Joel Frahm - The Bright Side

Joel Frahm
The Bright Side
Anzic Records

On "The Bright Side," tenor saxophonist Joel Frahm leads a trio consisting of bassist Dan Loomis and drummer Ernesto Cervini. This trio was born at a masterclass at the University of Toronto as an offshoot of Cervini's band Turboprop. During a European tour, a repertoire of recent original tunes by the band members. The present album provides a sense of the breadth of the band's repertoire.

One hears hints of trio albums by Sonny Rollins and Joe Henderson for some of this recording, starting with the opening "Blow Poppa Joe," which is dedicated to Joe Henderson. Frahm is a saxophonist with a robust tone able to improvise thematically or melodically. On this performance, he plays propulsively with Loomis as an anchor and Cervini driving things along, playing around the groove before taking a crisp solo. "Thinking of Benny" is dedicated to Benny Golson, and Frahm's playing has a playful and prancing quality to it. It is followed by Frahm's "Boo Sip Dip," a brisk performance based on a fascinating bebop-inspired line, and after an inspired sax solo, Frahm and Cervini trade fours.

 Loomis composed "Silk Road" with his bass stating the theme as Cervini adds percussive accents before Frahm enters on soprano sax on an alluring, atmospheric performance. It is followed by Frahm's salute to bassist Omer Avital, "Omer's World." Frahm and the trio play with considerable energy here. Loomis also contributed "X-Friends" a reimagining of the standard "Just Friends," with surging sax over a turbulent rhythm. Cervini composed the tone-poem "The Beautiful Mystery," with Frahm's tenor and the rhythm section inducing a sense of serenity,
 

The title track is said to be based on the opening riff of Lou Reed's "Walk on the Wild Side." It also sounds as it incorporates a bit of "Jumping' With Symphony Sid," along with Frahm quoting other compositions in the manner of Dexter Gordon. It provides an engaging close to a superb recording.
 
 I received a download to review from a publicist.Here is Joel Frahm in a trio setting.

Ernesto Cervini Tetrahedron

Ernesto Cervini
Tetrahedron
Anzic Records

Toronto-based Ernesto Cervini has established himself as a drummer-composer- bandleader, of considerable merit. His Quartet, his sextet Turboprop, and various trios have shown him to be a fresh, imaginative voice. Besides Cervini, the members of his quartet are electric bassist (Rich Brown), an electric guitarist (Nir Felder), and the Cuban-born, Toronto-based alto saxophonist Luis Deniz. The quartet initially started as a chordless trio with Brown and Deniz, to which Felder was later added. "Because we're so used to playing this music as a trio without any comping," Cervini notes, "we were able to incorporate Nir without having to worry about our traditional 'jobs' in the band."

The origin of the band as a chordless trio provides an understanding of the imaginative approach Cervini brings, beginning with an ingenious rendition of "Softly, As In a Morning Sunrise." It starts off with a lengthy unaccompanied bass solo, with the band playing off the underlying bass pattern until playing the melody late in this enthralling performance. Bassist Brown contributed "Forward Motion," with stunning guitar and sax before Cervini takes a drum solo. Listening to this performance I had a sense of "this reminds me of something else." After the drum solo, "Harlem Nocturne" was evoked. This superlative performance is I believe a contrafact to "Harlem Nocturne," although played at quite a quicker tempo than the strip club tempo of that tune.

Felder provides a stunning introduction to a lovely interpretation of Vince Mendoza's "Angelicus," as Deniz's alto sax gently develops the theme. Cervini adds to the atmosphere with his adept use of brushes. "Stro" is Cervini's funky minor-blues nod to Toronto Blue Jays (and New York Mets) pitcher Marcus Stroman. It has a descending electric bass loop that anchors the interchanges within the band, particularly Felder's percolating guitar and Deniz's bluesy alto sax. Deniz further impresses on the Bunky Green bebop waltz "Summit Song" with Felder adding his scintillating guitar. Deniz and Felder's opening to Cervini's "Wandering" provide a chamber jazz quality with the tension the dynamism of their solos against a rubato rhythmic feel.

Ernesto Cervini again leads a sterling band and brought together stimulating originals and imaginative arrangements of covers for some absorbing music. "Tetrahedron" is another first-rate recording from him.

