The Dream Logic

“The Dream Logic has ushered forth a fusion album that seemingly says: “Genres, styles and classifications be damned!” Spanning myriad musical styles, the 13-track self-titled album effortlessly blends nuances of Jazz, Rock, Soul and Funk into an amalgam sound where the sum of the parts far surpasses any singular “type” of music making. This liberating collection of tracks also gives credence to what can be accomplished when pursuit of music, any and all music, goes unabated or hindered by restraint. Tight technical command of the instrumentation, flawless production and a fearless approach to music and genre borrowing… what else really needs to be said? This is album isn’t just good; it stands alone.”

. by Christopher West - Scope Entertainment

“The Dream Logic has ushered forth a fusion album that seemingly says: “Genres, styles and classifications be damned!” Spanning myriad musical styles, the 13-track self-titled album effortlessly blends nuances of Jazz, Rock, Soul and Funk into an amalgam sound where the sum of the parts far surpasses any singular “type” of music making. This liberating collection of tracks also gives credence to what can be accomplished when pursuit of music, any and all music, goes unabated or hindered by restraint. Tight technical command of the instrumentation, flawless production and a fearless approach to music and genre borrowing… what else really needs to be said? This is album isn’t just good; it stands alone.”

. by Christopher West - Scope Entertainment

The Dream Logic Self-Titled CD Review / 2013 Self / 13 Tracks /
Quietly Freaky is a warm and inviting introduction for The Dream Logic, while the narrative brought will ensure that listeners stick around. The dynamic achieved by each of the instruments during Quietly Freak showcases another strength; the bass, drums, and guitars create a dense and fulfilling arrangement. What People Say continues to expand The Dream Logic’s palette as the band takes on bold new arrangements and a panoply of different styles.
Spooky Reaction is an epic six and a half minute romp through blues, jazz, and funk; the muted tones of the synthesizer, an emotive guitar, and on-point drums allows this track to resound long after the band has moved onto Emoco. Emoco switches things up considerably, from the variety of styles broached to the overall length of the composition (at 2:47, Emoco is the second shortest track on the album). Blending together hints of Genesis with Elvis Costello and Tom Petty, this track elicits memories of warm summer days. While having a very pop-influenced sound, Emoco maintains the same sort of quality and interesting arrangements that are present throughout the album.
Bad Deal is the final track on the album, and represents a solid ending to an album that is full of highlights. The Dream Logic is an act that creates a unique blend of jam band, blues, jazz, and rock while possessing a familiarity that keeps people listening . Make sure to purchase a copy of The Dream Logic directly from The Dream Logic, (http://thedreamlogic.bandcamp.com/ ). Visit their homepage ( http://www.thedreamlogic.com ) for tour dates, pictures, and video footage of the band.
Top Tracks: Quietly Freaky, What People Say
Rating: 8.7/10
- James McQuiston, Ph.D. - Neufutur Magazine

Sometimes the logic of life can be hard to wrap our heads around, so we escape to our own personal sanctuaries deep in the consciousness of our minds. Countless hours have been spent pondering the meanings of the messages that come to us as we allow our bodies, and minds, to drift into that familiar yet totally foreign place that our dreams come from. To understand dream logic, one must be able to escape the grip of traditional logic, preconceived notions and all expectations. When one can get to this state, it is transformative and the magic can happen. However, when a group of musicians can achieve this state of being as one, like the members of The Dream Logic, their individual streams of consciousness combine and become a flowing river of sound that traditional logic cannot make sense of … sometimes it’s best to listen to the music play. Charles Compo (guitar, vocals), Jerry Brooks (bass) and Camille Gainer (drums) are no rookies dreaming of the big stages, but rather seasoned veterans who individually have shared the stage and credits with pop, funk and soul superstars alike. As a result, it comes as no surprise that they were able to bring in big time artist like Eric Krasno (Soulive), Mark Peterson (Vernon Reid, Cassandra Williams), James Casey (Trey Anastasio Band) and Mark Williams (The Legendary Roots Crew, Kool & The Gang) to really bring it home on their debut album. The album pulls influences from all over the sonic soundscape and will have you grooving, raging and rocking out as the impressive 13 tracks resonate in your ears. “Quietly Freaky” gets the ball rolling and foreshadows a little bit of everything you will get with the rest of the tracks, vocals included. A rock guitar riff lays the foundation and is flushed out with tasteful sax work by guest musician James Casey in addition to Jeff Miller on keys. Things quickly move into the realm of jazz fusion and culminate with a soaring guitar lead by Charles Compo that drops right into a smooth sax solo, all effortlessly glued together by the interplay between drums and bass. “Spooky Reaction” is a beast, clocking in at just about 7 minutes; however it’s not just the length of the track that stands out. The track moves effortlessly and not one measure comes off as it was forced or out of place. Toward the middle of the track, the songs really gets going and is propelled into a deep jam led by the lead guitar work of heavyweight Eric Krasno. Surprisingly, but fitting perfectly, a gentle flute echoes and swirls around Kranso’s run all the while Brian Dunne is going off on the kit explosively, yet tightly controlled. The instrumental “Mustafa Sunrise” will really get the feet moving with its Latin/Caribbean influence clearly shining through. The percussion work is hot and the call and response phrasing between the horns and guitar early in the track is classic. A lot gets packed into the three minute-eighteen second track and the result is a thick sound and fun vibe with serious musicianship on display. The bop influenced horns and guitar blend into one another while bouncing off a deep pocketed bass, all the while the drumming creatively fills the gaps and forces movement upon anything in an ears range. The rest of the tracks on the debut album from The Dream Logic also push the envelope and defy categorizations. Each track on the record contains shadows of Charles Compo’s jazz roots and prominently displays his compositional prowess and knack for putting together complementary musicians to achieve the sounds the band chases. With a core group including himself, Jerry Brooks and Camille Gainer, The Dream Logic makes perfect sense and sounds fresh. Listeners drawn to this album due to the likes of Eric Krasno, Mustafa Ahmed, Mark Williams, Brian Dunne, Mark Peterson, Jeff Miller and James Casey will not be disappointed at any point along the way and will surely have a new band heavily in their musical rotation for quite sometime as another album is already in the works. - Jambands.com

