Kenny Polson - Colors of Brazil

Kenny Polson - Colors of Brazil - Rosetta Records

West Coast saxophonist Kenny Polson shows his love for Brazilian music with this new release. Born in Kansas City, Missouri, he studied at Howard University. Polson spent several years living in Brazil, including five in the Ipanema neighborhood, and worked with some notable Brazilian musicians, including Marinho Boffa, trumpeter Paulinho Trompete, and the late composer/bassist Nico Assumpção. These musicians are on this recording, as are Rio-born percussionist Alejandro Lucini and bassist/arranger Leonardo Lucini, friends from his days at Howard University. These brothers contributed heavily to the popularity of Brazilian music in the Nation's capital. Also added to this project are Leni Stern, guitar and African nGnoni, L.A. harpist Mariea Antoinette adorns two tracks, and Dr. Osamu Kitajima and Mitsuki Dazai play Japanese koto on five cuts. These instruments create interesting textures.

Polson has recorded in an R&B flavored smooth jazz mode. On this CD, he brings that approach to his love of Brazilian music for a recording full of a tropical feel and his keen sax playing starting with the opening "Aquarela do Brazil (Colors of Brazil)," that many will know as "Brazil." Set against an emphatic beat, Leni Stern is also heard here soloing in addition to Polson's melodic embellishments and solo. Polson contributed a breezy funky samba, "Hipnotizado (Mesmerized)." It was recorded in Brazil with Mariea Antoinette's harp added in Los Angeles. This tune is his only original on a disc that focuses on Brazilian contributions. The performance reminds this listener of some of Spyro Gyra's recordings with his soaring alto sax at the front. 

Of note is the rendition of the Ellington-Tizol jazz standard, "Caravan" with an outstanding Brazilian band that included Marinho Boffa on piano, Nico Assumpção on Bass, and Christian Oyens on Drums. Trombonist Victor Santos, pianist Boffa, and bassist Assumpção add some fire with their solos. Dr. Osamu Kitajima and Mitsuki Dazai add texture with the Japanese koto to "Flor de Lis (Lily Flower)" with the American rhythm section. The late Nico Assumpção composed "Mariana" as a tribute to his daughter. In addition to Polson's alto sax, it has an exhilarating bass solo from Assumpção. 

Torinho Horta's light samba, "Passeio de Bicicleta (Bicycle Ride)," has some of Polson's loveliest soprano sax playing with an exquisite Brazilian rhythm section of guitarist Alessandre Carvalho, keyboardist Marinho Boffa, bassist Nico Assumpção, and drummer Christian Oyens. In contrast, "Incompatibilidade de Genios (Incompatibility of Geniuses)" is a livelier samba with a touch of funk. It has Leni Stern on nGnoni, a punchy horn section, and Azure McCall's horn-like scatting.

Polson is a most appealing saxophonist with his clean, lyrical playing and given sparkling backing on a wonderfully sounding salute to Brazilian music. 

I received my review copy from a publicist. Here is a video for "Caravan." 

Hendrik Meurkens Manhattan Samba

Hendrik Meurkens
Manhattan Samba
Height Advantage

The harmonica wizard Hendrik Meurkens has undoubtedly displayed the skills that have some to label him as the successor to Toots Thielemans, He is best known for his efforts in Brazilian jazz, and that is what is featured on this his release. Hendrik describes this release, "'Manhattan Samba' is a samba jazz journey that introduces some new compositions of mine, revisits a few trusted older ones and features songs by the Brazilian masters Ivan Lins, Toninho Horta and of course Mestre Tom Jobim. The band consists of the fantastic Helio Alves on piano; two great bass players, Gustavo Amarante and Fernando Huergo; and on drums the legendary Portinho, who is one of the founding fathers of samba jazz drumming in the US."

"Manhattan Samba" is a marvelous recording of Meurkens harmonica playing backed by his first-rate band. The album opens with the breezy "Clear of Clouds," with Meurkens horn-like phrasing flying over the clean, crisp Brazilian tempo. More of the same lively samba groove follows on the exhilarating title track. As a composer, Meurkens writes  very memorable melodies, such as the enchanting "One For Manfredo." In addition to the leader's adept harmonica, pianist Alves scintillates. Equally infectious is "Frenzelosa (Choro No. 2)," on which Portinho dazzles with his cymbal work in support of sterling solos by Alves and Meurkens. The exchanges between them are hypnotic. Huergo is the bassist on the lovely interpretation of the Ivan Lins and Vitor Martins composition "Dona Palmeira." Another lovely selection is the wistful rendition of "Bonita" from Jobim, Gilbert and Lees.