I received my review copy from a publicist. Here this band performs "Stro."

 

Duchess Live at the Jazz Standard

Duchess
Live at the Jazz Standard
Anzic Records

After two delightful studio albums, Duchess, the flirty and fun jazz vocal trio of Amy Cervini, Hillary Gardner, and Melissa Stylianou, have a new recording catching their entertaining act at The Jazz Standard in New York City. Backing Duchess is a swinging quartet of Michael Cabe – piano, Jesse Lewis – guitar, Matt Aronoff – bass, and Jared Schonig – drums on a selection of songs, some of which are from the two prior recordings.

The trio's girl harmony harks back to classic swing vocal groups like the Boswell Sisters and The Andrew Sisters. They sing "(We) Love Being Here With You," which is followed by "Swing Brother Swing," both of which also feature Lewis' biting guitar in addition to the charm of their singing. The brief spoken interludes add to the appeal here. Other notable selections include a cover of The Boswell Sisters' recording, "Herbie Jeebies," with definite showmanship and an effervescent "On the Sunny Side of the Street." Then there is the wisdom of "A Little Jive Is Good for You," and a marvelous rendition of Duke Ellington's "Creole Love Call." Wycliffe Gordon provided the handsome arrangement of this latter number, which they offer an affecting performance with their wordless vocal harmonies.

There is plenty of manic orderly chaos on "Everybody Loves My Baby," with tempo changes and even a kazoo solo to close this cd. "Live at the Jazz Standard" is another delightful album of serious fun from Duchess.

I received my review copy from Anzic Records. here they are performing Duke Ellington's "Creole Love Call."

Ernesto Cervini's Turboprop Abundance

Ernesto Cervini's Turboprop
Abundance
Anzic Records

About his band Turboprop, Ernesto Cervini observes " “although I am the band-leader, Turboprop truly feels like a collective due to the passion, commitment, and love everybody brings to each performance.” This sextet is a formidable one with some exceptional talents from Toronto and New York City: Tara Davidson on Alto and Soprano Saxophones and Flute (Toronto), Joel Frahm on Tenor Saxophone (New York), William Carn on Trombone (Toronto), Adrean Farrugia on Piano (Toronto), Dan Loomis on Bass (New York) and Ernesto Cervini on Drums (Toronto). Ms. Davidson is an addition to the personnel that was on their last recording "Rev," that I found full of "strong solo voices and first-rate ensemble work.

The present recording has a mix of 5 originals by band members (including two by Cervini) and three standards. It opens with Davidson's original "The Queen," with a slightly exotic flavor and strong solos from her and Farrugia. The pianist is also sterling on a terrific rendition of Tadd Dameron's "Tadd's Delight" which has riveting tenor sax from Frahm while Loomis and Cervini push this sterling performance along with the two trading fours. A fresh arrangement of "My Shining Hour" was derived from Geoffrey Keezer's recording with sterling ensemble playing and a shift into a Latin groove. Carn's melodic ballad playing graces the interpretation of Charlie Chaplin's classic "Smile."

Loomis' "Abundance Overture" opens with Cervini playing with his sticks before Davidson on flute and Frahm on tenor sax play a playful figure and then Cervini plays his entire kit before Loomis, Farrugia, and Carn join in for an exuberant performance. Farrugia contributed "The Ten Thousand Things" which opens with Loomis bass in addition to the composer's far-ranging piano solo followed by Frahm's fiery tenor sax.

Cervini contributed the final two compositions. "Gramps" is a lovely ballad dedicated to his late grandfather and has Davidson's charming, graceful alto saxophone set against an exquisite ensemble arrangement. The closing "For Cito," dedicated to the former Toronto Blue Jays manager Cito Gaston, is a robust performance with imaginative solos from Carn and Farrugia and fresh, creative arrangements.

As on "Rev," Turboprop impresses with their tight ensemble playing; inventive, fresh arrangements, and impressive soloing. The result is this striking recording.

I received my review copy from a publicist. This review appeared in the March-April 2019 Jazz & Blues Report (Issue 383), although I have made corrections and minor changes. Here is a video of Turboprop playing.

