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As unpredictable, fearless, and entertaining as their namesake, Le Chat Lunatique purveys an
addictive genre they call “filthy, mangy jazz,” a signature sound that makes you want to
smoke and drink too much—if only you could get off the dance floor. Le jazz hot of Django
Reinhardt and Stéphane Grappelli is their north star, but they use that beacon to navigate
through a wide range of genres, blending Western swing, classical, reggae, doowop, and
“anything else we damn well please” into strikingly original compositions and audaciously
reworked standards alike.
Le Chat Lunatique is Muni Kulasinghe’s theatrical vocals, his violin skittering across the
music like beads of water on a hot skillet—inspired as much by a legless Polish gypsy he
encountered on his vagabond travels as by the great Grappelli. It’s the axe of guitarist John
Sandlin, the classicist who fell under the sway of Reinhardt, felling bar after bar of music
with ferocious dexterity. It’s the slap-happy bass and slyly sweet vocals of Jared Putnam, the
sinisterly innocent one whose dark past embraces both death metal and Western swing. It’s
the irresistibly deep-pocketed grooves of drummer Fernando Garavito, the mysterious and
gracious Colombian who appeared by magic in New Mexico.
The group began prowling the nightspots of Albuquerque—that secret haven of hot jazz—
back in 2005, spontaneously impregnating the ears of unsuspecting audience members, who
found themselves unable to stop listening or dancing or making merry. From their earliest
gigs, Le Chat Lunatique has offered swinging originals with ear-snagging hooks and stories
to tell—well-constructed little gems that propagate earworms for ongoing pleasure.
Devilishly clever lyrics offer insight into l’amour (“falling in love is like eating tacos”), a
louche paean to a doting milllionairess (“Buy me a Cadillac, buy me a yacht / Buy me
everything that I haven’t got”), minatory observations on fate (“the bus of God will run you
over”), and the inevitable bitterness of a broken heart (“Miss Lady . . . please do me the
courtesy of drinking in some other gin joint”).
addictive genre they call “filthy, mangy jazz,” a signature sound that makes you want to
smoke and drink too much—if only you could get off the dance floor. Le jazz hot of Django
Reinhardt and Stéphane Grappelli is their north star, but they use that beacon to navigate
through a wide range of genres, blending Western swing, classical, reggae, doowop, and
“anything else we damn well please” into strikingly original compositions and audaciously
reworked standards alike.
Le Chat Lunatique is Muni Kulasinghe’s theatrical vocals, his violin skittering across the
music like beads of water on a hot skillet—inspired as much by a legless Polish gypsy he
encountered on his vagabond travels as by the great Grappelli. It’s the axe of guitarist John
Sandlin, the classicist who fell under the sway of Reinhardt, felling bar after bar of music
with ferocious dexterity. It’s the slap-happy bass and slyly sweet vocals of Jared Putnam, the
sinisterly innocent one whose dark past embraces both death metal and Western swing. It’s
the irresistibly deep-pocketed grooves of drummer Fernando Garavito, the mysterious and
gracious Colombian who appeared by magic in New Mexico.
The group began prowling the nightspots of Albuquerque—that secret haven of hot jazz—
back in 2005, spontaneously impregnating the ears of unsuspecting audience members, who
found themselves unable to stop listening or dancing or making merry. From their earliest
gigs, Le Chat Lunatique has offered swinging originals with ear-snagging hooks and stories
to tell—well-constructed little gems that propagate earworms for ongoing pleasure.
Devilishly clever lyrics offer insight into l’amour (“falling in love is like eating tacos”), a
louche paean to a doting milllionairess (“Buy me a Cadillac, buy me a yacht / Buy me
everything that I haven’t got”), minatory observations on fate (“the bus of God will run you
over”), and the inevitable bitterness of a broken heart (“Miss Lady . . . please do me the
courtesy of drinking in some other gin joint”).