Meurkens' latest is a joy for lovers of jazz harmonica and Brazilian jazz. With an outstanding band and a strong musical program, "Manhattan Samba" is a musical delicacy well worth sampling.

I received a download to review from a publicist. This review originally appeared in the January-February 2021 Jazz & Blues Report (Issue 394). I have made a couple minor edits and corrections. Here is Hendrik Meurkens performing "Bonita."

Sergio Mendes In the Key of Joy

Sergio Mendes
In the Key of Joy
Concord Records

"In the Key of Joy" is the title of the new Sergio Mendes album, the title of a documentary about his amazing career that spans six decades, and a description of the spirit of joy that is a thread weaved through his musical legacy. He celebrates his lengthy career in this release. Included here is an all-star cast of special guests including Common, Cali y El Dandee, João Donato, Buddy, Sugar Joans, Joe Pizzulo, Gracinha Leporace, Hermeto Pascoal, Rogê, Guinga, and Sheléa. In addition to the twelve songs on this new CD, the Deluxe edition has a second CD containing the documentary's soundtrack.

This recording was recorded both in Brazil and his adopted home of California. The music contained is a true celebration, mixing waves of Brazilian rhythms with horns and voices in such a seamless fashion. This is evident on the opening "Sabor Do Rio," a lively piece of Brazilian pop with a rap from Common embracing the music and his man Sergio. Then there are the irresistible rhythms of "Bora Lá" featuring the vocals of samba star Rogê and Sergio's wife, Gracinha Leporace.

There is so much more to relish in this buoyant mix of Brazilian music, pop, and soul. The Voice alum Sugar Joans graces the exuberant "Samba In Heaven" as she sings in English about the fever that Samba gives her. Her father, Joe Pizzuto, the ages the vocal on the romantic pop of 'Love Came Between Us." Steve Tavaglione is listed on the ewi sax, and likely responsible for the harmonica sounding instrument in the mix.

Bossa pianist João Donato co-wrote and performed on the effervescent "Muganga," with exhilarating, propulsive horns supporting Gracinha Leporace's lead vocal and the solo by guitarist Paul Jackson Jr. The title track, featuring rapper Buddy, ties together a celebration of good times and Sergio, while Mika Mutti's breezy "Romance in Casablanca" allows Mendes to display his breezy, jazz piano playing. Singer-songwriter Shelea's conveys a touch of heartache on the ballad "Time Goes By." Guinga contributed (and plays acoustic guitar on) the enchanting "Tangara' that closes the new recording.

If this sterling CD was not enough, the bonus cd of the Deluxe Edition with the documentary's soundtrack takes us from "Mas Que Nada' to 'Fanfarra – Cabua-Le-Le." There is a new version of Jobim's "Agua De Beber" with rapper will.i.am, as well as familiar Brazil 66 hits as "The Look of Love," "Going Out of My Head," and "Constant Rain," along with the hot Brazilian instrumental "Primitivo," and Mendes' hit "Never Gonna Let You Go," with the memorable vocals of Joe Pizzuto and Leza Miller. Like the new recordings, this encompasses the broad scope of the joyous music Sergio Mendes has brought listeners since the 1960s.

I received my review copy from a publicist. This review originally appeared in the March-April 2020 Jazz & Blues Report (Issue 389). Here is a 2013 performance of "Never Gonna Let You Go."

Eliane Elias Love Stories

Eliane Elias
Love Stories
Concord Jazz

"Love Stories" is the latest recording from the multi-faceted Elias. An orchestral album, it reveals her talents as a vocalist, pianist, arranger, composer, lyricist, and producer on this album of bossas, whether rendering personal versions of bossa classics, reimagining other songs into bossa songs and a few select originals. Describing this album, she states, "The idea for this album was to bring to life various stories of love and loving through this collection of songs." This album was recorded in Brazil with some of her favorite Brazilian musicians including Marcus Texiera on guitar, and Edu Rebeiro, Rafael Barata, and Celso Almeida on drums. Marc Johnson is co-producer and plays bass, and Rob Mathes is the orchestrator of the lush string arrangements presented that intertwine with Elias' small group arrangements.