Anat Cohen & Fred Hersch Live at Healdsburg

Anat Cohen & Fred Hersch
Live at Healdsburg
Anzic Records

This album of duets (actually musical conversations) by the marvelous clarinetist and pianist was recorded in June 2106 at the Raven Performing Arts Theater in Healdsburg, California as part of the Healdsburg Jazz Festival. It must been a delightful performance as heard here with the delightful interplay throughout the eight compositions in this intimate context. Hersch contributed three tunes, Cohen one, and there are four covers.

Hersch's "A Lark," is the first track which allows Cohen's singing clarinet to dance over the textures Hersch lays down before his own explorations. It is followed by another delightful Hersch original, "Child's Song," with the clarity and inventiveness of their playing. The overall tone here and throughout the performances is restrained elegance. Cohen's "The Purple Piece" displays the way the pair employ dynamics in unhurriedly building the intensity here. Then there is an enchanting rendition of Billy Strayhorn's "Isfahan," and Hersch's understated lyricism complements Cohen's explorations from a deep, warm chalumeau register to the upper altissimo. Hersch's "Lee's Dream," finds them in a more playful mood followed by a lovely, ruminative rendition of "The Peacocks." Then there is Fats Waller's "Jitterbug Waltz" played with a restrained buoyancy with Cohen's swirling clarinet flights set against rumbling riffs.

Duke Ellington's "Mood Indigo" served as the concert's encore with Cohen's playing displaying the warmth so invests in her playing complemented by Hersch's spare accompaniment. It is a delightful close to the beautiful musical conversations that the two performed that night.

I received a review copy from a publicist. Here the two perform Jimmy Rowles' "The Peacocks."

Hilary Gardner & Ehud Asherie The Late Set

Hilary Gardner & Ehud Asherie
The Late Set
Anzic Records

I have not been to Mezzrow, the intimate Greenwich Village club but from what I understand about this small, listening jazz venue, the duo collaboration between vocalist Gardner and pianist Asherie sounds like the type of performance that is featured there. In fact, the credits include special thanks to Spike Wilner, Mitch Borden and Mezzrow, and the cover photographs were taken there.

This is a delightful, informal tour through the American songbook by the two with Gardner's, strong, tuneful alto, along with the clarity in enunciation matched by Asherie's nuanced, often restrained by deft, congenial accompaniment and solos. Another thing that stands out is the fact that the songs are not particularly well known songs except for "After You've Gone," and "Make Someone Happy."

The program opens with a couple of Al Dubin and Harry warren collaborations, "Shadow Waltz," and "Sweet and Slow." The former number opens with a stately piano chorus before Gardner starts her vocal, showcasing her nuanced phrasing and dynamics with a delightful, spare piano solo. It is followed by the unhurried,"Sweet and Slow," where she encourages her partner to take his time while the band is moaning low as Asherie is exquisite in his accompaniment with a late-night, bluesy feel.

After a wistful take on a lesser known Rodgers and Hart number, "A Ship Without a Sail," comes a remarkable rendition of a song going back to the twenties, "After You've Gone." This performance begins as a slow lament with light piano and plaintive vocal and then halfway through Asherie picks up the tempo and gives a propulsive accompaniment as Gardner sings defiantly about he will be the one suffering "after I've gone" with a superb stride piano solo.

"After You've Gone" is a performance that stands out on this mostly lovely program that also includes the cute "I've Never Seen Snow" from Harold Arlen and Truman Capote; the fetching rendition of Irving Berlin's "I Used to Be Color Blind"; the ebullient interpretation of Rodgers and Hart's "Everything I've Got"; the heartfelt, precious "Make Someone Happy"; and a captivating, reflective "Seems Like Old Times" (by John Jacob Loeb and Carmen Lombardo). Gardner's wonderful singing and Asherie's marvelous piano results in a delightful recording.

I received my review copy from a publicist. This review originally appeared in the January-February 2018 Jazz & Blues Report (Issue 376). Here is a video of the two at Small's in New York City doing "Autumn in New York."

