 2008, the Sammy Figueroa album The Magician — for which Monasterios wrote and produced two tracks — received a Grammy nomination for Best Latin Jazz Album. Monasterios's active schedule takes him all around the nation, but he still works his magic in Miami, where he routinely plays gigs at hot spots such as the Van Dyke, the Globe, and the Adrienne Arsht Center. If you love jazz, chances are you've seen Monasterios perform somewhere in Miami, where his flawless and cool piano work inspired your passion.
Jazz Impressions
Silvano Monasterios-Piano Mark Egan-Bass Paul Wertico-Drums
From the first note of Jazz Impressions, an album co-led by Silvano Monasterios, Mark Egan and Paul Wertico, you know you're in for something interesting and different. I suppose that I shouldn't have been surprised, but considering Wertico's recent recorded output, I was a little bit surprised to find him on a piano trio record doing (some) standard fare. What these three do with that format, however, is nothing short of breathtaking. While I hesitate to say that this has the flavor of the classic Bill Evans Trios, that element is certainly in place. One can hear it in the ongoing dialog between these three from the first note to the last. They start off the disc with "Alone Together," and what a version it is! Egan is in full Jaco Pastorius mode. His tone has that Jaco-esque ring to it throughout the disc, but especially on "Alone Together" and their take on "Softly as in a Morning Sunrise," that horn-like sound coming in handy when the bass player decides to play the head to the tune. There are two originals, both by pianist Silvano Monasterios. They're both well worth mentioning. "Jerusalem" starts off as what one assumes will be a languid ballad, until the soloing starts. Then it turns into the burning centerpiece of the album. The other, "Avila," gives Wertico some space to stretch out. It's a rousing tune with an interesting feel to it, and it's a great way to close the CD. Those who like their jazz with some adventure and teeth would do well to check this one out.
Fostered 2006
Quienes tuvimos y/o han tenido el gusto de conocer la trayectoria de Silvano, de haberlo escuchado en tantísimas de sus participaciones con diferentes artistas variopintos, de múltiples estilos y géneros, no podemos evitar el notar el crecimiento y la consolidación como compositor y arreglista de este notable y desarrollado pianista venezolano. Sabíamos de su propuesta de su gusto personal por un jazz de estilo muy directo y singular, desde su participación, no hace mucho tiempo con el Bop Brother Ensamble. Esta obra suya, este CD “Fostered”, nos deja ver una excelente propuesta a partir de sus composiciones las que nos permiten entrever siempre esa influencia venezolana, esos sonidos característicos que “aparecen” al oído atento en un conjunto de temas consistentes y muy bien ejecutados. Un jazz contemporáneo de líneas muy particulares en donde por afinidad cualquiera esperaría un sonido más latino y, paradójicamente (aunque muy bien resuelto y presentado) Silvano nos muestra su arte inspirado, en un trabajo muy destacado.
Getting Personal
Downbeat Magazine
College is a time when teachers and mentors have a profound influence, and self-motivating soloists discover that when it comes to learning what to improvise, the sky’s the limit. Last spring, Silvano Monasterios played piano with the University of Miami Bebop Ensemble, a small group that focused on student compositions, time playing, use of motives in solos interaction. A Jazz Pedagogy Master’s student at the Coral Gables, Fla., school at the time, Monasterios has since graduated, and he continues to write original music, embark on new projects and drive his solos to new heights. “Silvano has gone beyond the stage of imitating others, and his personal compositions demand unique approaches to soloing,” said ensemble director Phillip Strange. “He has his own style and musical ideas, which I tried to support and develop as organically as possible. I worked with him to develop dynamic contrast and shape in his compositions, and realize these dynamics in the group performance. We worked a lot on time accuracy in the group, as many of Silvano’s compositions use odd meters. “At times, I made various comments relating to over-pedaling and overly loud left-hand comping,” Strange continued. “I also insisted on motivic soloing to achieve a continuity of ideas. Silvano is always a pleasure to hear, and audiences love his rhythmic vitality and inventively mellifluous melodic lines.” When it comes his turn to blow, Monasterios tries to look at the big picture. “I want to develop a solo that will make sense in its totality,” he said. “I try to use some rhythmic and melodic elements from the actual composition and make them my own by freely changing them in any way I choose. I enjoy the challenge of attempting to create new melodies during the solo, as well as pushing the envelope rhythmically.” In addition to his teacher, Vince Maggio, Monasterios has absorbed the influence of a long list of piano giants, most noticeably Chick Corea, Herbie Hancock and Bill Evans. “Latin and South American rhythms have played a big role in what I attempt to do as well;” he said. “Lately, I can’t have enough of Monk and Brahms.”