The material is wonderful starting with Frances Lai's theme from the French movie "A Man and a Woman," that sets the pattern with Elias' soft, soothing, velvety vocal (almost whispered) with the light swaying backing enhancing the effect. Soft trumpet opens an enchanting interpretation of the Patti Austen and James Ingram classic "Baby Come To Me." Then there is a dreamy interpretation of Jobim's "Bonita," which Jobim collaborated with Frank Sinatra. Two songs associated with Sinatra follow. There is a sensual rendition of "Angel Eyes" followed by an inspired interpretation of "Come Fly With Me," with its gentle sensuality contrasting with how Sinatra belted it out decades ago.


"The Simplest Things" is a beautiful original about how the simplest things in a shared life are often the things the matter the most. Her piano, her as elsewhere, is superb in the same restrained manner as her vocals. Robert Menescal plays guitar on his breezy "Little Boat." This song opens with Elias singing the first verse in Portuguese, the only performance where she does not sing exclusively in English. Elias is also exceptionally superb on her piano solo here. The other two songs, both Elias originals, are equally appealing. There is plenty of romance, and more as Elias charms us with these captivating "Love Stories."

I received my review copy from a publicist. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386). Here is "Baby Come To Me," from the CD.

Antonio Adolfo Samba Jazz Alley

Antonio Adolfo
Samba Jazz Alley
AAM Music

Pianist and arranger Adolfo has been one of the more prominent artists who, influenced by bebop, soul, and West Coast Jazz trends, crafted a more rhythmically robust instrumental interpretation of the lithe and flirtatious bossa that became known as 'Samba Jazz.' The title refers to an obscure dead-end alley in the heart of Rio de Janeiro’s storied Copacabana neighborhood that served as a breeding ground for the city’s up-and-coming instrumentalists and singers during the heyday of bossa nova. Adolfo advises us that the alley was known as Bottles Alley' because "neighbors in taller buildings used to throw bottles down from their apartments to protest the loud music and boisterous conversations below." The alley "was like a cauldron of jazz, samba and bossa nova… ."

Recorded in Brazil, Adolfo has a core ensemble that features the three-horn frontline of trumpeter Jessé Sadoc, woodwind artist Marcelo Martins and trombonist Rafael Rocha, and a rhythm section of Adolfo guitarist Lula Galvão, bassist Jorge Helder, drummer Rafael Barata, and percussionist Dada Costa. There are guests on some songs. Of the nine selections, two are Adolfo compositions, and the remainder features his arrangements of classic bossa nova compositions.

The music is bright, breezy, and full of slow-burning heat starting with "Ceu E Mar (Sky and Sea)" with his clean, crisp, horn arrangements giving a fuller sound than the three horn line-up might suggest along with his deft piano. Martins is impressive in his fiery tenor sax solo, followed by Adolfo's lyrical playing and Helder's bass solo. "Hello, Herbie" is a tribute to the Herbie Hancock that is in part a contrafact of "Cantaloupe Island" and Jesse Sadoc's solo is incendiary, followed by Galvāo's fleet guitar. "So Por Amor (Just For Love)" from Baden Powell and Vinicius de Moraes opens with some precious piano, and this beautiful performance features Rocha's marvelous, romantic trombone solo. Edu Lobo's "Casa Forte" refers to a neighborhood in the northeastern Brazilian town of Recife.

"Tristeza De Nos Dois" is a gorgeous bossa ballad and features the harmonicas of Mauricio Einhorn, one of the composers of this number and a legendary player, and Gabriel Grossi, a current harmonica sensation. The weaving of the two harmonica's is engrossing and adds to the charm here. Two Jobim numbers round out this album, "Passarim (Little Bird)" with Martin's marvelous soprano sax solo, and a performance of the celebrated "Corcovado" with the spotlight on Adolfo's deft piano, Sadoc's mellifluous flugelhorn and Martin's alto flute. These splendid performances close another superb recording from this Brazilian jazz master.