 

Duchess Laughing at Life

Duchess
Laughing at Life
Anzic Records

Duchess, the flirty and fun jazz vocal trio of Amy Cervini, Hillary Gardner and Melissa Stylianou, have a second recording that provides a contemporary take on such classic vocal trios as the Boswell Sisters and the Andrews Sisters as they provide fresh and delightful takes on mostly classics of early jazz, and the American Songbook. They are backed by pianist Michael Cabe, bassist Matt Aronoff, and drummer Jared Schonig with guitarist Jesse Lewis appearing ion 9 of the 14 selections and tenor saxophonist Jeff Lederer on four. Additionally Wycliffe Gordon adds trombone to two selections and Anat Cohen adds clarinet to two. The trio share vocals on eleven tracks while each is featured on one.

The trio opens with a delightful take on Clarence Williams' "Swing Brother Swing" which is handled a bit more sweetly than Catherine Russell's recent recording of this number. Lederer rips off some ferocious tenor sax on it. "On The Sunny Side of the Street" is a pretty familiar standard and their backing trio adds fresh accents to the harmonies and vocal interplay with Cabe taking a lively solo. The title track is a sprite number new to these ears followed by a lively rendition of the classic "Everybody Loves My Baby" with Anat Cohen's adds fills around the vocals that include some double time singing and scatting before she takes a wonderful solo. This is a marvelous performance followed by a lazy, wistful "Stars Fell on Alabama," with Wycliffe Gordon adding some growling and crying trombone.

Amy Cervini sings Cole Porter's amusing "Give Him the Oo La La" with Gardner and Stylianou adding their backing while Stylianou takes lead on, "Where Would You Be Without Me," from a sixties Broadway show and Lewis takes a guitar solo here. Gordon joins again on Ellington's "Creole Love Call," on which Duchess sings lyrics in addition to wordless vocalizing. Gordon conjures up Bubber Miley and Tricky Sam Nanton with his growling mute as well as adds his own vocalizing and scatting to that of Duchess on a marvelous take on Ellingtonia. Gardner is up front on a nice take on the Ray Charles classic, "Hallelujah I Love Her (Him) So," and then the trio provides a ruminative take on Porter's "Er'ry Time We Say Goodbye." Johnny Mercer's "Strip Polka" is far from reflective with its zany lyric of a burlesque queen who strips as the band plays a polka while she is always a lady who stops just in time with Lederer's tenor sax providing the right atmosphere.

After a bouncy "Here's to the Losers," Cohen adds some warm clarinet to a lovely "We'll Meet Again" before a bonus track, "Dawn" which sounds like a lullaby. It is an enchanting finish to another delightful recording from Duchess.

I received my review copy from a publicist. This review originally appeared in the March-April 2017  Jazz & Blues Report (Issue 371) but I have made a few corrections and minor changes. Here Duchess sings "Everybody Loves My Baby."

Anat Cohen's Brazilian Collaborations

Anat Cohen & Marcello Gonçalves
Outra Coisa: The Music of Moacir Santos
Anzic Records

Anat Cohen and Trio Brasileiro
Rosa Dos Ventos
Anzic Records

One of the most prominent clarinetists in jazz today, the Israeli born Anat Cohen has been delving into the richness of Brazilian music for some time. Now she has two new releases of Brazilian music, recorded in recorded in Rio de Janeiro and Brasilia as close collaborations with native musicians. Since Anat first visited the country in 2000, Brazil has become a home away from home for her, a frequent destination for her to explore in depth music that has captured her heart.Her previous seven albums as a leader have included Brazilian classics and original pieces she composed under the influence of Brazilian music. Marcello Gonçalves, the 7-string guitarist who collaborated with Cohen on "Outra Coisa: The Music of Moacir Santos," says about her, "Anat has such a great passion for Brazil. She speaks Portuguese far better than I speak English. More than that, Anat can play Brazilian music better than many Brazilian musicians. Her accent is perfect."

As indicated by its title "Outra Coisa: The Music of Moacir Santos" is devoted to the music of the innovative composer, arranger and educator who influenced countless Brazilian musicians including Baden Powell and Sergio Mendes. For this recording, Gonçalves arranged a dozen Santos pieces from their large-ensemble scores into intimate, lyrical duets, with Anat often employing the clarinet's rich lower register and Gonçalves channeling the orchestral textures of the originals into his 7-string guitar (which has an extra bass string). The two recorded besides each other and without headphones to allow the music sound as natural as possible.

