Jason Anick, a mandolinist and violinist extraordinaire, will undoubtedly utter the phrase “jazz without borders”. Anick interprets the axiom as contemporary jazz that is stylistically inclusive. This is jazz that doesn’t mind bringing something new to the party and is not afraid to break the rules. Anick’s second album Tipping Point, which was released February 18, 2014, is a compelling example of this maxim in action. Anick uses both an electric and acoustic mandolins, expanding his musical horizons. Those who have associated Anick with acoustic Gypsy Jazz, as well as his work with John Jorgenson, a Grammy-award winning guitarist, will soon discover that pigeonholing Anick’s music is futile. Anick’s music is grounded in the present, where possibilities are endless. This is evident from the album’s title. Tipping Point mixes Anick originals with influences from mainstream jazz, Gypsy, swing, classical, new-acoustic, and jazz music. It also includes a variety of jazz classics. The fusion of Anick’s diverse visions is anchored by his exceptional command of his instruments and the energetic contributions of those who are like-minded musicians that he has met along his musical journey. Anick says, “Jazz is a home for all things.” “On Tipping point I’m trying new musical settings and different types of composition. I wanted to showcase different aspects of my writing and playing. All musical influences are interconnected to me. There’s beauty in interconnections.” Anick insists that his virtuosity does not overpower the music’s intention. He states, “It’s about creating a soundscape, an atmosphere for listeners to enter into.” Anick, who is one of the youngest instructors at Boston’s Berklee College of Music’s Berklee College of Music’s, says that it’s not about displaying technique. Anick, who is also the leader of his own band and performs with the Rhythm Future Quartet has been performing and recording with John Jorgenson, a Grammy-winning Nashville guitarist virtuoso since 2008, when he was a Hartt Conservatory senior. Jorgenson’s newest CD, One Stolen night, was his first recording. It was a top-10 album by Acoustic Guitar Magazine and the LA Times. Jason’s performances took him to China, Germany and Italy as well as to renowned venues like The Montreal Jazz Festival and Scullers Jazz Club. Jason is also an educator and has taught mandolin and jazz violin to many students at various string camps, workshops and clinics all over the globe. Jason contributes regularly to Fiddler Magazine’s educational columns and instructional videos for Christian Howes’ Creative Strings Academy. From www.jasonanick.com