I received my review copy from a publicist. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386), although I made minor stylistic changes. Here is "Ceu E Mar" from "Samba Jazz Alley."

Mark Morganelli & the Jazz Forum All Stars Brasil!

Mark Morganelli & the Jazz Forum All Stars
Brasil!
Jazz Forum Records

This double CD album was recorded at the Tarrytown, NY club, The Jazz Forum, that trumpet and flugelhorn master Morganelli has been operating for a couple of years. Morganelli has been listening for 40 odd years to Brazil and its music. On this salute to Brazil and its music, Morganelli is backed by a band that includes Abelita Mateus on acoustic and Fender Rhodes piano and vocals; Eddie Monteiro on Midi-Accordion and vocals; Monika Oliveira on vocals; Nilson Matta on bass; Adriano Santos on drums; Nanny Assis on percussion, guitar and vocals and Carlos Barbosa-Lima on guitar.

The 27 tracks on the two discs contain an hour and 48 minutes of renditions of songs, some familiar and others new to listeners. Among the composers here are Antonio Carlos Jobim, Vinicius Morales, Baden Powell, Ivan Lins, Claudio Roditi, Joao Donato, Luiz Bonfa, and Ary Barroso. Jobim is the most represented composer with 18 of the selections composed in whole or in part by him.

Jobim-Moraes' "Amor Em Paz" opens this marvelous celebration of Brazilian music with a breezy groove and Morganelli's melodious flugelhorn and inspired improvisation that is followed by Monteiro's accordion sounding like a Hammond B-3. Baden Powell's brisk "Deixa" introduces us to vocalist Oliveira whose approach contrasts with the softer approach, whispery style of Astrud Gilberto. After a crisp Morganelli solo, Mateus improvises over several inspired choruses. One of the most familiar compositions here will be "Desafinado." It opens with lovely guitar from Assis before the leader's lyrical improvisation. Morganelli's favorite Jobim tune is "Chovendo Na Roseira," with its jazz waltz feel and another vocal from Oliveira with Monteiro's midi-Accordion evoking the Toots Thielemans' harmonica.

There are so many impressive performances including Monteiro's vocal on Ivan Lins' "Velas Icadas," and Morganelli's take on Claudio Roditi's "Rua Dona Margarida," which he produced years ago. One would have to check the pulse of anyone not moving in some way to "So Danco Samba." Is it Mateus' Fender Rhodes that takes a vibes-sounding solo, while Morganelli quotes "Takes the A Train" during this track. Then there is "A Ra" by Joao Donato and Caetano Buarque with an infectious rhythm and bright solos from the leader and Mateus on Fender Rhodes to accompany Monteiro's vocal (and a sympathetic vocal chorus).

"A Felicidade" by Jobim and Moraes opens the second disc with its samba groove and the leader's bright melodicism. Nanny Assis takes the vocal on Jobim's "Este Seu Olhar," with Morganelli's lyricism and Assis' soft vocal delivery supported by Carlos Barbosa-Lima's charming guitar. "Corcovado" is a jazz standard known in English as "Quiet Nights of Quiet Stars." Morganelli's flugelhorn has a haunting beauty here with Mateus sublime on piano. Then there is the delight of "Samba de Verae" that some may know from organist Walter Wanderly's recording. Morganelli's improvisation here goes beyond melodic embellishments. Oliveira's loveliest vocal may be on her enchanting, wistful rendition of Jobim's "Dindi."

"Mas Que Nada,"  will be familiar from Sergio Mendes and spotlights Oliveira's spirited vocal. It is followed by a medley of a couple of Luis Bonfa compositions from the film "Black Orpheus," Manha de Carnival/ Samba de Orfeu." A wordless chorus is featured in the first number in addition to the leader's mid-range melodicism. It segues into a lively samba with Monteiro again emulating an organ on the Midi-Accordion. Santos solos crisply on this.

An infectious interpretation of "Aquarela do Brasil" (known as "Brazil") may evoke Carmen Miranda and closes this release with a vibrant mood. It concludes a varied, superbly played, and enthralling salute to the music of Brazil by Mark Morganelli and associates.