There is playfulness during the opening "Amphilbious," with the two musically dancing with each other whether playing in unison of interweaving their lines and the warmth and sportive quality of Cohen's clarinet and the spirited solo from Gonçalves with Cohen comping is delightful. In contrast, "Coisa No. 1" is a beautifully played ballad with the two exchanging leads and one appreciates the tone of Gonçalves' guitar as well as his playing on this gorgeous sounding duet. "Nanã (Coisa No. 5)" is perhaps Santos' most famous composition having been recorded over 100 times, and after some almost hard guitar chords emulating the horns on the original, turns into a light-hearted duet full of lyricism warmth, and wit with Cohen's soaring phrases complimented by the nimble mix of chords and single note runs. It is followed by the lovely, wistful "Coisa No. 9," and then the two have some fascinating interplay on "Mae Iracema." The joy and camaraderie the two have for each other, Santos' music and Gonçalves' arrangements is evident throughout this stunning recording. I suspect some, like I already have, will start to explore Santo's own recordings after hearing this.

Cohen's musical encounter with Trio Brasileiro is similarly delightful. The trio was formed in 2011, and is dedicated performing traditional choro music (a music contemporaneous with ragtime) as well as their own compositions that put a contemporary spin on choro. The group comprises percussionist Alexandre Lora (whose array includes the pitched "hand pan"), guitarist Douglas Lora and Dudu Maia, one of Brazil's finest mandolinists (who plays a special 10-string bandolim mandolin on "Rosa Dos Ventos"). Cohen expresses part of the allure of choro, "As with the style of early New Orleans jazz, choro functions on group polyphony where everyone has a role yet it's open and free-spirited, with simultaneous melodies happening. It can be groove-oriented like a party, or it can be full of saudade, of longing. It was actually choro that brought me back to the clarinet after years of concentrating on the saxophone." There are differences of course between Cohen's duets Gonçalves and the interaction she has playing with this trio, but the results are very similar in the lively recorded performances.

The playful and lively sounds here opens with "Baião Da Esperança," which is the first sample of the interplay between the Trio and Cohen with Alexandre Lora's percussion accenting her and the stringed instruments. Maia and Cohen are the focus as Douglas Lora's percussive guitar here serves as a foundation for Cohen's clarinet flourishes and Maia's dazzling mandolin runs. "Pra Você, Uma Flor," is a more pensive performance with its lyrical quality a result of the the intricate interplay of the musicians. Douglas Lora composed the first two, while Maia wrote the lively "Das Nieves," while Cohen's "Valsa Do Sul," opens with the warmth of Cohen's clarinet followed by nimble guitar and mandolin runs. Alexandre Lora's "Flamenco," evokes images of Flamenco dancers and guitars with the composer's hand percussion and the guitar of his brother, while the title track is a delightful duet by Cohen (with swoops and swirls in her playing) and Alexandre Lora.

There are also the fascinating evocation of Indian classical music with its characteristic drone on “O Ocidente Que Se Oriente,” while Maia's appealing, "Lulubia," has Cohen embellishing the simple guitar accompaniment and Maia's spare mandolin lead. Like Cohen's duets with Marcello Gonçalves, the collaboration of Cohen and Trio Brasileiro is not simply marvelously played, but also makes for captivating listening.

I received downloads of both from a publicist. Here is Anat Cohen and Marcello Gonçalves.

Melissa Stylianou No Regrets

Melissa Stylianou
No Regrets
Anzic Records

Canadian born and New York based vocalist Melissa Stylianou has a new recording (her 5th album) on Anzic Records “No Regrets.” Produced by Oded Lev-Ari, Stylianou is backed by a trio of Bruce Barth on piano, Linda Oh on bass and Matt Wilson on drums with appearances by Billy Drewes on alto saxophone on two songs and Anat Cohen on clarinet on two songs. The album was recorded live to two-track on an album that mostly sticks to jazz standards.

There is plenty to delight in Melissa Stylianou’s singing and here she is backed by a superb trio augmented by sax or clarinet at times. Her rendition of the Gershwins’ “Nice Work If You Can Get It” features an introduction that this writer was not familiar with. After her delivery of the lyric, each member of the trio takes a brief break and there is a couple of brief exchanges between her and Wilson. Not all of theses selections are as well known such as “Remind Me” by Jerome Kern and Dorothy Fields with her perky delivery of the amusing word play here (“Remind me not to mention that I love you, Remind me I am sorry that we are met) with Barth supplying the arrangement.

