Jazz and Bossa Review

A Year in Review: The Best of 2011

2011-12-12T19:46:00.000-08:00

Despite being completely different singers, there's a lot to connect Gretchen Parlato with the legendary Billie Holiday. Holiday was a singer with a phrasing deeply rooted in the blues, while Parlato is a jazz singer with the modern influences of R&B and pop music, but what draws them together is the uniqueness of their respective styles. Neither has the greatest vocal range, but the originality and pure feeling of their voices is what has set them apart from any other jazz singer. 75 years ago, nobody sang like Billie Holiday; today, nobody sings like Gretchen Parlato.

The Lost And Found is Parlato's third release, and possesses a more personal feel, with Parlato revealing herself as an accomplished composer. She also contributes lyrics to "Without A Sound," "The Lost And Found," "Henya," the folksy "Still" and Wayne Shorter's "Juju." Parlato also composed the music and wrote the lyrics for the bossa-influenced "Winter Wind," "Circling," "Better Than" and the funky "How We Love."

The Lost And Found also includes a remix of the title track to Parlato's In a Dream (ObliqSound, 2009), and pianist Bill Evans' "Blue In Green," one of the jazzier songs on the album, with lyrics by Meredith D'Ambrosio.

Parlato does wonderful versions of Mary J. Blige's "All That I Can Say" and Simply Red's "Holding Back The Years," two odd selections for a jazz album that reveal her modern and diverse musical influences.

Like any good jazz vocalist, Parlato is more than a singer, she is a musician. Rhythm and melody are just as important as lyrics in Parlato's interpretations. Her distinct, creative and sharp phrasing sounds, at times, like a saxophonist like on "Juju," or in the ostinato lines on "Winter Wind." On a mesmerizing version of Paulinho Da Viola "Alo Alo," Parlato turns into a percussionist—contributing all percussion and vocals on this song and, once again, showing her love for Brazilian music.

With The Lost And Found, Parlato continues to establish herself as one of the premier jazz singers of the 21th century.

Track Listing: Holdin Back The Years; Winter Wind; How We Love; Juju; Still; Better Than; Alo Alo; Circling; Henya; In A Dream Remix; All That I Can Say; Me And You; Blue In Green; The Lost And Found; Without A Sound.

Personnel: Gretchen Parlato: vocals; Taylor Eigsti: piano; Derrick Hodge: bass; Kendrick Scott: drums; Dayna Stephens: saxophone; Alan Hampton: bass.

Record Label: ObliqSound | Style: Vocal

Alone at The Vanguard is pianist Fred Hersch's first solo performance at New York's Village Vanguard, after his serious illness and coma in 2008. The release was recorded during the final set on the last night of his six-day run in 2010, and the solo recital format gives the disc an intimate, almost classical music feel, engendering a full appreciation of Hersch's emotional and technical intensity.

A three-time Grammy nominee, two as a pianist and one as a composer, Hersch possesses a remarkable ability to cross from classical to jazz with ease. His classical style and lyricism are present on "In The Wee Small Hours Of The Morning," "Echoes" and "Pastorale," dedicated to composer Robert Schumann.

His superb interpretation of two originals, "Down Home," dedicated to Bill Frisell and "Lee's Dream," dedicated to Lee Konitz, as well as Thelonious Monk's "Work"—rhythmically reminiscent of ragtime—show Hersch's deep roots in the jazz tradition.

The performance also included the elegant samba, "Doce de Coco," the beautiful ballad "Memories of You" and, for an encore, a masterful version of Sonny Rollins' "Doxy."

Alone at The Vanguard is a clear statement that Hersch is back in top form, and that is surely good news for jazz.

Track Listing: In the wee small hours; Down Home; Echoes; Lee's Dream; Pastorale; Doce de Coco; Memories Of You; Work; Doxy.

Personnel: Fred Hersch: piano.

Record Label: Palmetto Records | Style: Modern Jazz

Wayne Wallace continues to explore the infectious Afro-Cuban rhythms on To Here From There, the follow-up to his 2010 Grammy-nominated album, Bien Bien!< (Patois Record, 2009).

Wallace is a trombonist with vast experience that includes collaborations with artists such as Count Basie, Joe Henderson, Lionel Hampton, Sonny Rollins and Tito Puente. Wallace Latin Jazz Quintet plays like they were born in Cuba.

The danceable "La Escuela" with its piano montuno and the distinctive clave of the Cuban son is dedicated to La Escuela Nacional de las Artes en Cuba, where Wallace studied in the 1990s.

Wallace shares the spotlight with Jeff and Natalie Cressman, and Dave Martell, in a battle of master trombonists on the guaguancó "Serafina del Caribe." On "Ogguere," Wallace masterfully improvise over a 6/8 groove, a rhythm common in Afro-Caribbean music and similar to the fusion of jazz and Puerto Rican bomba done by trombonist William Cepeda.

Pianist Murray Low shines on "Descarga en Blue" and "Bebo ya llego," a composition honoring Cuban legend Bebo Valdes. Wallace displays a bright, striking sense of melody on his improvisations, especially in the cha-cha-chá "Los Gatos," and in Tito Puente's "Philadelphia Mambo."

To Hear From There also includes a dazzling rendition of Juan Tizol's "Perdido," sung by Kenny Washington, and the wonderful soneos and beautiful voice of singer Bobi Cėspedes on the Cuban classic, "The Peanut Vendor."

Track Listing: La Escuela; Serafina del Caribe; Perdido; Los Gatos; Descarga en Blue; Ogguere (Soul of the Earth); Lament; The Peanut Vendor (El Manicero); Yemaya (The Seven Seas); Bebo ya llego!; Philadelphia Mambo.

Personnel: Wayne Wallace: trombone, tuba, vocals; Murray Low: piano, vocals; David Belove: bass, vocals; Paul van Wageningen: trap drums, vocals; Michael Spiro: percussion, vocals; Kenny Washington: vocals (3); Bobi Cespedes: vocals (8); Jeff Cressman: trombone (2); Natalie Cressman: trombone (2); Dave Martell: trombone (2).

Record Label: Patois Records | Style: Latin/World

There is not a dull or cliché moment on Jane Ira Bloom's fourteenth album, Wingwalker. Her sound has been described as futuristic, and there is certainly some of that on tracks like "Frontiers in Science" and "Live Sports." But, most of all, Bloom is a master composer and musician with a truly unique sound. All compositions on the release are by Bloom, except for the standard, "I Could Have Danced All Night."

Even though there are brilliant moments of improvisation all over the album, the emphasis is on the beauty of Bloom's compositions. Each composition has plenty of harmonic surprises, syncopations, tempo changes and richly, inventive solos by Bloom and pianist Dawn Clement. Bassist Mark Helias and drummer Bobby Previte provide an excellent rhythm background to Bloom's melodies, both of them swinging hard on "Airspace," "Life on Cloud 8" and "Rookie."

Bloom always plays with the conviction and energy of a seasoned musician, but her tone can also be warm and welcoming, on the almost lullaby, "Her Exacting Light"; the ballads "Adjusting to Midnight" and "Wingwalker"; and the a capella "I Could Have Danced All Night." There is an effective use of dissonance and space, with Clement's improvisations and chords on "Freud's Convertible," "Frontiers in Science" and "Rookie" echoing the sound of the great Thelonious Monk.

Wingwalker proves, once again, why Jane Ira Bloom is one of the most original and creative saxophonists in jazz today.

Track Listing: Her Exacting Light; Life on Cloud 8; Ending Red Songs; Freud's Convertible; Airspace; Frontiers in Science; Rooftops Speak Dreams; Rookie; Adjusting to Midnight; Live Sports; Wingwalker; I Could Have Danced All Night.

Personnel: Jane Ira Bloom: soprano saxophone, live electronics. Dawn Clement: piano, Fender Rhodes. Mark Helias: bass. Bobby Previte: drums.

Record Label: Outline | Style: Modern Jazz

I discovered Carol Morgan when I reviewed her album Opening and I've been a fan ever since. Carol Morgan is one of those unique musicians with the ability to express diverse emotions in a single note. The intro of "I Love You" is a perfect example of her emotional and technical intensity. Listen also to her brilliant playing "Where are you?" where Morgan shows she is also a richly inventive improviser with a good sense of melody and swing.

After the intro on "I Love You" Morgan and her Quartet go into a swinging groove that take us back to the beginnings of jazz in New Orleans, changing into straight ahead and then some cool jazz, all in the same track.

Morgan interpretation of the classic "April in Paris" has the reserved intensity of a Miles Davis. Joel Frahm, with his warm and welcoming tone adds some thoughtful solos on this one.

The Quartet goes into more experimental territory, exploring aspects of free jazz, in the haunting music of Ornette Coleman "Lonely Woman".

The gorgeous sax and trumpet harmonies on "Booker's Waltz" serves as an introduction to some of the most brilliant and intense improvisations by Carol Morgan, Joel Frahm and drummer Matt Wilson.

"Glyph" is an original composition by saxophonist Joel Frahm and one of the most interesting on the realease. Constant rhythm changes that are both surprising and exciting.

The album close with another original "Last Waltz", this time by bassist Martin Wind. A sublime, slower tempo composition that allows Morgan to displays her sophisticated and ellegant phrasing in a more relaxed context.

Without a doubt, of of the best albums of 2011.

Musicians: Carol Morgan - trumpet, Joel Frahm - tenor saxophone, Martin Wind - bass, Matt Wilson - drums and percussion

Tracks: I Love You, April in Paris, Lonely Woman, Booker's Waltz, Glyph, Where are you?, Last Waltz

Three young music virtuosos join forces in the Ninety Miles Project, one of the best albums of 2011. Grammy nominated vibraphonist Stefon Harris, New Orleans native, and also Grammy nominated trumpetist Christian Scott and Grammy winner saoxophone master David Sanchez.

Ninety Miles is the distance between the USA and Cuba, two countries with great political differences but with a greater love for good music.

Recorded in Cuba with cuban pianists Rember Duharte and Harold Lopez Nussa, Ninety Miles is also the result of the visit and exploration of Cuban music done by these three master musicians.

What came out of the fusion of these jazz masters is an explosive display of virtuosity and outstanding compositions with an eclectic blend of texture and sound. The contagious african and caribbean rhythms on "Nengueleru", "La Fiesta Va", "Brown Belle Blues", "Congo" y "E'cha", show us new looks and possibilities for the fusion of jazz and latin music.

Musicians: Stefon Harris - vibraphone, David Sanchez - saxophone, Christian Scott - trumpet

Yoko Miwa is a Kobe, Japan native, recently nominated for Best Jazz Act in the Boston Phoenix Best Music Poll 2011 who also studied at the Koyo Conservatory in Kobe and Berklee College of Music.

Live at Scullers Jazz Club is Miwa fifth release, recorded in October 2010. Accompanying Miwa, Greg Loughman on bass and Scott Goulding on drums.

For those unfamiliar with Yoko Miwa, like myself, this album is going to be a nice surprise. Even though she is a young pianist, Miwa plays with the confidence and fluidity of a seasoned jazz musician.

The trio swings hard on the Steve Allen composition, "This could be the start of something", closing with a energetic piano/drums call and response. The beautiful ballad "Wheel of Life" is one of Miwa two originals. The chord progression gives the listener a sense of circular motion. The other original, "Silent Promise" also a ballad, is one of the most intimate and sublime moments of the album and reminiscent of movie themes like Cinema Paradiso.

Miwa displays once again a good balance of harmonic lines and melodic runs on "Mr. B.G.", a tribute to pianist Benny Green. Miwa includes two odd selections, the ballads "Seasons of Wither" a song by Aereosmith Steven Tyler, discovered by Yoko Miwa on YouTube and "Who loves the sun" Lou Reed song from his days with Velvet Underground. The album speed up again with the swingin Art Farmer's blues "Mox Nix" and close with an excellent version of "A Festa", a Milton Nascimento composition recorded by Elis Regina's daughter Maria Rita.

Musicians: Yoko Miwa - piano, Greg Loughman - bass, Scott Goulding - drums

Tracks: This could be the start of something, Wheel of life, Mr. Big, Seasons of Wither, Who loves the sun, Silent Promise, Mox Nix, A Festa

In Samba pelo avesso, Carolina Ferrer brings a collection of wonderful original sambas in all it's variations, proving she is not only one of the best female singers out of Brasil but also an accomplished composer. Carolina interpretations of samba music is refreshing but deeply rooted in the brazilian music tradition. Songs like "Eu nao tenho nada", "Otilia", "Hoje sou sertao", "Nao vem" and "Facil de levar" are ideal for get up and dance or just sit down and enjoy Carolina beautiful voice and unique phrasing. Her tone is warm and welcoming and she has the ability to convey the emotions of every word.

Living in Paris, France, Carolina is the best kept secret in brazilian music, hopefully with Samba pelo avesso, Carolina Ferrer will receive the atention she rightfully deserve.

Tracks: Eu nao tenho nada, Otilia, Tira gosto, Hoje sou sertao, Samba pelo avesso, Tanta, E outra coisa, Nao vem, Mais um verao, Facil de levar, Refem

To be the best you have to play with the best. Any good musician knows that and like he did in his first album Finding my Path, bassistAldemar Valentin surrounded himself with some of the best jazz musicians from Puerto Rico. Instead of a quartet, this time the format is a quintet with Norberto Ortiz on saxophone, Julito Alvarado on trumpet, Raul Maldonado on drums, Raul Romero on guitar (Romero played on Valentin's first album) and of course Valentin on bass.

Valentin outstanding compositions and well developed themes, mostly in the jazz fusion tradition, at times echoing the music of such greats as Pat Metheny, have a perfect balance of complex, dense textures and rhythms and accesibility. And allows this group of outstanding musicians to shine with inventive, ellegant improvisations on the tracks "Ficciones", "Santurce Triste", and "Amistad". For "Cacique Rebelde", a piece with a distinct latin influence, Valentin invited two special guests, percussion extraordinaire Paoli Mejias and master saxophonist Miguel Zenon.

Tracks: Ficciones, Santurce Triste, Cacique Rebelde, Amistad, Saga

Musicians: Aldemar Valentin - bass, Raul Romero - guitar, Julito Alvarado - trumpet, Raul Maldonado - drums, Norberto Ortiz - saxophone, Paoli Mejias - percussion (3), Miguel Zenon (3)

Maritima is Aline de Lima third release, and the follow up to her wonderful album Acai. On Maritima, this Brasil native, decided to produce and write most of the songs. The album was recorded in Paris, Rio de Janeiro and Maranhao, The result is a collection of exquisite and beautiful compositions that reflects the sound and tradition of her city Sao Luis de Maranhao. But Aline has been living in France for several years now, so her music has a distinct French music influence. In “Cri de Coeur”, a song composed for Edith Piaf, Aline sings in French and also plays the guitar.

Besides her soothing, beautiful voice Aline de Lima is an outstanding songwriter, “Flor de Brasilia”, “Fina Flor”, and “Infinito Blue” are just a few examples of Aline amazing ability as a songwriter to surround us with the beauty of her lyrics. Aline also wrote “Velho Novo Mundo” a beautiful samba dedicated to Paris. There are other influences on Aline’s music, like the reggae rhythms of “Upaon Acu” and “Fina Flor”, the Caribbean sounds of the marimba on “Empty Paradise” and the African rhythms of Cabo Verde on “Um Mar de Mar”. “Lua de Janeiro” and the haunting title track “Maritima” are closer to the sound of Aline de Lima first two albums.

01. Maritima by Aline de Lima Musiciens: Ugo Castro Alves (guitar), Illya Amar (marimba), Luiz Claudio (percussions), Aline de Lima (vocals), Maëva Leberre (cello)
02. Upaon Açu by Aline de Lima Musiciens: Dada Viana (percussions), Rui Mario (keyboards), Aline de Lima (guitar and vocals)
03. Flor de Brasilia by Flavia Bittencourt (3) and lyrics by Aline de Lima (3) Musiciens: Ugo Castro Alves (10 strings guitar, acoustic guitar), Alvaro Lima (bass), Netinho Albuquerque (pandeiro, xequerê and reco-reco), Dada Viana (agogô, zabumba, shakers, berimbau), Flavia Bittencourt (guest singer), Aline de Lima (vocals)
04. Fina Flor by Aline de Lima Musiciens: Rui Mario (acordeon), Alvaro Lima (bass), Isabelle Pares (flute), Illya Amar (marimba), Dada Viana (percussions), Aline de Lima (acoustic guitar and vocals)
05. Empty Paradise by Aline de Lima Musiciens: Ugo Castro Alves (guitar), Dada Viana (percussions), Alvaro Lima (bass), Illya Amar (marimba), Maëva Leberre (cello), Aline de Lima (vocals)
06. Lua de Janeiro by Mario Lucio (1) and Aline de Lima (3) Musiciens: Isabelle Pares (flute), Ugo Castro Alves (guitar), Damilton Viana (percussion), Illya Amar (vibes), Aline de Lima (vocals)
07. Cri du Coeur by Henri Crolla and lyrics by Jacques Prévert (2) Musiciens: Isabelle Pares (flute), Aline de Lima (guitar and vocals), Alvaro Lima (bass), Rui Mario (acordeon), Illya Amar (vibes)
08. Infinito Blue by Aline de Lima Musiciens: Ugo Castro Alves (guitar), Alvaro Lima (bass), Rui Mario (accordion), Netinho Albuquerque (percussions), Dada Viana (percussions), Aline de Lima (vocals)
09. Madrugada by Marcio Faraco (3) and lyrics by Aline de Lima (3) and Marcio Faraco Musiciens: Robertinho Chinês (mandolin), Aline de Lima (acoustic guitar and vocals)
10. Velho Mundo Novo - Paris by Aline de Lima Musiciens: Netinho Albuquerque (samba percussions), Dada Viana (percussions), Ugo Castro Alves (guitar), Aline de Lima (vocals)
11. Um Mar de Mar by Mario Lucio, traduction in french by Africa Nostra Musiciens: Dada Viana (african percussions), Ugo Castro Alves (10 strings guitar and acoustic guitar), Illya Amar (marimba), Aline de Lima (vocals)

Tenor Saxophonist Ernie Krivda is one of the best kept secrets in Jazz. Not many people recognize his name because Krivda developed his career in Cleveland, instead of Chicago or New York, major cities often associated with jazz.

But once you hear his gorgeus tone, and astonishing fluidity of his improvisations you have to agree with Harvey Pekar when he said, "Krivda is one of the best tenor saxophonist in the world".
Krivda 2011 release, Blues for Pekar pays tribute precisely to jazz writer and critic Harvey Pekar.

A group of excellent musicians from Detroit accompanied Krivda on this venture. Pianist Claude Black, female bassist extraordinaire Marion Hayden and drummer Renell Gonsalves, son of tenorist Paul Gonsalves. Yes, the same Paul that revived Duke Ellington career in 1956 Newport Jazz Festival.

All of Krivda solos are deeply rooted in the blues and every track is a master class on how to improvise, starting with "The end of a love affair". Trumpeter Dominick Farinacci stands his ground on this one ending in a improvisation exchange with Krivda reminiscent of early New Orleans jazz.

On the jazz ballads "More than you know" and "Darn that Dream", Krivda demonstrates he is just as good as a balladeer. On these slow tempo pieces his phrasing evokes the sensibilities and sound of the first great tenorists Lester Young and Coleman Hawkins. As part of his improvisations on "More than you know" Krivda cleverly quotes lines of "Softly as in the Morning Sunrise".

Another special guest is trumpet player Sean Jones, who adds elegant solos on Sonny Rollins' "Valse Hot" and on Dxter Gordon "Fried Bananas". The album ends up with two Krivda originals, the swingin Monk like "One for Willie" dedicated to saxophonist/arranger Willie Smith and the cool title track "Blues for Pekar".

Saxophonist and flutist Jane Bunnett exploration of cuban music started back in the 1990's and she is a frequent visitor to Cuba. So Bunnett is not a newcomer to the world of latin music. In fact Bunnett received the 2002 Smithsonian Institute Award for her contributions and dedication to the development of latin jazz.

On her new release Cuban Rhapsody, Bunnett recorded with her long time musical friend pianist virtuoso Hilario Duran. Their music partnership goes back to 1990 when Bunnett went to Cuba to record her album Spirits of Havana. Bunnet and her husband Larry Cramer sponsored Hilario to move to Canada where he lives since 1998.

Cuban Rhapsody is a duo album, just piano and either flute or sax. In latin jazz music rhythm is essential, so here Hilario has the responsability of providing the rhythmic and harmonic support to Bunnett melodies and improvisations.

The music selection is superb, a collection of cuban classics beautifully played by these masters of improvisation. The duo format provide a lot of space for both Duran and Bunnett to display their improvisational talents.

Bunnett expressive tone on soprano sax shines on Miguel Matamoros "Lagrimas Negras", and on Ernesto Lecuona "Maria La O" and "Danza Lucumi". Bunnett brighter tone is equally gorgeous in the classics "Son de la loma", "Longina", "Almenra" and "Sherezada".

This music is the cuban equivalent to jazz. It also have african roots and is a perfect vehicle for improvisational ventures. But caribbean music has a classical element also. This classical influence is more evident in a musical form called Contradanzas. Danzas from Cuba and Puerto Rico fuses african music with the classical tradition from Europe, both essential parts of caribbean music. One of the highlights of the album is precisely a medley of five cuban contradanzas, where Bunnet and Duran exchange sublime improvisations.

Duran applies that same classical/caribbean fusion on his original composition "New Danzon". From start to finish, Cuban Rhapsody has a perfect balance of elegance and virtuosity.

Tracks: Lagrimas Negras, Son de la loma, Longina, Quirino con su tres, Contradanzas, Maria La o, Almendra, New Danzon, Sherezada, Danza Lucumi

Musicians: Jane Bunnett - flute, soprano sax, Hilario Duran - piano

Magos Herrera is the Cassandra Wilson of latin america. There are similarities in their warm, sultry tone, their bluesy feeling and strong command of the jazz language. What makes Magos Herrera different and certainly a unique voice in the jazz world today is her latin heritage that she proudly displays in all of her music.

The CD notes describes México Azul as a celebration of México's golden age of cinema and television. That was back in the 30's and 40's. A lot of good music came out of that era, and Magos did a good job in the song selection for this album.

México Azul starts with Herrera soulful interpretations of Alvaro Carrillo "Luz de Luna" and Agustin Lara "Noche Criolla". Both outstanding arrangements that fuse jazz with south american music.

The slow pace and almost Aria trumpet intro by Tim Hagans on Agustin Lara "Azul" gives a majestic feel to this romantic theme. Hagans also adds a superb trumpet solo to the jazz waltz arrangement and Herrera emotional intense interpretation of "Angelitos Negros".

Herrera profoundly resonant voice can be fully appreciated on Agustin Lara "Lamento Jarocho" an homage to the people of Veracruz, México. Magos Herrera phrases flow effortlessly on "Seguiré mi viaje", "Dos Gardenias" and in the beautiful bolero jazz "Que sea para mi".

The percussive voice intro on "Tres Palabras" is very similar to Gretchen Parlato style. The arrangement for this track is one of the jazzier of the release.

Even though Rafael Hernandez was not from México, he was Puertorrican, his compositions were among the best of that era. "Obsesión" is one of Hernandez classics that has been recorded all troughout latin america. The ballad arrangement on this one allows Magos Herrera to bring out the feeling of every word.

Herrera is without a doubt the best jazz singer out of Mexico, and with México Azul she is establishing herself among the best singers in jazz.

Flutist Kalani Trinidad is one of the brightest young stars in the Puerto Rico jazz scene today and the first Puerto Rican to win a Presidential Scholarship from Berklee School of Music in Boston. In his style Trinidad echoes the best of the great Puerto Rican flutist that came before him. One may hear on his music the finesse and sensitivity of a Nestor Torres and the inventiveness and intensity of a Dave Valentín.

The music on Trinidad debut album Crossing Bridges has elements of smooth jazz on compositions like "Ubiquitous Being", fusion jazz on "Noche en Madrid" and latin jazz on "Puertorro".

Trinidad improvises with spontaneity and ease on the almost lullaby tittle track "Crossing Bridges" and over the samba rhythms of "Momentum and "The Passage".

Kalani Trinidad expresiveness, intensity and limitless stack of phrases may be fully appreciated on "Puertorro", an outstanding composition that constantly changes between afro caribbean and south american rhythms. On this track, Kalani's father, Richard Trinidad plays the piano and Paoli Mejias plays the congas creating a rumba that is one of the highlights of this release.

Besides Richard and Paoli, Kalani recruited a group of extraordinaire musicians for his debut album that includes Alex Acuña on percussions, Alex Brown on piano, who also plays with Kalani in the group La Timbistica, John Benitez on bass and Henry Cole on drums. Marcos Lopez plays drums on "Momentum" and "Russo".

Tracks: Momentum, The Passage, Noche en Madrid, Crossing Bridges, Puertorro, Serenity, Russo, Ubiquitous Being

Musicians: Kalani Trinidad - flute, John Benitez - bass, Alex Brown - piano, Henry Cole - drums, Alex Acuña - percussion, Richard Trinidad - piano (5), Marcos J. Lopez - drums (1,7), timbales (5), Paoli Mejias - congas (1,5,7)

Gonzalo Rubalcaba is a well recognized and respected name in the jazz scene. His classically trained background, along with his knowledge of Jazz and the music of his native Cuba, make him an equally impressive musician either playing art or popular music.

Faith is the premiere release on his newly founded 5Passion (cincopasión or sincopation) label. This is a solo piano album, a setting similar to a classical piano recital. Just Rubalcaba and his piano, and of course there is no need for anything else.

Faith starts with "Derivado 1", a short piece with some dissonances that serves as an introduction to "Maferefun Lya Lodde Me", a praise in the lucumi language to the orisha Oshun (Lucumi is a Yoruba dialect spoken by practitioners of the Santería religion in Cuba, Puerto Rico, and Dominican Republic).

All throughout, Rubalcaba demonstrates his clean and impeccable technique product of his classical piano studies in Cuba. On "Improvisation 1 and 2", based on the chord changes of John Coltrane's Giant Steps, Rubalcaba displays his virtuosity with fast piano runs and scalar improvisations reminiscent of Coltrane himself. The short phrases and use of dissonances also have some similarities to pianist Cecil Taylor.

"Derivado 2 and 3" are variations based on the second track "Maferefun Lya Lodde Me". The sophisticated dissonant chords and the effectve playing in the high notes of the piano evokes the sounds of another jazz master, pianist Thelonious Monk.

"Con Alma 1 and 3" are delicate and elegant interpretations of Dizzy Gillespie's composition, played with soul as the tittle suggest. Rubalcaba creates a perfect balance of emotion and virtuosity in the classically tinged piece "Preludio Corto # 2 (Tu Amor era Falso" and in the Miles Davis/Bill Evans classic "Blue in Green".

Rubalcaba attack is more aggresive and percussive in "Oro", an original composition that brings together classical and cuban music with touches of free jazz. Faith also includes three poetic and refined originals dedicated to Rubalcaba two daughters and son, "Joan", " Yolanda Anas" and "Joao". These compositions were recorded originally on his album Inner Voyage.

Tracks: Derivado 1, Maferefun Lya Lodde Me, Improvisation 2, Derivado 2, Con Alma 1, Preludio Corto #2, Blue in Green 1, Oro, Joan, Joao, Yolanda Anas, Blue in Green 2, Con Alma 3, Improvisation 1, Derivado 3

Musicians: Gonzalo Rubalcaba - piano

Peter Scharli's O Grande Amor is an unusual album. This is brazilian music played beautifully by a trio of swiss musicians. That fact alone is not so unusual, brazilian music is played by musicians all around the world.

The odd thing here is the format of this trio. Peter Scharli on trumpet, Thomas Durst on bass and Hans-Peter Pfammatter on piano. Something missing? Right, no drums and no percussions. Everybody knows the importance of the percussion on brazilian music. So it is a challenge for these master musicians, mostly for the pianist and bassist to keep the rhythm. And they did a wonderful job al throughout especially on the sambas "Sandalia dela", Baden Powell and Vinicius de Moraes' "Deixa" and "Zum Zum".