Born in Albuquerque, New Mexico to Sri Lankan parents, Muni Kulasinghe
spent his formative school years in the sunny southwest and summers
sojourning in serendipitous Sri Lanka. At 7 years old, he began the violin
because he wanted to be like his older sister. By 18, in addition to tripping
with aforementioned parentals, he’d traveled extensively with the
Albuquerque Youth Symphony, including destinations like London and
Mexico City. He even, to his own shock and awe (and a bit of horror), had
been selected as a senior concerto winner where he performed in front of
2,000 of his closest friends at the University of New Mexico’s Popejoy Hall.
At Colorado College, he was lucky enough to fall in with the Bowed Piano
Ensemble, a well known group in the world of experimental music, with
whom he toured much of Western Europe (twice!). In Oslo, Norway, during
their first tour they were even on the same bill as Herbie Hancock! (He still
shakes his head in amazement.) Mr. Muni also spent a semester in
London to play the lead in a professional production of an original
adaptation of Kafka’s Amerika. After university, young Muni went
adventuring to Tunisia, where he played with jazz guitarist Faouzi Chkeili,
and various rock and funk bands infused with North African sensibilities; at
one point he even gave a solo concert at L’Etoile de Nord.
Upon his return stateside, he rejoined friends in the Buntport Theater in
Denver, with whom he put on plays, including a comic musical re-working
of "Titus Andronicus", for which he wrote and played most of the music. He
also rejoined another friend, Thaddeus Phillips of New York, to create and
perform “The Earth’s Sharp Edge” at La MaMa Theater in NYC and the
Painted Bride in Philadelphia (among other venues). For one year he
again left these august shores to play gypsy swing in Montpellier, France.
He learnt a great deal about cheese, wine and not brushing his teeth. Muni
ran screaming from graduate school to spend most of his time either
teaching or playing the violin in Albuquerque & occasionally acting when
Thaddeus is around (because Thaddeus takes him to places like Serbia
with the whole band!)"
spent his formative school years in the sunny southwest and summers
sojourning in serendipitous Sri Lanka. At 7 years old, he began the violin
because he wanted to be like his older sister. By 18, in addition to tripping
with aforementioned parentals, he’d traveled extensively with the
Albuquerque Youth Symphony, including destinations like London and
Mexico City. He even, to his own shock and awe (and a bit of horror), had
been selected as a senior concerto winner where he performed in front of
2,000 of his closest friends at the University of New Mexico’s Popejoy Hall.
At Colorado College, he was lucky enough to fall in with the Bowed Piano
Ensemble, a well known group in the world of experimental music, with
whom he toured much of Western Europe (twice!). In Oslo, Norway, during
their first tour they were even on the same bill as Herbie Hancock! (He still
shakes his head in amazement.) Mr. Muni also spent a semester in
London to play the lead in a professional production of an original
adaptation of Kafka’s Amerika. After university, young Muni went
adventuring to Tunisia, where he played with jazz guitarist Faouzi Chkeili,
and various rock and funk bands infused with North African sensibilities; at
one point he even gave a solo concert at L’Etoile de Nord.
Upon his return stateside, he rejoined friends in the Buntport Theater in
Denver, with whom he put on plays, including a comic musical re-working
of "Titus Andronicus", for which he wrote and played most of the music. He
also rejoined another friend, Thaddeus Phillips of New York, to create and
perform “The Earth’s Sharp Edge” at La MaMa Theater in NYC and the
Painted Bride in Philadelphia (among other venues). For one year he
again left these august shores to play gypsy swing in Montpellier, France.
He learnt a great deal about cheese, wine and not brushing his teeth. Muni
ran screaming from graduate school to spend most of his time either
teaching or playing the violin in Albuquerque & occasionally acting when
Thaddeus is around (because Thaddeus takes him to places like Serbia
with the whole band!)"
 |
 |
Guitarist John Sandlin has been playing music for twenty-one years. He
received his Bachelor of Music degree in Classical Guitar Performance in
2003 from the University of New Mexico. During that time, he studied with
the great Michael Chapdelaine, former student of Andres Segovia. In
addition to classical guitar, John studied jazz guitar with Michael Anthony,
25-year Los Angeles studio veteran and local jazz hero. John also had the
great opportunity to be exposed to many styles of jazz playing in UNM Jazz
Bands under the tutelage of Glenn Kostur.