Drewes’ alto opens a marvelous rendition of the Ellington-Webster lament “"I Got It Bad (and That Ain't Good)" ,” and Melissa is playful on “Humming to Myself.” Linda Oh’s bass opens “I Wish I Knew” and duets with Melissa until mid-way through the first verse. A Billie Holiday song, “Somebody’s On My Mind” is one of the selections with Cohen with just Oh’s bass providing apt support for Stylianou’s languid vocal. Known for her adaptations of songs by Bjork, Johnny Cash and Tom Waits among others, her one unusual selection is a folky adaptation of William Butler Yeats’ poem “Down by the Salley Gardens” accompanied just by Wilson.

Her lovely voice, phrasing and dynamics are factors that enchant the listener. Gutbucket alto sax against the firm backing of the rhythm section spices up "A Nightingale Can Sing the Blues.” Cohen returns with more lovely playing on “"I'll Never Be the Same.” There is a lilting quality to the rendition “Polka Dots And Moonbeams” (with a choice Barth solo), before the album concludes with a bright, delightful rendition, backed just by piano, of Jon Hendricks’ lyrics to Monk’s “I Mean You,” with her scatting and trading fours with Barth.

Melissa Stylianou touches the heart and brightens our spirits throughout “No Regrets.” It is a recording with plenty to charm listeners.

I received my review copy from a publicist. This review originally appeared in the May-June 2015  Jazz & Blues Report (Issue 360) although a few revisions and corrections have been made.Here she sings "I Got It Bad (and That Ain't Good."

 

Duchess's Jazz Harmonies Shine on Self-Titled Album

Duchess is a New York based, all-women jazz vocal group featuring Amy Cervini, Hilary Gardner and Melissa Stylianou, singing in the "close harmony" style associated with groups such as the Boswell Sisters who have released an eponymously titled recording on Anzic Records. The recording was produced by by Oded Lev-Ari, who helmed previous Anzic releases by Cervini and Stylianou. The trio are supported by a band led by drummer Matt Wilson with pianist Michael Cabe, and bassist Paul Sikivie. Also making their presence felt are saxophonist Jeff Lederer and guitarist Jesse Lewis.

The songs included range from a Peggy Lee number "I Love Being Here With You", Johnny Mercer's "P.S. I Love You" a playful Gershwin rarity with "Blah, Blah, Blah" and a direct Boswell Sisters homage with their arrangement of "Heebie Jeebies." The trio provide new twists on "Que Sera, Sera" and the standard "I'll Be Seeing You." Each gets a solo spot with "My Brooklyn Love Song" (Hilary), "A Doodlin' Song" (Amy) and "Humming to Myself" (Melissa). While occasionally they focus on the ballad side of the material, often the performances are flirty and playful with the backing band providing solid swing and saxophonist Lederer and guitarist Lewis adding marvelous solos.

Peggy Lee's "Love Being Here With You" opens with its bouncy perkiness, marvelous harmonies as they personalize the lyrics as they promise to swing this joint tonight before Lederer rips off a solo. They trade lead vocals and mix harmonies of "There Ain't No Sweet Man That's Worth the Salt of My Tears," which sounds like an updating of a classic blues with sharp solos from Lewis and pianist Michael Cabe. Doris Day would approve the lovely rendition of "Que Sera, Sera," while Amy Cervini is perky with her colleagues adding to the perkiness of "A Doodlin' Song," with harmony backing and spoken asides with some tough tenor sax complimenting the light-hearted singing.

Wilson second line groove provides the primary backing for the lively reworking of the Chordettes hit "Lollipop," with a lively tenor sax-drum duo break in the middle. "It's a Man" with its lyrics warning women of a two-legged animal, sports some honking sax. The perky, lively harmonies of "Heebie Jeebies" closes a delightful and enchanting recording that may not be the deepest side of blues, but sure is full of serious fun.

I received my review copy from a publicist. This review appeared in slightly different form in the November-December 2015 Jazz & Blues Report (Issue 363). Here is Duchess performing "I Love Being Here With You."

