E-Press Kit
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| 5 x 5.7" at 300 dpi | 4" x 5" at 300 dpi | 2.7" x 3.9" at 300 dpi | 4" x 6" at 300 dpi |
Short Bio
As a jazz pianist Michael Pagán has performed for over thirty years throughout the United States and in Europe with many jazz greats including Greg Abate, Billy Hart, Bijoux Barbosa, Claudio Sloan, Kenny Wheeler, Jiggs Whigham, and many more. He performs regularly at numerous venues in Kansas City as soloist and appears with his own trio, with noted vocalist Millie Edwards, and with Greg Carroll’s Midnight Blue Jazz Quartet. As a composer Pagán has written over 150 works, mostly in the jazz idiom. His 2005 big band recording Pag’s Groove garnered wide critical acclaim. His latest recording, Michael Pagán Trio Three for the Ages was released by Capri Records in January 2010 and features two mainstays of Kansas City’s jazz scene - bassist Bob Bowman and drummer Ray DeMarchi. His 12 Preludes and Fugues for saxophone quartet, a work of over 70 minutes will be released by Tapestry Records in August of 2010. In addition to a heavy schedule of performing, composing and recording, Michael Pagán is Director of Marketing and Communications at the American Jazz Museum in Kansas City.
What people are saying . . .
On 12 Preludes and Fugues (release date: August 17 2010):
"Michael Pagán's Twelve Preludes and Fugues is a monumental addition to the saxophone quartet literature. A substantial, creative and compelling work; I believe that listeners and performers alike will find its blend of classical and jazz styles stimulating and profoundly rewarding."
Tim Timmons, Professor of Saxophone
University of Missouri Kansas City
On Three for the Ages (2010):
". . . Pagán delivers one for all time on Three for the Ages—a superior recording leaving little doubt that this pianist is a dynamic artist and musical force in today's jazz world."
Edward Blanco, allaboutjazz.com
"This is as masterful a piano trio effort as one can hear, anywhere, covering thoughtful ballads, mid-tempo swing, and the gorgeous original title track . . . Pagán delivers with clarity, reverence for melody, harmonic choices that reflect a broad emotional palette, and luxurious spaces that allow each note to breathe fully. Bassist Bowman is a perfect foil and artful soloist throughout, drummer Ray DeMarchi is a shimmering timekeeper."
Andrea Canter, Jazzpolice.com
"Blessed with a beautiful touch and a steady stream of ideas to match, Pagán makes music that is beautiful and honest with tradition firmly in hand . . ."
Michael G. Nastos, All Music Guide
"Kansas City used to be a hotbed of jazz and it still courses through the town's veins as this set was recorded in KC with two of the local jazz luminaries that can hold their own with any of the mainstays . . . these cats might be flying under the radar but it’s time for you to pay attention . . ."
Midwestrecord.com
"A spirited performance . . . these are all very talented musicians as we discover quickly on their cover of “You Don't Know What Love Is” . . . arrangements infused with heartfelt improvisations."
O’s Place Jazz Magazine
"Grounded in jazz but with a deep classical background, as a soloist Pagán thinks compositionally while always sounding spontaneous."
Ray Comiskey, The Irish Times
"Piano heroes like Bill Evans, Hank Jones, Tommy Flanagan and Alan Broadbent have laid the groundwork for the elegant, in-the-pocket pianist Michael Pagán. Like theirs, his approach is to find both the beauty and the swing in the music. And, like them, his trio is just that … a trio where each player makes a significant contribution. Most pianists begin an album with a head-turning fast tempo. Pagan opens with an extended “You Don’t Know What Love Is,” a ballad in the heart of the tradition. In fact, he doesn’t really let out all the stops until a high wire “How Deep Is the Ocean.” A Victor Feldman tune, “Falling In Love,” once again represents Pagan’s pageantry on a ballad, and “I Should Care” swings politely with some bountiful block chords. “Atras da Porta” is a gentle Brazilian bossa which I recall from a delicious performance from an old Rob McConnell album. A second Irving Berlin tune, “The Best Thing For You,” is played with swinging precision, and Pagán and friends end the program with “Persona,” a thought provoking entry from the brilliant Italian pianist, Enrico Pieranunzi. These and more signal the arrival of Michael Pagán in the small circle of jazz pianists who listen first and then find their own voice."
George Fendel, Jazz Society of Oregon
On Pag’s Groove:
“Now comes Michael Pagán, whose recording unveils a writer of uncommon ability and perception . . . Who knew he could make a big band sound so marvelous? . . . Pag’s Groove is a stellar album from start to finish, and as concerns Pagán’s big-band writing and arranging skills, that cat is out of the bag for good.”
