Derek Menchan's Mruzick

Mruzick (mroo-zik) n; Menchanian-American colloquialism- a deliberate malprop, describing a set of aural phenomena, mostly urban in origin, which are defined as sounds which, essentially pleasant, combine cross-cultural elements of West African and early American slave song rhythms and harmonies, Southwestern and Appalachian melodic structures, as well as those melodic structures influenced by the Western Art music genre, with blues, jazz, funk, and techno infusions with ancient Semitic overtones.

This is Menchan’s mruzick…

…as with everything else from this cat’s mind, it comes from a deep reservoir of shared human data and experiences (the collective unconscious , if you will)---accessible to all, yet plumbed by few. If music is the collective phenomena that touch the soul and soothe the savage breast---if music has no concern for race, gender, language, or age barriers, then Menchan’s mruzick is that earthy, visceral and utterly primal stuff that is heard and felt to be at the root of religious trance music (shamanistic ritual music as well as gospel effusions) as well as the most libido- tickling- street music. In Menchan’s mruzick, there is truly no separation of church and swing (another menchanism)…

…if music, not math, is the perfect language, then mruzick is its colloquial expression; the slang of music. It speaks to the deepest parts of us, at once making us wish to dance while simultaneously moving us to cry or emote—in short, it can drive us mad. It is eventually deeply felt as one’s own voice, stripped of any affectations, and its only polish is in its honesty and raw delivery.

Menchan is nothing if not a neoclassicist, and so all of the music referenced on this page, before it becomes mruzick , is from a bygone era, largely the 40’s. No, this style, this music is not immediately palatable to the masses—it’s purity and frankness is disarming---but hey—the same is true of Menchan, himself.

This is a rare peek behind the scenes into some tracks that will be released to the public in 2011 on Menchan’s debut C.D. for his BluClok record label. The tracks are mere instrumental skeletons, over which will be laid vocals and other virtuosic solo-work and effects. The first track is Menchan’s take on the iconic Sinatra-Basie recording of “Fly Me to the Moon.” The second is based upon Ray Charles’ rendition of the flirtatious “One Mint Julep." The third track is a snapshot of Gershwin’s “Lady be Good.” All the musical arranging and performing (save the guitar solos)is by Menchan. The tracks will also have been touched by the sheer magic of producers and engineers Mike Dean and Mike Moore, at Houston’s M.A.D. Studioz. Both Dean and Moore are known for winning Grammys for their work with Kanye West. www.madstudioz.com

The fourth track is from 2001, when Menchan first met up with insanely successful and talented Mike Dean, in the latter’s studio in Cypress, Texas. It is Menchan’s arrangement of the gospel hymn “Pass Me Not.” All ‘cello lines and vocals are by Menchan and the track’s co-producers are Menchan and Dean. www.deanslist.net