Sonidos>Nada más que Jazz Silvano Monasterios, un caraqueño de primera El miércoles 25 de Julio, Santiago de León de Caracas estará cumpliendo 440 años desde que fuera fundada por el capitán español Diego de Losada, aun cuando un aspirante a pretendiente a historiador pretenda cambiar los hechos acerca del nacimiento de nuestra ciudad capital. La lista de hijos ilustres que ha aportado esta ciudad al movimiento cultural y artístico venezolano es larga. Entre ellos debo mencionar al pianista, tecladista y compositor Silvano Monasterios, un compatriota que como tantos otros ha tenido que emigrar buscando mejores horizontes profesionales, y como ha sucedido con mucho de ellos, el esfuerzo realizado le ha merecido testimonios de admiración y respeto. A raíz de varios correos electrónicos que he recibido de Silvano informando sobre sus presentaciones en EE.UU. le pregunté acerca de algún viaje a Caracas, por cuanto hasta ahora hemos tenido la suerte de poder disfrutar de los trabajos de Otmaro Ruiz, Leo Blanco y Edward Simon, y su respuesta fue la siguiente: “…te confieso que nada me haría mas feliz que presentar mi trabajo en Caracas, pero hasta ahora no se me ha brindado esa oportunidad. Ojala suceda muy pronto...” De las presentaciones programadas, Silvano mencionó la que tendría en el Sandoval's Jazz Club, local del jazzista cubano Arturo Sandoval, donde estaría acompañando al trompetista brasileño Claudio Roditi –miembro de la famosa banda creada por Dizzy Gillespie “The United Nation Orchestra”-, y además se presentarían Sammy Figueroa en la percusión, Gabriel Vivas en el bajo y Gotees Kujack en la batería. El próximo 22 de julio Silvano Monasterios se estará presentando con Figueroa en el Jazz & Ribs Festival en Columbus, Ohio. Y, precisamente el día en que los caraqueños estaremos celebrando un año mas de la fundación de la ciudad, se estará presentando en el Sandoval's Jazz Club con suFourth World Trio. Un caraqueño en Miami Silvano Monasterios, nació en Caracas en la década de los sesenta. Estudió en el Conservatorio José Ángel Lamas y a los 18 años inicia su carrera como músico profesional. Las grabaciones realizadas entre 1984 y el 2005 por el grupo Daiquiri, La Banda Casablanca, y músicos de primera como Luz Marina, Leo Quintero, Franco de Vita,y Yordano, tienen en común que el tecladista y pianista es el mismo: Silvano Monasterios. Silvano viaja a Miami en 1989 para participar en el Miami Jazz Festival y recibe el premio como “Mejor Solista”. En 1990, por motivos de estudio se muda a Miami y obtiene una beca del Miami-Dade College. En 1995, consigue una beca de la Universidad de Miami donde se gradúa como Bachelor of Arts. En su afán por fortalecer su formación académica, regresa a la Universidad de Miami donde realiza estudios de post grado obteniendo en el 2004 un Masters Degree en “Jazz Piano and Pedagogy”. En 1998, es votado como “Artista Nuevo del Año” en el “Hennessey Cognac Jazz Search” en la ciudad de Nueva York. Ese mismo año sale al mercado su primera grabación Roads Not Taken, que es bien recibida por la crítica especializada. En una reseña publicada por Latin Beat califican su trabajo como “íntimo, melodioso y variado”. Por si fuera poco, en el verano de 1998 Silvano viaja a la ciudad de Los Angeles a la que fue invitado a participar en la vigésima edición del “Playboy Jazz Festival” en el Hollywood Bowl. Al pianista venezolano le correspondió abrir las presentaciones del segundo día. Ese año en el line up de músicos estuvieron entre otros, Poncho Sánchez, Arturo Sandoval, Los Van Van, Sheila E., Al Jarreau, Fourplay, Wynton Marsalis, y Nicholas Payton. Una información sobre la carrera de nuestro compatriota y que no quiero dejar pasar por alto, es que durante el tiempo que Silvano estuvo realizando su postgrado en la Universidad de Miami fue pianista del ensamble “Bop Brothers”. El nombre pudiera no decir mayor cosa, sin embargo el “Bop Brothers” está vinculado a un programa que ha mantenido el Departamento de Estudios Musicales y Jazz de la Universidad de Miami desde 1975. Se encuentra bajo la dirección del músico y educador Vince Lawrence Maggio. Este grupo ha recibido numerosos reconocimientos. Respeto en tierras ajenas En 2005 la revista DownBeat en su XXVIII entrega declaró a Silvano Monasterios como “Mejor Solista Instrumental de Jazz” y su composición “Avila” fue