Peter Scharli gorgeous, rich sound and well constructed solos on trumpet is a perfect match with the trio secret weapon, Ithamara Koorax. Among all the great talented singers out of Brasil Koorax is without a doubt one of the best. Koorax is a singer equally comfortable singing traditional brazilian music or jazz.

Few singers conveys the emotion of Antonio Carlos Jobim lyrics like "Fotografia" and "O Grande Amor" or ballads like Ivan Lins "Setembro" with the tender feel and elegance of Ithamara Koorax. Koorax also brings the most out of each note on the slow arrangement of Ary Barroso "Pra Machucar Meu Coraçao".

One of the highligths of the album is Hans original "Wediletto", a composition that allows Koorax to show her amazing vocal range singing high notes in unison with Peter Scharli on trumpet.

Tracks: Fotografia, Sandalia Dela, Setembro, Wedileto, O Grande Amor, Deixa, Pra Machucar Meu Coraçao, Zum Zum

Musicians: Ithamara Koorax - vocals, Hans Peter Pfammatter - piano, Thomas Durst - bass, Peter Scharli - trumpet

Jazz is a music form based on improvisation, it is art created in the moment. So logically most of the best performings in jazz comes out in a live setting. When masters improvisers get together the result of that interaction is usually magical. That is the case with Walt Weiskpf Quartet release recorded live at Koger Hall, University of South Carolina in April 8, 2008.

This is a quartet of superb musicians at the top of their form. Walt Weiskopf is a tenor saxophonist with a sound that conveys the sound of all the sax legends. One may hear some Coltrane, Rollins, Adderley and Dexter Gordon all throughout especially in the first track "Man of Many Colors". On the second track, "Little Minor Love Song" his tone and phrasing is reminiscent of Benny Golson and on the ballad "Blame it on my youth" Weiskopf plays with the lyricism of a Lester Young. Weiskopf improvisations always has a perfect balance of surprise and coherence. Weiskopf experience includes playing with the great pianist Toshiko Akiyoshi.

Bassist Paul Gill, who also played with Akiyoshi, and dummer Tony Reedus brings the energy and swing in the rhythm section. The release is dedicated to Tony Reedus who died of a pulmonary embolism upon return from a tour of Italy a few months after this concert.

Completing the quartet is one of the best pianist in jazz today, Renne Rosnes. Impossible to choose among all the impressive improviations by Rosnes on this album, so I won't. I recommend to listen and enjoy them all. Her crisp melodic breaks, intensity, dazzling high speed runs, and limitless stack of phrases are always surprising and exciting. Rosnes improvisations are a marriage of intellect and emotion.

Most of the compositions on this album are Weiskopf originals except, "Blame it on my youth" and Cole Porter "Love for sale"

Tracks: Man of Many Colors, Little Minor Love Song, Dizzy Spells/Jay Walking, Blues in the Day, Scottish Folk Song, Blame it on my youth, Love for Sale, Breakdown

Musicians: Walt Weiskopf - tenor saxophone, Renee Rosnes - piano, Paul Gill - bass, Tony Reedus - drums

CD Review: Burgstaller Martignon 4

Burgstaller Martignon project Bach's Secret Files is based on the premise that jazz was the classical music of the twentieth century. Both music forms are based on theme and variation. Early in the history of jazz, classical composers (Ravel, Debussy, Rachmaninoff) showed interest in jazz music. And more recently jazz musicians like Wynton Marsalis recorded classical music. Contrary to classical music, jazz evolved into a freer, improvise music. But the concept of improvisation is not a jazz invention, classical composers like Bach, Bramhs, Mozart and Chopin were also accomplished improvisers.

"River of the Night" is a Burgstaller original melody played over Bach's Praeludium in C minor. The piece start with a classical feel reminiscent of Miles Davis interpretation of Concierto de Aranjuez that slowly changes into a latin groove. "A Start to Something" is an interpretation of Praeludium XI in F major. The feel here is that of jazz waltz similar to Brubeck's Time Out.
"Ebarme Dich Have Mercy) from Bach's St. Matthew's Passion includes the sublime voice of soprano Brenda Feliciano. The piece ends with a montuno-like piano.

The latin influence on these musicians as shown in "Variation No. 1", a short classical piece played over cuban son rhythms, and Debussy "Reverie", starting closer to the classical tradition before erupting into a piano montuno, is not really a surprise if one knows their history. Grammy nominee pianist Hector Martignon worked with latin legends Ray Barretto, Tito Puente and Paquito D'Rivera. Bassist Hans Glawischnig played with Chick Corea and Ray Barretto.

Burgstaller tone on trumpet is gorgeous and expressive especially on the almost lullaby "Gymnopedie No.1" and "Piece en Forme de Habanera". The virtuosity of these group of musicians allows them to played with comfort either jazz, latin jazz or classical.

Mendelssohn's "Lieder Ohne Worte Opus 19, No.1" and "Lieder Ohne Worte Opus 38 No. 2" and Puccini's "E Lucevan Le Stelle" from the Opera Tosca, demonstrates Burgstaller Martignon group mastery of the classical language. Bach's Secret Files is a superb marriage of jazz and classical music.

Tracks: The River of Night, Praeludium XI in F major, Ebarme Dich, Aria, Variation No. 1, Gymnopedie No.1, Piece en Forme de Habanera, Lieder Ohne Worte Opus 19 No.1, Lieder Ohne Worte Opus 38 No.2, E Lucevan Le Stelle, Reverie

Musicians: Joe Burgstaller - trumpet, flugelhorn, Hector Martignon - piano, Hans Glawischnig - bass, John Ferrari - drums, vibraphone, percussion, Brenda Feliciano - soprano voice, Samuel Torres - latin percussion, Micheal Kannen - cello

CD Review: Carolina Ferrer - Samba pelo avesso

2011-10-27T11:13:00.000-07:00

CD Review: Carolina Ferrer - Samba pelo avesso

In Samba pelo avesso, Carolina Ferrer brings a collection of wonderful original sambas in all it's variations, proving she is not only one of the best female singers out of Brasil but also an accomplished composer. Carolina interpretations of samba music is refreshing but deeply rooted in the brazilian music tradition. Songs like "Eu nao tenho nada", "Otilia", "Hoje sou sertao", "Nao vem" and "Facil de levar" are ideal for get up and dance or just sit down and enjoy Carolina beautiful voice and unique phrasing. Her tone is warm and welcoming and she has the ability to convey the emotions of every word.

Living in Paris, France, Carolina is the best kept secret in brazilian music, hopefully with Samba pelo avesso, Carolina Ferrer will receive the atention she rightfully deserve.

Tracks: Eu nao tenho nada, Otilia, Tira gosto, Hoje sou sertao, Samba pelo avesso, Tanta, E outra coisa, Nao vem, Mais um verao, Facil de levar, Refem

CD Review: Aldemar Valentin - Ficciones

2011-10-27T11:11:00.000-07:00

CD Review: Aldemar Valentin - Ficciones

To be the best you have to play with the best. Any good musician knows that and like he did in his first album Finding my Path, bassist Aldemar Valentin surrounded himself with some of the best jazz musicians from Puerto Rico. Instead of a quartet, this time the format is a quintet with Norberto Ortiz on saxophone, Julito Alvarado on trumpet, Raul Maldonado on drums, Raul Romero on guitar (Romero played on Valentin's first album) and of course Valentin on bass.

Valentin outstanding compositions and well developed themes, mostly in the jazz fusion tradition, at times echoing the music of such greats as Pat Metheny, have a perfect balance of complex, dense textures and rhythms and accesibility. And allows this group of outstanding musicians to shine with inventive, ellegant improvisations on the tracks "Ficciones", "Santurce Triste", and "Amistad". For "Cacique Rebelde", a piece with a distinct latin influence, Valentin invited two special guests, percussion extraordinaire Paoli Mejias and master saxophonist Miguel Zenon.

Tracks: Ficciones, Santurce Triste, Cacique Rebelde, Amistad, Saga

Musicians: Aldemar Valentin - bass, Raul Romero - guitar, Julito Alvarado - trumpet, Raul Maldonado - drums, Norberto Ortiz - saxophone, Paoli Mejias - percussion (3), Miguel Zenon (3)

CD Review: Aldemar Valentin - Finding my Path

2011-10-27T11:09:00.000-07:00

CD Review: Aldemar Valentin - Finding my Path

Aldemar Valentin debut album recorded live in 2008 captures the energy of four of the best musicians in Puerto Rico, saxophonist and flutist Ricardo Pons, guitarist Raul Romero, drummer Efrain Martinez and bassist Aldemar Valentin. In all the eight original compositions by Aldemar Valentin, these musicians show their ability to speak to each other through intense lines and inventive improvisations played over the solid rhythm foundation provided by Efrain Martinez on drums.

Romero and Valentin display their flawless technical ability with well developed solos while Pons demonstrates his mastery of both the flute and saxophone. Ricardo Pons plays the flute on “Gente de Fuego”, “Don Pedro Rios”, “Azul Cielo” and the title track “Finding my Path” and add the majestic sound of the baritone saxophone on “Regalo”, “Cuna”, “La Vida en Colores” and “Fabula para el Verano”. On “Fabula para el Verano”, Pons cleverly seems to quote lines from two classics Caribbean songs, El Manicero and Lamento Borincano.

Finding My Path takes us through a journey of different levels of intensity with fusion jazz music that can be powerful or relaxing and sometimes both.

Personnel:
Aldemar Valentin - bass, Ricardo Pons - baritone sax, flute, Raul Romero - guitar, Efrain Martinez - drums

Tracks:
Gente de Fuego, Don Pedro Rios, Regalo, Cuna, La Vida en Colores, Finding My Path, Azul Cielo, Fabula para el verano

CD Review: Aline de Lima – Maritima

2011-10-27T11:08:00.001-07:00

CD Review: Aline de Lima – Maritima

Maritima is Aline de Lima third release, and the follow up to her wonderful album Acai. On Maritima, this Brasil native, decided to produce and write most of the songs. The album was recorded in Paris, Rio de Janeiro and Maranhao, The result is a collection of exquisite and beautiful compositions that reflects the sound and tradition of her city Sao Luis de Maranhao. But Aline has been living in France for several years now, so her music has a distinct French music influence. In “Cri de Coeur”, a song composed for Edith Piaf, Aline sings in French and also plays the guitar.

Besides her soothing, beautiful voice Aline de Lima is an outstanding songwriter, “Flor de Brasilia”, “Fina Flor”, and “Infinito Blue” are just a few examples of Aline amazing ability as a songwriter to surround us with the beauty of her lyrics. Aline also wrote “Velho Novo Mundo” a beautiful samba dedicated to Paris. There are other influences on Aline’s music, like the reggae rhythms of “Upaon Acu” and “Fina Flor”, the Caribbean sounds of the marimba on “Empty Paradise” and the African rhythms of Cabo Verde on “Um Mar de Mar”. “Lua de Janeiro” and the haunting title track “Maritima” are closer to the sound of Aline de Lima first two albums.

01. Maritima by Aline de Lima Musiciens: Ugo Castro Alves (guitar), Illya Amar (marimba), Luiz Claudio (percussions), Aline de Lima (vocals), Maëva Leberre (cello)
02. Upaon Açu by Aline de Lima Musiciens: Dada Viana (percussions), Rui Mario (keyboards), Aline de Lima (guitar and vocals)
03. Flor de Brasilia by Flavia Bittencourt (3) and lyrics by Aline de Lima (3) Musiciens: Ugo Castro Alves (10 strings guitar, acoustic guitar), Alvaro Lima (bass), Netinho Albuquerque (pandeiro, xequerê and reco-reco), Dada Viana (agogô, zabumba, shakers, berimbau), Flavia Bittencourt (guest singer), Aline de Lima (vocals)
04. Fina Flor by Aline de Lima Musiciens: Rui Mario (acordeon), Alvaro Lima (bass), Isabelle Pares (flute), Illya Amar (marimba), Dada Viana (percussions), Aline de Lima (acoustic guitar and vocals)
05. Empty Paradise by Aline de Lima Musiciens: Ugo Castro Alves (guitar), Dada Viana (percussions), Alvaro Lima (bass), Illya Amar (marimba), Maëva Leberre (cello), Aline de Lima (vocals)
06. Lua de Janeiro by Mario Lucio (1) and Aline de Lima (3) Musiciens: Isabelle Pares (flute), Ugo Castro Alves (guitar), Damilton Viana (percussion), Illya Amar (vibes), Aline de Lima (vocals)
07. Cri du Coeur by Henri Crolla and lyrics by Jacques Prévert (2) Musiciens: Isabelle Pares (flute), Aline de Lima (guitar and vocals), Alvaro Lima (bass), Rui Mario (acordeon), Illya Amar (vibes)
08. Infinito Blue by Aline de Lima Musiciens: Ugo Castro Alves (guitar), Alvaro Lima (bass), Rui Mario (accordion), Netinho Albuquerque (percussions), Dada Viana (percussions), Aline de Lima (vocals)
09. Madrugada by Marcio Faraco (3) and lyrics by Aline de Lima (3) and Marcio Faraco Musiciens: Robertinho Chinês (mandolin), Aline de Lima (acoustic guitar and vocals)
10. Velho Mundo Novo - Paris by Aline de Lima Musiciens: Netinho Albuquerque (samba percussions), Dada Viana (percussions), Ugo Castro Alves (guitar), Aline de Lima (vocals)
11. Um Mar de Mar by Mario Lucio, traduction in french by Africa Nostra Musiciens: Dada Viana (african percussions), Ugo Castro Alves (10 strings guitar and acoustic guitar), Illya Amar (marimba), Aline de Lima (vocals)

CD Review: Mace Hibbard – Time Gone By

2011-10-27T11:05:00.000-07:00

CD Review: Mace Hibbard – Time Gone By

Time Gone By, saxophonist Mace Hibbard second release is a collection of outstanding, fresh compositions accompanied by thoughtful solos throughout. And even though Hibbard is the leader of this quintet, Time Gone By is without a doubt a collective effort. And as is the case with lots of young musicians these days, Mace and his quintet dominates all languages of the jazz tradition. “For the memories we share” is clearly a smooth jazz ballad, and tracks like “Hallowed Ground”, “Always on my mind”, Remembrance of things past”, also have elements of smooth jazz.

However there are moments where the music on this album echoes that of Miles Davis first great quintet. Hibbard tone on “Indecision” has a Coltrane like quality and the track even sounds like a Miles Davis composition from those years. “Theme for Dos Lyn” also has elements of Miles quintet with Coltrane but the frantic pace, fast improvisations on sax and quick chord changes on “Slip and Slide” are reminiscent of Coltrane masterpiece Giant Steps.

The quintet cohesiveness and their creative and sharp solos over Hibbard outstanding compositions show a strong command of the jazz language by all the quintet.

Musicians: Mace Hibbard – saxophone, Melvin Jones – trumpet, Louis Heriveaux – piano, Marc Miller – bass, Justin Varnes – drums

Tracks: Rude on Purpose, December 18th, Indecision, Hallowed Ground, Always on my mind, Theme for Dos Lyn, Remembrance of things past, Slip and Slide, The Rain King, Time Gone By, La Danza Olvidada, For the memories we share

CD Review: Ernie Krivda - Blues for Pekar

2011-10-27T11:04:00.000-07:00

CD Review: Ernie Krivda - Blues for Pekar

Tenor Saxophonist Ernie Krivda is one of the best kept secrets in Jazz. Not many people recognize his name because Krivda developed his career in Cleveland, instead of Chicago or New York, major cities often associated with jazz.

But once you hear his gorgeus tone, and astonishing fluidity of his improvisations you have to agree with Harvey Pekar when he said, "Krivda is one of the best tenor saxophonist in the world".
Krivda 2011 release, Blues for Pekar pays tribute precisely to jazz writer and critic Harvey Pekar.

A group of excellent musicians from Detroit accompanied Krivda on this venture. Pianist Claude Black, female bassist extraordinaire Marion Hayden and drummer Renell Gonsalves, son of tenorist Paul Gonsalves. Yes, the same Paul that revived Duke Ellington career in 1956 Newport Jazz Festival.

All of Krivda solos are deeply rooted in the blues and every track is a master class on how to improvise, starting with "The end of a love affair". Trumpeter Dominick Farinacci stands his ground on this one ending in a improvisation exchange with Krivda reminiscent of early New Orleans jazz.

On the jazz ballads "More than you know" and "Darn that Dream", Krivda demonstrates he is just as good as a balladeer. On these slow tempo pieces his phrasing evokes the sensibilities and sound of the first great tenorists Lester Young and Coleman Hawkins. As part of his improvisations on "More than you know" Krivda cleverly quotes lines of "Softly as in the Morning Sunrise".

Another special guest is trumpet player Sean Jones, who adds elegant solos on Sonny Rollins' "Valse Hot" and on Dxter Gordon "Fried Bananas". The album ends up with two Krivda originals, the swingin Monk like "One for Willie" dedicated to saxophonist/arranger Willie Smith and the cool title track "Blues for Pekar".

CD Review: Silvano Monasterios - Unconditional

2011-10-27T11:02:00.000-07:00

CD Review: Silvano Monasterios - Unconditional

Jazz has always been a music of fusion, so it is not surprising that in the 21st century, one hundred years since the beginnings of jazz, musicians are still exploring with new ways of fusing jazz with music styles from around the world.

On his new release Unconditional, venezuelan pianist/composer Silvano Monasterios creates an interesting fusion of jazz with rhythms from Venezuela like the Joropo in the compositions "A song for Jacques Part II" and "Sno Peas".

On "Farmacia del Angel", dedicated to his father, the music has a distinct samba influence and on "Monseiur Petit Noir" the percussion takes us to the more familiar rhythms of the caribbean.

But Monasterios is also a musician well versed in the jazz language. On "Forgotten Gods" Monasterios, along with saxophonists Troy Roberts play some of their best improvisations over a frantic swingin tempo. The title track "Unconditional" is a jazz ballad with elements of smooth jazz and the music and funk rhythms on "Black Saint" are reminiscent of groups like The Rippingtons.

Monasterios is a pianist of extraordinaire fluidity and good technique equally comfortable expressing himself over South American rhythms or Straight Ahead Jazz.

Tracks: Farmacia de Angel, Monsieur Patit Noir, A Song for Jacques Part I, A Song for Jacques Part II, Sno' Peas, Forgotten Gods, Unconditional, Black Saint

Musicians: Silvano Monasterios - piano, keyboards, Troy Roberts - Saxophones, Jon Dadurka - bass, Gabriel Vivas - bass (5,7), Rodolfo Zuñiga - drums, José Grgorio Hernandez - percussion

CD Review: Jane Bunnett & Hilario Duran - Cuban Rhapsody

2011-10-27T10:57:00.000-07:00

Saxophonist and flutist Jane Bunnett exploration of cuban music started back in the 1990's and she is a frequent visitor to Cuba. So Bunnett is not a newcomer to the world of latin music. In fact Bunnett received the 2002 Smithsonian Institute Award for her contributions and dedication to the development of latin jazz.

On her new release Cuban Rhapsody, Bunnett recorded with her long time musical friend pianist virtuoso Hilario Duran. Their music partnership goes back to 1990 when Bunnett went to Cuba to record her album Spirits of Havana. Bunnet and her husband Larry Cramer sponsored Hilario to move to Canada where he lives since 1998.

Cuban Rhapsody is a duo album, just piano and either flute or sax. In latin jazz music rhythm is essential, so here Hilario has the responsability of providing the rhythmic and harmonic support to Bunnett melodies and improvisations.

The music selection is superb, a collection of cuban classics beautifully played by these masters of improvisation. The duo format provide a lot of space for both Duran and Bunnett to display their improvisational talents.

Bunnett expressive tone on soprano sax shines on Miguel Matamoros "Lagrimas Negras", and on Ernesto Lecuona "Maria La O" and "Danza Lucumi". Bunnett brighter tone is equally gorgeous in the classics "Son de la loma", "Longina", "Almenra" and "Sherezada".

This music is the cuban equivalent to jazz. It also have african roots and is a perfect vehicle for improvisational ventures. But caribbean music has a classical element also. This classical influence is more evident in a musical form called Contradanzas. Danzas from Cuba and Puerto Rico fuses african music with the classical tradition from Europe, both essential parts of caribbean music. One of the highlights of the album is precisely a medley of five cuban contradanzas, where Bunnet and Duran exchange sublime improvisations.

Duran applies that same classical/caribbean fusion on his original composition "New Danzon". From start to finish, Cuban Rhapsody has a perfect balance of elegance and virtuosity.

Tracks: Lagrimas Negras, Son de la loma, Longina, Quirino con su tres, Contradanzas, Maria La o, Almendra, New Danzon, Sherezada, Danza Lucumi

Musicians: Jane Bunnett - flute, soprano sax, Hilario Duran - piano

CD Review: Magos Herrera - Mexico Azul

2011-06-24T09:52:00.000-07:00

CD Review: Magos Herrera - Mexico Azul

Magos Herrera is the Cassandra Wilson of latin america. There are similarities in their warm, sultry tone, their bluesy feeling and strong command of the jazz language. What makes Magos Herrera different and certainly a unique voice in the jazz world today is her latin heritage that she proudly displays in all of her music.

The CD notes describes México Azul as a celebration of México's golden age of cinema and television. That was back in the 30's and 40's. A lot of good music came out of that era, and Magos did good job in the song selection for this album.

México Azul start with Herrera soulful interpretations of Alvaro Carrillo "Luz de Luna" and Agustin Lara "Noche Criolla". Both outstanding arrangements that fuse jazz with south american music.

The slow pace and almost Aria trumpet intro by Tim Hagans on Agustin Lara "Azul" gives a majestic feel to this romantic theme. Hagans also adds a superb trumpet solo to the jazz waltz arrangement and Herrera emotional intense interpretation of "Angelitos Negros".

Herrera profoundly resonant voice can be fully appreciated on Agustin Lara "Lamento Jarocho" an homage to the people of Veracruz, México. Magos Herrera phrases flow effortlessly on "Seguiré mi viaje", "Dos Gardenias" and in the beautiful bolero jazz "Que sea para mi".

The percussive voice intro on "Tres Palabras" is very similar to Gretchen Parlato style. The arrangement for this track is one of the jazzier of the release.

Even though Rafael Hernandez was not from México, he was Puertorrican, his compositions were among the best of that era. "Obsesión" is one of Hernandez classics that has been recorded all troughout latin america. The ballad arrangement on this one allows Magos Herrera to bring out the feeling of every word.

Herrera is without a doubt the best jazz singer out of Mexico, and with México Azul she is establishing herself among the best singers in jazz.

CD Review: Kalani Trinidad - Crossing Bridges

2011-06-24T09:51:00.001-07:00

CD Review: Kalani Trinidad - Crossing Bridges

Flutist Kalani Trinidad is one of the brightest young stars in the Puerto Rico jazz scene today and the first Puerto Rican to win a Presidential Scholarship from Berklee School of Music in Boston. In his style Trinidad echoes the best of the great Puerto Rican flutist that came before him. One may hear on his music the finesse and sensitivity of a Nestor Torres and the inventiveness and intensity of a Dave Valentín.

The music on Trinidad debut album Crossing Bridges has elements of smooth jazz on compositions like "Ubiquitous Being", fusion jazz on "Noche en Madrid" and latin jazz on "Puertorro".

Trinidad improvises with spontaneity and ease on the almost lullaby tittle track "Crossing Bridges" and over the samba rhythms of "Momentum and "The Passage".

Kalani Trinidad expresiveness, intensity and limitless stack of phrases may be fully appreciated on "Puertorro", an outstanding composition that constantly changes between afro caribbean and south american rhythms. On this track, Kalani's father, Richard Trinidad plays the piano and Paoli Mejias plays the congas creating a rumba that is one of the highlights of this release.

Besides Richard and Paoli, Kalani recruited a group of extraordinaire musicians for his debut album that includes Alex Acuña on percussions, Alex Brown on piano, who also plays with Kalani in the group La Timbistica, John Benitez on bass and Henry Cole on drums. Marcos Lopez plays drums on "Momentum" and "Russo".

Tracks: Momentum, The Passage, Noche en Madrid, Crossing Bridges, Puertorro, Serenity, Russo, Ubiquitous Being

Musicians: Kalani Trinidad - flute, John Benitez - bass, Alex Brown - piano, Henry Cole - drums, Alex Acuña - percussion, Richard Trinidad - piano (5), Marcos J. Lopez - drums (1,7), timbales (5), Paoli Mejias - congas (1,5,7)

Puerto Rico Heineken Jazz Festival 2011

2011-06-24T09:48:00.002-07:00

Puerto Rico Heineken Jazz Festival 2011

Wilbert Sostre reports from the 21st edition of the jazz festival in Puerto Rico

By Wilbert Sostre

On its 21th Anniversary, the Puerto Rico Heineken Jazz Festival has become an international event. Each year the event features a diversity of local artists as well as the best jazz musicians from around the world.

The first night featured local virtuoso percussionist Richie Flores and Jamaican pianist Monty Alexander. More than 20 years ago, Richie Flores played in the first Puerto Rico Jazz Festival. On the 2011 edition, Richie came back to be the opening act of the festival. This time Richie played with his own group of excellent musicians including Puerto Rican bassist John Benitez, drummer Robby Ameen and pianist Elio Villafranca.

From the first piece, "Amigos" (Friends), Flores captivated the audience with his energy and fast hands playing the congas. Vocalist Marfil Delgado joined the group for good renditions of her own composition "Hot" and Flores original "La Vida te Dá."

After the complex arrangement and fast interpretation by the members of Flores new project Onda Mora of the classic plena "Elena Elena" (plena is a folk music from Puerto Rico), the sextet played Dizzy Gillespie's "Groovin High" and Stevie Wonder's "Overjoyed."

Monty Alexander Harlem Kingston Express was the second act on Thursday night. Alexander's music can be described as eclectic, combining elements of various jazz styles with Caribbean music, especially from his native Jamaica.

On the third piece the contagious reggae rhythms enter the scene with the integration of the Jamaican part of the group. From that moment on each arrangement was a fusion of jazz and reggae on originals compositions like "Strawberry Hills" and "Love Notes" and in the beautiful version of Bob Marley's "No Woman, No Cry."

Saxophonist/composer Ted Nash opened up the second night of the Puerto Rico Jazz Festival, delivering material mostly from his new album Portrait in Seven Shades. This album contains music inspired by masters of painting like , Monet, Dalí, and Picasso. Nash’s elegant compositions show the different colors, shades and styles of these giants of modern art.

Nash style has elements of the avant garde but at the same time is deeply rooted in the jazz tradition. The rhythm section featuring drummer Ali Jackson, pianist Dan Nimmer and bassist Carlos Henriquez provided excellent support to Nash and trumpeter Marcus Printup during their fine solos. Henriquez pleased the crowd with flawless improvisations in the blues dedicated to Matisse and in the piece dedicated to abstract painter Jackson Pollock.

Ramsey Lewis added the romantic touch to the festival second night. Lewis poetic and delicate style, good melodic sense and ability to convey diverse emotions with just one note, captivated the audience. On his music Lewis explores elements of gospel, blues, funk, classical music and of course jazz. What was supposed to be a trio turned into a quartet with the addition of master guitarist Henry Johnson. One of the highlights of Lewis presentation was the improvisation bassist Joshua Ramos on "The In Crowd," one of Lewis most recognized compositions.

Among jazz/fusion bassists, two names rise above others to the point of reaching the status of legends. One of them is Jaco Pastorius; the other one, Stanley Clarke, closed up the second night of the Puerto Rico Jazz Fest. With the absence of Hiromi Uehara, what could have been a power trio turned into an explosive duo plenty of intense solos between Stanley Clarke and young drummer Ronald Bruner. The energy and flawless technique of these two virtuosos is simply impressive.