John has played with many local groups over the past decade. The
Melizmatix, a lounge-y funk trio, have been the Reptilian Lounge House
Band at the Tricklock Theatre Company for five consecutive years. In
addition, The Melizmatix held down a weekly happy hour gig at the swank
OPM nightclub in downtown Albuquerque. The Sidestreet Strut Swing
Sextet, featuring some of Albuquerque’s great young jazz players, has
been a usual staple at the Tuesday night Swing Dance hosted by Desi
Brown of the Primordial Swing Dance Group. Out of this band, John and
tenor saxophonist Starr Vavreck formed The Sandlin and Starr Jazz Duo.
The Duo has opened for many acts in the Popejoy Lobby, including
Ahmad Jamal, The Artie Shaw Orchestra, Al Dimeola and Manuel
Barueco, The Benny Goodman Orchestra, and others.
John also has a great love for reggae music and is a former member of
the dub reggae group Sub Agencia. Members included Otto Barthel,
former member of the popular local group Giant Steps, and former
member of the world famous U.K. ska band The Specials, "Aitch"
Harrington "Charlie" Bembridge. Sub Agencia’s highlights include
opening for The Wailers, Toots and the Maytals, Andrew Tosh, and The
Easy Star All Stars. In a brief trucker country stint, John played guitar in the
enormously popular Breaker 19, which makes a couple of surprise
appearances a year.
Upon making the acquaintance of jazz violinist Muni Kulasinghe, John
was able to tap back into the jazz influences of Django Reinhardt and
Stephane Grappelli of the Quintet of the Hot Club of France. They started a
formidable repertoire of gypsy swing music. Drummer Fernando Garavito
and Bassist Jared Putnam soon materialized to form Le Chat Lunatique.
The rest is future tense…
received his Bachelor of Music degree in Classical Guitar Performance in
2003 from the University of New Mexico. During that time, he studied with
the great Michael Chapdelaine, former student of Andres Segovia. In
addition to classical guitar, John studied jazz guitar with Michael Anthony,
25-year Los Angeles studio veteran and local jazz hero. John also had the
great opportunity to be exposed to many styles of jazz playing in UNM Jazz
Bands under the tutelage of Glenn Kostur.
John has played with many local groups over the past decade. The
Melizmatix, a lounge-y funk trio, have been the Reptilian Lounge House
Band at the Tricklock Theatre Company for five consecutive years. In
addition, The Melizmatix held down a weekly happy hour gig at the swank
OPM nightclub in downtown Albuquerque. The Sidestreet Strut Swing
Sextet, featuring some of Albuquerque’s great young jazz players, has
been a usual staple at the Tuesday night Swing Dance hosted by Desi
Brown of the Primordial Swing Dance Group. Out of this band, John and
tenor saxophonist Starr Vavreck formed The Sandlin and Starr Jazz Duo.
The Duo has opened for many acts in the Popejoy Lobby, including
Ahmad Jamal, The Artie Shaw Orchestra, Al Dimeola and Manuel
Barueco, The Benny Goodman Orchestra, and others.
John also has a great love for reggae music and is a former member of
the dub reggae group Sub Agencia. Members included Otto Barthel,
former member of the popular local group Giant Steps, and former
member of the world famous U.K. ska band The Specials, "Aitch"
Harrington "Charlie" Bembridge. Sub Agencia’s highlights include
opening for The Wailers, Toots and the Maytals, Andrew Tosh, and The
Easy Star All Stars. In a brief trucker country stint, John played guitar in the
enormously popular Breaker 19, which makes a couple of surprise
appearances a year.
Upon making the acquaintance of jazz violinist Muni Kulasinghe, John
was able to tap back into the jazz influences of Django Reinhardt and
Stephane Grappelli of the Quintet of the Hot Club of France. They started a
formidable repertoire of gypsy swing music. Drummer Fernando Garavito
and Bassist Jared Putnam soon materialized to form Le Chat Lunatique.