Jack Bowers, Cadence Magazine
“A fine pianist, [Pagán] is also, as this exceptional example of swinging big band jazz proves, a hugely talented composer arranger . . . he has the ability to conjure up scintillating lines, fondness for artful counterpoint, great attention to detail and clarity of focus.”
Ray Comiskey, The Irish Times
“With bold dynamics, Pagán has crafted an original and compelling big band sound . . . A start-to-finish fine big band outing.”
Dan McClenaghan, allaboutjazz.com
“. . . Special attention has to be paid to ‘Lyric Interlude.’ It will grab you. The composition opens and closes as a bossa nova with eloquence . . .The core, however, is a majestic brass chorale. An inspired combination . . . Pag’s Groove is quality all the way.”
Bill Falconer, Jazzreview.com
“With a big band comprised of top musicians from Colorado, where he resided until recently, Pagán demonstrates his expertise on a program of originals . . . his music is appealingly accessible.”
David Franklin, Jazz Times
“The music has an extra-ordinary quality of sounding very relaxed but at the same time, careful listening reveals a quality and depth that suggests that the album has been drawn from an exclusive archive of defining performances, in short there is a timeless quality about it . . . This is contemporary big band jazz at its most rewarding . . . a must have!”
-John Kiloch, mainlybigbands.com
On Nobody Else But Me:
“Michael Pagán deserves recognition as a superior jazz pianist.”
Scott Yanow, All Music Guide
“An elegant classicist . . . Pagán flies solo with perfect assurance.”
Bill Gallo, Westword
"Pagán’s melodic intelligence shines . . . simple and wonderfully effective.”
David Lewis, Cadence Magazine
“If Bach had played jazz, it might have sounded like this.”
Brad Weismann, Colorado Daily
On John Hines In the Pocket:
“Michael Pagán has a particularly light touch and his piano is the ideal companion for the leader’s trombone.”
Paul Donnelly, Ejazznews.com
“ . . . the three lead voices-[John] Hines’ trombone, [Hugh] Ragin’s trumpet, and Michael Pagán’s piano, in that order-perform, one after the other, magnificently, a transcendent display of inspired improvisational virtuosity, each voice building on the impromptu statements predecessor; and I can’t say enough about pianist Pagán’s part. His buoyant, Count Basie-like accompaniment (swelling to eschew the Basie-esque reticence) behind Ragin’s breathtaking trumpet solo lifts the music to a higher plane; and when he gets his spot, things go to a level I didn't suspect existed.”
Dan McClenaghan, allaboutjazz.com
On Duo:
“This recording features the ‘Cadillac’ of vibraphone and piano duo performance by Doug Walter and Michael Pagán . . . There are really no words to describe the magic of this duo’s ensemble precision . . . Duo should be on everyone’s ‘must buy’ list.”
Lisa Rogers, Percussive Notes
On Is Waiting For You:
"He certainly knows the jazz tradition . . . the musicianship is excellent. . . and the leader [Pagán] has a very clean approach devoid of any clichés. Solid.”
Mark Ladson, Marge Hofacre’s Jazz News
"Pagán is a fine pianist from a technical standpoint but he does not give in to garish display of his talents. The articulation of his lines, which move from blues to bop in a heartbeat, is impressive . . . Is Waiting for You is a subtle knockout."
Richard B. Kamins, Cadence Magazine
"He has a crisp touch and a very full piano style . . . there's excellent rapport between the pianist and the two rhythm men . . . a convincing debut for the group . . .”
John Chadwick, Jazz Journal
"Pianist and composer Michael Pagán has a range as dramatic as the seasons’ changes outside his windows . . . this is one of the finest bop-oriented dates I've listened in on lately."
Andrew Bartlett, Arts Midwest
"Pagán delivers the whole package - melody, harmony and rhythm in abundance. Beyond that, he is an eye-opening and ear-catching pianist, technically sound and conspicuously resourceful.”
Jack Bowers, www.allaboutjazz.com
On various recordings and live performances:
“Sophisticated piano work”
Inside Chicago Magazine
“Michael Pagán is a musician/educator and an excellent mainstream jazz pianist who deserves a lot more renown.”
Bill Falconer, JazzReview.com
“Dynamite piano stylings . . . his performance was jazz-inspired through-and-through and the audience loved it.”
Dominic Papatola, Duluth News-Tribune
“A versatile keyboard improviser”
Downbeat Magazine
“ . . . unmatched piano virtuosity . . . Michael’s keyboard skill is unbelievable. . . a memorable evening of superior jazz musicality.”
Ed Fenner, KC Jazz Voice LLC
On Impromptu, Chorale & Fugue for Woodwind Quintet:
“Bright, modest neoclassicism . . . played with energy and flair”.
Tim Page, The New York Times