premiada como “Destacada Canción Original”. En el verano del 2006 salió su segundo disco: “Fostered”. En mayo de 2007 salió el CD “Jazz Impressions 1”; en este trabajo acompañan a Silvano, Mark Egan en el bajo y Paul Wertico en la batería; ambos fueron fundadores del grupo de Pat Metheny. Cabe señalar, además, que Monasterios participa en el último trabajo del percusionista Sammy Figueroa “The Magician”, en el que produjo dos de las composiciones que conforman este CD incluyendo la que le da el título al disco, del mismo modo interpreta al piano tres temas. Este caraqueño es un excelente ejemplo de superación, constancia, y mucho trabajo y en palabras del apreciado amigo Alberto Naranjo “uno de los músicos venezolanos más respetado en tierras ajenas”.
Silvano Monasterios/ Mark Egan/ Paul Wertico (Dogleg) - 2007
Recorded live at the April 15, 2006 “Jazz Impressions” concert in Fort Lauderdale, New York bassist Mark Egan and Chicago drummer Paul Wertico, familiar to South Florida JAZZ audiences because of their appearances with guitarist Larry Coryell, dug very deep to handle the often daunting arrangements of standards, jazz covers, and originals created by Miami pianist Silvano Monasterios, arguably the most accomplished composer and player on the local scene. This was not a jam session with visiting firemen, as sometimes occurs when players converge for a gig. This music was shared well in advance and rehearsed solidly prior to the performance. Still, it required the unique listening abilities of veteran professionals such as these to produce such a notable event. The music represented on this CD was culled from two performance sets that evening. Because of time constraints, only Wertico’s remarkable drum solo from Monasterios’ “Avila” in 5/8 time is reproduced on the CD. Few drummers could maintain the feel of the music through such a creative and extended solo. Silvano must be commended not just for his arranging and playing, but for the diversity of the tunes, which include Bill Evans’ “Very Early,” Wayne Shorter’s “Wildflower,” Steve Swallow’s “Fallen Grace,” and chestnuts like “Softly, as in a Morning Sunrise and “Alone Together” all of which sound remarkably fresh. His own pieces, “Jerusalem” and “Avila” crackle. By the way, you can purchase this CD from this website (see Jazz The Future at the bottom of this page). Personnel: Silvano Monasterios, piano, Mark Egan, bass, Paul Wertico, drums Track Listing: Alone Together, Wildflower, Very Early, Falling Grace, Jerusalem, Softly, As In A Morning Sunrise, Avila (drum solo)
It is not surprising that as I was listening to the music of Silvano Monasterios I began to smile. With all great piano playing in the jazz genre, we can recognize the usual suspects of influence, whether it is Bud, Monk, Bill Evans, Herbie, McCoy, Keith, Chick, or anyone for that matter. That fact is simple, and undisputed. Great jazz playing on any instrument has always been a synthesis through osmosis of sorts, and a ton of study, practice and most of all, patience. Through its entire history, every great player has listened to the records of their inspirators, transcribed their feel, their mood, their harmonic concepts and language, their developed ideas and improvisation, and most of all, their wonderful idiosyncrasies of execution. The articulation, if you will. All of that is mixed into the heart and soul of the wishing individual creating a new kind of artistry. We hear this influence in every piano player, including the masters, so to have smiled when I first heard Silvano's music made perfect sense to me. I smiled also because his music makes one smile and happy, but equally important is that I smiled because I heard his voice and felt his vision and the influence that he too will have on others over the years as well. From the shortest phrase to the longest, though the language of jazz is obvious, his own sound and style has, and will ever be refreshing to me, and the first thing I think about, and feel as I listen to him, is the influence of his own culture, present in every cell of music that he creates; in every phrase he executes; and most of all; in every piece he composes. I first had the privilege of meeting Silvano at the University of Miami. He was a student of mine for a brief period of time, and my favorite part about teaching him was