The rest is future tense…
Jared Putnam was born in the great borough of Manhattan. After several
years spent in bohemian errantry, he finally settled in New Mexico, where
he now lives with his wife Monica, son Jack and daughter Claire. He
started playing electric bass at age 13, and soon after cultivated an
intense interest in “death metal”. By the end of high school, however, his
interests had broadened to include prog-rock, classic rock, jazz, world
music, et cetera. Jared graduated 4th in his high school class and was
thus issued a scholarship to the University of New Mexico. While at UNM,
Jared studied upright bass with Mark Tatum and composition with Dr. Bill
Wood. Jared played in jazz combo, jazz band and orchestra. His talents
were also called upon by the Santa Fe Symphony and the Roswell
Symphony.
Upon almost but not quite graduating, Jared took a job playing bass with
Albuquerque’s own “Mr. Guitar”, Hector Pimentel. Several months later, he
went to work for Syd Masters and the Swing Riders, a band that
specialized in western swing and cowboy songs. He played with this
group for six and a half years, during which time they made four
recordings, won 3 New Mexico MIC awards, were nominated for several
awards from the Western Music Association, played for President
Vincente Fox of Mexico, Prince Andrew, Governor Richardson, Dennis
Hopper and Patrick Swayze, made a TV commercial for the New Mexico
Lottery, opened for Willie Nelson, Ian Tyson, Riders in the Sky, Hot Club of
Cowtown, Bob Wills’ Texas Playboys, and played hundreds of trail rides
and festivals across the western U.S. They were country legend Lynn
Anderson’s band for most of 2003. While playing with Syd, he also
developed a keen interest in the “un-gentle art of slap bass”- a very
rhythmic, old-school style of playing developed by bass players (before
there were amps) to be louder. He now brings his knowledge of jazz,
western swing, composition and his crowd-pleasing slap bass solos to
the dynamic sound of Le Chat Lunatique.
years spent in bohemian errantry, he finally settled in New Mexico, where
he now lives with his wife Monica, son Jack and daughter Claire. He
started playing electric bass at age 13, and soon after cultivated an
intense interest in “death metal”. By the end of high school, however, his
interests had broadened to include prog-rock, classic rock, jazz, world
music, et cetera. Jared graduated 4th in his high school class and was
thus issued a scholarship to the University of New Mexico. While at UNM,
Jared studied upright bass with Mark Tatum and composition with Dr. Bill
Wood. Jared played in jazz combo, jazz band and orchestra. His talents
were also called upon by the Santa Fe Symphony and the Roswell
Symphony.
Upon almost but not quite graduating, Jared took a job playing bass with
Albuquerque’s own “Mr. Guitar”, Hector Pimentel. Several months later, he
went to work for Syd Masters and the Swing Riders, a band that
specialized in western swing and cowboy songs. He played with this
group for six and a half years, during which time they made four
recordings, won 3 New Mexico MIC awards, were nominated for several
awards from the Western Music Association, played for President
Vincente Fox of Mexico, Prince Andrew, Governor Richardson, Dennis
Hopper and Patrick Swayze, made a TV commercial for the New Mexico
Lottery, opened for Willie Nelson, Ian Tyson, Riders in the Sky, Hot Club of
Cowtown, Bob Wills’ Texas Playboys, and played hundreds of trail rides
and festivals across the western U.S. They were country legend Lynn
Anderson’s band for most of 2003. While playing with Syd, he also
developed a keen interest in the “un-gentle art of slap bass”- a very
rhythmic, old-school style of playing developed by bass players (before
there were amps) to be louder. He now brings his knowledge of jazz,
western swing, composition and his crowd-pleasing slap bass solos to
the dynamic sound of Le Chat Lunatique.