After the Saturday cancellation due to the constant rain, the festival started its last night with the presentation of the students of Berklee in Puerto Rico. Each year music students from Puerto Rico receive financial aids and scholarships from Heineken and the Berklee College of Music.

But what everyone was waiting to see on Sunday night was the return to the Puerto Rico Jazz Fest of Puerto Rican master saxophonist David Sanchez. Sanchez brought us a premiere of his new project Ninety Miles, which includes vibraphonist Stefon Harris and trumpeter Christian Scott. Accompanying them on Ssunday night were bassist Luques Curtis and drummer Henry, both excellent instrumentalist and both from Puerto Rico.

The melodic and rhythmic balance in Sanchez improvisations matched perfectly with Scott’s intensity and Harris’ elegance and fluidity on the originals "Brown Bells Blues," "Echa," The Forgotten Ones," "Paradise Found" and "City Sundown."

For the second consecutive year, trumpeter/director Humberto Ramirez and his big band were the closing act of the festival. For this year Ramirez prepared a nice tribute to Tito Puente, Tito Rodriguez, La Lupe and Frank Sinatra. The festival ended with the audience dancing in the aisles and remembering the music of the Latin big bands of the 40's and 50's.

CD Review: Gonzalo Rubalcaba - Faith (Fé)

2011-06-24T09:48:00.001-07:00

CD Review: Gonzalo Rubalcaba - Faith (Fé)

Gonzalo Rubalcaba is a well recognized and respected name in the jazz scene. His classically trained background, along with his knowledge of Jazz and the music of his native Cuba, make him an equally impressive musician either playing art or popular music.

Faith is the premiere release on his newly founded 5Passion (cincopasión or sincopation) label. This is a solo piano album, a setting similar to a classical piano recital. Just Rubalcaba and his piano, and of course there is no need for anything else.

Faith starts with "Derivado 1", a short piece with some dissonances that serves as an introduction to "Maferefun Lya Lodde Me", a praise in the lucumi language to the orisha Oshun (Lucumi is a Yoruba dialect spoken by practitioners of the Santería religion in Cuba, Puerto Rico, and Dominican Republic).

All throughout, Rubalcaba demonstrates his clean and impeccable technique product of his classical piano studies in Cuba. On "Improvisation 1 and 2", based on the chord changes of John Coltrane's Giant Steps, Rubalcaba displays his virtuosity with fast piano runs and scalar improvisations reminiscent of Coltrane himself. The short phrases and use of dissonances also have some similarities to pianist Cecil Taylor.

"Derivado 2 and 3" are variations based on the second track "Maferefun Lya Lodde Me". The sophisticated dissonant chords and the effectve playing in the high notes of the piano evokes the sounds of another jazz master, pianist Thelonious Monk.

"Con Alma 1 and 3" are delicate and elegant interpretations of Dizzy Gillespie's composition, played with soul as the tittle suggest. Rubalcaba creates a perfect balance of emotion and virtuosity in the classically tinged piece "Preludio Corto # 2 (Tu Amor era Falso" and in the Miles Davis/Bill Evans classic "Blue in Green".

Rubalcaba attack is more aggresive and percussive in "Oro", an original composition that brings together classical and cuban music with touches of free jazz. Faith also includes three poetic and refined originals dedicated to Rubalcaba two daughters and son, "Joan", " Yolanda Anas" and "Joao". These compositions were recorded originally on his album Inner Voyage.

Tracks: Derivado 1, Maferefun Lya Lodde Me, Improvisation 2, Derivado 2, Con Alma 1, Preludio Corto #2, Blue in Green 1, Oro, Joan, Joao, Yolanda Anas, Blue in Green 2, Con Alma 3, Improvisation 1, Derivado 3

Musicians: Gonzalo Rubalcaba - piano

CD Review: Peter Scharli Trio featuring Ithamara Koorax - O Grande Amor

2011-06-24T09:47:00.001-07:00

CD Review: Peter Scharli Trio featuring Ithamara Koorax - O Grande Amor

Peter Scharli's O Grande Amor is an unusual album. This is brazilian music played beautifully by a trio of swiss musicians. That fact alone is not so unusual, brazilian music is played by musicians all around the world.

The odd thing here is the format of this trio. Peter Scharli on trumpet, Thomas Durst on bass and Hans-Peter Pfammatter on piano. Something missing? Right, no drums and no percussions. Everybody knows the importance of the percussion on brazilian music. So it is a challenge for these master musicians, mostly for the pianist and bassist to keep the rhythm. And they did a wonderful job al throughout especially on the sambas "Sandalia dela", Baden Powell and Vinicius de Moraes' "Deixa" and "Zum Zum".

Peter Scharli gorgeous, rich sound and well constructed solos on trumpet is a perfect match with the trio secret weapon, Ithamara Koorax. Among all the great talented singers out of Brasil Koorax is without a doubt one of the best. Koorax is a singer equally comfortable singing traditional brazilian music or jazz.

Few singers conveys the emotion of Antonio Carlos Jobim lyrics like "Fotografia" and "O Grande Amor" or ballads like Ivan Lins "Setembro" with the tender feel and elegance of Ithamara Koorax. Koorax also brings the most out of each note on the slow arrangement of Ary Barroso "Pra Machucar Meu Coraçao".

One of the highligths of the album is Hans original "Wediletto", a composition that allows Koorax to show her amazing vocal range singing high notes in unison with Peter Scharli on trumpet.

Tracks: Fotografia, Sandalia Dela, Setembro, Wedileto, O Grande Amor, Deixa, Pra Machucar Meu Coraçao, Zum Zum

Musicians: Ithamara Koorax - vocals, Hans Peter Pfammatter - piano, Thomas Durst - bass, Peter Scharli - trumpet

CD Review: Walt Weiskopf Quartet

2011-06-24T09:46:00.001-07:00

CD Review: Walt Weiskopf Quartet

Jazz is a music form based on improvisation, it is art created in the moment. So logically most of the best performings in jazz comes out in a live setting. When masters improvisers get together the result of that interaction is usually magical. That is the case with Walt Weiskpf Quartet release recorded live at Koger Hall, University of South Carolina in April 8, 2008.

This is a quartet of superb musicians at the top of their form. Walt Weiskopf is a tenor saxophonist with a sound that conveys the sound of all the sax legends. One may hear some Coltrane, Rollins, Adderley and Dexter Gordon all throughout especially in the first track "Man of Many Colors". On the second track, "Little Minor Love Song" his tone and phrasing is reminiscent of Benny Golson and on the ballad "Blame it on my youth" Weiskopf plays with the lyricism of a Lester Young. Weiskopf improvisations always has a perfect balance of surprise and coherence. Weiskopf experience includes playing with the great pianist Toshiko Akiyoshi.

Bassist Paul Gill, who also played with Akiyoshi, and dummer Tony Reedus brings the energy and swing in the rhythm section. The release is dedicated to Tony Reedus who died of a pulmonary embolism upon return from a tour of Italy a few months after this concert.

Completing the quartet is one of the best pianist in jazz today, Renne Rosnes. Impossible to choose among all the impressive improviations by Rosnes on this album, so I won't. I recommend to listen and enjoy them all. Her crisp melodic breaks, intensity, dazzling high speed runs, and limitless stack of phrases are always surprising and exciting. Rosnes improvisations are a marriage of intellect and emotion.

Most of the compositions on this album are Weiskopf originals except, "Blame it on my youth" and Cole Porter "Love for sale"

Tracks: Man of Many Colors, Little Minor Love Song, Dizzy Spells/Jay Walking, Blues in the Day, Scottish Folk Song, Blame it on my youth, Love for Sale, Breakdown

Musicians: Walt Weiskopf - tenor saxophone, Renee Rosnes - piano, Paul Gill - bass, Tony Reedus - drums

CD Review: Heiner Stadler - Tribute to Bird and Monk

2011-06-24T09:44:00.000-07:00

CD Review: Heiner Stadler - Tribute to Bird and Monk

Heiner Stadler's Tribute to Bird and Monk was one of the best and most unusual albums back in 1978. And after more than thirty years it still sound as fresh and energetic as the first time it came out. This is free improvisation as it's best, played by some of the jazz heavyweights of that era, including Thad Jones on trumpet, Reggie Workman on bass and Lenny White on drums.

Heiner Stadler conducted the band and did the polytonal arrangements for the six compositions, three by Charlie Parker and three by Thelonious Monk.

Like in any free improvisation album there is a lot of dissonances on this one, but there is also a lot of swing and almost New Orleans sound in Bird's "Air Conditioning". Also in the New Orleans tradition is the funeral march intro on Monk's "Ba-lue Bolivar Ba-lues-are". The arrangement changes into a funk groove at the end. There is also some funk in Monk's Straight No Chaser", this was the 70's, the jazz fusion decade, so funk was everywhere.

Everyone had the chance to improvise over the dissonant march sounds of "Misterioso". Reggie Workman inventiveness on his bass improvisations, at one time using the bow for dramatic effects, is on of the highlights of the album.

The more traditional arrangement is Bird's "Perhaps". The walking bass, the cool swing groove and the sax, trumpet and flute melody exchange are closer to the traditional Bebop sound. Free improvisation is not for everyone, even some jazz listeners can't stand the apparent chaos of this jazz form. For those who like free improvisation, this album is a must have in their collection.

Tracks: Air Conditioning, Ba-lue Bolivar Ba-lues-are, Au Privave, Straight No Chaser, Misterioso, Perhaps

Musicians: Thad Jones - trumpet, George Adams - Saxophone, George Lewis - trombone, Reggie Workman - bass, Lenny White - drums, Warren Smith - percussions

CD Review: Judy Wexler - Under a Painted Sky

2011-06-24T09:43:00.000-07:00

CD Review: Judy Wexler - Under a Painted Sky

Under a Painted Sky is Judy Wexler third release (2005 Easy on the Heart, 2008 Dreams and Shadows). Wexler is one of those uncommon singers with the sensitive, tender feel to clearly express the emotion of a ballad like "Don't Wait Too Long" and the tight, impecable technique to swing in tunes like "The Great City".

Under a Painted Sky has a perfect balance between upbeat tunes and slow ballads. On either one Wexler displays her distinctive style compounded of an ellegant, exquisite phrasing and a gorgeous voice. Wexler versatile voice can be sexy and humorous on "An Ocassional Man", romantic on "Café" and then show some vulnerability on the ballad "Sack full of dreams".

If it ain't broke, don't fix it, like in Wexler previous albums pianist Alan Pasqua once again provides the spacious arrangements that allows the listener to fully enjoy the emotional colouring of Wexler vocals. Wexler is in the company of master musicians on Under a Painted Sky, including Bob Mintzer on tenor sax, Walt Fowler on trumpet, Soprano sax player Bob Sheppard, and bassit Darek Oles (both played on Wexler first two releases) and master percussionist Alex Acuña.

Tracks: Wonderful wonderful, And how I hoped for your love, An occasional man, Don't wait too long, The Great City, Avec le Temps, A little tear, Last time for love, Café, Whisper not, Till there was you, Sack full of dreams

Musicians: Judy Wexler - vocals, Alan Pasqua - piano, Darek Oles - drums, Larry Koonse, Bob Mintzer - tenor sax, Bob Sheppard - soprano sax, Walt Fowler - trumpet, flugelhorn, Alex Acuña - percussion

CD Review: Lisa Engelken - Caravan

2011-06-24T09:42:00.001-07:00

CD Review: Lisa Engelken - Caravan

Lisa Engelken's Caravan is an album full of twists, turns and surprises that demands the complete attention of the listener. The whole album feels like a live performance, and that is how good jazz should sound like.

"We'll be together again" starts as a ballad, burst into nice swing groove with Lisa adding some dazzling scatting and slows down again at the end.

Lisa adds some sense of humour in the creative arrangement of Cole Porter's "Just one of those things", starting with a funeral march a la New Orleans, all of a sudden the band is in full swing again. The trumpet, clarinet,sax and trombone adds to the New Orleans feel of the track. On her vocal improvisations Lisa cleverly insert some lines of the song My heart belongs to daddy.

It must be a real treat to see Lisa Engelken performing live. She has a certain flair for the dramatic that surely comes from her theatre background. That broadway influence may be heard on the ballad "Winter Moon".

On Baden Powell and Vinicius de Moraes "Canto de Ossanha", Engelken takes us in a journey to the brazilian carnaval, singing in portuguese and accompanied with the brilliant harmonies of Jeanette Sarmiento and Chabela Yrigoyen.

Juan Tizol's "Caravan" is completely reharmonized in an unusual slow arrangement with touches of classical music. The alternate time signatures on the classic "Afro Blue", amazingly maintains a beautiful fluidity. Another example of Lisa creativeness as an arranger.

Lisa ventures into the jazz/funk fusion in Joni Mitchell's "Trouble Child" and Freddie Hubbard's "Fromthe earth". The effective slow, bluesy arrangement grows in intensity in Billy Idol's "White Wedding" is a song one does not expect in a jazz album.

The release ends up with a more traditional arrangement, on the ballad "Detour Ahead".

Tracks: We'll be together again, Just one of those things, Canto de Ossanha, Caravan, Afro Blue, Trouble Child, Winter Moon, From the earth, White Wedding, Detour Ahead

Musicians: Lisa Engeken - vocals, Adam Schulman - piano, fender rhodes (2,3,4,6,7,8,9,10) , Sam Bevan - bass (2,3,4,6,7,8,9,10), Matthew Swindells - drums, Mike Olmos - trumpet (2,8), Doug Beavers - trombone (2,8), David Alt - tenor sax, clarinet (2,8), Jon Monahan - guitars (3,4,6,8,9), Jarrett Cherner - piano (1,5), Gabe Davis - bass (1,5), Brian Rice - percussion (3), Joel Behrman - trombone, trumpet, flugelhorn (3,4,6), Jeanette Sarmiento, Chabela Yrigoyen - backing vocals

CD Review: Adam Dunning - Sunset Monkeys

2011-06-24T09:40:00.000-07:00

CD Review: Adam Dunning - Sunset Monkeys

It is amazing that Bossa Nova, a music style that started more than fifty years ago in the streets of Rio de Janeiro, still holds a strong fascination over a lot of musicians around the world. That is the case with australian native Adam Dunning, to the point that in Rio de Janeiro he is considered just another carioca.

Dunning album Sunset Monkeys is a collection of mostly originals songs full of beautiful brasil imagery like in "Leblon", "Sunset Monkeys" and "Mount Eliza" or romantic lyrics like "Summer Things". Sunset Monkeys also includes the cool sambas "Song of the Lagoon", "Green" and "Parabens ao meu amigo". Rodrigo Sha adds tight and impacable flute solos on "Green" and "Parabens".

Dunning recorded Sunset Monkeys in Rio de Janeiro with a little help from some brazilian friends. Roberto Menescal sings and plays guitar in the bossa "We and the Sea" and plays the electric guitar on Jobim's "Fotografia". Joao Donato sings and plays the piano on his own composition "Jungle Flower".

Brazilian singers Cris Delanno, Daniela Procopio and Laura Lagub add the femenine touch with their beautiful voices on "E preciso perdoar", "Fotografia", and "With You".

Another highlight of the album is Dunning wonderful version of Carlos Lyra an Vinicius de Moraes classic "Voce e eu" (You and me)

Listening to Sunset Monkeys, there is no doubt Bossa Nova music is in Dunning's blood.

Tracks: Leblon, We and the Sea, Sunset Monkeys, Jungle Flower, Mount Eliza, Green, E Preciso Perdoar, Song of the Lagoon, You and Me, Summer Things, Photograph, Parabens ao meu amigo, S Wonderful, With You Nunca Fui

Musicians: Adam Dunning - vocals, guitar, Ronaldo Cotrim - guitar, flute, piano, bass, vocals, Carol Futuro - backup vocals, Eduardo Santana - flugelhorn, trumpet, Naife Simoes - percssion, drums

CD Review: Mari Tochi - Aligato

2011-06-24T09:39:00.001-07:00

CD Review: Mari Tochi - Aligato

On her debut release Aligato, singer Mari Tochi brings an eclectic fusion of sounds and influences that includes of course the music from her native Japan. With her distinctive style and a sweet yet powerful voice, Tochi explores aspects of of her japanese heritage on "Opelo Kai", a song with japanese lyrics and delicate a orchestration.

"Kotodama" mix japanese and english lyrics over a funk groove. Tochi even rap a little bit on this track. "Awayuki" has a more traditional japanese sound before it changes into a slow funk. On "Long way to go" Tochi goes to Brasil with samba rhythms and the danceable sounds of carnaval. An ellegant piano intro gives way to another brazilian influenced track, the bossa "Requiem/Azul no azul do azul". On this one Tochi sings in portuguese and english.

The jazzier tracks on the release are "So long, bye, bye, baby" and "Soran Bushi/My Favourite Things". The harmonies and arrangements on "My Favourite Things" are very similar to Coltrane's version.

The album ends up with mystic sounds of the title track "Aligato".

Tracks: Opelo kai, Kotodama, Long long way to go, Soap of memory, Brooklyn Cloud, Awayuki, Soran Bushi/My Favourite Things, I wanna see you, Requiem/Azul no azul do azul, So long bye bye baby, Aligato

Musicians: Mari Tochi - vocals, percussion, Mamiko Watanabe - piano, Megumi Yonezawa - piano, Hiroya Tsukamato - guitar, Jostein Gulbrandsen - guitar, Tim Collins - vibraphone, Ben Williams - bass, Moto Fukushima - bass, Francisco Mela - drums, Fernc Nemeti - drums, Keita Ogawa - percussion

CD Review: Cinzia Spata - Into the Moment

2011-06-24T09:37:00.000-07:00

CD Review: Cinzia Spata - Into the Moment

Cinzia Spata third release Into the Moment should establish her as one of the best singers in the jazz scene. Spata is an italian singer with superb command of her voice and a master of scatting, a singing technique used by jazz legends like Ella Fitzgerald and Louis Armstrong.

On the first track, "Questar", Spata do some suberb harmonized scatting with trumpet player Ken Celvenka. Her scats are fabulous also on "Soul Eyes". But is in cool swing arrangement of Rodgers and Hammerstein's "My Favourite Things" that Cinzia Spata shows her mastery of scatting. Spata improvises melodies with spontaneity and ease.

Spata and trumpeter Ken Cervenka complement each other perfectly on Ralph Towner's "The Glide", and on the funk Spata original "Carlos". This piece has avant-garde influences, especially at he end where Spata exchanges some dazzling improvisations with the trumpet.

But Cinzia is not all about scatting, she also has the sensibility to sing jazz ballads as shown on her heartfelt renditions of "Falling Grace", and "The Widow in the Window"
.
Musicians: Cinzia Spata - vocal, Bruce Barth - piano, Dave Clark -bass, Yoron Israel - drums, Ken Cervenka - trumpet, flugelhorn. George Garzone - tenor sax

Tracks: Questar, My Favourite Things, Falling Grace, The Glide, The Widow in the Window, Soul Eyes, Carlos, Duke Ellington's Sound of Love, Tea for Two, Very Early, East of the Sun (West of the sun)

CD Review: Manisha Shahane - When Parallel Lines Meet

2011-06-24T09:36:00.002-07:00

CD Review: Manisha Shahane - When Parallel Lines Meet

On her third album When Parallel Lines Meet Manisha Shahane brings a diversity of sounds that includes rock, folk, jazz, and the music from her native India. The whole album has a world music feel.

The album starts with the arabian percussive sounds of "Girls gone world". Shahane vocals on this song about bringing unity through music, are reminiscent of Sade. There are some similarities to Sade also on "Into the Valley", the jazzier piece on the album.

The sound of the cello on "Mother don't cry" gives this piece a classical music feel that increase in intensity at the end to an almost rock sound.

Shahane shows her hindu heritage and vocal range in the songs "Remember this Day", Stil" and "See Light". On "See Light" Shahane aslo adds some hindu vocal percussion to the mix.

On "Mrs. Underwood" Shahane ventures into american folk music. The style and vocal phrasing on this one are reminiscent of groups like Cowboy Junkies. The album ends with "In search of Yaman", a piece perfect for relaxation, inner search and meditation.

Tracks: Girls gone world, Mother don't cry, Remeber this day, Mrs. Underwood, How things change, Still, Into the Valley, First Dance, See light, In search of Yaman

Musicians: Manisha Shahane - vocals, piano, keyboards. Brahim Fribgane - oud. Jerry Leake - percussion. Daniel Cantor - vocals, keyboards. Micropixie, Sumitra, Iyeoka Ivie Okoawa, Jennifer Gates - background vocals. Blake Newman - bass. Mark Simcox - cello. Dominique Gagne - flute. Geoff Rakness - bass. Kevin Barry - guitar. Mark San Filippo - drums. Chris Brenne, Matthew DiPierro - guitar. Akili Jamal Haynes - trumpet, trombone.

CD Review: Eliane Amherd - Now and from now on

2011-06-24T09:36:00.001-07:00

CD Review: Eliane Amherd - Now and from now on

Now and from now on is the debut release from the multi talented swiss artist Eliane Amherd. Amherd is not only a exceptionally good singer but she is also an accomplished songwriter and guitarrist. All songs on Now and from now on are Amherd originals compositions, except for Tom Waits "Temptation".

The songs on this release reflects the diversity of influences on Amherd music. The album starts with the danceable funk "Now and from now on", a song about being optimistic and achieving your dreams.

"As if" is a song with witty, and humorous lyrics (english and portuguese) and with a touch of Bossa Nova. The sensual delivery on vocals, plus the superb licks on the electric guitar played by Amherd make this song one of the hightlights on the album.

"Me fe tan pliji" is another danceable track with the polyrhythms and clave often found in caribbean music. That caribbean sound can also be heard on the song "Feel a little sorry for yourself".

There is plenty of blues on the tracks "Don't give up on me", the blues/rock "Where is home", the jazz/blues "Trust you" and the Billie Holiday-like "Steady and Slow".

Amherd goes back to Brasil in the bossa "Let me Explain" and the batucada version of "Now and from now on".

Tracks: Now and from now on, As if, Me fe tan pliji, Don't give up on me, Feel a little sorry for yourself, Wher is home, Let me explain, Temptation, Trust You, Steady and Slow, Batucada

Musicians: Eliane Amherd - vocals, guitar. Bill Ware - vibes. Gustavo Amarante - bass. Willard Dyson - drums. Zé Mauricio - percussion

CD Review: Ligia França - Meu Mundo é Hoje

2011-06-24T09:34:00.001-07:00

CD Review: Ligia França - Meu Mundo é Hoje

Ligia França is one of many talented brazilian female singers living out of Brasil. Ligia lives currently in Italy, but listening to her wonderful rendition of Ary Barroso "Isto é meu Brasil" it is easy to see where her heart is.

Almost all the album is an homage to Brasil and the limitless talented songwriters coming out from the land of samba. Including two exquiste versions of songs by Dorival Caymmi, "Nem Eu" and the samba "Vatapá" and a heartfelt interpretation of the Ivan Lins ballad "Lembra de Mim".

Ligia sounds very similar to another great brazilian singer, Gal Costa in the slow samba cancao "Mora na Filosofia" and in the classic by Barroso, "Camisa Amarela'. The first time I heard "Meu Mundo é Hoje" was in the voice of brazilian singer Teresa Cristina. Ligia does a slower, jazzier version of this song with lyrics about being yourself.

Since Ligia is living in Italy the album should include an italian song, and it does, Gualtiero Malgoni's "Guarda che Luna". However the surprise of the album is the classic Julio Gutierrez bolero "Inolvidable. Ligia sings in perfect spanish on this song, most people in Latin America remember in the voice of Puerto Rican singer and bandleader Tito Rodriguez.

Tracks: O Samba e meu dom, Nem eu, Isto é meu Brasi, Saudosa Maloca, Meu Mundo é Hoje, Inolvidable, Vatapa, Lembra de mim, Guarda che luna, Mora na Filosofia, Camisa Amarela, Nego Maluca, Cao sem dono

Musicians: Ligia França - vocal, Roberto Taufic - guitar, Aruan Ortiz - piano, Edu Heblin - bass, Roberto Rossi - drums, Armando Marcal - percussion

CD Review: Bianca Rossini

2011-06-24T09:33:00.001-07:00

CD Review: Bianca Rossini

Instead of choosing the safe path of recording brazilian classic songs, all compositions on Bianca Rossini debut album, Kiss of Brasil are originals, a bold move for this brazilian native living in California. But as it turns out, Rossini is not just a good singer, she is a talented songwriter, so the result is an album with a delicate sound and romantic, sometimes sexy lyrics. Most of the music were composed by the guitarrist Patrck Lockwood and by the various pianists on the abum, Peter Roberts, Marilyn Berglas, Steve Rawlins and Ken Hirsch,

The songs range in style from the MPB sounds (Musica Popular Brasileira) of "Circular" to the elegant Bossa Nova "Ipanema Paraiso", an homage to Ipanema in Rio de Janeiro. On Ipanema Paraiso, Rossini sensual vocals interlace beautifully with Jimmy Roberts saxophone.

Rossini playful phrasing captivates and seduces the listener in the bossas "Perfume de Verao", "Coracao de Oro" and "Tarde em Copacabana", another place in Rio that has inspired lots of songs.

Kiss of Brasil also includes the contagious rhythms of the samba "Verdadeiro Amor" and three beautiful ballads, "Nos Dois", "NoSilencio da Noite" and "Primeiro de Dezembro"

Tracks: Ipanema Paraiso, O Tempo Vai Contar, Nos Dois, Tarde em Copacabana, Verdadeiro Amor, No Silencio da Noite, Circular, Primeiro de Dezembro, Perfume de Verao, Corazon de Oro

Musicians: Bianca Rossini - vocals, Peter Roberts, Marilyn Berglas, Mark Nilan Jr., Steve Rawlins, Ken Hirsch - piano, Peter Roberts, Roberto Montero, Patrick Lockwood, Grecco Buratto, Grant Geissman, Marco Tulio, Paul Montesano - guitar, Gecco Buratto - cavaquinho, Peter Roberts, Steve Rawlins, Mark Nilan Jr., Ken Hirsch - keyboards, Marilyn Berglas - strings, Sandro Feliciano - percussion, Jimmy Roberts - saxophone

CD Review: Burgstaller Martignon 4

2011-06-24T09:32:00.001-07:00

CD Review: Burgstaller Martignon 4

Burgstaller Martignon project Bach's Secret Files is based on the premise that jazz was the classical music of the twentieth century. Both music forms are based on theme and variation. Early in the history of jazz, classical composers (Ravel, Debussy, Rachmaninoff) showed interest in jazz music. And more recently jazz musicians like Wynton Marsalis recorded classical music. Contrary to classical music, jazz evolved into a freer, improvise music. But the concept of improvisation is not a jazz invention, classical composers like Bach, Bramhs, Mozart and Chopin were also accomplished improvisers.

"River of the Night" is a Burgstaller original melody played over Bach's Praeludium in C minor. The piece start with a classical feel reminiscent of Miles Davis interpretation of Concierto de Aranjuez that slowly changes into a latin groove. "A Start to Something" is an interpretation of Praeludium XI in F major. The feel here is that of jazz waltz similar to Brubeck's Time Out.
"Ebarme Dich Have Mercy) from Bach's St. Matthew's Passion includes the sublime voice of soprano Brenda Feliciano. The piece ends with a montuno-like piano.

The latin influence on these musicians as shown in "Variation No. 1", a short classical piece played over cuban son rhythms, and Debussy "Reverie", starting closer to the classical tradition before erupting into a piano montuno, is not really a surprise if one knows their history. Grammy nominee pianist Hector Martignon worked with latin legends Ray Barretto, Tito Puente and Paquito D'Rivera. Bassist Hans Glawischnig played with Chick Corea and Ray Barretto.

Burgstaller tone on trumpet is gorgeous and expressive especially on the almost lullaby "Gymnopedie No.1" and "Piece en Forme de Habanera". The virtuosity of these group of musicians allows them to played with comfort either jazz, latin jazz or classical.

