Landrus Kaleidoscope – Capsule

“Baritone sax and bass clarinet ace Brian Landrus takes a refreshing, modernist approach to the jazz quintet on his new album as a leader… an exciting voice on the big horn.” – Bill Milkowski, Jazz Times

“Top 10 Jazz Album of 2011: This is a very modern, very organic sort of jazz fusion, with no regard for the boundaries that separate jazz, rock, pop, and R&B.” – Steve Greenlee, Boston Globe

“Fresh voices on the baritone saxophone are rare these days; Brian Landrus, a fine practitioner of the low-end horn, gathers together impressive collaborators… for his Landrus Kaleidoscope.” – Steve Futterman, The New Yorker

“**** Four stars… Astonishingly talented multi-woodwind musician… Landrus is unquestionably the most original baritonist for years and his band obviously enjoys playing his arrangements.” – Tony Hall, JazzWise Magazine

“A sleek new disc with shades of funk and electronica.” – Hank Shteamer, Time Out New York

“The multifaceted Capsule packs enough of an emotional punch to engage and entertain.” - Hrayr Attarian, All About Jazz

“Landrus is a once-in-a-generation musician… The Landrus Kaleidoscope offers a sonically expansive body of music that displays his melodically charged vision.” – Alonzo Weston, News-Press

“Baritone specialists are a rare commodity in improvised music, making Landrus’ continuing creative ascendancy all the more worth keeping an ear on.” – Derek Taylor, Dusted

“Extends its reaches far and wide into the electronic and cool realms of jazz. The Landrus Kaleidoscope both blurs and strengthens the bounds between these musical forms in the blink of an eye, much to the ear’s delight.” – Sharon Mizrahi, New York City Jazz Record

“The title track reverts to the warm, memorable simplicity of the earlier songs as Landrus artfully spaces his motifs, pulling some memorable overtones out of his bari sax as he reaches for the sky. – Alan Young, Lucid Culture

“’71 & On the Road’: A haunting mid-60s style psychedelic soul vamp inspired by a veteran jazz drummer who’s stuck playing live dates in his 70s just to get by. From the baritone sax player/composer’s Capsule album.” – New York Music Daily

“Brian Landrus extends his stylistic range into the realm of electric jazz with Capsule…provides a tantalizing glimpse of an unexpected side of Brian Landrus' capabilities as a player, composer, and arranger.” – Dave Wayne, All About Jazz

“…Landrus shows he has the goods to take his muse down whatever path he chooses and produce a winner every time.” – S. Victor Aaron, Something Else Reviews

“As a composer, Landrus has developed a technique of devising lyrics for every tune he writes which shape them and his solos out of his vision and hearing. The thick, dark collective lament (71 And On The Road), is a perfect example, it expresses the mood of ultimate resignation inherent in the title, by way of the squinting, crow's-feet gaze heard in Cain's wandering piano, and the smoldering melancholy of Landrus' baritone saxophone.” – C.J. Bond,

“Here, he branches out with doubles on bass clarinet and bass flute, among other woodwinds, while fronting an electro-acoustic quintet. This is a more ambitious project than his debut, and it shows his diversity.” – Kyle O’Brien, Jazz Society of Oregon

“While making few overt references to R&B, Capsule explores Landrus’ love of soul-infused grooves, seamlessly folding the lyrical hooks and tight structures of funk and Motown and Caribbean rhythmic currents into spacious jazz settings.” – Brian Lush,

“The eight compositions… skillfully merge funk and jazz with catchy heads and chord structures ripe for improvisation.” – Ron Netsky, City Newspaper


Brian Landrus Quartet – Traverse

“**** Four stars. Landrus demonstrates the tonal nuance, melodic sense, and instrumental command that set him apart from his peers on the big pipes.” – Ed Enright, DownBeat

“**** Four stars. There hasn’t been a really ground-breaking baritone saxophonist since, well, since Gerry Mulligan and Pepper Adams. Could Brian Landrus be the next one? He’s certainly a unique woodwind specialist… Altogether, a beautifully recorded, extremely tasteful contemporary acoustic session.” – Tony Hall, JazzWise Magazine

“**** Four stars. His tone is deep and rich and whether his playing takes on the softness of a butterfly or becomes more intense, his attention to detail is beyond reproach. The melodies are frequent and the musicianship is stellar.” – Jon Neudorf, Sea of Tranquility

“Old or new or in between, the Brian Landrus Quartet delivers and does so with brilliance.” – Bob Gish, Jazz Inside

“Much like Gerry Mulligan fifty years ago, the baritone saxophonist pushes the limits of where his instrument can go, with a warm melodicism to match, over grooves that range from Latin to reggae to a jazz waltz to hypnotic ambience.” – Alan Young, Lucid Culture

“What about the baritone saxophone as a romantic, seductive and rather beautifully mellow instrument? Not so likely? Well, once it's placed in the hands of Brian Landrus, the romantic side of the instrument isn't just likely, it seems to be exactly how it was destined to sound.” – Bruce Lindsay, All About Jazz