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Fernando Garavito was born and raised in Bogota, Colombia. At the age
of 18, he moved to the United States with his family, initially to Maine and
two years later to New Mexico where he now lives. Son to a writer and a
ballet teacher, he was surrounded by music and the arts since an early
age. He began by playing piano at the age of 8, and at 12 he moved
towards the study of drums. At first, self-taught, he learnt mostly by
listening to a great variety of musical genres. Being influenced by pop,
rock, funk, heavy metal, ska, reggae, and his native traditional music, he
developed a good versatility in switching between different musical
settings. He also sought more formal instruction. He took two years of
drum lessons from a Cuban drum master residing in Colombia, Fran
Calzadilla, while participating in multiple ensembles and putting all his
learnings into practice.
He was formally introduced to Jazz upon his arrival to the US in 2002. He
enrolled in the jazz studies program at the University of Southern Maine,
and studied under the mentoring of drummer Les Harris Jr. He was
involved in many musical ensembles, predominantly jazz-oriented,
performing at recitals and at local venues. He moved to Albuquerque,
New Mexico in the summer of 2004, where he continues the study of
music. Now, together with guitarist John Sandlin, violinist Muni
Kulasinghe, and bassist Jared Putnam, he performs with Le Chat
Lunatique.
of 18, he moved to the United States with his family, initially to Maine and
two years later to New Mexico where he now lives. Son to a writer and a
ballet teacher, he was surrounded by music and the arts since an early
age. He began by playing piano at the age of 8, and at 12 he moved
towards the study of drums. At first, self-taught, he learnt mostly by
listening to a great variety of musical genres. Being influenced by pop,
rock, funk, heavy metal, ska, reggae, and his native traditional music, he
developed a good versatility in switching between different musical
settings. He also sought more formal instruction. He took two years of
drum lessons from a Cuban drum master residing in Colombia, Fran
Calzadilla, while participating in multiple ensembles and putting all his
learnings into practice.
He was formally introduced to Jazz upon his arrival to the US in 2002. He
enrolled in the jazz studies program at the University of Southern Maine,
and studied under the mentoring of drummer Les Harris Jr. He was
involved in many musical ensembles, predominantly jazz-oriented,
performing at recitals and at local venues. He moved to Albuquerque,
New Mexico in the summer of 2004, where he continues the study of
music. Now, together with guitarist John Sandlin, violinist Muni
Kulasinghe, and bassist Jared Putnam, he performs with Le Chat
Lunatique.
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Major Shows and Tours:
2010: South by Southwest Showcase at the Elephant Room
Austin Texas (received standing ovation)
2009: Tucson Film and Music Festival-Hotel Congress Tucson, AZ
European Tour- 2 weeks in Serbia, one in England.
Performance of “Flamingo/Winnebago” at the National Theater,
Novi Sad, Serbia
Le Petit Carnaval at the Fox Theater, Tucson, AZ
2008: Djangofest Colorado, Crested Butte, CO
Glendale Community College, Glendale, AZ
Summerfest, Opening for Cracker, Albuquerque, NM
Albuquerque Folk Festival, Main Stage, Albuquerque, NM
2007: Painted Bride Theater, Premiere of “Flamingo/Winnebago”,
Philadelphia, PA
Colorado College, Colorado Springs, CO
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Have Opened for:
Asleep at the Wheel, The Hot Club of San Francisco, The Djangomatics, The Red Elvises, Del Castillo, Marianne Dissard, John Jorgensen, Robin Nolan, Gonzalo Bergara,
Stephane Wrembel, Vermillion Lies, Cracker, Thrift Store Cowboys and The Dirty Dozen Brass Band.
Other Highlights:
They composed and performed the music for a play
called Flamingo/Winnebago which has been performed in Colorado Springs, CO, Philadelphia, PA, Novi Sad, Serbia and Albuquerque, NM.
In 2007 and 2008, John Sandlin, who is endorsed by Manouche Guitars, organized the 2nd Annual and 3rd Annual New Mexico Django Fests which were met with great
acclaim, and brought great artists such as Howard Alden and Stephane Wrembel to
Albuquerque. Johnny is currently making plans for the 2010 New Mexico Django Fest.