Mendelssohn's "Lieder Ohne Worte Opus 19, No.1" and "Lieder Ohne Worte Opus 38 No. 2" and Puccini's "E Lucevan Le Stelle" from the Opera Tosca, demonstrates Burgstaller Martignon group mastery of the classical language. Bach's Secret Files is a superb marriage of jazz and classical music.

Tracks: The River of Night, Praeludium XI in F major, Ebarme Dich, Aria, Variation No. 1, Gymnopedie No.1, Piece en Forme de Habanera, Lieder Ohne Worte Opus 19 No.1, Lieder Ohne Worte Opus 38 No.2, E Lucevan Le Stelle, Reverie

Musicians: Joe Burgstaller - trumpet, flugelhorn, Hector Martignon - piano, Hans Glawischnig - bass, John Ferrari - drums, vibraphone, percussion, Brenda Feliciano - soprano voice, Samuel Torres - latin percussion, Micheal Kannen - cello

CD Review: Daniel Smith - Bassoon Goes Latin Jazz

2011-06-24T09:31:00.001-07:00

CD Review: Daniel Smith - Bassoon Goes Latin Jazz

Even though it has been played occasionally by musicians like Illinois Jacquet and Yusef Lateef, the bassoon is an uncommon instrument in jazz, even more in a latin jazz band. The basoon is an instrument with a gentle sound mostly used in a classical orchestra setting. So the strong percussion in a latin jazz band has to be careful not to overwhelm the sound of the bassoon.
Neil Clarke is successful in playing a lighter percussion yet strong enough to keep the required feel and flavor of a latin jazz band.

The album starts strong with Lee Morgan's "Mr. Kenyatta" and nice basson and trombone improvisations on the classic by Herbie Hancock, "Watermelon Man". The pace slow down a little on "Black Orpheus" and Antonio Carlos Jobim's "So Danço Samba". The lighter sound of the Bossa Nova allows the beautiful sound of the bassoon to be fully appreciated.

Bassist Michael O'Brien adds some powerful yet melodic solos on the boogaloo like, Listen Here. On the CD notes, Smith says, Charlie Parker "Yardbird Suite" was played over a samba beat, but it sounds very similar to the rhythms of Bomba music from Puerto Rico. Maybe this just goes to show the striking similarities of african influenced rhythms all over latin-america.

The brazilian rhythms on "Korg In" and the bossa arrangements of Horace Silver "Peace, demonstrates the huge influence of Brasil music on jazz musicians.Everyone contributes outstanding solos on the energetic rendition of Gillespie's Manteca. The album close with the danceable "Come Candela" a Mongo Santamaria composition and the strong clave of the "Mambo from the Dance at the Gym"

Tracks: Mr. Kenyatta, Watermelon Man, So Danco Samba, Listen Here, Black Orpheus, Yardbird Suite, Manteca, Korg In, Peace, The Chicken, Come Candela, Mambo from the Dance at the Gym

Musicians: Daniel Smith - Basoon, Daniel Kelly - piano, Michael O'Brien - bass, Vincent Ector - drums, Neil Clarke - percussion

CD Review: Claire Ritter - The Stream of Pearls Project

2011-06-24T09:30:00.001-07:00

CD Review: Claire Ritter - The Stream of Pearls Project

An alumni of th New England Conservatory and Queens University, pianist/composer Claire Ritter 10th CD, The Stream of Pearls Project was inspired by water. The idea originated from a painting of a piano oasis a student gave to Ritter in 2003. Ritter traveled to lakes, creeks and rivers to get inspiration, but the source of inspiration for the music also came from poetry, photography and painting.

The Stream of Pearls Project merge classical, jazz and ethnic music styles, so the unusual ensemble, which includes cello, banjo and accordion, reflects these diverse styles.

Ritter lyrical beauty and classical feel on the peaceful and relaxing solo piano "The Beauty of its Stillness overflow me like a tide" starts the project. Ritter phrasing is poetic and refined on "Bolero on th Charles". Ritter plays the exquisite melodies of this bolero with superb sensitivity over the precise percussion of Takaaki Masuko.

Ritter classically tinged approach continues on "Swiftly Winding", a duo with cellist Ashima Sripp played over a light percussion, on "Sailing Pamlico" and on the waltz "Valse of the Ponds". "Blue Ridge in Watercolors" is an appropiate tittle for this piano piece, as Ritter has the amazing abbility to paint pictures with her melodies.

The melodies flows like a stream on the piece that gives tittle to the album, "Stream of Pearls". The percussion and piano chords gives a majestic feel to "Across the Gorge" and the melodies played on the high notes of the piano on "The Brook the bird and I" are reminiscent of japanese music.

Ritter change gears playing some nice montunos on piano on the latin influeced pieces "Catfish Shuffle", "Skydune Mambo" and "Wild Ponies Run Free".

Tracks: The Beauty of its Stillness overflow me like a tide, Bolero on the Charles, Swiftly Winding, Blue Ridge in Watercolor, Stream of Pearls, Across the Gorge, The Brook the bird and I, Catfish Shuffle, Valse of the Ponds, Fortuity, Under the moonrise, Skydune Mambo, Ballade of the Flight, Wild Ponies run free, Sailing Pamlico, Mustang Calypso, Along the Banks, Island Jingle

Musicians: Claire Ritter - piano, Ashima Scripp - cello, Toni Naples, Rick Hansen - accordion, Richie Stearns - banjo, Jon Mtezger - vibes, Takaaki Masuko - drums, percussion

CD Review: Libby Richman - Open Strings

2011-06-24T09:29:00.000-07:00

CD Review: Libby Richman - Open Strings

Libby Richman describe her album Open Strings, as an homageto the guitar. Surely, the sound of the guitar is highlighted al throghout the album, but there is no doubt Richman alto sax is the star in Open Strings.

The funk/smooth jazz "The Day After" is one of four Richman originals on the album. Sax, guitar and bass had a chance to add good improvisations on this one.

"Bop Number 4", another Richman original composition, is based on a theme by Brahms. The Classical music influence is obvious in the intro melodies before it changes into a swing groove.

Richman gorgeous sound on the alto sax can be fully appreciated on Antonio Carlos Jobim "O Grande Amor". Bruce Edwards blend of melodic and harmonic lines on guitar is the perfect complement to Richman well constructed improvisations on sax.

"Lullaby of the Leaves" is a typical Bebop piece, starting with the harmonized melodies on alto and tenor saxophone. The ideas seems to flow effortless in elongated phrases coherently played by Richman, especially on "Checking out at th Inn". The Bossa-like "Open Strings" and the cool jazz feel of Step Lightly shows Richman gentle, delicate side. The album also includes a nice versions of the rock group Coldplay's "Viva la Vida" and the jazz standard "Cherokee".

Tracks: The Day After, Bop Number 4, O Grande Amor, Lullaby of the Leaves, Checking ot at the Inn, Open Strings, Step Lightly, Viva La Vida, Cherokee

Musicians: Libby Richman- alto sax, John Philpott - tenor sax, Bruce Edwards - guitar, Fred Weidenhammer - bass, Stephen Little - drums, Mark Katsounis - percussion

CD Review: Brulee - New Beginnings

2011-06-24T09:27:00.000-07:00

CD Review: Brulee - New Beginnings

The changes from pop to swing on the first track "The Miracle of Love" should give you a hint about the odd but effective fusion of jazz and 70's rock in Brulee's music. The phrasing and harmonies of Julie Wiener and Doug Onstad duo on "Perfectly Flawed" brings memories of groups like The Carpenters and The Mamas and the Papas.

Most of the songs are originals, but the release also includes some classics like "Skylark", and "Summertime". The arrangement and nice scats by Wiener on "Summertime", along with the original "Dance with me" is the closest this duo gets to a traditional jazz sound. "Dance with me" also has all the elements of an American Songbook standard.

The accordion adds to the french feel on "Si C'est Un Oui" a song that echoes the great french singers like Edith Piaf. Bob Dylan's "Love Minus Zero No Limit" and the Rolling Stones "Dead Flowers" are unusual selections for a jazz album, and demontrates the divesity of influences on Brulee's music.

The effective medleys and smooth transition from Cole Porter "I've got you under my skin" with the Rolling Stones "Under my Thumb" and the original "Come on a my house" with "I ain't got nobody" shows the creativity of this duo.

Tracks: The Miracle of Love, Perfectly Flawed, Skylark, Summertime, Dance with me, Come on a my house/I ain't got nobody, Love minus Zero No Limit, Si C'est Un Oui, I've got you under my skin/Under my thumb, Dead Flowers, New Beginnings

Musicians: Julie Wiener - vocals, Doug Onstad - keyboards, vocals, Tom Shader - bass, Chip Trombley - drums, percussion, Gus Garelick - violin, Dennis Hadley - accordion, Ian Scherer - guitar, David Scott - sax, Dave Zirbel - pedal steel, Jess Petty - flugelhorn, Alec Axt - percussion

CD Review: Ekendra Das - Ethnomusicology

2011-04-18T10:30:00.000-07:00

CD Review: Ekendra Das - Ethnomusicology

The tittle says it all, Ethnomusicology is an album that reflects all the music influences on percussionist Ekendra. The release is a rich study of rhythms that goes from the roots of Africa to the modern sounds of hip hop.

"Orisha (Yoruba, Ifa Palo Lukumi)" has an interesting fusion of hip hop singing over a salsa clave. The lyrics honors the americans african heritage with a religious/santeria theme. The second track, "Una Promesa" has also a religious theme, this time Christian. Maybe the message that Ekendra is trying to get across is one of unity among religions.

The funky rhythms of "Where will we go from here" brings a strong message against the war. Shane Moore adds her soulful voice to the smooth jazz piece, "Love Divine".

"Never to return" has a world music feel with a strong arabian percussion. On "Regenaration" goes back to a smooth jazz groove but this time the lyrics are in portuguese, sung by Luciana De Oliveira. The musicalized poetry of "A Word" serves as an intro to "MPM", a composition with rumba and latin jazz rhythms and powerful conga solos by Ekendra Das. All compositions, except "Una Promesa" are Das originals
including the master percussive study "Percuassion Discussion".

Tracks: Orisha (Yoruba, IfaPalo Lukumi), Una Promesa, Where will we go from here, Love Divine, Harina con Sal (Thank You), Never to return, Rgeneration, Highways, A Word, MPM, Percuassion Discussion, World Radio

Musicians: Ekendra Das (percussion, drums), Lalita Garrett (spoken word), Jon Ely (piano), Ali Chere (bass), Radha Botofasina, Sebastian Lopez, Ana Haydee, Johnny Frias (vocals), Surya Botofasina (keyboards), John Belzaguy (bass, vocals), Freddy Dunn (trumpet), Craig Alston (saxophone), Jon Ely (keyboards), Ali Chere (guitars), Shane Moore(vocals), Steve Robinson (flute, saxophone), Luciana De Oliveira (vocals), Dhiro Dhatta (guitar), Phillip Puru Sadkin (bass), Evan Marley Hegarty (keyboards, organ), Micha Shalom (trombone, trumpet)

CD Review: John Samorian - Out On A Limb

2011-04-18T09:12:00.000-07:00

CD Review: John Samorian - Out On A Limb

John Samorian Out On A Limb starts with "I ain't what I used to be", a blues that takes you back to those earley years when blues and jazz were almost one and the same. All the songs are originals by Samorian, who also sings and play the piano. Samorian voice tone is similar to modern jazz singers like John Pizzarelli and Harry Connick Jr. The similarities are more evident in songs like "Out on a limb" and "Lonely". The rhythmic guitar on "Lonely" gives the piece a Pizzarelli sound.

Samorian compositions like the excellent bossa "Magic Morning" has an accesible sound, leaning toward a smooth jazz sound. But he also knows how to write swinging songs like "The Alphabet of Alcohol". The music on this one and in "Out on a limb" is similar to the sound of the legendary Nat King Cole Trio.

As a pianist, Samorian likes to ventures in the high registers of the piano, this gives his improvisations a bright, glimmering tone.

This album is a family affair, with Samorian's wife, Kim Shriver adding her beautiful voice to the ballads "Autumn is Here" and "Listen to the Rain", the blues "Wish I Didn't Love You" and the bossa nova influenced "When We Loved". Shriver broadway theatre experience is noticeable on her vocal style and phrasing.
This talented couple can easily make it big either in the theatre or jazz scene.

Tracks: I ain't what I used to be, Magic morning, The alphabet of alcohol, Out on a limb, Autumn is here, I wish I didn't love you, Lonely, When we loved, Singapore, You came to me, Listen to the rain

Musicians: John Samorian - piano, keyboards, vocals. Kim Shriver - vocals, Kevin Lutke - guitar, Dave Edwards - bass, Warren Odze - drums, Jon Werking - strings (2), organ (6)

CD Review: Danielle Reich - This Year's Kisses

2011-04-18T07:56:00.000-07:00

CD Review: Danielle Reich - This Year's Kisses

A strong drum roll starts This Year's Kisses, the new release by jazz singer Danielle Reich. Tenor saxophonist Seth Paynter and trumpeter Carol Morgan, who also produced the album, exchange melody lines in a style reminiscent of the first New Orleans jazz bands in "On the street where you live" the first track in an album full of swinging music and diverse influences. In her music, Reich shows influences of french music, boleros, broadway musicals and of course jazz standards.

Reich vocal delivery has a classic movie/Judy Garland feel on "If I Love You", but the music actually feels like a Bolero. Bolero is a slow music from latin america, that can be easily fused with jazz, creating a style called Bolero Jazz. Reich sings in pretty good spanish the classic bolero "Sabor a mi" by Alvaro Carrillo. Nice to see jazz musicians including this kind of music to their repertoire.

Gershwin "How long has this been going on" starts slow and then increase in tempo into a kind of cool swing. Morgan adds another good trumpet solo echoing the early jazz trumpet players like Louis Armstrong. Paynter hardbop-like solos adds intensity to the french music feel of "Alone Together". Reich also shows her french influence singing in perfect french in Jacques Brel "Ne Me Quitte Pas". Reich interpretation brings back memories of the great french singers like Edith Piaf. "Speak Low", normally treated as a ballad, receives here a more upbeat treatment. The tempo constantly changes between latin and straight ahead jazz.

The interesting arrangements of "All or nothing at all" feel almost like a tango at the beginning but then changes into a more traditional swing groove. The album close with Reich sexy singing in the medley of "Green Chimneys" and "Softly as in the morning sunrise".

Tracks: On The Street Where You Live, If I Loved You, How Long Has This Been Going On, Alone Together, Sabor A Mi, Crazy He Calls Me, Speak Low, This Year's Kisses, Ne Me Quitte Pas, All Or Nothing At All, At Seventeen, Green Chimneys/Softly, as in the morning sunrise

Musicians: Danielle Reich - vocals, Seth Paynter - tenor saxophone, Carol Morgan - trumpet, Andrew Lienhard - piano, David Craig - bass, Daleton Lee - drums

CD Review: Gretchen Parlato - The Lost and Found

2011-04-14T06:42:00.000-07:00

CD Review: Audrey Silver - Dream Awhile

2011-04-14T06:36:00.000-07:00

It is easy to tell, by the pure joy of Audrey Silver's voice on Dream Awhile, that this 2009 collection is the singer's favorite jazz standards. Silver amazing, glimmering tone shines all throughout, especially on the up-tempo, swinging tracks "I Will Wait For You," "Exactly Like You" and Irving Berlin's "The Song Is Ended." She even adds some Ella Fitzgerald-like scatting on "Falling In Love With Love."
Silver's sophisticated, classy phrasing makes her an equally good interpreter of ballads. Her delivery on "In The Wee Small Hours," "That's All" and Sergio Mendes' "So Many Stars" is beautiful and sensitive.

Johnny Mercer's "Too Marvelous For Words" receives a different treatment. with a slower and simpler, but effective arrangement, plus some melody changes by Silver that makes this a very interesting version. Silver also plays a little bit with the melody on "Exactly Like You"

Pianist Joe Barbato handles almost all the arrangements on Dream Awhile,\ including "I Can't Give You Anything But Love," where at certain moments Silver sings over just Joe Fitzgerald's powerful, swinging bass, while on "I Could Write a Book" it's an intimate duo of piano and voice. On the other hand, the cool voice, bass and percussion intro to "Falling in Love With Love"—before going into a full swing groove—and the waltz feel on Billy Strayhorn's "Day Dream," are both Silver arrangements.

With Dream Awhile Silver proves she has the talent to be included among today's best jazz female singers.

Track Listing: The Song Is Ended; In The Wee Small Hours; Falling In Love With Love; Too Marvelous For Words; I Will Wait For You; So Many Stars; Exactly Like You; That's All; I Can't Give You Anything But Love; Day Dream; I Could Write A Book.

Personnel: Audrey Silver: vocals; Joe Barbato: piano; Joe Fitzgerald: bass; Chris Bergson: guitar (3, 7, 10); Anthony Pinciotti: drums; Todd Isler: drums (3, 10), percussion (3).

CD Review: Ezra Weiss - The Shirley Horn Suite

2011-04-14T06:31:00.000-07:00

Portland based pianist/composer Ezra Weiss' fifth release is a tribute to Shirley Horn, who died in 2005 at age 71. Horn was an excellent pianist and sensitive vocalist, and a Grammy Award-winner in 1991, for Best Jazz Vocal Performance.
Weiss is certainly an extraordinaire composer, the winner of three ASCAP Young Jazz Composer Awards. Five of the nine compositions on The Shirley Horn Suite are Weiss originals, including "Shirley Horn's Sound Of Love," "May The Most You Wish For," the Broadway-influenced "Now That You Mention It" and "I Wish I'd Met You."

As a pianist, Weiss' style is subtle, playing just what is necessary to accompany Shirley Nanette's heartfelt vocals, minimalist and precise on instrumentals including "The Great City," "Blues For Porgy," "Estate," "Something Happens To Me" and Gershwin's "I Love You Porgy." His improvisations lean towards the harmonic, reminiscent at times of pianist like Vince Guaraldi and Ramsey Lewis.

Drummer Steve Williams and bassist Corcoran Holt—masterful musicians, both—complete the trio on this wonderful tribute to one of the best jazz singers of the late 20th century.

Track Listing: I Wish I'd Met You; The Great City; Shirley Horn's Sound Of Love; Blues For Shirley; I Love You Porgy; Now That You Mention It; Estate; Something Happens To Me; May The Most You Wish For.

Personnel: Ezra Weiss: piano; Corcoran Holt: bass; Steve Williams: drums; Shirley Nanette: voice (1, 3, 6, 9).

CD Review: The Brian Landrus Quartet - Traverse

2011-04-14T06:28:00.000-07:00

Jazz fans often cite Gerry Mulligan as the most recognized baritone saxophonist in jazz, but for most, the list stops there. Why the baritone saxophone is not a more popular instrument in jazz is uncertain; in the right hands, the instrument has a warmth and tonal beauty unlike any other.
Baritone saxophonist Brian Landrus is a rising star, with two Masters degrees in jazz composition and performance at the New England Conservatory in Boston, He is also a winner of Downbeat Magazine's 2010 International Critics Poll.

In Traverse, one of two albums recorded for his own label Blue Land Records, Landrus delivers a collection of outstanding compositions and jazz standard, played with technical and emotional intensity. Whether on swinging tracks like "Traverse" and "Creeper," or ballads like "Lone" and "Soundwave," Landrus displays a strong, beautiful tone, and a sublime sound, played over the strong rhythm section of bassist Lonnie Plaxico and drummer Billy Hart.

Landrus' ability to convey many emotions can be fully appreciated on "Soul and Body," a solo intro to his beautiful rendition of the jazz standard, "Body and Soul," while pianist Michael Cain adds some sensitive and flawless improvisations on "Gnosis" and "Lydian 4"

Hopefully Landrus' brilliant playing will inspire more young people to play this wonderful instrument.

Track Listing: Traverse; Gnosis; Lone; Lydian 4; Soul And Body; Body And Soul; Creeper; Soundwave.

Personnel: Brian Landrus: baritone saxophone, bass clarinet; Lonnie Plaxico: bass; Michael Cain: piano; Billy Hart: drums.

CD Review: Fred Hersch - Alone at the Vanguard

2011-04-12T09:13:00.000-07:00

Alone at The Vanguard is pianist Fred Hersch's first solo performance at New York's Village Vanguard, after his serious illness and coma in 2008. The release was recorded during the final set on the last night of his six-day run in 2010, and the solo recital format gives the disc an intimate, almost classical music feel, engendering a full appreciation of Hersch's emotional and technical intensity.

A three-time Grammy nominee, two as a pianist and one as a composer, Hersch possesses a remarkable ability to cross from classical to jazz with ease. His classical style and lyricism are present on "In The Wee Small Hours Of The Morning," "Echoes" and "Pastorale," dedicated to composer Robert Schumann.

His superb interpretation of two originals, "Down Home," dedicated to Bill Frisell and "Lee's Dream," dedicated to Lee Konitz, as well as Thelonious Monk's "Work"—rhythmically reminiscent of ragtime—show Hersch's deep roots in the jazz tradition.

The performance also included the elegant samba, "Doce de Coco," the beautiful ballad "Memories of You" and, for an encore, a masterful version of Sonny Rollins' "Doxy."

Alone at The Vanguard is a clear statement that Hersch is back in top form, and that is surely good news for jazz.

Track Listing: In the wee small hours; Down Home; Echoes; Lee's Dream; Pastorale; Doce de Coco; Memories Of You; Work; Doxy.

Personnel: Fred Hersch: piano

CD Review: Michel Reis - Point of No Return

2011-04-12T08:11:00.000-07:00

The trio on Michel Reis' Point Of No Return is a testament to the international character of jazz music, especially in the 21th century. A pianist/composer from Luxemburg, Reis studied jazz performance and composition at Berklee College of Music. Adam Cruz is a Latin American drummer, born in New York, whose experience includes playing with Chick Corea and Danilo Perez. Bassist Tal Gamlieli is another amazing musician coming from Israel. The common ground here is the international language of jazz.
There's plenty of improvisation, and harmonic and rhythmic challenging moments: the tempo changes on the lullaby-like "Sailing Away At Night"; the moderate swing on "Street Of Memories"; Vivek Patel's thoughtful flugelhorn improvisations on "It's Only Been a Dream"; and Cruz's powerful drum solo on "Point Of No Return." But the emphasis is on Reis' smart, ingenious and well-constructed compositions.

Reis plays with a good sense of melody, mixed with sophisticated harmonic and rhythmic lines throughout—and, coming from Europe, his music is sometimes relaxing yet complex, and always creative, with a distinct European classical feel. The flugelhorn and soprano sax on "The Power of Beauty" adds to the orchestral feel of Reis' music.

With musicians and composers like this, there is no doubt that the future of jazz is in good hands.

Track Listing: The Power Of Beauty; Folk Song; Sailing Away At Night; It's Only Been A Dream; Point Of No Return; Riverside Drive; Street Of Memories; Leaning In Towards Tomorrow; The Sad Clown.

Personnel: Michel Reis: piano; Tal Gamlieli: bass; Adam Cruz: drums; Vivek Patel: flugelhorn (1, 4, 6); Aaron Kruziki: soprano saxophone (1).

CD Review: Michael Feinberg - With Many Hands

2011-04-12T08:08:00.000-07:00

Bassist Michael Feinberg is a good example of the new breed of young jazz musicians equally comfortable playing a diversity of jazz styles. On With Many Hands, Feinberg's music goes from bebop to avant-garde, and from a ballad to a funky rhythm—sometimes in the same song—with amazing ease and conviction. Surely it all comes from Feinberg eclectic taste in music that also includes rock, hip hop and bluegrass.

"The Hard Stuff" has elements of avant-garde at the beginning, before it moves into a nice, funky groove. Feinberg turns drummer Daniel Platzman's original "Temple Tales," with touches of dissonance and free improvisation, into a swinging track, while the balladic "NBD" slowly grows in intensity, and contains some of the album's best improvisation.

The duo of alto saxophonist Godwin Louis and tenor saxophonist Noah Preminger delivers inventive and thoughtful solos over Platzman and Feinberg's solid rhythm foundation, especially on "Fighting Monster" and "Lost And Found," the release's jazzier tracks, both bordering on bebop.

The creativity, high energy, and emotional intensity of these musicians, along with their outstanding compositions, makes With Many Hands, an album worth hearing.

Track Listing: With Many Hands; Temple Tales; NBD; The Hard Stuff; August; Fighting Monsters; Lost And Found.

Personnel: Michael Feinberg: bass; Noah Preminger: tenor saxophone; Godwin Louis: alto saxophone; Julian Shore: piano; Daniel Platzman; Alex Wintz: guitar.

CD Review: Suzanne Pitson - Out of the Hub: The Music of Freddie Hubbard

2011-04-12T08:05:00.001-07:00

The vocalese and scatting tradition is alive and well in singer Suzanne Pittson. With Out of the Hub: The Music of Freddie Hubbard, Pittson continues to establish herself as one of the best singers on today's jazz scene.
Out of the Hub includes tunes written by or associated with trumpet legend Freddie Hubbard, with Pittson writing or co-writing five lyrics, which Hubbard approved just three months before his passing in 2008.

To honor Hubbard, Pittson recruited a group of extraordinaire musicians, including trumpeter Jeremy Pelt and bassist John Patitucci, who add—along with saxophonist Steve Wilson and the rest of Pittson's quintet—dazzling improvisations throughout.

More than just a singer, Suzanne Pittson is a jazz musician. With a fluid phrasing and stunning tone, Pittson use her voice as another instrument, improvising and playing with the melodies. Pittson's striking sense of melody and amazing vocal range allow her to express a vast palette of colors and textures on swinging tracks like "True Vision," "You're My Everything" and "We're Having a Crisis," and on ballads including "Bright Sun," Moment to Moment" and "Betcha by Golly, Wow!" Following in the steps of the great Ella Fitzgerald, Pittson is also a master of the scatting technique, as shown on "Our Own" and "Out of the Hub."

All the arrangements are by pianist/husband Jeff Pittson, and the cover design is a creation of their son Evan, who also wrote the lyrics to "Out of the Hub."

Track Listing: Our Own (Gibraltar); Up Jumped Spring; Out of the Hub (One of Another Kind); Bright Sun (Lament for Booker); True Visions (True Colors); You're My Everything; We're Having a Crisis; Moment to Moment; Lost and Found (The Melting Pot); Like a Byrd; Betcha by Golly, Wow!

Personnel: Suzanne Pittson: voice; Jeremy Pelt: trumpet, flugelhorn; Steve Wilson: alto saxophone, soprano saxophone; Jeff Pittson: piano; John Patitucci: bass; Willie Jones III: drums

CD Review: Nicholas Urie - My Garden

2011-04-12T07:59:00.000-07:00

The combination of poetry and music is not new. Spain and Latin America have a great tradition of poetry musicalization. As part of the Nueva Trova style of the 1970s, singers like Silvio Rodriguez, Mercedes Sosa, Atahaulpa Yupanqui and Roy Brown set the poetry of some of Latin America's best writers to music.
Being that jazz is mostly an instrumental form, its fusion with poetry is not that common, which is one of the aspects that makes Nicholas Urie's My Garden so unique. Still in his mid-twenties, Urie is already a recognized composer/conductor, and has led large jazz ensembles as well as symphony orchestras.

After his critically acclaimed debut, Excerpts from an Online Dating Service (Red Piano Records (2009), Urie comes back with the equally creative My Garden, focusing on the poems of Charles Bukowski, born in Germany in 1920 but already living in the United States by1923. This poet/novelist's writing style has been described as minimalist and his poetry as sober, direct, realistic and sometimes crude. So the challenge here was to take that approach and translate it into music.

Urie—conducting a big band of great musicians—rises to the challenge, delivering arrangements with a good balance of simplicity and sophistication that perfectly reflects the mood and meaning of Bukowski's poems. The arrangements vary, from the classical feel of "My Garden" and march-like "For Crying Out Loud," to the swing tempo on "Round and Round," funky groove of "Lioness," and cinematic mood on "Slaughterhouse." With a tone reminiscent of Cassandra Wilson, Christine Correa is ideal for Bukowski' poetry, her empathy translating what Bukowski was feeling when he wrote lines like, "pain is a flower; pain is flowers blooming all the time" adds emotional depth to Urie's music.

