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      Luis Muñoz is one of those special musical visionaries that is constantly challenging the musical realm, breaking out in new directions and discovering new rhythmic territory. Inspired by a vast ocean of musical tastes and influences, Luis has had the opportunity to express his eclectic spirit on such works as his debut Fahrenheit Records release, 1996's Fruit of Eden. Now, Muñoz brings listeners a more progressive and exotic expression on his latest endeavor, Compassion.

      "There's a wider spectrum of styles and sounds on this project, building on … Eden's nucleus of trumpet, sax and rhythm section," says Muñoz, who wrote and arranged every track and co-produced once again with veteran producer Dominic Camardella (Ottmar Liebert, Maynard Ferguson, Willie & Lobo). "I broadened the potential with unique instruments like chromatic harmonica, vibes, violin, cello, accordion and even a simple acoustic guitar, none of which I used on the first album. Some find it odd when artists try to do it all, but to me, there are no barriers in the creative process. I move where my heart and soul take me and explore my emotions in the ways that make the most sense."

      Compassion seduces us from the very beginning of the lilting opening track "Romance," an easy grooving piece driven by the smooth flugelhorn melody of Jonathan Dane combined with a doubling effect by tenor saxman Tom Buckner. "Pasión" sums up Muñoz's expansive musical world view very simply, with a gentle harmonica melody by Ron Kalina over graceful acoustic guitar and piano harmonies, all over a bright Brazilian samba rhythm. "Yiguirro," a musical interpretation of a fable about a lost child's exposure to good and evil, is an ever evolving gem which reflects Muñoz's ability to work with numerous colors and textures; it begins with exotic soundscaping and bird calls, subtle jazz drum brushes and a lighthearted piano melody. This gives way to the wistful flute of Adrian Spence, and leads into a spiritual battle between flute and piano, weaving around a flugelhorn harmony and jumping over a cool bass groove and fiery percussion. The title of the next tune, "Cha Cha Cha De La Machaca" gives away its lively, festive nature, with a melody switching off from flugelhorn and muted trumpet to sax. Muñoz then leads his band into a cool down mode with the smoky, melancholy piano and guitar ballad "The Sleep of the Innocent" before pumping up again for the feisty and hypnotic, almost avant-garde jam "Monteverde" (which weaves a horn section around Buckner's tenor and soprano).

      "Azure-The Color of the Sky" is perhaps Compassion's most unusual expression: A study in Baroque counterpoint, it features a percussive multi cello melody by Misha Bodnar, a snappy acoustic bass solo by Chris Symer, Brian Mann's accordion improvisation and a 6/8 bembe rhythm from Nigeria in the second half of the song. Back from the cool brink of insanity, Muñoz gives Chris Judge's flamenco guitars full reign on the mid-tempo "Nicoya" before revving up yet another piano based Latin jam session, "Islands". Rounding out the set are the classically flavored title track (featuring virtuoso solo violinist Gilles Apap) and a brief acoustic guitar reprise of "Nicoya" by Chris Judge.

      There is a sense of universal love on Compassion. This album serves as a tribute to the artist's merciful heart, kind soul and an irrepressible love for rhythms and melodies that will stir and inspire any of us fortunate enough to listen. While Muñoz is a veteran world class percussionist and drummer, he sees "Compassion" as a showcase for his equally compelling talent as an ultra-melodic composer.

      "I grew up in Costa Rica, which is right in the middle of the American continent," he muses, "and being in a place where every form of Latin music merges really had an impact on me. The first 20 years of my life were spent in Costa Rica, a rich and peaceful country full of luscious and magical rainforests, beautiful beaches and hardworking, passionate people. Coming from a large family that included amateur instrumentalists as well as professional composers, my involvement with music started at a very early age. I was constantly being exposed to the plentiful, multi-faceted world of Latin American music; the pleasure, inspiration and joy that came from that experience were very important factors in my decision to become a composer.

      I remember listening to the songs of Chilean Victor Jara and Violeta Parra; the voices of Mercedes Sosa and Milton Nascimento; the Argentinian Tango; the music of the Andean "Altiplano." I loved the music of Brazil, with the pulsating rhythms of the samba, the maracatú, the partido alto and the baião, plus the gentle beauty of the bossa nova; the cumbia from Colombia, the merengue from the Dominican Republic, the calypso from Trinidad, the norteña and ranchera music from Mexico, the bomba and plena from Puerto Rico and the music of Cuba. Cuban music,with it's deep African roots, has offered the world the gifts of the rumba, the cha-cha-cha, the son montuno, songo, mambo, guaracha and guaguanó, creating beats to which the entire American continent now dances." Muñoz continues, " ... In loving and appreciating these styles of music I grew up with, I would soon realize that there was much more yet to discover. Early on I remember being exposed to the music of Miles Davis, Ornette Coleman, Eric Dolphy, John Coltrane and Thelonious Monk, which ignited my unquenchable thirst for jazz. Then, during my early teens, the "British Invasion," and music from groups like the Beatles would introduce me to a new type of music and culture from other parts of the world. Naturally, as a student at the musical conservatory of the University of Costa Rica, I found myself deeply intrigued with the classical music repertoire. Bach, Ravel, Chopin, Stravinsky ... the influences were many and varied. I was in awe of the vast emotional spectrum of classical music. The passion and depth, the rapture and relevance, the sheer magic that can only be found in some of the greatest works ever written."

      "When it comes to visualizing the music, I simply sit at a keyboard and mess around until I come up with certain notes and sounds, which ignite a little flame," Muñoz reflects. "But while I play a few keyboard parts on the album, the only instruments I feel strongly about as a performer are drums and percussion. I leave the melodies and harmonies to the great musicians I have the privilege to work with."

      The widespread global consciousness of Compassion may offer more rhythmic diversity than today's average instrumental release, but in many ways, it offers only several dimensions of Muñoz's career as a composer, sideman, performer and bandleader. Born in San Jose, Costa Rica in 1953, Luis' large extended family (fourteen aunts and uncles just on his father's side!) helped him cultivate an early interest in music, which he parlayed into performing (as a drummer and flutist) with jazz and rock groups. He studied both Architecture and Music Performance at the University of Costa Rica, then later took private lessons at the National Music Conservatory and with the principal flutist of the Costa Rica National Symphony. In 1974, Muñoz emigrated to the United States, where he completed his Bachelor of Arts degree in Music Composition at UCSB.

      As a sideman, he has played percussion for Flora Purim and Airto Moreira, Etta James and Jim Messina, and as a producer, Muñoz has helmed a variety of projects for numerous well known performers in South American countries. The release of the popular and critically acclaimed The Fruit of Eden in 1996, has also opened up numerous solo performance opportunities at jazz festivals and individual venues in both the United States and Latin America.

      Among his multitude of talents. Muñoz is most at home when composing. whether for others or for his own projects. He has spent the past twenty years as a first call composer for everything from commercial jingles and educational / industrial videos to sports documentaries, animation films, and dance and theater productions. He composed regularly for the National Ballet of Costa Rica.

      "It's a very personal, introspective process for me," he says. "I immerse myself in my own world, where I explore all my feelings and try to translate them into songs. I love to mix flavors from everywhere: from the Andes to Brazil to Africa along with my passion for jazz. Music must be a dialogue...once the writing and orchestrations are done, I enjoy interacting and welcome the ideas of others."

      Much of Muñoz's creative energies these past fifteen years have been aimed towards composing, performing and directing the musical ensemble Pelin. Pelin has played numerous international festivals and has made several recordings. including Costa Rica-Costa Rica. a work commissioned by the country's government.