I received my review copy from a publicist.  This review appeared in the July-August 2019 Jazz & Blues Report (Issue 385) to which I made some stylistic changes for clarity.  Here is a video from this year's CD release party for this recording.

 

Veronneau Love & Surrender

Veronneau
Love & Surrender
Veronneau Music

The acoustic trio Veronneau are back with a new album (their fourth) that building on their critically acclaimed and popular world-jazz repertoire. French Canadian vocalist Lynn Véronneau, with guitarists Ken Avis and David Rosenblatt take the listener around the globe, blending samba, French chanson, bossa nova and swing into a genre-defying musical feast. On this they are joined by long-time collaborator British violinist Dave Kline; their regular touring percussionist from Brazil, Bruno Lucini; and other guest musicians from Senegal, Nigeria, the UK and US on a program of five originals along with five intriguing interpretations.

Lynn Veronneau is an alluring vocalist with her honey-toned singing and phrasing well supported by the two guitarists. Kline's violin adds to the funky, samba feel of the opening "Song of Love," with a wonderful solo (by Rosenblatt I believe) and followed by the title track, a lovely ballad sung with a touch of heartbreak, with the kora of Amadou Kouyate adding some delightful musical coloring. There is the charm of a lovely French waltz, Serge Gainsbourg's "La Javanise," with Kline's violin and Tom King's accordion filling out the backing here. I believe Rosenblatt composed "September Moon," a winsome instrumental with the sound of the guitars embellished by Avis' harmonica and Lynn's whistling.

The rendition of Alberto Domínguez's "Perfida," a song of love and betrayal, has a melody that will be familiar to many. It is sung in Spanish with flamenco-accented guitar trading lines with violin,. It is followed by Lynn's haunting vocals on the standard "Spring Can Really Hang You Up the Most," with exquisite backing and then Jim Webb's "The Moon's A Harsh Mistress," both of which display her interpretative skills with a lyric. Brazilian 7-string guitarist JP Silva joins Lynn for a appealing vocal duet on the French-Portuguese mashup "Voce Abusou/Fais Comme L’Oiseau," before "Waltz For Youssef," another marvelous original, that closes a engaging recording that is full of charm, lyricism and superb performances.

I purchased this from Veronneau. Here is an early (pre-CD) performance of "Love & Surrender." There website is http://veronneaumusic.com/.

 

Gil Spitzer Falando Docemente

Gil Spitzer
Falando Docemente
Zoho Music

The English translation of the title of alto saxophonist Gil Spitzer's debut is Speak Sweet, which is a reference to the dulcet toned saxophonists that inspired him growing including Stan Getz, Paul Desmond and Johnny Hodges. He also cites the influence of Nat King Cole's vocals as another influence. Throughout this marvelous recording one gets impressed by his own feathery lyricism and the dry martini tone (characteristic of Desmond) as well as the superb backing band behind him that includes the Brazilian bassist and producer of this session, Nilson Matta. Matta Matta assembled a like-minded crew of Brazilian compatriots — guitarist Chico Pinheiro, drummer Mauricio Zottarelli and percussionist Fernando Saci — to provide an authentic vibe on several alluring bossa novas, as well as as a number of standards.

Matta met Spitzer at his Samba Meets Jazz Summer Music Camp in Bar Harbor, Maine and the friendship deepened when the bassist invited Spitzer to an international SMJ camp in Rio de Janeiro, Brazil. Taken by the altoist’s sound, Matta later invited him to sit in with his group on gigs at Birdland back in New York City. “He’s got that lyrical thing, which is very charming,” said the bassist of Spitzer, “and also nice tone, great taste. He embraces all of those things and he plays with a lot of spirit.” Also on several selections is tenor saxophonist Harry Allen who was a guest faculty member at Matta’s SMJ camp. Listening to this, one will be astonished that Spitzer is debuting on a recording at the age of 75, but as Matta states, his debut recording at the age of 75. But as Matta, says of Spitzer, “You don’t have to be any certain age to play music. Anytime is about time.”