Track Listing: Winter: My 44th Year; Round and Round; My Garden; For Crying Out Loud; Lioness; Slaughterhouse; Lean; Finality.

Personnel: Christine Correa: voice; Jeremy Udden: soprano saxophone; Douglas Yates: alto saxophone, clarinet; Kenny Pexton: tenor saxophone; Brian Landrus: bass clarinet; Albert Leusink: trumpet; Ben Holmes: trumpet; John Carlson: trumpet; Alan Ferber: trombone; Max Siegel: trombone; Frank Carlberg: piano, rhodes; John Hébert: bass; Michael Sarin: drums; Nicholas Urie: conductor.

CD Review: John Beasley - Letter to Herbie

2011-03-03T20:50:00.000-08:00

Those who don't yet know John Beasley are missing the opportunity to hear one of the best pianists and improvisers on the jazz scene today. Beasley is a master musician, with total command of the jazz language, and his playing is always intense in both emotion and technique.

John Beasley's 2009 album, Positootly (Resonance) was nominated, more than deservedly, for a Grammy Award for best jazz instrumental album. Even though Letter to Herbie, his previous album released in 2008, was not nominated for a Grammy, it might as well have been.

Both albums have striking similarities in the quality of the music and musicians; every one of them is at the top of their game on this album. What comes out of this group of jazz giants is music that keeps the mind engaged and always guessing what's coming up next; with constant tempo changes and creative, virtuosic improvisations.

Contrary to Positootly's collection of mostly Beasley originals, Letter to Herbie is dedicated to the music of Herbie Hancock. The swinging "Three Finger Snap" and the elegant "Here and Now" are the only John Beasley originals on the album, both featuring the rhythmic and harmonic complexity to stand beside Hancock's compositions.

Taking on the music of Herbie Hancock , one of the best pianists in jazz history, is not an easy task, but Beasley and his group do a superb job reinventing some of his masterpieces. Beasley's arrangements of "The Naked Camera" and "Vein Melter" are funkier and livelier than Hancock's versions, while the waltz-like arrangement of "Diana" and fast swinging tempo of "Eye of the Hurricane" are closer to the originals.

Letter to Herbie is an excellent tribute to an excellent musician.

Track Listing: 4 am; Bedtime Voyage; Chan's Song; Three Finger Snap; The Naked Camera; Eye of the Hurricane; Diana; Here and Now; Still Time; Vein Melter.

Personnel: John Beasley: piano, synthesizer; Christian McBride: bass; Jeff "Tain" Watts: drums; Roy Hargrove: trumpet; Steve Tavaglione: flute, clarinet, synthesizer; Michael O'Neil: guitar; Louis Conte: percussion.

CD Review: Jane Ira Bloom - Wingwalker

2011-03-03T20:46:00.000-08:00

There is not a dull or cliché moment on Jane Ira Bloom 's fourteenth album, Wingwalker. Her sound has been described as futuristic, and there is certainly some of that on tracks like "Frontiers in Science" and "Live Sports." But, most of all, Bloom is a master composer and musician with a truly unique sound. All compositions on the release are by Bloom, except for the standard, "I Could Have Danced All Night."

Even though there are brilliant moments of improvisation all over the album, the emphasis is on the beauty of Bloom's compositions. Each composition has plenty of harmonic surprises, syncopations, tempo changes and richly, inventive solos by Bloom and pianist Dawn Clement. Bassist Mark Helias and drummer Bobby Previte provide an excellent rhythm background to Bloom's melodies, both of them swinging hard on "Airspace," "Life on Cloud 8" and "Rookie."

Bloom always plays with the conviction and energy of a seasoned musician, but her tone can also be warm and welcoming, on the almost lullaby, "Her Exacting Light"; the ballads "Adjusting to Midnight" and "Wingwalker"; and the a capella "I Could Have Danced All Night." There is an effective use of dissonance and space, with Clement's improvisations and chords on "Freud's Convertible," "Frontiers in Science" and "Rookie" echoing the sound of the great Thelonious Monk.

Wingwalker proves, once again, why Jane Ira Bloom is one of the most original and creative saxophonists in jazz today.

Track Listing: Her Exacting Light; Life on Cloud 8; Ending Red Songs; Freud's Convertible; Airspace; Frontiers in Science; Rooftops Speak Dreams; Rookie; Adjusting to Midnight; Live Sports; Wingwalker; I Could Have Danced All Night.

Personnel: Jane Ira Bloom: soprano saxophone, live electronics. Dawn Clement: piano, Fender Rhodes. Mark Helias: bass. Bobby Previte: drums.

Style: Modern Jazz

CD Review: Roxy Coss

2011-03-03T20:41:00.001-08:00

With the exception of a few instrumentalists like pianist Mary Lou Williams, most women in the so called golden era of jazz were singers. That situation has changed in the last few years, with more and more extraordinaire female musicians entering the jazz scene. Bassist Esperanza Spalding, pianist Hiromi, drummer Cindy Blackman and saxophonist/clarinetist Anat Cohen are just a few examples of the quality of female jazz musicians today. Newcomer Roxy Coss should be consider for inclusion in that list.

Coss is a saxophonist and flautist with a round, rich tone, and a composer well-versed in the jazz tradition. Coss' self-titled debut is a collection of original compositions, each one reflecting the diversity of influences in her music. Tracks like "Lately" and "July" can be classified as smooth jazz, while the funky sounds of "The Slow Accent" lean towards jazz fusion; but on "The Cherry On Top" and "Wandering One," the music is reminiscent of the Miles Davis/John Coltrane recordings.

Like most tenor saxophonists there is a Coltrane influence in Coss' sound, especially in her scalar approach to improvisation. And just like Coltrane, Coss achieves a perfect balance of lyricism and intensity in her improvisations through a superb sense of timing, rhythmic and harmonic structure. As a flautist she is equally impressive in the Latin-influenced "A New Time."

Roxy Coss is a promising debut from a multitalented young musician.

Track Listing: Wandering One; Lately; A New Time; Enlightenment; The Slow Ascent; The Cherry On Top; I Think So; July.

Personnel: Roxy Coss: tenor saxophone, soprano saxophone, flute. Kate Miller: trumpet, flugelhorn. Ryan Brennan: guitar. Justin Kauflin: piano, Rhodes. Kellen Harrison:bass. Shawn Baltazor: drums, percussion.

Style: Modern Jazz

CD Review: Wayne Wallace - To Hear from There

2011-03-03T19:42:00.000-08:00

Wayne Wallace continues to explore the infectious Afro-Cuban rhythms on To Here From There, the follow-up to his 2010 Grammy-nominated album, Bien Bien!< (Patois Record, 2009).

Wallace is a trombonist with vast experience that includes collaborations with artists such as Count Basie, Joe Henderson, Lionel Hampton, Sonny Rollins and Tito Puente. Wallace Latin Jazz Quintet plays like they were born in Cuba.

The danceable "La Escuela" with its piano montuno and the distinctive clave of the Cuban son is dedicated to La Escuela Nacional de las Artes en Cuba, where Wallace studied in the 1990s.

Wallace shares the spotlight with Jeff and Natalie Cressman, and Dave Martell, in a battle of master trombonists on the guaguancó "Serafina del Caribe." On "Ogguere," Wallace masterfully improvise over a 6/8 groove, a rhythm common in Afro-Caribbean music and similar to the fusion of jazz and Puerto Rican bomba done by trombonist William Cepeda.

Pianist Murray Low shines on "Descarga en Blue" and "Bebo ya llego," a composition honoring Cuban legend Bebo Valdes. Wallace displays a bright, striking sense of melody on his improvisations, especially in the cha-cha-chá "Los Gatos," and in Tito Puente's "Philadelphia Mambo."

To Hear From There also includes a dazzling rendition of Juan Tizol's "Perdido," sung by Kenny Washington, and the wonderful soneos and beautiful voice of singer Bobi Cėspedes on the Cuban classic, "The Peanut Vendor."

Track Listing: La Escuela; Serafina del Caribe; Perdido; Los Gatos; Descarga en Blue; Ogguere (Soul of the Earth); Lament; The Peanut Vendor (El Manicero); Yemaya (The Seven Seas); Bebo ya llego!; Philadelphia Mambo.

Personnel: Wayne Wallace: trombone, tuba, vocals; Murray Low: piano, vocals; David Belove: bass, vocals; Paul van Wageningen: trap drums, vocals; Michael Spiro: percussion, vocals; Kenny Washington: vocals (3); Bobi Cespedes: vocals (8); Jeff Cressman: trombone (2); Natalie Cressman: trombone (2); Dave Martell: trombone (2).

CD Review: Shawn Costantino - Waltz for Anne

2011-03-03T19:32:00.000-08:00

With the advantage of having access, these days, to what is currently going on in the 21st century jazz scene as well as the jazz tradition, it is not rare to find young musicians whose music conveys both the present and the past of jazz. That is certainly the case with Shawn Costantino, a saxophonist/flautist/clarinetist/composer with a style thickened by the sounds of bebop, cool jazz, hard bop, fusion, smooth jazz and everything in between.

Costantino plays with a warm, relaxed and soothing tone in the smooth jazz tracks "Don't Let Me Be Lonely," "The Touch of Your Lips" and "Song for Ryan." But on "The Transplant," "Waltz for Anne" and "Bailout," his tone and improvisations are freer, more aggressive and deeply rooted in the jazz tradition. The faster pace, harmonic sophistication and virtuosic improvisations on "Bailout" are reminiscent of 1950s hard bop.

The sound of the electric guitar and organ on James Taylor's "Don't Let Me Be Lonely" and the funk arrangements of The Beatles "Can't Buy Me Love" give the music a rock/jazz fusion feel. The Hindu-influenced, sitar-like intro in "Can't Buy Me Love" is a reminder of the connection and fascination of The Beatles with the culture and music of India.

Waltz for Anne is Shawn Costantino first recording as a leader, and surely a step in the right direction for this Boston native.

Track Listing: Can't By Me Love; Whatever You Do; Don't Let Me Be Lonely; The Transplant; Waltz for Anne; The Touch Of Your Lips; Song for Ryan; Bailout.

Personnel: Shawn Costantino: alto saxophone, tenor saxophone, flute, clarinet. Andrew Synowiec: guitar. Lincoln Cleary: piano, fender rhodes, organ. Jens Kuross: drums. David Hughes: bass

CD Review: Roberta Piket - Sides, Colors

2011-03-03T19:23:00.000-08:00

Some people describe music in terms of colors. Composers like Duke Ellington used them in song titles like "Black , Brown And Beige," "Black And Tan Fantasy" and "Mood Indigo," to describe the mood and feeling of his music,
Sides, Colors is a perfect title for this release by pianist Roberta Piket , as she demonstrates her different musical sides and colors. Piket shows her classical, lyrical side on "Billy's Ballad" and Bill Evans "Laurie," while the classical feel is accentuated by the addition of clarinet, flute and strings—a concept similar to Esperanza Spalding's Chamber Music Society (Heads Up, 2010).

Piket's avant-garde side is shown in the more adventurous "Shmear" and "Ugly Beautiful." Both sides, classical and avant-garde, are present on Sam Rivers' "My Friends and Neighbors." Piket even sings and does some nice scattting on Rodgers and Hammerstein's "If I Loved You"

"Relent," and the funky groove of "Degree Absolute," shows yet another side of Piket's music, this time venturing into jazz fusion. Whatever the style, Piket always displays a good harmonic, melodic and rhythmic balance in her playing and improvisations. Piket is a creative pianist, arranger and composer who likes to experiment with different textures, moods and colors in her arrangements and compositions. All the arrangements on Sides, Colors are by Piket, except "Billy's Ballad," arranged by drummer/percussionist Billy Mintz. Sides, Colors also includes two Piket originals, "Degree Absolute" and "Empty House," a beautiful ballad that effectively transmits a feeling of emptiness.

Track Listing: Laurie; Make Someone Happy; Billy's Ballad; My Friends and Neighbors; If I Loved You; Empty House; Shmear; Idy's Song and Dance (Song); Idy's Song and Dance (Dance); Relent; Ugly Beautiful; Degree Absolute.

Personnel: Roberta Piket: piano (1-7, 9-12), electric piano (8), organ (10,12), vocal (5). Johannes Weidenmueller: bass (1-5, 7-9, 11,12). Billy Mintz: drums, percussion (12). David Smith: trumpet, flugelhorn (1, 3, 4, 6). Charles Pillow: clarinet, bass clarinet, flute (1, 3-6). Anders Bostrom: flute, alto flute (1, 3-6). Sam Sadigursky: clarinet, soprano saxophone, tenor saxophone (3-6). Fung Chern Hwei: violin (1, 3-5). Mikyung Kim: violin (1, 3-5). Charisa Rouse: viola (1, 3-5). Jeremy Harman: (1, 3-5).

CD Review: Marty Williams - Long Time Comin'

2011-02-20T20:51:00.000-08:00

CD Review: Marty Williams - Long Time Comin'

Year: 2011

Record Label: In Moon Bay

Style: Vocal Jazz

Musicians: Marty Williams (piano, vocals), Eric Swinderman(guitar), Ruth Davies (bass), Jon Evans (bass), Ranzel Merritt(drums)

Review:
With over 25 years of experience, Marty Williams is a recognized voice in the San Francisco Bay Area jazz scene. His soulful style is deeply rooted in the blues, sometimes venturing into a rock sound in songs like "Brother (where are you)", the Beatles "Come Together" and the funk feel of "Mercy, Mercy, Mercy".

Even in the jazzier tracks, "Compare to what", "Falling in Love Again" and "Love for Sale", Williams voice maintain that bluesy quality to it. Williams voice and savvy, cool phrasing are infuse with the soul of an experienced singer, at times similar to jazz greats like Louis Armstrong especially on his version of Burt Bacharach "The Look of Love".

As a pianist Williams is equally as good, his playing has been described as unique, bringing comparisons to piano legends like Thelonious Monk. Williams use of harmonies and space on "Falling in Love Again" and "Love for Sale" certainly have some Monk influence.

All the arrangements are by Marty Williams. Some lean toward the blues, others, like "Monk's Dream" mixed fusion and straight ahead jazz but some are pure jazz like "On a Clear Day" and "Sweet and Lonely".

Tracks: Brother (Where Are You), Caravan, Come Together, Compare to What, Falling in Love Again, Love for Sale, Mercy, Mercy, Mercy, Monk's Dream, On a Clear Day, Sunny, Sweet and Lovely, The Look of Love

Artist's Website: www.martywilliamsmusic.com

Reviewed by: Wilbert Sostre

CD Review: Peter Scherr - Son of August

2011-02-20T20:49:00.000-08:00

CD Review: Peter Scherr - Son of August
Year: 2011

Record Label: 1hr music

Style: Fusion Jazz

Musicians: Michael Blake (saxophones), Mike Sarin (drums), Brad Shepik (guitar), Tony Scherr (guitar, bass), Peter Scherr(bass)

Review:
Peter Scherr waited almost three years for the release of his new album Son of August. The music was written in august 2008, so that is the reason for the CD title, Son of August, and also explains some of the song titles, like "August" and "August 2".

All compositions are by Peter Scherr except for "Willing" by Chris Brown and Strangers by Ray Davies of the rock group The Kinks. Peter Scherr music has always contained an eclectic and interesting blend of rock, jazz, funk, classical music and music from all around the world. The music on Son of August is not the exception.

There is always a high level of intensity in Scherr's music even in the slow tracks like the march-like " Ok Chorale" and the cinematic "Assonance". The sound of the electric guitar and the steady rock beat on "Tongue", "August" and "Son of August" gives the music that characteristic fusion/rock feel present in most of Scherr music.

For Son of August Peter Scherr invited saxophonist Michael Blake, a musician who also likes to explores and incorporate into his music different sounds and styles. Blake is a saxophonist with a bold, distnctive tone and his unique phrasing may be heard on tracks like "August", "Assonance" and the funky "Son of August" The saxophone brings a jazzier feel to Scherr compositions, especially on "Lucky 13", a piece with a classic swinging groove on bass and drums.

Tracks: Tongue, August, August 2, Willing, Son of August, Assonance, Lucky 13, Ok Chorale, Strangers, Button

Artist's Website: www.peterscherr.com

Reviewed by: Wilbert Sostre

CD Review: Zoran Madzirov - Roots on a Roof, Balkano Nuevo

2011-02-20T20:47:00.001-08:00

CD Review: Zoran Madzirov - Roots on a Roof, Balkano Nuevo

On Roots on a Roof the unique and creative compositions of vibraphonist Zoran Madzirov echo the rich tradition of Macedonian music, fused with jazz and other music forms. Zoran also plays his own invention, the bottlephone.

Madzirov great technique and glimmering melodies shines all through the album especially on "Balkan Vulkan", "Butchers Changes", "Cheese under lid" and in the balkan sounds of "The Long Longing" with clarinetist Zoran Kraguevski adding some good improvisations.

The interesting tempo and thematic variations on "Monday's Savory" also has a distinctive balkan sound, but the addition of the violin gives the music a classical feel. That classical sound of the violins may also be heard on "Butchers Changes" and "Flower Meanings".

The melody and latin jazz feel of "Balkan Vulkan" are reminiscent of the Juan Tizol jazz classic "Caravan". But "Verve to Serve" and "Seven Running Perhapses" are the jazziest tracks on the release. The use of time signatures variations on both of them are similar to that of Dave Brubeck's Take Five album.

Roots on a Roof ends with the mystic feel of the track "Pleasure of Source".

Musicians: Zoran Madzirov (vibes, bottlephone, tapan), Marina Cado (violin), Vladimir Krstev (violin), Zoran Kraguevski (tenor sax, clarinet), Toni Pecanov (accordion), Oliver Josifovski (bass), Goce Stevkovski (drums, percussion), Zdravko Angelov (bass clarinet), Bojan Petkov (guitar)

Tracks: The Long Longing, Monday's Savory, Balkan Vulkan, Butchers Changes, Flower Meanings, Verve to Serve, Seven Running Perhapses, Cheese Under Lid, Pleasure of Source

CD Review: Jazzposteao

2011-02-20T20:45:00.000-08:00

CD Review: Jazzposteao

Year: 2008

Record Label: Independent

Style: Latin Jazz

Musicians: Edgardo Ojeda (piano, rhodes), Ariel Robles (bass), Luis Sanchez (drums, timbales, congas), Norberto Ortiz (tenor sax), José Santiago (congas), Jafet Murguia (congas, timbales), Antonio Caraballo (guitar)

Review:
The name of this group, Jazzposteao, comes from a Puertorican food recipe, "arroz mamposteao". The message behind the name is that, like in any good recipe the ingredients in music have to be mixed and cooked perfectly to achieve the desired results, and that is exactly what the musicians of Jazzposteao did on this album. The music of Jazzposteao is an exquisite fusion of flavors; jazz, latin jazz, Puertorican folk music and even rock.

One essential ingredient to create good music is of course, good musicians. Jazzposteao is a trio of talented musicians Edgardo Ojeda on piano, Ariel Robles on bass and Luis Sánchez on drums, accompanied by equally impressive musical guests, guitarrist Antonio Caraballo, Saxophonist Norberto Ortiz and percussionists José E. Santiago and Jafet Murguia.

Pianist Edgardo Ojeda, plays with a superb sense of timing, harmonic and melodic structure that creates a good balance in his improvisations. Bassist Ariel Robles and drummer Luis Sánchez provide an excellent rhythm background to Ojeda's melodies.

Jazzposteao arrangements are ingenious and challenging, yet their sound is very accesible to non jazz listeners. The latin jazz arrangement of Coldplay's "Clocks" and the jazz arrangement of Ennio Morricone's Cinema Paradiso Love Theme are two of the hightlights of the album.

On "Gira", a composition of guitarrist Antonio Caraballo, the groove constantly changes between latin jazz and straight ahead. On Ariel Robles' "La Boya" Norberto Ortiz on sax and Antonio Caraballo on guitar exchange solos over Puertorican Bomba rhythms.

Norberto Ortiz, one of the best sax players from Puerto Rico, plays some good improvisations over the intense latin rhythms of "Jazposteao". The album also includes wonderful renditions of three Puertorican classics. The beautiful melodies of Felipe Rosario Goyco "Madrigal", the contagious rhythms of Eddie Palmieri's "Puerto Rico" and Rafael Hernandez "Cumbanchero".

Tracks: Looking up, Gira, Madrigal, Jazzposteao, Clocks, La Boya, Cinema Paradiso (Love Theme), First Sight, Cumbanchero, Puerto Rico

Artist's Website: www.myspace.com/jazzposteao
Reviewed by: Wilbert Sostre

CD Review: Donna Greene - A girl's gotta have a little pleasure

2011-02-20T20:42:00.000-08:00

CD Review: Donna Greene - A girl's gotta have a little pleasure
Year: 2008

Record Label: Independent

Style: Blues

Musicians: Donna Greene (vocals), Greg Loeb (guitar), Jack Lee (piano), Joel Bennett (bass), Jeff Elliott (trumpet), Vince Denham (sax), Sinclair Lott (drums), John Douglas (piano), Neal Eatherly (harmonica), Jeff Friedl (drums), Kevin Winard (percussion), Kenny Edwards, Big Rabbitt Jefferson, Margie Nelson, Anne Shaw, HiFi Watson, Jack Lee (backup vocals), Cary Hitsman (drums),

Review:
A girl's gotta have a little pleasure is a fun album full of blues, ballads and even a little humor; all these delivered by the sensual, soulful and powerful voice of Donna Greene.

Donna is in good company in this album with veterans musicians with experience in a diversity of music styles. Jeff Elliot on trumpet played with Flora and Airto Moreira; Sinclair Lott on drums played with jazz legend Freddie Hubbard and percussionist Kevin Winard played with Sergio Mendes.

There is something for every blues fan on this album; the classic blues feel on "Baby got lost" with smoking piano playing and a good dose of well played harmonies on horns. The folksy/rock feeling on "Blues on a holiday" with a nice intro of guitar and harmonica, ending with excellent vocals harmonies.

The vocal duo of "Double crossing blues", the rockin blues of "You can have my husband", plus the two originals songs by Donna Greene; "A girl's gotta have a little pleasure" and "Shoe boy" provide the humorous relief for the album. "A girl's gotta have a little pleasure" is a swinging piece that needs no explanation. The blues "Shoe boy" explains humorously women eternal fascination with shoes.

Logically, a blues album should include a tribute to a blues master. So Donna Greene also recorded two songs most people recognize in the voice of the great Billie Holiday. On "Lover man" the arrangement, and even Donna phrasing sounds similar to Holiday version with the exception of the exquisite harmony vocals with Kenny Edwards. But on "Comes Love" the cool, sassy arrangements and nice fills by Jeff Elliott in the muted trumpet are very different to the Holiday rendition.

Tracks: Baby get lost, Blues on a holiday, Comes love, Same old blues, A girl's gotta have a little pleasure, Double crossing blues, Love make a fool of me, Shoe boy, Lover man, You can have my husband, Mess around, Autumn leaves

Artist's Website: http://wwwgreeneblues.com

Reviewed by: Wilbert Sostre

CD Review: Callie Cardamon - Easy Street

2011-02-20T20:40:00.001-08:00

CD Review: Callie Cardamon - Easy Street
Year: 2010

Record Label: Primavera Records

Style: Jazz Vocals

Musicians: Callie Cardamon (vocals), Rob Lockart (clarinet), Larry Steelman, Jason Danielson (piano)

Review:
Easy Street is a delightful collection of jazz ballads presented with simple but effective arrangements that allows the listener to appreciate Callie Cardamon beautiful voice and cool delivery.

As any good jazz singer Callie imprint every song with a bluesy feeling, singing behind the beat, a vocal technique most female jazz singers learned from the great Billie Holiday. "When sunny gets blue" and "Dream a little dream are perfect examples of the application of this technique. On "Dream a little dream" Callie even add some nice scats at the end.

The sound of the clarinet played by Rob Lockart, on some of the songs gives the muisc a kind of swing era feeling, reminiscent of Benny Goodman and Artie Shaw.

Even though the Billie Holiday delivery style can be heard in other songs like "Stormy Weather", "Don't fence me in" and "Ain't Misbehavin", the arrangements on these songs borders on bluegrass.

Some of the highlights of the album are the Cardamon original jazz ballad "Love Jazz", a song with a touch of broadway; the jazzier and faster version of the classic "Moon river"; the cool, kind of Sinatra approach to "Let's do it" and the heartfelt vocals of the lovely ballad "I remember sky".

Tracks: Easy Street, Dream a little dream, When sunny gets blue, Let's do it, Love Jazz, Don't fence me in, When lights are low, Moon river, Stormy Weather, Ain't Misbehavin, I remember sky

Artist's Website: http://www.calliecardamon.com/

Reviewed by: Wilbert Sostre

CD Review: Roxy Coss

2011-02-01T08:33:00.001-08:00

CD Review: Jane Ira Bloom - Wingwalker

2011-01-18T07:15:00.000-08:00

CD Review: Jane Ira Bloom - Wingwalker

There is not a dull or cliché moment on Jane Ira Bloom 14th album, Wingwalker. Her sound has been described as futuristic and certainly there is some of that futuristic sound on tracks like "Frontiers in Space" and " Live Sports." But most of all, Jane Ira Bloom is a master composer and musician with a truly unique sound. All compositions on Wingwalker are by Jane Ira Bloom except "I could have danced all night"

Even though there are brilliant moments of improvisations all over the album; the emphasis on Wingwalker is in the beauty of Jane Ira Bloom compositions. Each composition have plenty of harmonic surprises, syncopations, tempo changes and richly, inventive solos by Dawn Clement on piano and Jane Ira Bloom on soprano saxophone. Mark Helias on bass and Bobby Previte on drums provide an excellent rhythm background to Jane Ira Bloom melodies and both of them swing hard on "Airspace," "Life on Cloud 8" and "Rookie."

Jane Ira Bloom always plays with the conviction and energy of a seasoned musician but her tone can also be warm and welcoming, like in the almost lullaby track "Her Exacting Light," the ballads "Adjusting to Midnight," "Wingwalker" and the sax solo piece "I Could Have Danced All Night." The effective use of dissonance and space, and even Dawn Clement piano improvisations and chords on "Freud's Convertible," "Frontiers in Science" and "Rookie" echo the sound of the great Thelonious Monk.

Wingwalker proves once again why Jane Ira Bloom is one of the most original and creative saxophone players in jazz today.

CD Review: John Beasley - Letter to Herbie

2011-01-18T07:08:00.000-08:00

CD Review: John Beasley - Letter to Herbie

Those who don't yet know John Beasley are missing the opportunity to hear one of the best pianists and improvisers on the jazz scene today. Beasley is a master musician, with total command of the jazz language, and his playing is always intense in both emotion and technique.

John Beasley's 2009 album, Positootly (Resonance) was nominated, more than deservedly, for a Grammy Award for best jazz instrumental album. Even though Letter to Herbie, his previous album released in 2008, was not nominated for a Grammy, it might as well have been.

Both albums have striking similarities in the quality of the music and musicians; every one of them is at the top of their game on this album. What comes out of this group of jazz giants is music that keeps the mind engaged and always guessing what's coming up next; with constant tempo changes and creative, virtuosic improvisations.

Contrary to Positootly's collection of mostly Beasley originals, Letter to Herbie is dedicated to the music of Herbie Hancock. The swinging "Three Finger Snap" and the elegant "Here and Now" are the only John Beasley originals on the album, both featuring the rhythmic and harmonic complexity to stand beside Hancock's compositions.

Taking on the music of Herbie Hancock, one of the best pianists in jazz history, is not an easy task, but Beasley and his group do a superb job reinventing some of his masterpieces. Beasley's arrangements of "The Naked Camera" and "Vein Melter" are funkier and livelier than Hancock's versions, while the waltz-like arrangement of "Diana" and fast swinging tempo of "Eye of the Hurricane" are closer to the originals.