actually what he taught me. I have always learned more from my students than I have taught them. Most honest teachers would/should admit that. Coming to America from Venezuela with nothing but a dream was inspirational to me and still is. He had a powerful hope and desire, and through many years of hard work on his part, has envisaged his dream many times over and will continue to do so. The greatest part of his presence and present, is still his longing and search for matters of the heart. His love of home, family and heritage will forever be at the core of his artistic journey. They are what drives him to and into maturity, and always will be. Silvano's originality will always be a source of joy to me. What I learned from Silvano is that when one listens, one learns. When one learns, one might just smile as well. During the years 2002-2004, Silvano was the pianist in the award winning ensemble "Bop Brothers" at the University of Miami. Vince Maggio was the director and creator of this revered group which was known for its hard edged, fierce and energetic style. "Bop Brothers" garnered many awards of merit over its life and times for its amazing live performances, and was a featured small group ensemble at IAJE conventions. Every player who had the privilege of playing in this group finished out their tenure with a much greater understanding of the dynamics involved with small ensemble performance, and equally important, with the soloing responsibilities inherent within such a focused and tightly spun organization. Intelligently, Silvano utilized this chance to explore his composition skills to the max, and not without much sweat. He opened up his soul to allow his original skill and command to emerge, but also allowed his vulnerability to surface as well. His great fortune of having a group of ensemble players equally as devoted as himself, allowed for the opening and creation of a "sound and feel" that helped him further define this music of his. They enabled his voice to be heard, and it is apparent in the exquisite tracks you will hear on this cd. Jeff Laibson
Sunday, June 22, 2008 Coryell + Monasterios = Monster jazz show
When I heard that Miami pianist Silvano Monasterios was joining the Larry Coryell Trio for its Saturday night concert, I thought it would be a trainwreck. After all, Coryell's tightknit group with bassist Mark Egan and drummer Paul Wertico hardly needs embellishment. And, as good as the Venezuelan-born Monasterios is, it seemed like piano would just clutter up the works. But midway through the second song of their show at the Miniaci Performing Arts Center, my concerns vanished. The group jumped from the gate with Coryell's buoyant "Good Citizen Swallow," a homage to the bassist-composer and longtime Coryell colleague, and sure enough, Coryell and Monasterios seemed to be playing atop one another. The same thing happened at the start of Bill Evans' lovely "Very Early," but, like the pros they are, the two quickly recalibrated and found the right mix. By the time they launched into the tricky Monk tune "Trinkle Tinkle," they had found the groove that would keep them sailing smoothly for the rest of the 2-plus hour show and keep the packed house riveted. Coryell was in excellent form, his liquid phrasing on his hollow-body jazz box sounding as easy as breathing for the jazz and fusion vet. During the course of the evening, he'd return to Monk with a brilliant read of "Well You Needn't," pick a lovely version of "They Can't Take That Away From Me" on acoustic guitar with some intriguing flourishes, and simply soar on fusiony tunes such as "Spaces Revisited" and "Dragon Gate." The latter featured some jaw-dropping solos from drummer Wertico, who indeed thrashed like the tail of an angry fire-breather. Can't say enough about the always-tuneful Egan, one of the few bassists you can't wait to hear solo. Coryell featured him prominently throughout, and gave him the spotlight on a gorgeous new tune titled "Tracy," which the guitarist wrote for his wife. But one of the highlights of the evening was a duet between Coryell and Monasterios on the lilting "Someday My Prince Will Come." Sigh-inducingly lovely, it called up the likes of Bill Evans and Jim Hall, but was scrupulously original and contained plenty of surprises, often calling up the darker aspects of the wistful tune.