Vince Delmonte

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As 2006 nears its end, no one can argue that the world of country music isn't, at this moment, the most adventurous in the mainstream pop music industry and that Nash Vegas is taking more chances on its acts as the rest of the biz relies more on narrowing things into smaller and smaller niches that can easily be hyped and digested. Sure, as always, artist's images and many recordings are calculated to score big as in any pop industry. The difference is in approach. The country-listening audience/demographic has widened considerably; therefore, there is a need – as well as an opportunity – for experimentation to see what sticks. This is the most exciting the music's been since Willie and Waylon hit the charts in the '70s, or perhaps to be a bit more fair, when Garth Brooks turned them upside down in the early '90s…

Homecoming. It is hardly surprising that several jazz compositions are known by this name. Especially for the continuously travelling improvisers, those post-modern nomads, to return home to their families is something he/she is longing for during the continuous loop of aeroplane-hotel-stage-aeroplane (even if he/she is longing to be back on the road after a few days at home…). Home can mean many different things: for some it is being on stage, for others it is an imaginary place, only to be found in their dreams. However, you may also associate homecoming with Vince Mendoza’s return to his acknowledged first love, jazz. Or his reunion with the orchestra he feels deeply connected with for already more than two decades, the WDR Big Band. Maybe the word makes you think of the happy opportunity to once again write your own music. The word has all of these and many more meanings, all of them are coming together in this particular homecoming.

Debut album from the Los Angeles-based instrumental fusion quartet.