Archtop Avenue Ratko Zjaca

• 1 Body and Soul 05:03
• 2 Prelude to a Kiss 04:58
• 3 Lonnie's Lament 04:21
• 4 Darn That Dream 05:50
• 5 Monk's Dream 04:32
• 6 For Heaven's Sake 06:20
• 7 Way to Go 03:26
• 8 The Dream of Tomorrow 03:57
• 9 The Heart of Time 03:38
• 10 Alone Together 05:38
• 11 Polka Dots and Moonbeams 04:43
• 12 Someone to Watch over Me 05:14
• Total Runtime 57:40

Info zu Archtop Avenue

A mix of reverence and adventure. An intimate and demanding solo guitar outing by Ratko Zjaca. 8 standard 2 originals. Each song played on a different legendary instrument.

Dedicated to the world‘s most famous guitar builders and inspired by a list of musical teachers who opened up his musical horizons, from Joe Pass and Jim Hall to Joe Diorio, Mick Goodrick and Vic Juris. Archtop Avenue is a compelling addition to the canon of solo guitar and a crowning achievement in Zjaca‘s career to date. In an interview for his previous album with the ZZ Quartet, 2021’s Midnight in Europe, Croatian-born guitarist Ratko Zjaca explained how he and the group’s co-leader, Italian accordionist Simone Zanchini, came to be so utterly eclectic in their musical tastes. “We like Hendrix, we like Fellini, we like Wayne Shorter, we like Michael Brecker, we like John Coltrane...and everything.”

One other aspect of Ratko’s musical makeup is his deep-seated love of jazz standards from the Great American Songbook. The longtime resident of Rotterdam, Netherlands explores those familiar vehicles with a mix of reverence and adventure in this intimate and demanding solo guitar outing, his 17th album as a leader/co-leader.

The prospect of playing standards in an unaccompanied setting — juggling chords, melody and bass lines — can be a daunting task for most guitarists. The legendary Jim Hall found the prospect “terrifying,” while the great Joe Pass may have set the standard for solo guitar with his series of Virtuoso recordings from the 1970s.

Pass’ influence weighs heavily throughout Archtop Avenue. You can hear it in the masterful, contrapuntal playing by Zjaca on Duke Ellington’s gorgeous ballad “Prelude To A Kiss”, on Jimmy Van Heusen’s “Darn That Dream”, and his introspective take on George & Ira Gershwin’s “Someone to Watch Over Me”. As Ratko explained, “My first jazz guitar album that I heard as a teenager was the Virtuoso solo album by Joe Pass. I couldn’t believe that one man could play jazz guitar alone on the whole album and at such an incredible level. Obsessed with Joe in the beginning, I spent days and days studying his playing from records. And then when I heard that he was teaching at the Rotterdam Conservatory, I decided to go to there.” Zjaca took the entrance exam for the conservatory from his hometown in Zagreb, Croatia. He was accepted and over the course of five years there ended up studying with Pass when the great guitarist would come to Rotterdam Conservatory every few months to give lessons. “I learned a lot about chord melody style, counterpoint, repertoire and many other things,” Ratko recalled. “But I soon realized that I had to work on my own way of playing.”

Those personalized touches can be heard in his extrapolations of the familiar melodies on “Body And Soul”, his intervallic leaps on “Alone Together” and his playing weaving of dissonance, counterpoint and swing on Thelonious Monk’s “Monk’s Dream”. While respecting the harmonic contours and deeply ingrained melodies of those oft-covered tunes, and others presented here on Archtop Avenue, Zjaca puts his own personal stamp on them through reharmonization, subtle rhythmic shifts and improvisational flights. Recording each track with a different archtop guitar, he interprets these beloved standards, and a few originals, with taste and invention. Always mindful of addressing the bass line while delivering rich chord voicings and spinning fluid melody lines, he strikes a delicate balancing act on these 10 tunes from Archtop Avenue.

“Doing a solo guitar album has been in my head for a long time,” he said. “Playing solo guitar is the most demanding form of expression on the instrument because you are completely musically naked and there is no one to cover or help you. And on the other hand, there is enormous freedom and the possibility of expression, but it requires great discipline and concentration. That is why there are not many solo jazz guitar albums.” Ratko added that he tuned his various guitars down for this session. “On the whole album I play the guitar lowered by half a step because I like that sound of the instrument the most for solo playing.”

A must have for all guitar aficionados and lovers of archtop guitars.

Ratko Zjaca, guitar

Ratko Zjaca
is an innovative musician, who is widely recognized as a technically advanced guitarist. He is known for being a relentless individualist, which is evidenced in his improvisational style. Ratko has had a prolific and extensive session history as a recording guitarist having played on many released recordings. He is a highly versatile player covering many areas of music but is best known for his work in the modern jazz and improvisation idiom. Ratko has released a number of albums as leader and has performed and recorded with many leading world American and European musicians.

Ratko Zjaca is considered a very gifted stylist, assumes many roles in his macrocosm of music: contemporary guitarist, composer, performer and educator. His unique musical vision absorbs and reflects all manner of music while retaining an enviable individualism and high quality craftsmanship that can span from quiet intimacy to searing intensity. Diverse musical backgrounds, which include jazz, world music, and free improvisation. He has been working on original compositions as well as crafting beautiful and haunting improvisations. He invented a unique style that is fearless, ambitious and volatile. He studied and graduated from Zagreb University. In his drive for the necessary knowledge and the enormous need for studies he sought his refuge in The Netherlands at the Rotterdam Conservatory. There he could get teachings by well-known masters. He also followed masterclasses and personal courses with Joe Pass, Jim Hall, Pat Metheny, Mike Stern, Bob Brookmayer, John Abercrombie, Mick Goodrick, Hariprasad Chaurasia and others.

Unlike some of his colleagues Ratko is not focusing only on saxophone phraseologies, but is continuously expanding the guitar's vocabulary within today's world of music. Whilst improving his performance to create his typical own sound and style, Ratko as a gifted teacher with a loaded teaching schedule, is capable of transposing most advanced phrases and concepts into structures, suitable for every musician. He gives master classes all around the world for guitar and fretless guitar, in countries like Slovenia, the Netherlands, France, Croatia and the United States.

After completing his study at the Rotterdam Conservatory where he studied jazz guitar, composition and Indian classical music, he also studied at New York University School of Music. He started to work with own group and with American trumpet veteran Benny Bailey group. Ratko participated at many international festivals and has been booked for the major club dates at the European and American scene. Ratko has constantly made major efforts to enrich his experience with appearances and recordings. He was also performing and recording with Benny Bailey, Gary Peacock, Reggie Workman, John Patitucci, Al Foster, Jimmy Cobb, Steve Gadd, Alvin Queen, Ron Carter, Randy Brecker, Miroslav Vitous, Jeff Tain Watts, Adam Nussbaum, Kirk Lightsey, Simone Zancini, Anders Bergcrantz, Shawnn Monteiro, Denise Jannah etc.

In April 2000 Ratko recorded 'A Day in Manhattan' in New York with members of John Coltrane and Miles Davis rhythm section, Reggie Workman and Al Foster.

Ratko is currently composing music and working on a new world music project on which he plays baritone, sitar, fretless, soprano, electric and acoustic guitars - this will be the second part of his previous record Shades of Spirit, Fretless Guitar Project.

Dieses Album enthält kein Booklet