{"id":10665,"date":"2016-06-17T10:00:33","date_gmt":"2016-06-17T17:00:33","guid":{"rendered":"http:\/\/jazzusa.com\/?p=10665"},"modified":"2013-06-13T17:11:09","modified_gmt":"2013-06-14T00:11:09","slug":"lawson-rollins-full-circle","status":"publish","type":"post","link":"https:\/\/jazzusa.com\/?p=10665","title":{"rendered":"Lawson Rollins &#8211; Full Circle"},"content":{"rendered":"<p>Having traversed the world in search of intriguing sounds from virtually every corner of the globe with his beloved Spanish guitar en tow, Lawson Rollins has come full circle on his aptly titled fourth solo album, \u201cFull Circle,\u201d which will be released July 16th by his Infinita Records.<\/p>\n<p><iframe loading=\"lazy\" width=\"480\" height=\"300\" src=\"http:\/\/www.youtube.com\/embed\/eaQSpCKHy8Q?feature=player_detailpage\" frameborder=\"0\" allowfullscreen><\/iframe><\/p>\n<p>Adopting a \u201cless can be more\u201d philosophy on the twelve new songs that he composed allows the focus to be on Rollins\u2019 captivating melodies and dexterous fretwork that unfold over worldbeat rhythms and multicultural instrumentation. Radio listeners will be introduced to the collection Rollins produced with multi-platinum producer Dominic Camardella (Ottmar Liebert, Flora Purim, 3rd Force) when the first single, \u201cMomentum,\u201d is shipped to stations in June.<\/p>\n<p>Just as he has on his previous releases, Rollins entered the recording studio with Camardella (keyboards, piano) and a gifted ensemble comprised of Grammy-winning violinist Charlie Bisharat, bassist Randy Tico, percussionist Dave Bryant and saxophonist\/flutist Richard Hardy. Rollins plays classical, flamenco and electric guitars on \u201cFull Circle\u201d along with keyboards and drum programming. The multilingual etchings of the erudite guitarist fluctuate in tone and speed. Rooting the compositions in sparser settingsthan utilized on his earlier albums(\u201cElevation,\u201d \u201cEspirito\u201d and \u201cInfinita\u201d), the storytelling guitarist spins enthralling escapades with his six-string that are the focal point of the sonicscapes.<\/p>\n<p>Rollins relishes the challenge of presenting material masterfully performed as audacious amalgams constructed of mesmerizing melodies and exotic rhythms mined from Afro-Cuban rumba, bossa nova, samba, mystical Middle Eastern, tango, reggae, rock, classical and jazz.\u00a0Each cut was thoughtfully crafted resulting in numerous highlights on the disc. \u201cMomentum\u201d rides a relentless rumba-flavored groove seasoned with a hint of Japanese folk music along a marching motion of melody. The rumba party continues on \u201cPursuit,\u201d which incorporates an Appalachian fiddle motifto the thrilling chase. \u201cFlight\u201d and \u201cBloom\u201d romance by way of sultry bossa nova ambiances and a pristine nylon guitar sound. The title cut recalls Rollins earlier work as a member of Young &amp; Rollins(2000-2006) with an updated approach to the salsa stylings. \u201cGone From Here\u201d is a sprawling rumba meets rock stroll on which Rollins makes a rare pronouncement on electric guitar. Another diverse number that Rollins refers to as a \u201cjourney piece\u201d because of its deviation from the typical song structure, \u201cShifting Seasons\u201d is like 4 songs in one song that meldsfolk, Asian elements, rumba and bolero rhythms.<\/p>\n<p>\u201c\u2019Full Circle\u2019 is somewhat of a return to my roots in a sense, with the focus shifting to a sound that is more centered and grounded in the instrument I know best -the nylon string Spanish guitar. I was determined and indeed excited to create a cohesive, guitar-focused album. I had to reign in my instinct to apply layer upon layer of sound to any given track. That&#8217;s not to say that \u2018Full Circle\u2019 does not have some adventurous musical rides, but the heart of the album can be found in concise musical statements. Woven throughout the fabric of the recordings is the constant thread of the guitar. \u2018Full Circle\u2019 is perhaps the most accurate, pointed expression of my guitar style and approach to melody and songcraftto date,\u201d said the San Francisco-based Rollins.\u00a0Rollins has generated over 7.5 million YouTube views, an extraordinarily high number for an instrumentalist in his genre. Over 6 million views came from the release of three astonishing performance clips \u2013 \u201cThe Fire Cadenza,\u201d \u201cSanta Ana Wind\u201d and Locomotion\u201d \u2013 with the balance comprised of fans posting videos of their own attempts to replicate his astoundingly prodigious\u00a0techniques. Rollins scored a #1 radio single at Billboard with \u201cMoonlight Samba\u201d from the \u201cEspirito\u201d album in addition to collecting several Top 30 contemporary jazz radio hits. Last year, he guest hosted a national radio program on Sirius XM and was profiled in Guitar Playermagazine, which marveled \u201cHe possesses ungodly classical chops, with dazzling speed, uncanny accuracy, and a beautifully delicate touch.\u201d<\/p>\n<p>The songs contained on Rollins\u2019 \u201cFull Circle\u201d album are:<br \/>\n\u201cMomentum\u201d<br \/>\n\u201cPoint of Attraction\u201d<br \/>\n\u201cPursuit\u201d<br \/>\n\u201cFlight\u201d<br \/>\n\u201cHorizon\u201d<br \/>\n\u201cBloom\u201d<br \/>\n\u201cFull Circle\u201d<br \/>\n\u201cSerpent\u2019s Tale\u201d<br \/>\n\u201cThe Offering\u201d<br \/>\n\u201cGone From Here\u201d<br \/>\n\u201cShifting Seasons\u201d<br \/>\n\u201cPromise\u201d<\/p>\n<p>For more information, please visit www.lawsonrollins.com.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Having traversed the world in search of intriguing sounds from<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-10665","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/10665","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=10665"}],"version-history":[{"count":8,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/10665\/revisions"}],"predecessor-version":[{"id":10727,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/10665\/revisions\/10727"}],"wp:attachment":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=10665"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=10665"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=10665"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}