Awards:
Weekly Alibi-
“Best of Burque“: Best Band: 2008
Best Jazz Act: 2007, 2008, 2009, 2010
Best Avant-Garde: 3rd place, 2010
Local iQ-
“Smart List”: Best Band: 2008, 2009, 2010
Best Jazz Act: 2008, 2009, 2010
Albuquerque the Magazine-
“Best of the City” : Best Jazz Act: 2009
Best Band Headed for Stardom: 2008
Editors’s Pick: 2007
Winner: 2007 New Mexico Talent Showcase in the Jazz/blues/gospel
division
Le Chat Lunatique’s 1st CD “Demonic Lovely”, released in February
2008, was nominated for SEVEN New Mexico Music Awards and won
ONE for
Best Jazz Song- “miss lady“.
Weekly Alibi-
“Best of Burque“: Best Band: 2008
Best Jazz Act: 2007, 2008, 2009, 2010
Best Avant-Garde: 3rd place, 2010
Local iQ-
“Smart List”: Best Band: 2008, 2009, 2010
Best Jazz Act: 2008, 2009, 2010
Albuquerque the Magazine-
“Best of the City” : Best Jazz Act: 2009
Best Band Headed for Stardom: 2008
Editors’s Pick: 2007
Winner: 2007 New Mexico Talent Showcase in the Jazz/blues/gospel
division
Le Chat Lunatique’s 1st CD “Demonic Lovely”, released in February
2008, was nominated for SEVEN New Mexico Music Awards and won
ONE for
Best Jazz Song- “miss lady“.
The band’s repertoire also features original arrangements of tunes that stretch from kindergarten favorites (“Frère Jacques”) to pop hits (“Straight Up”) to
swing anthems (“Minnie the Moocher”) to Reinhardt classics (“Blue Drag”). Every single tune is more than covered—it’s completely “Le-Chat-ified.” First, it’s
dunked in the group’s collective musical subconscious, and then they play the hell out of it. Take, for example, Sandlin’s inspired gypsy jazz arrangement of
Eric Satie’s Gnossienne No. 1—over a reggae rhythm (say what?).Then, there’s the medieval liturgical intro to “House of the Rising Sun,” which ultimately
descends into transcendent desperation.
Riding the popularity of their acclaimed first CD, Demonic Lovely, which featured all originaltunes, and their follow-up collection of covers, Under the Covers
(Vol.1), Le Chat Lunatique has been inducing musical mania in an ever-widening circle—from the South by Southwest Festival in Austin, Texas, to the clubs of
England, to the boards of the national theater in Novi Sad, Serbia, where they performed their commissioned score for Lucidity Suitcase Intercontinental’s
ground breaking theatrical production Flamingo/Winnebago. In their home state of New Mexico, they’ve won award after award annually for best band, best
jazz act,and best song. Their irreverent humor, their intensity, and their expert musicianship will soon win them your acclamation as the best time you’ve
ever had in public with your clothes on.
swing anthems (“Minnie the Moocher”) to Reinhardt classics (“Blue Drag”). Every single tune is more than covered—it’s completely “Le-Chat-ified.” First, it’s
dunked in the group’s collective musical subconscious, and then they play the hell out of it. Take, for example, Sandlin’s inspired gypsy jazz arrangement of
Eric Satie’s Gnossienne No. 1—over a reggae rhythm (say what?).Then, there’s the medieval liturgical intro to “House of the Rising Sun,” which ultimately
descends into transcendent desperation.
Riding the popularity of their acclaimed first CD, Demonic Lovely, which featured all originaltunes, and their follow-up collection of covers, Under the Covers
(Vol.1), Le Chat Lunatique has been inducing musical mania in an ever-widening circle—from the South by Southwest Festival in Austin, Texas, to the clubs of
England, to the boards of the national theater in Novi Sad, Serbia, where they performed their commissioned score for Lucidity Suitcase Intercontinental’s
ground breaking theatrical production Flamingo/Winnebago. In their home state of New Mexico, they’ve won award after award annually for best band, best
jazz act,and best song. Their irreverent humor, their intensity, and their expert musicianship will soon win them your acclamation as the best time you’ve
ever had in public with your clothes on.