Letter to Herbie is an excellent tribute to an excellent musician.

Track Listing: 4 am; Bedtime Voyage; Chan's Song; Three Finger Snap; The Naked Camera; Eye of the Hurricane; Diana; Here and Now; Still Time; Vein Melter.

Personnel: John Beasley: piano, synthesizer; Christian McBride: bass; Jeff "Tain" Watts: drums; Roy Hargrove: trumpet; Steve Tavaglione: flute, clarinet, synthesizer; Michael O'Neil: guitar; Louis Conte: percussion.

CD Review: John Beasley - Positootly

2011-01-18T07:07:00.001-08:00

CD Review: John Beasley - Positootly

Year: 2009

Record Label: Resonance Records

Style: Straight-Ahead / Classic

Musicians: John Beasley (piano, rhodes, synthesizer), Bennie Maupin (tenor and soprano saxophone), Brian Lynch (trumpet), James Genus (electric and acoustic bass), Jeff Tain Watts (drums), Munyungo Jackson (percussion)

Review:
There are rare instances in any art expression when all the elements gets together to create a piece of art that borders on perfection. When a good painter or sculptor get that moment of inspiration or when a good script, director and actors coincide in the creation of a movie classic.

John Beasley Grammy nominated album Positootly is a good example of what happens when masters instrumentalists, the kind of instrumentalists you rarely find outside of Jazz, gets together. This is what Jazz is all about, quality musicians creating memorable, quality music.

All the elements that makes Jazz a form of music like no other are here.

a. Creative, virtuosic musicians with a high level of technique and artistry. This is really a superb trio with John Beasley on piano, James Genus on bass and Jeff Tain Watts on drums. With equally superb special guest, Bennie Maupin on sax, Brian Lynch on trumpet and Munyungo Jackson on percussion.

b. Complex harmonies, like the re-harmonized, exquisite version of Jobim's Dindi.

c. Polyrhythms and rhythm variations, like the tempo changes on Black Thunder and Eight Winds. All of this wrapped up in the wonderful compositions and arrangements of John Beasley.

Positootly means, absolutely positive, and that is precisely what delivers on this album, crisp, highly energized, swinging, positive music.

There is the good energy of the first track Caddo Bayou, with music that keep your feet tapping, and powerful trumpet and sax improvisations. The intense playing and intricate arrangements of Astor Piazzola Tanguedia III. The funky groove of Bobby Timmons So Tired, the echoes of New Orleans music on Shatita Boom Boom and the lyricism of the bluesy piece Elle.

John is truly an amazing pianist, imaginative composer, creative improviser and arranger. And with Positootly he created an album that people will look back as one of the first Jazz classic albums of the 21th century.

Tracks: Caddo Bayou, Positootly, Dindi, Black Thunder, Shatita Boom Boom (Club Desire), Tanguedia III, Elle, So Tired, The Eight Winds, Hope Arkansas

Record Label Website: http://www.resonancerecords.org

Artist's Website: http://www.beasleymusic.com

Reviewed by: Wilbert Sostre

CD Review: Fidel Morales & Proyecto Nega - Salsa Son Timba

2011-01-18T07:05:00.001-08:00

CD Review: Fidel Morales & Proyecto Nega - Salsa Son Timba

Year: Reissued in 2010 - Originally Released in 2005

Record Label: Universal Music Latino

Style: Latin Jazz / Latin Funk

Musicians: Fidel Morales (drums, timbal), Tony Rodriguez (piano), Roberto Riveron (bass), Manolito Simonet (tres), Adel Gonzalez (congas), Yaroldi Abreu (percussion), Alexander Abreu (trumpet), German Velasco (sax), Amaury Perez (trombone), Adel Gonzalez (congas), Yusef Diaz (synthesizer), Amadito Valdes (timbal), Angel Bonne, Tirso Duarte, Pedrito Calvo, Jose Luis Borges, Sixto "El Indio" Llorente, Tania Pantoja, Juan Carlos Hechavarrria, Teresa Cturla (lead vocals),Ernesto Bacallao, Lazaro Dagoberto Gonzalez, Alexander Diaz, Barbara Zamora, Enrique Perez Prieto (background vocals),

Review:
Drummer/percussionist/composer/arranger and musical director Fidel Morales re-releasing of his 2005 masterpiece album Salsa Son Timba is a good news for all salsa and cuban music fans. Fidel recorded this album in Cuba with some of the best musicians from this caribbean island, including timbal player legend Amadito Valdes.

Besides being a master drummer and percussionist, Fidel is a creative arranger and composer. Fidel wrote or co-wrote five of the eight songs on this album, each one with inventive arrangements, mixing the old and new school styles of cuban music. The music on songs like "Atrevete", "Remedio" and "Yo sere para ti" falls more into a romantic salsa category. In contrast, songs like "Mamina" and "Salsa Son Timba" have the more classic sound of the Cuban Son.

The album also includes excellent versions of cuban classics like "Pare cochero" and Luis Rios "Que manera de quererte", a song most people recognize in the voice of salsa puertorrican singer Gilberto Santarrosa. El Chan Chan, an homage to Compay Segundo, is another prove of Fidel creative arrangentments, mixing Hip hop, Son and Jazz. Listen how much better Hip hop sounds when it's done with real instruments.

Every song on the album have a different, extremely talented singer, everyone of them providing great "soneos" (improvisations done by the singers between the choruses). But Teresa "Tete" Cartula deserve a special mention with her fabulous voice and style reminiscent of great female voices of Cuba like Omara Portuondo.

This are danceable rhythms, played here with the "afinque" required for this kind of music. Afinque is the cohesiveness of the musicians, especially the rhythm section, necessary for any kind of music, but even more essential when playing afrocuban music.

Good cuban music played the way is supposed to be played; that is what Salsa Son Timba is all about.

Tracks: Intro, Que manera de quererte, Yo sere para ti, El Chan Chan, Pare cochero, Atrevete, Remedio de amor, Mamina, Salsa Son Timba

Record Label Website: http://www.universalmusica.com

Artist's Website: http://www.fidelmorales.com/

Reviewed by: Wilbert Sostre

CD Review: The Rongetz Foundation - Broken Doll Beat

2011-01-18T07:03:00.001-08:00

CD Review: The Rongetz Foundation - Broken Doll Beat

Year: 2010

Record Label: Independent

Style: Soul / Funk Jazz

Musicians: Stephane Ronget (trumpet), Saunders Sermons (vocals), David Schnitter (tenor sax), Orlando Vega (percussions), Jerome Jennings (drums), Chris Smith (bass), Jeremy Brun (piano, rhodes), Carlos Jimenez (flute)

Review:
Broken Doll Beat is the second album from The Rongetz Foundation, a music project of composer, arranger and trumpet player Stephane Ronget. Almost all the musicians changed for this album, except Stephane and Jeremy Brun on piano and rhodes. Stephane reunited a group of excellent musicians. David Schnitter on sax, Carlos Jimenez on flute and Jeremy on piano, all of them playing highly energetic improvisations. The solo ideas flow effortless from each of these amazing musicians challenging each other in every improvisation.

The rhythm section is equally good with Jerome Jennings on drums, Chris Smith on bass and Orlando Vega on percussions, providing the latin flavor, especially on the pieces Congas in Action and Mischievous Samba. And Saunders Sermons sings on four tracks, Broken Doll, Firefly Groove, Zap Carnivorous and Simone. On this last one, a waltz like piece harmonically reminiscent of John Coltrane version of My Favorite Things, Saunders vocals and Carlos Jimenez on flute harmonize and play around each other melodies.

Ronget is responsible for all the compositions and arragements, a collection of mostly funk/jazz music with a latin touch. Some of the tracks like Broken Doll and Bulgarian Basketball follow a similar pattern, with an intro of harmonized melodies played on sax, flute and trumpet followed by improvisations and back to the harmonized melodies.

Tracks: Broken Doll, Bulgarian Basketball, Congas in Action, Doudtful Phoenix, Firefly Groove, Mischievious Samba, Simone, Zap Carnivorous

Artist's Website: http://www.myspace.com/rongetz

Reviewed by: Wilbert Sostre

CD Review: Margie Nelson - Hungry Girl

2011-01-18T07:01:00.000-08:00

CD Review: Margie Nelson - Hungry Girl

Year: 2010

Record Label: Independent

Style: Jazz Vocals

Musicians: Margie Nelson (vocals), Quinn Johnson (piano, rhodes), Christian Jacob (piano), Kevin Axt (bass), Matt Catingub (sax), Stephen Geyer (guitar), Kevin Winard (drums, percussion, vocals)

Review:
Even though she is a singer with lot of experience Hungry Girl is Margie Nelson debut album. A singer with a sultry voice, Margie can be funny, classy and romantic. Impossible to listen to the lyrics of the song Hungry Girl witout smiling. One line of the song says "Rachel Ray has nothing on me". In obvious reference to Food Network star Rachel Ray.

Margie sweetness in I love the way you're breaking my heart is an example of her romantic side. And her latin side can be heard in the song An ocassional man, with flavors of the caribbean and the rhodes giving the music a 70's feel.

Always good to hear a Jobim song, this time If you never come to me, the english version of Inutil Paissagem.

Margie is wonderful singing ballads like Where do you start? and Don't go to strangers, on this last one Matt Catingub on sax helps in creating the romantic feeling with a good Lester young like solo.

Margie enjoys singing lyrics with a sense of humor like I need ya (like I need a hole in my head), the tittle says it all. Hungry Girl is a good debut album full of blues, fun, romance and great music.

Tracks: Hungry Girl, I love the way you're breaking my heart, An Occasional Man, Be cool, If you never come to me, Ain't nobody's business but my own, Don't go to strangers, How come?, I need ya (like I need a hole in my head), I can't believe that you're in love with me, Where do you start?, The best is yet to come

Artist's Website: http://www.nelsonjazz.com

Reviewed by: Wilbert Sostre

CD Review: Shawn Bell Quintet - Things yet unknown

2011-01-18T06:57:00.000-08:00

CD Review: Shawn Bell Quintet - Things yet unknown

Year: 2010

Record Label: Independent

Style: Straight-Ahead / Classic

Musicians: Shawn Bell (trombone), Quentin Coaxum (trumpet), Jonathan Mcquade (flugelhorn), Ross Margitaz (piano), Nathan Brown (bass), Samuel Jewel (drums)

Review:
Things yet unknown is the debut album from Michigan native trombonist Shawn Bell. Shawn is a young musician who studied at Michigan University and Northern Illinois University. All the music on Things yet unknown are Shawn Bell originals except You stepped out of a dream and In the wee small hours.

The trombone is a difficult instrument to play, and to play trombone in a Jazz band, even harder. The fact that there is not as many famous jazz trombonists, even though the trombone has been part of Jazz since the beginning, proves how hard is to master this instrument. To find a young trombonist like Shawn with this level of command and virtuosity is amazing.

Shawn has a magnificent tone, flawless technique and like any good trombonist, he is a master of glissando, the use of the slide to glide from one note to another. He is also a good improviser and his music has a lot swing. Shawn on trombone and Quentin on trumpet has the responsabilities of most of the improvisations with a fabulous rhythm section of Ross Margitaz on piano, Nathan Brown on bass and Samuel Jewel on drums.

The album has a great balance between swingin tunes, like Things yet unknown and others more in the tradition of cool jazz like You stepped out of a dream and When I cry. At times similar to Miles Davis music on the album The Birth of Cool.

Tracks: Things yet unknown, You stepped out of a dream, When I cry, In the wee small hours, Requiem for lovers, Lost Pursuit, Flow

Artist's Website: http://www.shawnbellmusic.com

Reviewed by: Wilbert Sostre

CD Review: Jacqui Sutton - Billie and Dolly

2011-01-18T06:56:00.001-08:00

CD Review: Jacqui Sutton - Billie and Dolly

Year: 2010

Record Label: Blue Typewriter Productions

Style: Other

Musicians: Jacqui Sutton (vocals), Henry Darragh (piano, trombone), Paul Chester (banjo, guitar), Max Dyer (cello), Anthony Sapp (bass), Ilya Janos (percussion), Dennis Dotson (trumpet, flugelhorn), Aralee Dorough (flute)

Review:
Jazz and Country? Billie Holiday and Dolly Parton music in the same CD? Seems like an odd combination. Billie and Dolly is the tittle of Jacqui Sutton new album, but in reality just two songs are from Lady Day and the Queen of Country, God Bless the Child and Endless stream of tears. The rest of the album is a unique fusion of Jazz and Bluegrass.

I know that musicians like Bela Fleck has been doing something similar, but it is the first time I hear a singer trying this fusion in a whole album. And the results are pretty good, Jacqui is a singer with good vocal range and a distinctive style. Jacqui cites both Dolly Parton and Billie Holiday as two major influences on her, and you can hear both on Jacqui voice, mixing the blues and swing of jazz and the yodeling of bluegrass in songs like God bless the child and The moon is made of gold.

The use of the banjo and cello accentuate that bluegrass, country feeling in songs like Memories of you, Keeper of your love and Mississipi Song. Pianist/trombonist/composer/singer Henry Darragh did the arrangements for all the songs on this album and also played piano and trombone.

Tracks: God bless the child, Black Hole, Lazy Afternoon, Keeper of your Love, Those memories of you, My man's gone now, Risk, The moon is made of gold, Mississipi Song, A sleepin' Bee, Endless stream of tears

Artist's Website: http://www.jacquisutton.com

Reviewed by: Wilbert Sostre

CD Review: Francis Demange Quartet - Living Standards

2011-01-18T06:51:00.001-08:00

CD Review: Francis Demange Quartet - Living Standards

Europeans always liked and supported jazz since the beginning. When they first heard James Reese Europe HellFigthers. At the beginning of the 20th century when jazz was regarded as inferior black music, some european classical composers were among the first to recognize the richness and the quality of this new music. And when jazz legends like Miles, Duke and Dizzy went to Europe, especially France, they were treated as royalty in a time when back in the US they were not allowed to stay in the same hotels with jazz white musicians.

So it is no wonder a lot of great jazz music and musicians comes from Europe, like these amazing musicians from France the Francis Demange Quartet. Their CD Living Standards is precisely that, a collection of unique arrangements of Jazz standards. Living Standards starts with the melodies of On green dolphin street played over a repetitive piano motif changing into chords harmonization for the piano improvisations.

The tempo speed up on a piece not recorded often, Con Conrad The Continental, with another great piano solo by Francis Demange. Bertrand warm tone and fabulous sense of time can be fully appreciated on the jazzy version of Tom Jobim The Girl from Ipanema and All the things you are, a piece that starts with a syncopated intro and then changes back and forth between a faster and slower tempo.

A slower arrangement of Giant Steps shows this Coltrane composition is not just a pyrotechnics exercise but a quality melodic and harmonic piece. On Paul Desmond Take Five the melodies are played as a duo of sax and trumpet with special guest Sylvain Gontard. In the improvisations, bass and piano quotes another classic, Miles davis So What. The quartet does a different but equally interesting arrangement on Toots Thielemans Bluesette, starting fast and gradually slowin the tempo.

CD Review: Jenny Davis - Inside You

2011-01-18T06:48:00.001-08:00

CD Review: Jenny Davis - Inside You

Record Label: Independent

Style: Jazz Vocals

Musicians: Jenny Davis (vocals), Chuck Easton (guitar, flute), Ted Enderle (bass), Louis Aissen (trumpet)

Review:
Jazz standards in an intimate format of just guitar, bass and clear, rich vocals, that is the new album of Jenny Davis, Inside you. Jenny Davis vocals are equally soulful and honest in ballads like My romance or swingin pieces like On green dolphin strett. Like any good jazz musician Jenny use her voice as an instrument, improvising and playing with the melodies. She is the kind of singer that gets deep into the songs and makes you feel the lyrics.

Jenny has a unique style yet deeply rooted in the jazz and vocalese tradition, evident in her phrasing and improvisations on Charlie Parker Confirmation, Kaper On green dolphin street and the slow swingin of Softly as in the morning sunrise.

Brasil music, especially the music from composer Tom Jobim has become standards fixed in the repertoire of most jazz singers. Jenny is not the exception with her wonderful interpretation of Jobim No more blues. The album also includes an original by Jenny, Inside you, with a modern jazz feel and a lovely version of one of my favorites McCartney an Lennon songs, Blackbird.

When your lover has gone, On Green Dolphin Street, Inside You, My romance, Into each life some rain must fall, Morning Glory, No more blues, Confirmation, Blackbird, Softly as in the morning sunrise

Tracks: When your lover has gone, On Green Dolphin Street, Inside You, My romance, Into each life some rain must fall, Morning Glory, No more blues, Confirmation, Blackbird, Softly as in the morning sunrise

Artist's Website: http://www.jennydavisjazz.com/

Reviewed by: Wilbert Sostre

CD Review: Pedro Bermudez - No Limits

2011-01-18T06:46:00.000-08:00

CD Review: Pedro Bermudez - No Limits

Year: 2010

Record Label: Luizama Music

Style: Latin Jazz / Latin Funk

Musicians: Pedro Bermudez (piano, fender rhodes), Eddie Gomez (bass), Ruben Rodriguez (bass), Duduka Da Fonseca (drums, percussion), Ivan Renta (sax), Nelson Jaime (trumpet), Richie Flores (congas), Vince Cherico (drums), Diego Lopez (drums), Cristian Rivera (congas), Carli Maldonado (timbal, congas), Efrain Martinez (drums), Gabriel Rodriguez (bass), Felipe Salles (sax), Mike Arroyo (guitar), David Rodriguez (trumpet), Ana Baiana (vocals), Oscar Stagnaro (bass)

Review:
Born in Santurce, Puerto Rico, Pedro Bermudez is a pianist with lot of experience playing with salsa legends like Willie Rosario, Roberto Roena and the Puerto Rican Latin Jazz group Batacumbele.

The opening track Yuba a Santurce is precisely an homage to Pedro's town, Santurce. This is a piece with Bomba and Jazz fusion, reminiscent of the music of another great Jazz musician from Puerto Rico, trombonist William Cepeda. Good improvisations by Ivan Renta on sax and Oscar Stagnaro on bass.

Pedro plays the fender rhodes en La numero site, and Mike Arroyo also from Puerto Rico plays the guitar. The track breaks into kind of a montuno in the end. El Jarriero feels like a slow mambo, this time with another good bassist, Ruben Rodriguez, excellent trumpet by Nelson Jaime, who is also the recording engineer, and Richie Flores spectacular as always on congas.

Pedro great technique and experience can be fully appreciated on latin tracks like ALC. It is amazing the quality and quantity of musicians playing on this CD. On the more traditional Jazz track, The Dreamer, the bassist is Eddie Gomez. Some might remember Eddie as the bass player with Bill Evans. And in this format of just piano, bass and drums the music here reminds me at times of the legendary Jazz pianist.

Pedro goes back to the Fender Rhodes in the Samba influenced Bombaiao with Felipe Salles on sax, Oscar Stagnaro back on bass and master brazilian percussionist/drummer Duduka Da Fonseca.

Redentor includes another virtuosic bassist from Puerto Rico, Gabriel Rodriguez. A young but experienced musician currently playing with Charlie Sepulveda and Jazz trio San Juan Collective.

Duduka also plays on Chorinho para Maria, a piece with traditional brazilian rhythms where Pedro shows his versitality as a composer and improviser, even quoting in his improvisation recognized brazilian songs like Samba da minha terra.

All compositions are originals by Pedro Bermudez except Jobim Caminhos Cruzados. The wonderful interpretation and voice on this one is Ana Baiana. No limits and Long Walk have two of the more interesting arrangements with nice tempo changes.

Tracks: Yuba a Santurce, La numero siete, El jarriero, ALC, The dreamer, Bombaiao, Redentor, Chorinho para Maria, Ivan's Cha, Caminhos cruzados, Offbeat, Ni limits, Long walk

Artist's Website: http://www.pedrobermudezpiano.com

Reviewed by: Wilbert Sostre

CD Review: Mark Costa - Textures

2011-01-18T06:45:00.001-08:00

CD Review: Mark Costa - Textures

Musicians: Mark Costa (bass), James Muller (guitar), Bill Risby (piano, synths),Gordon Rytmeister (drums), Tony Azzopardi (percussion)

Review:
Australia is a land of beautiful sights, kangaroos, and even some great rock bands like AC/DC, Inxs and Men at Work. But Jazz is not the first word that comes to mind when talking about Australia. Sydney native bassist Mark Costa might change that perception with his album Textures.

Textures is a collection of interesting compositions in a Jazz Fusion tradition. All compositions are originals by Mark Costa and like all good jazz music, Mark leave a lot of space to improvisations. Dedication, the first track with good electric guitar solos by James Muller feels like 70's progressive rock.

Textures has a more jazzy feeling with Bill Risby on piano playing most of the melodies. Muller goes for a cleaner tone on the electric guitar on the Jazz Fusion track End Games, this one reminds me of the music of pianist Hiromi Uehara. On Hidden Game, after a nice piano intro Mark lays down the groove for a cool exchange of melodies improvisations between piano and guitar.

Stand and Deliver has some interesting tempo changes from funk to jazz rhythms. Mark does a superb bass solo and Bill on synths acentuate that 70's Jazz Fusion feel. The music on White Sands is reminiscent of Pat Metheny, another great Jazz Fusion musician. Pendulum has a more traditional Jazz, kind of a Bebop feel to it. Showing that good musicians like Mark and friends can play any Jazz style. The CD ends up with the beautiful ballad A Father's Love.

Tracks: Dedication, Textures, End Game, Hidden Gem, Stand and Deliver, White Sands, Pendulum, A Father's Love

Artist's Website: http://www.markcosta.com.au

Reviewed by: Wilbert Sostre

CD Review: Ayako Shirasaki - Falling Leaves: Live in Hamburg

2011-01-18T06:43:00.001-08:00

CD Review: Ayako Shirasaki - Falling Leaves: Live in Hamburg

Review:
Just a few notes out of Ayako Shirasaki’s piano are enough to realize you are listening to a very special musician. With her amazing combination of feeling, inventiveness and impressive virtuosity, Ayako is one of those musicians that make an unforgettable impression.

Ayako grew up listening to all the Bebop greats, and by age 10 she was transcribing Bud Powell and Charlie Parker solos. She also began studying classical piano at age 5 and both, Jazz and Classical shows off in her style and technique. Even though she is still young, Ayako is already a veteran in the jazz world with four previous solo albums, Existence (2003), Loved Ones (2004), Musically Yours (2005), Home Alone (2006), one live album, Live in New York (2001), two duo albums with vibraphonist Tim Collins in 2002 and Live in concert (2002).

This is a live solo piano recital CD, (ala Keith Jarrett) recorded in Hamburg, and showcase Ayako at his best. An intro similar in style to Bud Powell starts the album with Charlie Parker Confirmation, a masterful homage to Ayako Bebop heroes, followed by a sublime interpretation of Ellington In a sentimental mood.

Ayako have no problem playing Sonny Rollins difficult composition Airegin (Nigeria backwards). Her playing is flawless and with lots of energy on this one, with a nice stride piano in the middle. Jazz and Classical music are mix beautifully in Ayako version of Chick Corea waltz Mirror Mirror.

The next section of the recital is dedicated to the four seasons starting with the beautiful Japanese song Sakura Sakura (Cherry blossom, cherry blossom) representing the spring season. Back to the Jazz feel in the classic Summertime before getting into the fall and winter seasons with Ayako original, Falling Leaves and the Christmas classic Sleigh Ride.

The interesting harmonies and delightful melodies of the two Ayako originals, the Monk like Monkey Punch and the ballad Far Away proves she is also a master of composition. Ayako shows her versatility with the Barry Harris Samba, Nascimento.

The last four pieces are songs requested by the audience, Moonglow, My Romance, Brubeck Take Five and Rollins St. Thomas.

Tracks: Confirmation, In a sentimental mood, Airegin, Mirror Mirror, Sakura Sakura, Summertime, Falling Leaves, Sleigh Ride, Monkey Punch, Far Away, Nascimento, Moonglow, My Romance, Take Five, St. Thomas

Record Label Website: http://www.janmatthiesrecords.com/

Artist's Website: http://www.ayakoshirasaki.com/

Reviewed by: Wilbert Sostre

CD Review: Laura Harrison - Now HereYear: 2010

2011-01-18T06:41:00.000-08:00

CD Review: Laura Harrison - Now Here

Year: 2010

Record Label: Steps Records

Style: Jazz Vocals

Musicians: Laura Harrison (vocals), Peter Smith, John Proulx (piano), Chris Colangelo, Kevin Axt (bass), Jimmy Branly, Steve Barnes (drums)

Review:
What a better way to start Canadian singer/composer Laura Harrison debut album Now Here than with the extraordinaire interpretation and fabulous scats in the Sarah Vaughan song Shulie a Bop. The hard swing, superb scats and amazing phrasing on this first track should tell you what's this lady is all about. Laura is a singer with complete command over her voice, a master of scats and improvisations. This is how a Jazz singer should sound like.

Laura sings in perfect portuguese in Vinicius de Moraes Berimbau. Two other great choices are the Ellington swingin compositions, Cottontail and Love you madly with some more great scats by Laura, this time reminiscent of another legend of Jazz, Ms. Ella Fitzgerald.

Laura technique and mezzo soprano voice allows her to sound just as good singing classical pieces like Bizet Habanera. Her compositions, Now Here with lyrics that reflect the struggle to finally record her first album, Reflection, and the two jazzy tunes Mi alma and Teesa's Blues are interesting both melodically and harmonically with a touch of poetry and personal lyrics, but always leaving space for vocal improvisations.

Laura shows her versitality as a singer in Ralph Towner Icarus, Sting Seven Days. and in the funky groove arrangement of Wouldn't it be loverly.

Tracks: Shulie a bop, Now Here, Berimbau, Reflections I concentrate on you, Mi alma, Love you madly, Wouldn't it be loverly, Teesa's blues, Habanera, Icarus, Seven days, Cottontail

Artist's Website: http://www.lauraharrisonmusic.com/

Reviewed by: Wilbert Sostre

CD Review: Nicole Lvoff - Here's that rainy day

2011-01-18T06:38:00.000-08:00

CD Review: Nicole Lvoff - Here's that rainy day

Here's that rainy day is the debut album from California native singer, Nicole Lvoff. An album with delicate arrangements plus the crystal clear tone and sweet voice of Nicole Lvoff on songs like Darn that dream, Here's that rainy day, the slow and sexy Angel eyes and Billie Holiday Don't Explain. This is music for romance, to listen with that special someone.

But Nicole and her band can swing too. Listen to the slow swinging version Sometimes I'm Happy, the upbeat swing arrangement of Too marvelous for words and Softly as in the morning sunrise. Nicole puts the sexy back on the song Fever and the whole band show their latin side in the classic Caravan, with some mambo touches in the improvisations.

The album also includes a couple of songs I haven't heard in a while, like Richard Adler Whatever Lola wants and the beautiful english version of Luis Bonfa Manha de Carnaval from the movie Black Orpheus. It was through this movie most people heard the music of Bonfa and Jobim for the first time.

Musicians: Nicole Lvoff (vocals), Woody DeMarco (piano), Hank Allen (bass), Jon Crosse (sax, flute, clarinet, trumpet), Tom Lackner (drums), Lorenzo Martinez (bongos, shakers)

Tracks: Too marvelous for words, Black Orpheus, Darn that dream, Here's that rainy day, Whatever Lola wants, Fever, Softly as in the morning sunrise, Sometimes I'm happy, Angel Eyes, Caravan, Don't explain

Record Label : Marmalade Records

Artist's Website: http://nicolelvoff.com/

Reviewed by: Wilbert Sostre

CD Review: Francesco Marziani Trio - In my own sweet way

2011-01-18T06:36:00.000-08:00

CD Review: Francesco Marziani Trio - In my own sweet way

After winning the 2008 International Massimo Urbani Award, Philology Records offered italian pianist Francesco Marziani the opportunity of recording his debut CD. So here it is, the first album from one of the new italian jazz talents Francesco Marziani. In my own sweet way was recorded with bassist Massimo Moriconi and drummer Massimo Manzi.