Anat Cohen and the Music of Brazil in Luminosa

 

While the music of Brazil has always been an inspiration for Anat Cohen, on her new Anzic Records release, "Luminosa" the focus is such music. Employing clarinet, bass clarinet and tenor saxophone, she is joined by her band of Jason Lindner (one of her co-producers) on keyboards; Joe Martin on bass and Daniel Friedman on drums. Special quests include percussionist Gilmar Gomes, guitarists Romero Lumbarbo and Gilad Hekselman and on two selections, and two selections feature Choro Advenuroso, composed of Vitor Gonçalves on accordion, Cesar Garabini on 7-string guitar and Sergio Krakowski on Pandeino. The selections include compositions by Milton Nascimento, Romero Lumbarbo, K-Ximbinho, Severino Araujo, Edu Lobo & Chico Buarque and Cohen who contributed four originals.

Cohen is one of the foremost clarinetists in contemporary jazz and her singing, lyrical playing contrasts with the dark chords of Lindner on the opening "Lilia" followed by a more playful attack on "Putty Boy Strut," with an intriguing rhythmic underpinning. "Ima" is a lovely ballad with some delicate playing from Cohen and Lindner. Romero Lubambo's acoustic guitar serves to help pace the lively "Bachiao" More of Cohen's playful side can be heard with her lilting playing on "Happy Song," while a more reflective tone characterizes "Ternura," one of the two choro selections with the accordion of Gonçalves providing a contrast as does Garabina's 7-string guitar. The other choro performance "Espinha De Bacalhau," is a terrific, spirited performance evocative of some classic choro recordings along with some recordings of New Orleans based pianist Tom McDermott, who has also delved into choro (a Brazilian music with parallels to ragtime and early New Orleans jazz).

Cohen takes up tenor saxophone for her composition, "The Wein Machine," dedicated to the legendary jazz impresario. Her robust playing here completes another recording marked by the mix of latin accents, lyricism and charm, and marvelous ensemble playing that is sure to enchant many.

I received my review copy from a publicist. I have made a few minor edits in the review that was originally published in the May-June 2015 Jazz & Blues Report (Issue 360). Here is a video taken from The Pace Report for "Luminosa."
 

Avishai Cohen's Superb Triveni II

This writer missed Introducing Triveni, trumpeter Avishai Cohen’s first trio album with bassist Omer Avital and drummer Nasheet Waits. Anzic Records has issued Triveni II, recorded at the same two-day session in Brooklyn that produced the earlier album. Triveni is a Sanskrit word for “the meeting point of three sacred rivers: two physical rivers the Ganges and Yamuna, and the invisible Saraswati River,” which parallels the meeting of the three musicians. Like the earlier CD, this was recorded in one room, without separation, or without headphones that allowed the three to interact in a more natural fashion.

The music consists of originals by Cohen with interpretations of tunes by Dizzy Gillespie, Charles Mingus, Don Cherry and Ornette Coleman. Cohen is hot right from the start on his Safety Land, with some fiery playing and both Avital and Waits solo in the middle of the performance.  He exhibits his wonderful ballad approach on Nov. 30, which is dedicated to his mother. Cohen mixes his bright tone and fiery passages with smears and judicious use of mutes. While on Nov. 30, his playing is in the vein of Miles Davis, on the rendition of Willow Weep For Me, and his original Get Blue, he plays in a bluesy gutbucket fashion that evokes Bubba Miley and Cootie Williams. 

There are two marvelous interpretations of Ornette Coleman compositions, the lively Music News and the swinging Follow the Sound. One of these tunes was not previously recorded and Coleman taught it to Cohen in Cohen’s apartment. Other tunes here come from the pens of Charles Mingus and Don Cherry (the closing Art Deco which is an alternate take of a performance on the earlier disc). 

Cohen’s brilliant playing is so well supported throughout and the interplay between him, Avital and Waits stands out as much as their individual contributions, resulting in the imaginative and terrific playing that make Triveni II the superlative recording and one of the finest recent recordings I have heard.

I received a review copy from a publicist. Here is Avishai Cohen and Triveni at WBGO-FM.

Clarinetist Anat Cohen's Joyful Claroscuro

The award-winning, Israeli born Clarinetist Anat Cohen’s latest release is Claroscuro (Anzic). Cohen and her clarinets and saxophones are joined on this recording by her quartet of pianist Jason Lindner, bassist Joe Martin and drummer Daniel Freedman. There are also appearances by Paquito D’Rivera on clarinet, Wycliffe Gordon on trombone and Gilmar Gomes on percussion.