“Landrus - who by the way is primarily a baritone sax/bass clarinet specialist - is committed to keeping the low end of the spectrum important in way that perhaps hasn't been attended to with such care since the late, great Gerry Mulligan.” - Brad Walseth,

“Here is music entwined with the infinite, its harmonies become a dramatic balancing of tensions between the dark horn and the bright piano, the throbbing bass and the shimmering of the cymbals. All this until the imaginary and improvised collides with the omnipresent concreteness of imagery, shattering conventions in magnificently explored music.” - Raul D’Gama Rose, All About Jazz

“On the surface, the pieces resonate well with sharp melodies and broad strokes of colour. But beneath, Landrus’ compositions contain winding roads and tricky passages that should satisfy even the most discerning of listeners.” – Jordan Richardson, Canadian Audiophile

“Although he is playing bari and bass clarinet, Landrus is clearly influenced by great tenor players such a Charles Lloyd or Joe Henderson, most apparent in his sense of phrasing and warm tone in addition to interactive playing with his quartet.” – William Harvey, Doo Bee Doo Bee Doo NY

“At a little over 42 minutes, Traverse does what its definition intended. It passed across from traditional jazz into a modern era. The Brian Landrus Quartet delivers pleasurable music that leaves you yearning for more. - Enrique Grijalva, Muzik Reviews

“His creative and personal approach to blending the past and the future is best reflected in the solo improvisation, "Soul and Body," which is in the spirit of "Body and Soul," and precedes his lyrical interpretation of that classic song with a melodic, spontaneous approach that builds on the famous standard's chiefdom in reverse.” – Hrayr Attarian, All About Jazz

“There are still players out there blowing the big horn with all the swing and passion of their forbears. One of those cats is Brian Landrus. Traverse is another chapter in the fast-developing career of Brian Landrus.” - S. Victor Aaron, Something Else Reviews

“Hopefully Landrus' brilliant playing will inspire more young people to play this wonderful instrument.” – Jazz and Bossa Review

“…this is a sweet date where his compatriots give him proper room to move and groove in easy going, sitting down style.” – Midwest Record


Brian Landrus – Forward

“Forward moves with confidence from free-form to bop to straight-ahead tunes. Landrus' playing and arranging skills are impressive and his core band members are tight and inventive. The album heralds the arrival of a strong new writing and performing talent.” – Bruce Lindsay, All About Jazz

“This world has bred legions of great alto and tenor players, but how many baritone sax specialists can you name offhand? There’s Gerry Mulligan, Hamiet Bluiett, Harry Carney, Nick Brignola, John Surman, Gary Smulyan… and now, Brian Landrus…[Forward] is one of the niftiest debuts this cranky writer’s heard in a while.” – Mark Keresman, Signal to Noise

“A promising, enjoyably listenable debut…from multi-stylistic baritone saxist/bass clarinetist Brian Landrus. Despite the presence of a full octet here, the compositions are more scaled-down with breaks for consistently gripping solos from a terrific cast of characters…Landrus likes a modified Latin beat, which the percussion is particularly suited for, has a way with a catchy hook and uses the totality of his range…” - Alan Young, Lucid Culture

“Brian Landrus has good composing skills and he plays with a maturity that belies his 29 years (at the time of the recording).” – Richard Kamins, Step Tempest

“Brian Landrus is a voice to watch out for as he charts a creative course in contemporary music. What sets him apart is the lyricism of his compositions and his ability to tell interesting, vividly illustrated stories.” – Raul D’Gama Rose, All About Jazz

“The music feels anchored in the modern tradition while bringing a fresh voice to it. Landrus can get way out when he wants or lay back in a highly accessible groove, too. It’s rare to hear that kind of flexibility and eclecticism these days when specialization comes all too soon to the young players.” – The Jazz Breakfast

“It is a great feeling to hear a young artist who is intent on taking jazz into the future with exciting new works - building on the foundation of tradition, but developing an original voice of his own. Maybe the debut of the year.” – Brad Walseth,

“Surges through the tracks with seemingly casual, but in the end, irresistible, energy… An impressive recording by a reed player who developed his own distinctive style while still in school.” – Bill Donaldson, Cadence

“The baritone sax and bass clarinet can often come off as husky, abrasive instruments, but in his hands, they sound effortless and polished… A good way to get acquainted with Landrus’ vast musicianship.” – Victor Aaron, Something Else Reviews

“A talented, young, multi-reedist… Forward touches on free jazz and Afro-Latin jazz, while emphasizing intricate, slightly left-of-center – albeit tonal – post-bop and soul jazz-based sounds… An auspicious debut.” – Dave Wayne, JazzReview

“Landrus translucently bridges the gap between many jazz related worlds and shines as a strong soloist and perceptive bandleader.” – Glenn Astarita, ejazznews