Besides being an excellent pianist with great knowlege of the jazz language and flawless technique, Francesco is an accomplished composer. His compositions are mature with elegant melodies and rich harmonically.

There are some similarities in his composition style to pianist Vince Guaraldi on tracks like If I were a blackbird and Light night. Sounds like Francesco is even quoting Vince in the improvisation on If I were a blackbird.

But there is also some Thelonious Monk on the track Myself in blue both in the music and Francesco phrasing. The trio is in full swing in Parker & Gillespie Shaw Nuff and in the fast tempo arrangement of The Chase.

Also included on the album, the beautiful interpretations of the classic You've changed and Barry Harry ballad Eleanor.

If I were a blackbird, You've changed, The chase, Eleanor, Light night, Walzer per il sonno di Andrea, In my own sweet way, Shaw nuff, Myself in blue

Francesco Marziani (piano), Massimo Moriconi (bass), Massimo Manzi (drums)

CD Review: Claudio Scolari - Colors of red island

2011-01-18T06:34:00.000-08:00

CD Review: Claudio Scolari - Colors of red island

Italian musician Claudio Scolari new project, Colors of Red Island is a fascinating mix of acoustic and electronic sounds creating an almost cinematic atmosphere. For this album Claudio has the collaboration of Daniele Cavalca on drums, bass and vibraphone and Simone Scolari on trumpet.

Scolari music, like the tracks Electric light over water and Emotion appearance can be described as avant-garde jazz but it is so much more. It has elements of classical music, and other jazz styles. For example Variations of movement has some latin influences and the title track, Colors of red island with Simone Scolari majestic sound on trumpet reminds me at times of Miles music from the album Birth of Cool.

Daniele Cavalca plays the vibraphone in the funky Improvised sentimental song, Cold landscape and in Movement inspiration, a track with a blend of acoustic and futuristic sounds creating kind of a mysterious mood. This mysterious mood continues in Dialogues night with an interesting almost hypnotic percussion.

Earth dances explosions is even more futuristic, with a sound effect loop that provides the background to Simone trumpet improvisations.

Colors of red island, Movement inspiration, Variation of movement, Dialogues night, Earth dances explosions, Improvised sentimental song, Electric light over water, Emotion appearance, Winds of metamorphosis, Infinite silence, Cold landscape

CD Review: Lisa Maxwell & George Newall - Return to Jazz Standards

2011-01-18T06:32:00.000-08:00

CD Review: Lisa Maxwell - Return to Jazz Standards

Like the tittle suggests this album is full of Jazz standards wonderfully interpreted by singer Lisa Maxell. Standards like the swinging versions of Cole Porter You'd be so nice to come home to, Rodgers and Hart My Romance and Ray Noble I hedn't anyone till you with extraordinaire piano solos by Lisa husband George Newall, who also did all the arrangements and produced the album.

This is an album full of romance also and like the lyrics of Love Dance, when you listen to Lisa lovely voice singing Jobim Meditation and LaTouche Lazy Afternoon, you gotta turn up the quiet cause love wants to dance. Return to Jazz Standards also includes an ellegant version of Mandel The Shadow of your Smile. And because the holidays are close, Lisa ask you What are you doing New Years Eve? This is a perfect album for a romantic evening.

You'd be so nice to come home to, Meditation, Lazy afternoon, I hadn't anyone till you, Love dance, Call me, The shadow of your smile, Isn't it a pity, What are you doing new years eve?, My romance, Moonlight savings time

Lisa Maxwell (vocals), George Newall (piano), John Alfred (trombone)

CD Rreview: Pamela Hines Trio - Moon Germs

2011-01-18T06:29:00.000-08:00

CD Rreview: Pamela Hines Trio - Moon Germs

Pamela Hines great technique and intuitive playing shows from the first track, Arlen classic Let's fall in love. Hines plays nicely with the melodies and rhythms in a kind of bebop version.

Pamela Hines is also a great composer and most of the compositions on this albums are Hines originals. Itchy is a good example of Hines compositional talent, with interesting, constant tempo changes between Bebop and a more funky groove.

Variations on invitation is another interesting Hines original with piano playing reminiscent harmonically and in the use of spaceto the master Thelonious Monk.

Hines is just as good playing ballads like Mercer Fool rush in and Pamela own Lavender and Complications. Her piano style in these slow pieces is more minimalist, making every note count.

In moon germs the CD tittle track Hines shows her versitality in a almost avantgarde arrangement.

In Christopher Street there is a touch of Bossa and the whole band swing hard on Bill Evans Show Type Tune and in Hines Zonegar.

Pamela Hines (piano), John Lockwood (bass), Bob Gulloti (drums), Greg Dudzienski (tenor sax), Darren Barrett (trumpet)

Let's fall inlove, Itchy, Fools rush in, Moon germs, Lavender, Complications, Variations on invitation, Show type tune, Zonegar, Christopher Street

CD Review: Ceumar - Live in Amsterdam

2011-01-18T06:27:00.000-08:00

CD Review: Ceumar - Live in Amsterdam

Year: 2010

Record Label: Independent

Style: Brazilian Jazz / Brazilian Pop Jazz

Musicians:
Ceumar (vocals), Mike del Ferro (piano), Frans van der Hoeven (bass), Olaf Keus (drums)

Review:
Ceumar is one of the best singer out of Brasil in the last ten years. After four great albums, Dindinha (2000), Sempreviva! (2003), Achou! (2006), and Meu Nome (2009), Ceumar comes back with a live CD recorded in Amsterdam.

If you are not familiar with Ceumar music, you are up for a treat. Ceumar beautiful voice and poetic singing style will surely captures you. If you are already a fan, like me, you will love the jazzy arrangements of some of your favorites Ceumar songs.

As a composer her lyrics has a poetic quality also. A good example is the first song on this album, Oracao do Anjo. A prayer asking God not to let her die before seeing the world.

The jazz arrangements works perfectly with Ceumar music. The second song, Banzo, is one of the jazzier ones on this CD, with syncopated rhythms and a nice swinging groove.

Dindinha is one of three Zeca Baleiro compositions on this album and the title of the debut Ceumar CD. One of the most beautiful songs recorded by Ceumar and in my opinion already a classic of brazilian music. Ia Ia is another composition by Zeca Baleiro, recorded for the first time on this live album.

Jabuticaba Madura is another wonderful Ceumar original song. Jabuticaba is a small black fruit from Brasil that Ceumar compares to the eyes of a man. Frans plays a melodic solo on bass and does a masterful voice solo simulating a trumpet.

Zeca Baleiro Pecadinhos (little sins), also with prayer like lyrics, this time asking for forgiveness for little sins that do not hurt anybody. Danca is a Ceumar song, almost like a waltz, inspired in the music of cuban piano player Yaniel Matos.

Girias do Norte with rhythms from the north of Brasil, and obvious african influences, is a fun and danceable piece. The album close with the almost lullaby song Gira de meninos.

Tracks: Oracao do anjo, Banzo, Dindinha, Ia Ia, Jabuticaba madura, Pecadinhos, Danca, Girias do norte, Gira de meninos

Artist's Website: http://www.ceumar.net

Reviewed by: Wilbert Sostre

CD Review: San Juan Collective

2010-10-11T21:34:00.000-07:00

Musicians:
Norberto Ortiz, Gabriel Rodriguez, Raúl Maldonado

Review:
Even though the members of San Juan Collective are young musicians, they play with the maturity and music knowledge of veteran Jazz players. One can tell their jazz vocabulary comes from years of listening and studying all the legends of jazz and other music styles.

They also have the experience of playing and recording with Puerto Rican master trumpet player, Charlie Sepulveda on both of his grammy nominated albums.

All that music knowledge and experience are fused perfectly to create the sound of San Juan Collective, a jazz trio with three of the best jazz musicians from Puerto Rico. Norberto Ortiz with his inventive improvisations on the tenor sax, reminiscent of other great sax players from Puerto Rico like Miguel Zenón and David Sanchez, Gabriel Rodriguez flawless melodic solos on bass and Raúl Maldonado energetic rhythms on drums.

The music of San Juan Collective is challenging, full of surprises and always interesting with tempo changes and creative, both melodically and harmonically.

In their music you’ll find diverse influences. The lullaby like intro of Child’s Play, before changing into a classic Bebop tempo. The Funk/fusion style of A mis maestros with virtuosic bass runs and a powerful drum solo. The ballads Melisa, Beauty Bar and Esperanza, the last one reminiscent of jazz classics like In a Sentimental Mood. The Bossa bass chords on Cycles. And of course the contagious Bomba and Plena rhythms of Sueño Despierto and Calle 6, showing the great fusion possibilities of native Puerto Rico rhythms with Jazz.

Tracks: The Beautiful, Child’s Play, A mis Maestros, Esperanza, Sueño Despierto, Cycles, Calle 6, Beauty Bar, El Tata, Melisa, El Hobito

Artist's Website: http://sanjuancollective.com/

Reviewed by: Wilbert Sostre

CD review: Loren Daniels & Reggie Pittman - Point A to Point A

2010-10-11T21:30:00.000-07:00

Point A to Point A is a Classic Jazz style collaboration between trumpet player Reggie Pittman and pianist Loren Daniels. The album start with On the B.T. a bebop piece dedicated to composer Bobby Timmons.

Clarion Call is an odd but interesting composition with the always powerful trumpet playing of Reggie Pittman and a superb swinging groove by the rhythm section, Loren Daniels, bassist Bill Moringand Tim Horner on drums.

The beautiful melodies of the ballad Fall, brings images of the change of season. The next track is a funky, cool version of the Charlie Parker classic, Ornithology, that changes back and forth between funk and bebop. Shaw is Woody, is a fast bebop piece in homage to the great trumpet player Woody Shaw.

Loren explained on the promo notes that the structure of Point A to Point, ABACA, is a Rondo and the reason for the title. On Waterwind percussive sounds gives way to the trumpet melodies of Reggie Pittman over a slow latin rhythm. The album ends with It's all Thelonious a fun tribute to genious Theloniuos Monk, this one includes Loren Daniels on vocals.

On th B.T., Clarion Call, Fall, Ornithology, Shaw is Woody, Reflection, Point A to Point A, Waterwind, Prose and Consequence, It's all Thelonious

Reggie Pittman (trumpet, flugelhorn), Loren Daniels (piano, vocals), Bill Moring (bass), Tim Horner (drums, percussion)

CD Review: Fernandez & Wright - Unsung

2010-10-11T21:25:00.000-07:00

Musicians:
Vanessa Fernandez (vocals), Steve Wright (guitar), Sam Keevers (piano), Ben Robertson (bass), Dave Beck (drums), Alex Pertout (percussion), Chong Lim (Hammond)

Review:
Unsung is a music collaboration between vocalist Vanessa Fernandez and guitarist Steve Wright. Wright sound have influences of smooth jazz guitar players like George Benson. Vanessa’s voice sounds at time like singer Sade especially on songs like Thinkin it lately, an interesting composition with African percussive rhythms of Steve Wright on guitar and If Only with Bossa influences.

In the first track I’ve been there too there is definitely an influence of the rock group The Police and his legendary singer Sting. The music reminds me, melodically of the song It’s probably me, but with funkier rhythms. That funk influence is also present in the song New Knack, starting in a Bossa style and changing into funky rhythms halfway through the song.

But is on the blues songs that Vanessa’s voice and feeling really shines. Ain’t love cruel, Leave it to me with the organ sounds adding a spiritual feel and Why is it always, a classic rock/blues reminiscent of Bonnie Rait.

I’ve been there too, Fairy dust, Thinkin it lately, If only, Ain’t ove cruel, Seasons, New Knack, Leave with me, Why is it always, New years Day

Vanessa Fernandez (vocals), Steve Wright (guitar), Sam Keevers (piano), Ben Robertson (bass), Dave Beck (drums), Alex Pertout (percussion), Chong Lim (Hammond)

Tracks: I’ve been there too, Fairy dust, Thinkin it lately, If only, Ain’t love cruel, Seasons, New Knack, Leave with me, Why is it always, New years Day

Artist's Website: http://www.fernandezandwright.com.au

Reviewed by: Wilbert Sostre

CD Review: Leslie Lewis - Keeper of the Flame

2010-09-28T07:24:00.000-07:00

CD Review: Leslie Lewis - Keeper of the Flame

Featured Artist: Leslie Lewis

CD Title: Keeper of the Fame

Year: 2010

Record Label: Surf Cove Jazz

Style: Jazz Vocals

Musicians: Leslie Lewis (vocals), Gerard Hagen (piano), Domenis Genova (bass), Jerry Kalaf (drums, percussions)

Review:
Leslie Lewis is all a good jazz singer should be. Her beautiful tone and classy phrasing on tracks like Day by day, You don't know what love is and Speak Low evokes the sound of the classic jazz singers like Ella Fitzgerald and Sarah Vaughan.

On the title track Keeper of the Flame Leslie soulful voice plays beautifully with the melodies and tempo changes with Jerry Kalaf adding a powerful drums solo. And her silky, smooth vocals on the jazzy version of Ivan Lins The Island hits you full of emotion.

The brazilian influence can be heard all through this album, especially on the tracks Day by day, the jazzy arrangements of Antonio Carlos Jobim A Felicidade, Chega de Saudade and the sublime version of Fotografia. On these tracks at times one may hear echoes of the Ella Fitzgerald sings Jobim album, both in tone and phrasing.

As a puertorrican I always enjoy listening to Juan Tizol Caravan, one of the most recorded jazz classics. Leslie vocals are just perfect on one of the best version I have heard recently, with interesting rhythmic and harmonic choices.

Leslie Lewis vocals are complimented perfectly by her husband, Gerard Hagen Trio, and special guest Gary Foster on sax.

Tracks: Keeper of the Flame, The Island, Spring is here, Day by day, A Felicidade, You don't know what love is, Fotografia, Chega de Saudade (No more blues), Speak Low, Caravan

Reviewed by: Wilbert Sostre

CD Review: Dual Rhythm Big Band

2010-09-28T07:23:00.001-07:00

CD Review: Dual Rhythm Big BandFeatured Artist: Dual Rhythm

CD Title: Big Band

Year: 2010

Record Label: Independent

Style: Various Jazz Styles

Musicians: Ernest Bland (percussion), Paul Rosenberg (piano), John Lee (guitar), Dan Hall (bass), Lawrence Dean (drums), Perry Contichio (sax)

Review:
Dual Rhythm goal is to sound like a quartet in a duo setting. Well, mission accomplished. This guys definitly sound bigger, more like a Big Band, even though they are just two, Ernest "Ebongo" Bland on percussions and Paul Rosenberg on piano. That big sound hits you since the first track, Shoreline.

Dual Rhythm cited influences by Gillespie, Jerry Gonzalez and Tito Puente, there is no doubt all this and more may be heard on the fusion of latin, jaz and R&B sounds. Gillespie influence is present for sure in the track Sligo Bop.

Ernest provides the vocals on the Beatles medley, the bluesy sounds of I don't know what love is, and the soul style of Mariposa and These arms of mine.

The organ like sound and guitar solo combined with the percussions gives the track Absence of Excess a 70's rock feeling, similar to Santana. Summer End starts like a ballad and then change into infectious latin/cuban rhythms.

Paul and Ernest chose two jazz classics to close an album of mostly originals, Ellington African Flower and a Medley of Shorter Night Dreamer and Mongo Santamaria Afro Blue. The album includes some guest artists, John Lee on guitar, Dan Hall on bass, Lawrence Dean on drums and Perry Contichio on sax.

Tracks: Shoreline, Sun Medley (Beatles Medley), Absence of Excess, I don't know what love is, Mariposa, Summer's end, Alice dances the Bossa Nova, Desire, Sligo Bop, These arms of mine, African Flower, Night Dreamer/Afro Blue

Artist's Website: http://www.myspace.com/dualrhythm

Reviewed by: Wilbert Sostre

CD Review: Kenia Celebrates Dorival Caymmi

2010-09-23T07:21:00.000-07:00

CD Review: Kenia Celebrates Dorival Caymmi

Featured Artist: Kenia Ashby

CD Title: Kenia Celebrates Dorival Caymmi

Year: 2010

Record Label: Kenia

Style: World Music

Musicians: Kenia Ashby (vocals), Fernando Merlino (piano), Leo Traversa (bass), Airto Moreira (percussion), Jay Ashby (percussion, trombone, vocals), Lucas Ashby (percussion), Ian Ashby (percussion, vocals), Thomas Wendt (drums), Eric Sussoef (guitar), Marty Ashby (guitar), Tatjana Chamis, Fabiana Chamis (vocals)

Review: Dorival Caymmi, one of the best brazilian songwriters, is to samba what Tom Jobim is to Bossa Nova. Some of the best sambas ever written are from Dorival Caymmi, and I can not think of a better singer to do an homage to Caymmi than Kenia Ashby. Kenia melodious voice and elegant phrasing is a perfect match to Caymmi fun lyrics and infectious rhythms.

You will find classics on this CD like Voce ja foi a Bahia?, Doralice, Eu vou pra Maracangalha and the beautiful interpretation of Sabado em Copacabana. Kenia Ashby is a native of Rio de Janeiro, Brasil, currently living in Pittsburgh. For sure most of these songs were part of Kenia childhood in Brasil. And you can hear an almost nostalgic feeling on Kenia voice singing about Copacabana.

All the songs arrangements have a jazzy touch, without losing the samba feeling. Kenia voice is powerful and with the flavor required for the more upbeat sambas like Eu nao tenho onde morar, Samba da minha terra and Vatapa. Subtle and sweet in the slow ballads like Nunca mais and Marina, recorded with just voice and piano. Playful on O dengo que a nega tem, Acontece que sou Baiano and Requebre que eu dou um doce, the last one with nice scats harmonies by Kenia and Jay Ashby trombone.

The rhythm section of Fernando Merlino on piano, Leo Traversa on bass, and Jay Ashby, Lucas Ashby and Ian Ashby on percussion is superb. But there is another surprise on this album, the great Airto Moreira also plays percussion in most of the tracks.

This album is definitely a must have for fans of brazilian music. Like Kenia says on her CD notes, Dorival repertoire is so vast that it might warrant a second album. I will be waiting for that sequel.

Tracks: Eu nao tenho onde morar, Roda Piao, And roses and roses, Samba da minha terra, Vatapa, Requebre que eu dou um doce, Voce ja foi a Bahia, Sabado em Copacabana, O dengo que nega tem, Acontece que eu sou baiano, Nunca mais, Doralice, Eu vou pra Maracangalha, A vizinha do lado, Marina

Record Label Website: http://www.officialkenia.com

Artist's Website: http://www.officialkenia.com

Reviewed by: Wilbert Sostre

CD Review: Jackson Garrett - Speechless

2010-09-23T07:20:00.000-07:00

CD Review: Jackson Garrett - Speechless

Featured Artist: Jackson Garrett

CD Title: Speechless

Year: 2010

Record Label: Independent

Style: Various Jazz Styles

Musicians: Steve Madaio (trumpet), Kenny Meier (trombone), Pat Rizzo (sax), Steve Neilen (drums), John Pagels (guitar), Marty Steele (piano), Jeff Stover (bass)

Review: Jackson Garrett Speechless is a unique album in the sense that the artist featured in the title is not the one playing the music. Jackson Garrett wrote all twelve compositions on Speechless but the music is performed by a group of talented musicians. Steve Madaio (trumpet), Kenny Meier (trombone), Pat Rizzo (sax), Steve Neilen (drums), John Pagels (guitar), Marty Steele (piano), Jeff Stover (bass).

The music on this album is diverse. There is the contemporary feel of Just one more time, with horn harmonies reminiscent of the rock group Chicago and nice piano runs by Marty Steele. You may also find the latin feel of the tracks Around and around or Slowdown with rhythms that invites you to dance.

Tracks like Cool and easy has a more classic jazz feel to it, and even the melody reminds me of standards like Round Midnight. We gotta go also feels like classic jazz, this time the arrangements are reminiscent of the Big Band sound era.

The bass and piano intro lead us to the bossa feel of Kisses all around and Downtown with you sounds like vintage blues with Steve Madaio superb bluesy feeling on trumpet. Speechless is a collection of enjoyable, well written compositions in a diversity of styles.

Tracks: Just one more time, Slow down boy, Back in time, Cool and easy, Kisses all around, Downtown with you, Give a little bit to me, Champagne tower, Big baby, I don’t wanna see you, Around and around, We gotta go

Reviewed by: Wilbert Sostre

CD Review: Michael C. Lewis - Reflection

2010-09-23T07:18:00.000-07:00

CD Review: Michael C. Lewis - Reflection

Featured Artist: Michael C. Lewis

CD Title: Reflection

Year: 2010

Style: Smooth Jazz

Musicians: Michael C. Lewis (trumpet, flugelhorn, vocals), William Heagy (keyboards), Alva Nelson (piano), William Patterson (guitar), Jeanne Ricks (guitar), Rakiem Walker (tenor sax), Wendell Brooks (programming), Gerald Trottman (programming)

Review: I am not usually a big fan of rhythm programming in music but a good musician with a handful of nice compositions could make overlook it. That is the case with Michael C. Lewis new CD Reflection.

Almost all tracks on this album are originals, in a smooth jazz style, where Michael shows his sensitivity, great tone and technique. The album starts with Reflection (Sunrise), a ballad that perfectly reflects the tranquility of the morning hours. But you will also find upbeat, funky music like In the night time and Gulf Breeze with Wendell Brooks providing some interesting rhythms patterns for Michael melodies and the R&B style of I dedicate my heart. Miles to go, a funk track mixed with a little bit of hip hop.

Michael shows his romantic side on the ballad I need your love and the sensuality of the night on Night Fall. Reflection (Sunset) ends up the album in a relaxing mood, with ideal melodies to listen to after a long stressful day.

Tracks: Reflection (Sunrise), Gulf Breeze, I need your love, I dedicate my heart, Cloud Parade, In the night time, Night fall, Miles to go, We’ve only just begun, Kid time, Reflection (Sunset)

Reviewed by: Wilbert Sostre

CD Review: Henry Darragh - Tell her for me

2010-09-23T07:15:00.001-07:00

CD Review: Henry Darragh - Tell her for me

Featured Artist: Henry Darragh

CD Title: Tell her for me

Year: 2010

Record Label: Independent

Style: Jazz Vocals

Musicians: Henry Darragh (vocals, piano, trombone), Seth Paynter (sax), Carol Morgan (trumpet), Erin Wright (guitar, bass), Glen Ackerman (bass), Chuck Payne (drums)

Review: There are some great male singers in the history of jazz like Louis Armsrong Frank Sinatra, Tony Bennett and more recently Harry Connick Jr. but male jazz singers have always been a minority. Well there’s a new name to add to the list, talented singer, composer, piano and trombone player Henry Darragh.

Usually jazz singers prefer to record recognized jazz standards instead of original compositions. Henry Darragh chose the hard way, recording mostly originals on his album Tell her for me.

Tell her for me have a perfect balance between swinging tunes like Tell her for me and Hey there and slower, romantic tunes like Dream boxes, Missing you and Everything happens to me.

Henry strength as a composer is his ability to write about situations everyone can identify with. For example Regret is a song about the regrets of being afraid to talk to a woman you like, just to ask yourself later, what if?

Once in a while lyrics are another good example, this time the question “is that special person thinking about even if it is just once in a while?” Master trumpet player Carol Morgan plays a great solo on this one.

As a singer, Darragh voice is similar in tone and phrasing to Harry Connick Jr. The album also includes the instrumental piece Early, where everyone has a chance to show their improvisation skills, including Henry Darragh on trombone.

Tell her for me is an excellent debut album for this multitalented singer/musician/composer.

Tracks: Hey there, Regret, Everything happens to me, Once in a while, Early, Dream boxes, Missing you, Tell her for me, Wrong ending, Look for the silver lining, The Harvard dictionary of music song

Artist's Website: http://www.henrydarragh.com

Reviewed by: Wilbert Sostre

CD Review: Matt Garrison - Familiar Places

2010-09-23T07:13:00.001-07:00

CD Review: Matt Garrison - Familiar Places

Featured Artist: Matt Garrison

CD Title: Familiar Places

Year: 2010

Record Label: DClef

Style: Various Jazz Styles

Musicians: Mat Garrison (sax), Bruce Harris (trumpet), Claudio Roditi (trumpet, flugelhorn), Thomas Barber (flugelhorn), Michael Dease (trombone), Sharel Cassity (flute), Don Braden (alto flute), Mark Whitfield (guitar), Zaccai Curtis (piano, fender rhodes), Luques Curtis (bass), Rodney Green (drums)

Review: The music on Matt Garrison new album Familiar Places is as impressive as the group of musicians playing in it. Besides Garrison, this album features Claudio Roditi on trumpet and Mark Whitfield on guitar among other amazing musicians.

The opening track Try another day starts with amazing harmonies by Matt Garrison on sax and Bruce Harris on trumpet. Garrison, Harris and Zaccai Curtis take turns with good improvisations before getting back to the starting harmonies.

A thoughtful attempt has a bossa feel with melodies reminiscent of the classic Speak Low. In contrast, Convergence has a modern feel to it with interesting time signatures and rhythms. The notes cascades out of the piano in Curtis flawless solo on this one.

Michael Dease composition, You know I love you includes the cool sounds of the fender rhodes and Garrison original You’ll know when you see her is a Bebop track with sax and trumpet harmonies that reminds me of Bird and Dizzy duets.

Familiar Places is another track with nice harmonies and a groove that makes you feel good. Kind of sounds like Vice Guaraldi compositions for Peanuts.

Matt warm tone works perfect on the track Left Behind, his improvisations flow easily out of his horn and yet his ideas sound well organized. In Without you, dedicated to Dizzy Gillespie, the band effortless changes between Cuban/latin and swingin rhythms. The album closes with the funky groove of A Clear Path.

Tracks: Try another day, A thoughtful attempt, Convergence, You know I love you, You’ll know when you see her, Familiar Places, Left behind, Without you no me (To Dizzy), A clear path

Artist's Website: http://mattgarrisonmusic.com/

Reviewed by: Wilbert Sostre

CD Review: Kristine Mills

2010-09-23T07:05:00.000-07:00

CD Review: Kristine Mills

Featured Artist: Kristine Mills

CD Title: Bossanovafied

Year: 2010

Record Label: Independent

Style: Jazz Vocals

Musicians: Kristine Mills (vocals), Paulo Midosi (piano), Haroldo Cazes (bass, guitar), Rubinho Moreira (drums, percussion), Jose Carlos Bigorna (sax, flute)

Review: Besides having a beautiful, sexy voice, and a nice phrasing influenced by jazz, pop and Bossa Nova, Kristine Mills is a wonderful composer. Her new album Bossanovafied is wonderful collection of original, romantic songs, heavily influenced by brazilian music. She even recorded most of the CD in Rio de Janeiro, Brasil with a group of talented musicians.

The brazilian feel may be heard all over the album, like the Bossa harmonies on I Wish or the flute intro on That was yesterday. Jose Carlos Bigorna on sax and Paulo Midosi on piano have most of the melodic responsabilities while Rubinho on drums and Haroldo on bass provide the bossa and samba contagious rhythms, especially on tracks like Sasha’s Lullaby and Burden of Choice.

Paulo and Haroldo cleverly quote some of the brazilian classics on their improvisations. Like the first part of Paulo solo on Fallin in Love, harmonically reminiscent of Jobim Garota de Ipanema. And Haroldo quoting of Menescal O Barquinho with his guitar solo on the track You are.