The album takes it title from the Spanish word describing the play of light and shade (chiaroscuro in Italian) and was a title that Cohen believes most accurately describes “the contrasts within the sounds of the album mainly between light (buoyant and joyous) and dark (multi-layered and intense).” The music exhibits playfulness on Lindner’s Anat’s Dance, exhilaration in the duet with D’Rivera on Pixinuinha’s Um a Zero, as well as melancholy on another duet with D’Rivera on Artie Shaw’s Nightmare. There is an intensity manifested by the clarinets on that number that contrasts with the pensiveness Cohen, on tenor saxophone exhibits during Abdullah Ibrahim’s The Wedding. 

In addition to the variety of emotions expressed, Cohen transverses the traditional and the modern. La Vie En Rose, a song associated with Edith Piaf. H Wycliffe Gordon adds trombone (with some nice growling mute playing) and a Louis Armstrong-inspired vocal in addition to Cohen’s lovely clarinet that would bring a smile to Barney Bigard. A favorite selection is the contemporary rendition of Pixinuinha’s classic choro Um a Zero, with the dazzling clarinet duets between Cohen and D’Rivera. On this, percussionist Gomes and drummer Freedman also get some of the spotlight. Cohen, on tenor saxophone, plays more contemplatively in her interpretation of the afore-mentioned rendition of Abdullah Ibrahim’s The Wedding. This is the final selection in another outstanding recording from one of today's most significant jazz voice. 

My review copy was provided by a publicist for the release. Here is Anat Cohen and her quartet in performance. 

Duduka Da Fonseca Quintet's Bridges Samba And Jazz

Brazilian born drummer Duduka Da Fonseca bridges the world of samba and jazz on his latest recording, Samba Jazz - Jazz Samba (Anzic Records). His quintet includes a band of well-regarded players (and bandleaders): Anat Cohen - clarinet and tenor saxophone; Helio Alves - piano; Guilherme Monteiro - guitar; and Leonardo Cioglia on bass. This release is a follow-up to the acclaimed Samba Jazz in Black and White (Zoho).

The liner notes note that despite not performing often, regular rehearsal has helped develop the ensemble’s style. Dom Salvador’s Depois Da Chuva opens with Cohen on tenor while pianist Alves also shines with the leader and Cioglia providing a solid, nuanced groove. Da Fonseca opens Sabor Carioca with some crisp playing before Cohen states Raul Mascarenhas’ theme. Monteiro taking the initial solo before Cohen plays some more robust tenor sax. Given the spotlight on Cohen’s clarinet playing, one forgets just how marvelous she is on tenor playing. They swing nicely and Monteiro, Alves and Cohen trade fours.

On Antonio Carlos Jobim’s Rancho Des Nuvens, Cohen switches to clarinet and establishes the morose spirit of the performance embellished by Alves’ light comping and the understated rhythm. It is followed by Cohen’s imaginative arrangement of Ornette Coleman’s Blues Connotation, transforming it into a straight-ahead number with fine playing by Monteiro along with Cohen’s sinewy tenor. Based on this stunning performance, one would not be surprised if Cohen’s arrangement of the Coleman classic was adopted by organ jazz combos.

Cohen’s woody clarinet lends a wistful flavor to Jimmy Rowles’ The Peacocks, while Monteiro adds melodic single note guitar. The leader’s Flying Over Rio, is a charming original with a light samba feel with Cohen’s tenor enchanting as is Alves in his solo. Cioglia also takes a solo with light embellishments from the leader with exemplary cymbal playing. Da Fonseca plays more vigorously, pushing the groove on Toninho Horta’s Dona Olimpia.

The lively Melancia closes Samba Jazz - Jazz Samba, an appealing album with strong ensemble playing on a varied set of compositions. Duduka Da Fonseca throughout keeps his group flowing and swinging whether with brushes and light cymbal work or more emphatic playing on his kit. One looks forward to more from the Duduka Da Fonseca Quintet.

I received a review copy from a publicist. Here is a video clip of the Duduka Da Fonseca Quintet performing.