“Charles Compo is a multi-talent with a list of credentials to back it up. He has performed with Martha Reeves, Christina Aguilera and countless others. Therefore it is not surprising that his latest album, Foolish Pleasure is an eclectic mixture. Fusing Rock, Jazz, Rhythm and Blues – you name it as Compo plays what he loves – Music! Foolish Pleasure is a 12 track collection of Compo originals. It is a lively and danceable. Track favorites are: the mid-tempo melody of “Mom’s Midnight Dilemma”, the funky bluesy vibe of “Steppin Off” and the Jamaican tinged “Rockaway.” Needless to say, Campo plays Flute, Tenor Saxophone, Guitar and Twelve String Guitar on this collective – he is a genius.” - Birmingham Times

A funky sax man that has worked with a wide range of divas from Martha Reeves to Christina Aguilera, and a bunch in between over the last 20 years, he finds this to be a good time to set out and show off his multi instrumental prowess as well as his funkified chops. With a signature sound that you will recognize as an original right out of the box, Compo cumulatively bowls you over which makes for a much nicer ride than getting hit with a runaway train. Was that the sound of some Courvoisier opening? Check it out. - Midwest Record

Something a little different, that’s Charles Compo’s Foolish Pleasure (Chaos Music, 2012). Though composed of all-new material, the music is a throwback to the days when horn players – saxophonists and trumpeters, mainly – stepped out from the jazz orchestra and fronted smaller ensembles, playing music their own way. Among them: Jackie MacLean, Miles Davis, Freddie Hubbard, Cannonball Adderley. There’s a little bit of pop, a little bit of fusion and a lot of Compo’s showmanship.

Compo plays flute and tenor saxophone mostly, but he also contributes with guitar and 12-string guitar. Tony Stewart and Jeff Miller share the keyboard duties. Jerry Brooks and Dave Jones split the load on bass. The rest of the ensemble consists of Ted Daniel on trumpet, Camille Gainer on drums and Mustafa Ahmed on percussion.

“Keeping It Real” is an easygoing piece that features Compo on both his horns, layered. Jones sets the tone with a bass groove, and Stewart handles the Rhodes. The music can apply to many situations – a night stroll on the beach, a drive in the country or something sensual.

“Arctic Spring” is an upbeat tune that could pass for the theme of a 1960s police drama. It has a bit of an Isaac Hayes feel (think, The Men). Compo shows his versatility, leading on flute at one point and then tenor later. His rhythm guitar isn’t to be overlooked. Gainer and Ahmed are active in the background.

Weather Report meets Tom Scott & The L.A. Express on “Six Was Eight.” Brooks’ bass line reminds one of Jaco Pastorius. Compo brings out more electric guitar, and again balances lead between tenor and flute. Miller stretches out a bit on keys.

Compo has collaborated or performed with a diverse list of artists, including Twyla Tharp, Christina Aguilera and Martha Reeves. As a composer, arranger and performer, he has credits in film and on television, and he has been featured at the Hennessey Jazz Festival, the Bell Atlantic Jazz Festival and the Vision Festival.

Each of Foolish Pleasure’s 12 tracks works as a stand-alone tune, but they all could work well as part of a motion picture score as they serve the dual purpose of listening enjoyment and inspiring an action scene. The running times range from the relatively short “Mom’s Midnight Dilemma” (3:03) to the not-exactly long “Rockaway” (5:48) – not a lot of variance, but enough to avoid the pitfall of sounding forced or cookie-cutter. And while this is a showcase for Compo’s talent as a songwriter and versatility as a musician, the input of the session players maintains a group dynamic throughout. - Smooth Jazz Magazine