Tracks: I wish, That was yesterday, Sweet sorrow, Sasha’s Lullaby, Burden of Choice, Fallin in Love, You are, Inspiracao

Artist's Website: http://www.kristinemillsmusic.com/

Reviewed by: Wilbert Sostre

CD Review: Sylvia Bennett - Smile

2010-09-23T07:03:00.001-07:00

CD Review: Sylvia Bennett - Smile

Featured Artist: Sylvia Bennett

CD Title: Smile

Year: 2010

Record Label: Independent

Style: Jazz Vocals

Musicians: Sylvia Bennett (vocals), Mike Levine (piano), Chuck Bergeron (bass), Richard Bravo (drums, percussions), Sammy Figueroa (shaker), Hal S. Batt (guitar), Mike Lewis (vienna strings), Geremy Miller (violin overdubs)

Review: Elegance is the first word that comes to mind when listening to Sylvia Bennett. Her beautiful voice can be romantic and sexy but always classy and elegant.

Sylvia CD Smile is a delightful collection of jazz standards masterfully interpreted by Sylvia Bennett and a group of great musicians.

Smile starts with Bacharach Look of love, with Mike Levine piano intro, Hal S. Batt fills on guitar and the beautiful strings arrangements providing the perfect backup to Sylvia vocals.

The positive message of Chaplin Smile shines on Sylvia voice with a bossa arrangement version. There is also a touch of bossa nova on The shadow of your smile.

The very thought of you has a vintage jazz feeling even in Sylvia phrasing that at times reminds me of the legendary Billie Holiday.

The CD also includes danceable arrangements of tracks like Witchcraft, Make someone happy, Where or when and What a difference a day makes. Or romantic tracks like I’ll be seeing you, Gerswin Love is here to stay and two classics most people remember in the voice of Frank Sinatra, Fly me to the moon and Porter Night and day.

Tracks: Look of love, Smile, Witchcraft, Shadow of your smile, The very thought of you, Make someone happy, I’ll be seeing you, When or when, Love is here to stay, Night and day, Fly me to the moon, What a difference a day makes, Sonrie, Look of love (pop version)

Artist's Website: http://www.sylviabennett.com

Reviewed by: Wilbert Sostre

CD Review: Robin Aleman - In your eyes

2010-09-23T07:01:00.000-07:00

CD Review: Robin Aleman - In your eyes
Featured Artist: Robin Aleman

CD Title: In your eyes

Year: 2010

Record Label: Independent

Style: Jazz Vocals

Musicians: Robin Aleman (vocals), David Epstein (piano), Bob Sabin (bass), Brian Adler (drums), Nathan Childers (sax)

Review: Robin Aleman new album In your eyes starts with a bang with the cool version of Irving Berlin Steppin out with my baby. Most of the song is just drums and Robin voice with impressive piano and drums solos by David Epstein and Brian Adler.

In almost all the tracks Robin is accompanied by a trio of just piano, bass and drums. This format allows the listener to appreciate Robin beautiful tone and unique phrasing. Listen to the wonderful version of All or nothing at all or the bass and voice arrangement of the The way you look tonight.

Robin voice and feeling truly shines in the slow ballads like Something in your smile, When I look in your eyes and Some other time. But she is a versatile singer, showing her latin heritage in the salsa rhythms of I have eyes with a nice montuno on piano, singing perfectly in Portuguese in the Blue bossa/ Triste medley, or the kind of Irish phrasing on It never was you and Corea Crystal Silence.

Robin cleverly does a medley of two songs, I fall in love too easily and The next time it happens with similar lyrics about being careful when falling in love. In your eyes also includes the waltz like rhythms of Lover and a funk version of Ellington Do nothing till you hear from me.

Tracks: Steppin out with my baby, Something in your smile, The way you look tonight, I fall in love too easily/The next time it happens, All or nothing at all, I have eyes, Lover, Crystal Silence, It never was you, Come on strong, Blue bossa/Triste, When I look in your eyes, Do nothing till you hear from me, Some other time

Artist's Website: http://www.robinaleman.com

Reviewed by: Wilbert Sostre

CD Review: Annie Kozuch - Here with you

2010-09-23T06:58:00.000-07:00

Here With You
Annie KozuchFeatured Artist: Annie Kozuch

CD Title: Here with you

Year: 2010

Record Label: Independent

Style: Jazz Vocals

Musicians: Frank Ponzio (piano), Saadi Zain (bass), Vito Lesczak (drums), Samuel Torres (percussion), Richard Padron (guitar), Cecilia Tenconi (flute, sax), Jose Gallegos (electric piano)

Review:
Annie Kozuch surrounded herself with a group of great musicians for this album, but there is no doubt who is the star here. Annie is not just another beautiful voice, she is a versatile singer capable of singing in different styles and languages.

Annie sings Jobim Chega de saudade and Corcovado in perfect portuguese, and with the perfect feel for Bossa Nova.

In I love being here with you Annie vocals are powerful and playful with the addition of some exquisite scats. In I'm through with love, You've changed and Irving Berlin How deep is the ocean, the music slow down so we can appreciate Annie feeling and different voice textures.

Annie is a singer full of surprises, not only she sings in portuguese and english. She also sings perfectly in spanish, there is an explanation for that, Annie grew up in Mexico. So she must be familar with boleros like Nosotros and Armando Manzanero Somos novios. Being from Puerto Rico I also grew up listening to this kind of music. And Annie versions are as good as any other I've heard.

Here with you also includes the enjoyable jazzy arrangement of Carinhoso, one of my favorites songs from brazilian composer Pixinguinha.

Tracks: Chage de saudade, I love being here with you, How deep is the ocean, Corcovado/Quiet Nights, You've changed, I'm through with love, Nosotros, Carinhoso, You're gettin to be a habit with me, Who can I turn to, Somos novios

Artist's Website: http://www.anniekozuch.com

Reviewed by: Wilbert Sostre

CD Review: Alex Levin Trio - New York Portraits

2010-09-19T18:01:00.000-07:00

Featured Artist: Alex Levin Trio

CD Title: New York Portraits

Year: 2010

Record Label: Alex Levin Jazz

Style: Straight-Ahead / Classic

Musicians: Alex Levin (piano), Michael Bates (bass), Brian Floody (drums)

Review:
The music of this trio sounds so full and powerful. Since the first notes of the first track, My heart stood still, everyone shine without getting in each others way, just like a group shuld be.

Some of the music is relaxing but intense at the same time like the music of the second track, Who can I turn to. Michael Bates shows his great technique on the bass intro of Last train to Brooklyn, giving way to the wonderful piano melodies on this Alex Levin original piece.

Is the first time I listen to these great musicians, but from now on I sure will keep an eye on them. Their playing is instictive and flawless. These guys just don't know how not to swing. They are in full swing in the classics Cheek to cheek and I remember you, the Alex original Blues for Charley and even the slow swing of Like someone in love.

Alex melodic and harmonic choices are always interesting. One can fully appreciate this on the piano solo interpretation of Gershwin I loves you Porgy and and the not so recognizable Gershwin piece, Isn't it a pity this time accompany by Michael on bass and Brian on drums.

All the music on this album definetly gives you that New York vibe, including the wonderful version of Body and Soul.

Tracks: My heart stood still, Who can I turn to, Last train to Brooklyn, Cheek to cheek, I remember you, I loves you Prgy, Isn't it a pity, Like somone in love, Blues for Charley, Body and Soul

Artist's Website: http://www.alexlevinjazz.com

Reviewed by: Wilbert Sostre

CD Review: Martin Loyato - Syncretism

2010-09-19T17:23:00.000-07:00

Featured Artist: Martin Loyato

CD Title: Syncretism

Year: 2010

Record Label: Syncretism Records

Style: World Music

Musicians: Martin Loyato (trumpet, flugelhorn, vocals, huaca), Jim Mansfield (percussion), Michael Zadok (vocals), Keven Brennan (clarinet, vocals, sax), Gary Fukushima (piano), Joel Peloquin (guitars), Nat McIntosh (tuba, trombone), Damion Corideo (congas, shekere), Tomas Mohr (drums), Nicholas Chase (turntables), Mark Menzies (violin), Justin DeHart (tablas), Severin Behnen (accordion), Howie Shear (trumpet), Andrew Carrig (sax), Petros Sakelliou (piano), Jonah Rosenberg (synthesizer), Tonatiuh Avila (drums, congas), Diego Ripoll (vocals), Davey Chegwidden (congas), Dennis Sullivan (percussion), Katelyn Kenney (vocals) Isaac Lausell (guitar)

Review:
In the world of Jazz some artists dedicate their careers to keep the tradition recording new versions of jazz classics. Others, like Martin Loyato keep pushing the genre forward creating new sounds and style fusions.

The title of Martin new album is Syncretism. Syncretism is the union or fusion of different systems of thought or belief. Martin does just that with music on this album.The first track, To free minds starts with arabian melodies and rhythms mixed interesting compuer effects. A cool combination of old and futuristic sounds.

Song for Bunny is more in the tradition of latin jazz, fused with the rock sounds of the electric guitar and the flamenco flavor with the claps sounds.

Martin Loyato is from Argentina so of course the tango is present on this album. Following in the tradition of the great Astor Piazzolla, Mi Tango de hoy is an innovative tango with the addition of turntables and Indian tables on percussion. And Martin trumpet providing the jazz sound.

Demons and Seraphs is fascinating, kind of a cinematic piece with uncommon melodies, harmonies and musical instruments from Bali, Central Java and Sunda.

La ciudad de los angeles is a dance tune that at times sounds like a big band but with a modern feel and latin rhythms. Syncretism has a latin influence also, this time fused with electronic effects and Matin Loyato doing the vocals. In his trumpet solos sounds like Martin is quoting the melodies of Bobby Capo El Negrito Bembon, a song famous in the voice of puertorrican salsa singer Ismael Rivera.

A little stone in the way is a musicalized poem where Martin plays the huaca, a multi-chambered flute. Algo para dar is the more traditional piece on the album. No sound effects here, just Martin horns, the beautiful voice of Katelyn Kenney and the great acoustic sound of of puertorrican guitarrist Isaac Lausell in a track with influences of Bossa Nova.

Tracks: To free minds, Song for Bunny, Mi tango de hoy, Demons and Seraphs, La ciudad de los angeles, Syncretism, A little stone in the way, Algo para dar, For free minds

Artist's Website: http://www.martinloyato.com

Reviewed by: Wilbert Sostre

CD Review: Alva Nelson - Soul Eyes

2010-09-06T06:58:00.000-07:00

Featured Artist: Alva Nelson

CD Title: Soul Eyes

Year: 2010

Record Label: Independent

Style: Straight-Ahead / Classic

Musicians: Alva Nelson (piano), Harry Anderson, Chris White (bass), Cecil Brooks III (drums), Larry Washington (percussion)

Review: Alva Nelson new album, Soul Eyes is a combination of mostly original compositions with some jazz classics. Nelson is a pianist with great technique equally good playing the fast tunes like Synonymous Dichotomy or the slow ballads like Soul Eyes, Some other time and Song for Keisha.

Gemini Baby has sort of a slow samba feeling, a track with rhythms that invites you to dance. In contrast, Sanctified blues like the title suggest is a classic blues. Both are great compositions, proving Alva ability to write music in a diversity of styles.

Alva piano style with his fast melody runs, reminds me at times of the great Art Tatum. But in A la Jarrett, like the title suggest, Alva piano playing is similar in style to Keith Jarrett music, with that classical music feel.

The album also includes masterful versions of the jazz classics, Body and Soul and Monk Round Midnight.

Tracks: Synonymous Dichotomy, Soul eyes, Gemini baby, Sanctified blues, Body and soul, Sweetcake, Some other time, A la Jarrett, Song for Keisha, Buster’s Bounce, Round Midnight

Reviewed by: Wilbert Sostre

CD Review: Black Olive Jazz - View from telegraph hill

2010-08-24T13:46:00.000-07:00

Featured Artist: Black Olive Jazz
CD Title: View from telegraph hill

Year: 2010

Record Label: Independent

Style: Jazz Vocals

Musicians: Kay Andreas Kostopoulos (vocals), Larry Vuckovich (piano), Bill Douglass (bass), Noel Jewkes (sax), Ron Borelli (accordion), Eddie Marshall (drums), Ian Dogole (percussion)

Review: Caravan is the first track on Black Olive Jazz project View from telegraph hill. The arrangement of this classic, one of the most recognized and recorded in jazz history, has some interesting tempo changes with scats with Arabian influences by Kay Andreas. Caravan is a composition of Juan Tizol, Puerto Rican trombonist with the Duke Ellington Orchestra and even though Caravan is regarded as one of the first latin jazz compositions, the original music already has an Arabian feeling.

The second track, View from telegraph hill, is an original by Kay Andreas with sexy vocals and good improvisations on piano and bass. And Street of Dreams is a duo with nice melodies exchanges between Kay and sax player Noel Jewkes.

There are two wonderful versions on this CD of Harold Arlen & Johnny Mercer Out of this World, in a duo and quartet format.

Kay shows once again her scats abilities in the medley of Gershwin I got rhythm and Ellington Cotton Tail. Kay scats here are reminiscent in tone and phrasing of the ones by the great Ella Fitzgerald. Ella was the master of scats a technique use by jazz singers, improvising melodies with the voice.

The arrangement and Kay phrasing on East of the sun, sounds almost like a lullaby with a touch of swing. Kay is a singer with good technique and beautiful tone, and sings with lot of feeling in the slow version of Get out of town.

The accordion by Ron Bordelli in the ballad Dancing in the dark made it sounds almost like a tango. The last two tracks, Something to live for and A flower is a lovesome thing are from Ellington musical partner, pianist Billy Strayhorn. The CD also includes the less recognized Ellington piece, Warm Valley and a nice version of the classic Estate with Kay singing in Italian.

Tracks: Caravan, View from telegraph hill, Street of dreams, Out of this world, I got rhythm/Cottontail, Warm Valley, East of the sun, Get out of town, Dancing in the dark, Estate, Something to live for, A flower is a lovesome thing

Artist's Website: http://www.blackolivejazz.com

Reviewed by: Wilbert Sostre

CD Review: Kathryn Smith - With Every Breath I Take

2010-07-28T20:47:00.000-07:00

Featured Artist: Smith Kathryn

CD Title: With every breath I take

Year: 2010

Record Label: Independent

Style: Jazz Vocals

Musicians: Kathryn Smith (vocals), Brian Conigliaro (guitar, harmonica, mandolin), Michael Goetz (bass), Dave Samuels (vibraphone), Ron Vincent (percussion), Ed Xiques (saxophone)

Review: With every breath I take is the debut CD from singer Kathryn Smith. But this album is not just another collection of jazz standards. Kathryn unique phrasing brings a new fresh sound to some of the American Songbook classics.

At first I could not identify what was so unique and different about Kathryn phrasing, until I read her CD notes. Kathryn toured England and Ireland for some time, and there is a touch of Irish accent in the way she sings. One may also hear that Irish folksy influence on the enchanting, lovely version of Joni Mitchell Urge for going.

Besides that European experience, Kathryn also studied theater and it shows on her clear voice and phrasing on the track So many stars, recorded with only voice and guitar and in the classic You go to my head.

The band swings on Hoagy Carmichael I get along you very well and the track My attorney Bernie provides the fun side to this CD with samba rhythms and the sexy but always classy Kathryn vocals.

A wonderful, elegant intro by Dave Samuels on the vibraphone takes you into For now (Time to strut), a swinging tune written by guitarist Brian Conigliaro. Guitar and vibraphone provide the perfect background to Kathryn delightful vocals on the slow arrangement of Ellington jazz standard Squeeze me.

Nothing beats the memories is another original by Brian, this time a nice Bossa. Kathryn shows her vocal range on this one with the elegance required for this music style, featuring Ed Xiques on sax providing the romantic mood. The album close in a relaxing mood with the beautiful title track, With every breath I take.

Tracks: So many stars, I get along without you very well, You go to my head, For now (Time to strut), Will you still love me tomorrow, My attorney Bernie, Urge for going, Squeeze me, Little white lies, Nothing beats the memories, With every breath I take

Reviewed by: Wilbert Sostre

CD Review: Dave Anderson and Mike Wingo - Coversations

2010-07-28T20:08:00.000-07:00

Featured Artist: Dave Anderson & Mike Wingo

CD Title: Conversations

Year: 2010

Record Label: Independent

Style: Straight-Ahead / Classic

Musicians: Dave Anderson (piano), Mike Wingo (percussion)

Review: Dave Anderson new album Conversations is a collection of jazz standards and some originals arrange for a duo of piano and percussion. I only remember another album recorded with this format, Michel Camilo and Giovanni Hidalgo Hands of Rhythm. This duo setting gives the pianist more space and freedom to play.

The percussion played by Mike Wingo on the first track, It might as well be spring sounds like a tap dancer, dancing to Dave piano playing and Dave style reminds me at times of the great pianist Bob James.

Dave cascades of melodies feels like raindrops on Gentle Rain one of the most beautiful songs by Bossa Nova pioneer, Luiz Bonfa. Dave gets you in a romantic mood with the lovely version of I’ve grown accustomed to her face and his nice harmonic and melodic arrangement puts a more upbeat, positive twist to Autumn Leaves.

La Fiesta is one of those Chick Corea compositions with a clear Spain influence. This is a piece that sounds great on this piano/percussion duo format. Well played by Mike and Dave capturing that flamenco feeling.

In a sentimental mood is maybe my favorite Ellington composition and Dave beautifully played version is one of the best I’ve heard.

This album also includes some of Dave originals like Song of you, with nice tempo and intensity changes, the beautiful ballad Sunrise and the classical feel of Light of darkness and Spring is here.

Conversations ends up with a wonderful version of Tom Jobim If you never come to me (Inutil Paisagem).

Tracks: It might as well be spring, Gentle Rain, I’ve grown accustomed to her face, Lucky Southern, Song of you, Autumn Leaves, Spring is here, La Fiesta, Sunrise, In a sentimental mood, Light of darkness, If you never come to me

Artist's Website: http://www.daveandersonmusic.com

Reviewed by: Wilbert Sostre

CD Review: Chris Graham Trio - After Birth of Cool

2010-07-28T19:44:00.000-07:00

Featured Artist: Chris Graham Trio

CD Title: After Birth of Cool

Year: 2010

Record Label: Independent

Style: Straight-Ahead / Classic

Musicians: Chris Graham (vibraphone), Alex Austin (bass), Oliver Hunt (drums)

Review: The vibraphone is not the first instrument people think about when talking about Jazz music. But the history of jazz is full with great vibraphonists, legends like Lionel Hampton and Milt Jackson. More recently musicians like Gary Burton and Dave Samuels. And in latin jazz, of course, Cal Tjader and Tito Puente.

Chris Graham is a young vibraphonist following in the steps of those great musicians. Chris has developed a technique where he grips five mallets, creating music rich in harmonies and interesting melodies.

Chris melodies and improvisations are always elegant like in the first track 471 LB. Little Girl or Salt ‘n Ice, a piece that starts with a cool, calm mood before moving into full swing. Alex Austin on bass and Oliver Hunt on drums provide the rhythmic energy to Chris flawless, graceful melodies, especially in the tracks Punchin Trout, Sirabhorn, Our Time and Icarus.

The music on this CD varies from the more traditional swinging of the track 1957, a piece reminiscent of the Modern Jazz Quartet, to the modern sounds of Sirabhorn. With his impressive technique and good compositions Chris Graham is for sure a true heir to carry on the tradition of the vibraphone in jazz music.

Tracks: 471 LB. Little Girl, Punchin Trout, 1957, Sirabhorn, Our Time, Icarus, Salt ‘n Ice

Artist's Website: http://www.chrisgrahamjazz.com

Reviewed by: Wilbert Sostre

CD Review: Harvie S - Cocolamus Bridge

2010-07-16T13:14:00.000-07:00

Featured Artist: Harvie S

CD Title: Cocolamus Bridge

Year: 2010

Record Label: Blue Bamboo Music

Style: Various Jazz Styles

Musicians: Harvie S (bass), Chris Cortez (guitar), Woody Witt (sax), Jose Miguel Yamal (piano), Joel Fulgham (drums), James Metcalfe (Percussion)

Review: Harvie S is a master bass player, composer, arranger, producer and educator. His experience includes recordings with jazz greats like Chick Corea, Anat Cohen, Mike Stern and John Scofield.

Cocolamus Bridge starts with a bass solo track. It is hard to keep the listener attention in a seven minutes piece with only bass. Harvie does just that with a very interesting arrangement of the Irish folk song Eili Gheal Chiuin. On this track Harvie shows his virtuosity, creativity and impressive technique.

Cocolamus Bridge is a fascinating melodic tune with nice harmonies by Harvie on bass and Woody Witt on sax.

Chris Cortez on guitar joins Harvie and Witt providing some cool improvisations on Courage, a fun, rhythmic, challenging tune. Harvie learning experience on Cuba comes out in the latin flavors of Coco Loco, a latin jazz with great contributions by the rhythm section, Chris on guitar, José Mangual Yamal on piano, Joel Fulgham on drums and James Metcalfe on percussion.

Night Dreamer is a bass and sax duet with Woody playing some powerful solos on sax. Chris and José Miguel play most of the melodies on To Bea, a beautiful samba dedicated to Harvie mother.

Ike (take a hike) is another latin influenced piece where you can clearly hear the “clave”, a rhythmic figure typical of Cuban music and also essential in Salsa music. Truth and Beauty gentle melodies slow downs the tempo to end this CD in a nice, relaxing mood.

Tracks: Eili Gheal Chiuin, Cocolamus Bridge, Courage, Coco Loco, Night Dreamer, To Bea, Ike (take a hike), Truth and Beauty

Artist's Website: http://www.harvies.com

Reviewed by: Wilbert Sostre

CD Review: Lawrence Lebo - Don't call her Larry

2010-07-11T08:44:00.000-07:00

Featured Artist: Lawrence Lebo

CD Title: Don't Call Her Larry, Volume 3 American Roots

Year: 2010

Record Label: On the Air Records

Style: Jazz Vocals

Musicians: Lawrence Lebo (vocals), Denny Croy (bass), Rick Cunha (guitar), Nicholas Kirgo (guitar, dobro) Tony Mandracchia (guitar), Phil Parlapiano (accordion), Steve Mugalian (drums), Larry David (piano), Mike Acosta (sax), David Strother (violin), Craig Fundyga (vibes)

Review: Lawrence Lebo new CD is a collection of mostly original songs that takes you through the roots of American music, blues, jazz and folk. Add to that Lawrence voice tone, reminiscent of the classic blues and jazz singers. I guess that is why this album is called American Roots.

On bluesy songs like On Time, Lawrence delivers the lyrics with the right feeling and attitude. The danceable Cowboy Swinging Boogie Woogie takes the listener back to the swing era with a fun, well played arrangement and playful Lawrence vocals.

It’s not the first time is a jazz tune with a touch of Broadway on the arrangement and especially on Lawrence powerful vocals. Denny Croy bass and Lawrence voice is all that is needed to swing on this one and on the tune Was that love.

It is impressive how these new singers can move easily and convincingly between music styles. Take for example Rose Rose , a folk almost country tune, beautifully interpreted by Lawrence. Nicholas Kirgo cool dobro playing gives this tune kind of a nostalgic feel.

Lawrence’s working blues and Walking the back streets had a classic blues feeling with Phil Parlapiano joining on the accordion.

Six out of the nine wonderful songs on this album are Lebo originals, including the dreamy music and vocals on A promise that I can keep.

Tracks: On time, Cowboy Swinging Boogie Woogie, It's not the first time, Rose Rose, Lawrence's Working Blues, Was that Love, Walking the back streets, I should care, A promise that I can keep

Artist's Website: http://www.lawrencelebo.com

Reviewed by: Wilbert Sostre

CD Review: Rebecca Coupe Franks - Check the Box

2010-07-05T20:47:00.001-07:00

Featured Artist: Rebecca Coupe Franks
CD Title: Check the box

Year: 2010

Record Label: Independent

Style: Various Jazz Styles

Musicians: Rebecca Coupe Franks (trumpet, flugelhorn, trombone, vocals, percussion), Luis Perdomo (piano, organ), Mary Ann McSweeney (bass), Richie Morales (drums), Summer Corrie (vocals)

Review: Rebecca Coupe Franks is a master trumpet player with the ability to mix different influences and create wonderful, interesting music. Exposure is one example of several tunes on this album with a clear latin flavor. Some of that latin feeling is provided by Pianist Luis Perdomo and drummer Richie Morales.

Besides playing trumpet, Rebecca shares lead vocals responsibilities with singer Summer Corrie. Rebecca sings in the latin tune Check the box with some nice “montunos” on piano by Luis Perdomo, on Next to me, a tune with nice voice/trumpet harmonies and the funky tune New & Now. Rebecca is also the singer in the blues Starting Over, so yes, she can sing and play the blues too.

Summer Corrie provide the hip hop style on Be the people and the modern vocals on Love Storm and Life has just begun, all of them with cool trumpet fills by Rebecca Coupe.

Chase is a tune with hard bop influences and one of my favorites on this album. On this track Rebecca shows her improvisational creativity and great technique. The rhythm section is fantastic on this one with Luis Perdomo on piano with his Monk like harmonies and impressive solos, Mary Ann McSweeney on bass and Richie Morales on drums.

The organ playing by Luis on the tracks Distraction and Thursday give them an almost gospel feel. Rebecca and Luis share the melodies on the intro of Mass before changing into a fast bebop groove and exchanging some cool solos.

This album and especially the slow, beautiful instrumental PAJ, is dedicated to Rebecca’s father.

Tracks: Exposure,Check the box, Be the people, Starting all over, Chase, Love Storm, Mass, New & Now, PaJ, Distraction, Next to me, Life has just begun, Thursday, Exposure Duo

Artist's Website: http://www.rebeccacoupefranks.com/

Reviewed by: Wilbert Sostre

CD Review: Anne-Florence Schneider - Donaflor

2010-07-05T08:14:00.000-07:00

Featured Artist: Anne Florence Schneider

CD Title: Donaflor

Year: 2010

Record Label: Independent

Style: Jazz Vocals

Musicians: Anne-Florence Schneider (vocals), Dudu Penz (bass, guitar, percussion, vocals), Chris Wiesendanger (piano), Floriano Inácio (piano), Claude Schneider (guitar), Ademir Candido (guitar), Eduardo Costa (drums), Mauro Martins (drums), Alejandro Panetta (percussion), Rodrigo Botter Maio (flutes), Thomas Silvestri (piano), Daniel Pezzotti (cellos), Jonathan Allen (violin)

Review: Anne is a singer from Switzerland but listening to songs like Em frente ao mar from her new CD Donaflor is hard to believe she is not brazilian. There is even a little bit of the great singers from Brasil on her phrasing and tone. Donaflor starts with the delicious samba, Sambou tá novo. Her scats harmonies with the bass are fabulous. Floriano Inácio and Claude Schneider play elegant solos on piano and guitar.

The cellos on the lovely French ballad, Voyelles & Noits D’amour gets you in a romantic mood. Jazz and samba music blends perfectly on Amor Platonico with some more great scats by Anne-Florence.

Boa Noite is an enchanting ballad that feels almost like a waltz. Inacio piano on this one is superb. Sabía is one of the most beautiful songs from the father of bossa, Tom Jobim. This excellent arrangement is a little bit faster, more like a slow samba.

A rainha dos mares has kind of a nostalgic feel on the music and Schneider vocals with nice arrangements of cellos and violins. Ann soft and sensual vocals on Pegaso has a classy bossa feel that takes you to the beaches of Rio.

Canto Triste is another brazilian classic, this time from the legend Vinicius de Moraes, beautifully interpreted by Anne. The album ends up with the jazz tune Frevo de quarto folhas and more nice scats and vocals by Anne-Florence.

Anne is another one of those multi-talented singers that not only sings in more than one language, in this case, Portuguese, French and English. She is also a good songwriter and wrote the beautiful lyrics on L’Inespere and the jazzy tune My Boulevard.

Tracks: Sambou tá novo, Voyelles & Nuits D’Amour, Amor Platónico, Boa Noite, Sabiá, A Rainha dos Mares, Em frente ao mar, L’Inespere, My Boulevard, Pegaso, Canto Triste, Frevo de quarto folhas

Artist's Website: http://www.myspace.com/donaflormusic

Reviewed by: Wilbert Sostre