This is such a delightful album starting with the opening swing of "Angel Eyes" with melodic magic from Spitzer along with a delightful piano solo from Julian Shore (who also arranged strings for several selections), and the first of a number of marvelous solos from guitarist Pinheiro. There is a Getz spirit in Spitzer's playing on a light bossa rendition of "Embraceable You," with a nifty guitar solo while bassist Matta and the rest of the rhythm provide sure backing. Spitzer's only original, "Blues For Harry A." has Shore on piano as the two saxophonists display their lyrical magic and distinctive sounds (Allen has a much harder attack compared to the dry-martini, feathery playing from Spitzer). The two also are heard together on an easy going Hank Mobley hard bop number, "This I Dig of You," and "Early Autumn," a wonderful ballad performance.

Strings help create an atmosphere for Spitzer's sublime treatment of the Ray Noble classic, "The Very Thought of You," and then there is a most appealing rendition fo Paul Desmond's "Bossa Antigua," with some wonderful guitar from Pinheiro. The rhythm duo of Matta and Zottarelli shine here as well as Matta's "This Is For Luisa," with more exquisite sax, guitar (and piano on the latter number). Nat King Cole is among those famous for his rendition of "Nature Boy," and set against a string quartet setting, Spitzer produces another sublime performance. Other songs interpreted include an engaging Jobim's "Triste" and a most appealing reading of Rodgers and Hart's "My Romance."

The opening of the string arrangement for Sonny Rollins' "Valse Hot," alludes to "Over the Rainbow," before this effervescent rendition of this jazz waltz. It is a wonderful close to a delightful and superb recording.

I received a review copy from a publicist. This review originally appeared in the November-December 2017 Jazz & Blues Report (Issue 375). Here is a short clip of Gil Spitzer playing.

Antonio Adolfo HYBRIDO - from Rio to Wayne Shorter

Antonio Adolfo
HYBRIDO - from Rio to Wayne Shorter
AAM Music

Brazilian composer-pianist-arranger Antonio Adolfo explains about his latest project which focuses on the music of Wayne Shorter, "The mixing of races and different cultures is irreversible in today's world. In music, this trend has been happening for a long time and has resulted in a very healthy hybridism of different musical genres. …The music of the great Wayne Shorter is predominant in this recording. It has especially inspired me through his melodies and harmonies, which have continued to influence musicians of several generations and continents." Adolfo also notes that Shorter himself has been influenced by the music of different cultures. Focusing primarily on Shorter's repertoire from the 60's, he is joined on this project by Lula Galvão - (electric guitar); Jorge Helder - (double bass); Rafael Barata - (drums and percussion); André Siqueira - (percussion); Jessé Sadoc - (trumpet); Marcelo Martins - (tenor/soprano saxes, flute); Serginho Trombone - (trombone); Claudio Spiewak - (acoustic guitar on #3) and Zé Renato - (vocals on #2).

There is plenty of superb musicianship starting with "Deluge," the only performance on which the leader plays Fender Rhodes piano. It is followed by nicely reimagined "Footprints," with Renato's vocalization joining the horns as the breezy tempoed adaptation has a  cleanly articulated solo from Galvão followed by some gruff trombone, piano and a short bass break. "Beauty and the Beast," derives from one of Shorter's mid-seventies collaboration with legendary Brazilian composer, musician and singer Milton Nascimento and the bossa nova flavored rendition here sports not simply a typically sonorous arrangement, but a feathery flute solo from Martins along with Adolfo's lyrical solo with Spiewak chording on acoustic guitar with Martins switching to soprano.

"Prince of Darkness" from Miles Davis "ESP" album is nice reworked with colorful rhythmic accents and soaring, lyrical soprano sax, dancing piano, lithe, scintillating guitar with a sparkling rhythm section. A heated "Black Nile" has an energetic horn ensemble  with Martins' brawny tenor sax, and nicely developed solos from Adolfo and Galvão. Brazilian rhythms are incorporated into the rendition of "Speak No Evil" with  rousing trombone, focused, vigorous tenor sax, and with the leader's imaginative free-flowing playing. It is followed by Adolfo's deconstruction of "ESP" with Martins spotlighted with his graceful soprano along with some thoughtful, nimble chordal playing from Galvão and Adolfo's choice playing. "Ana Maria," from the collaboration with Nascimento is a lovely Bossa performance with exquisite piano, Martins' soaring, twisting soprano and Galvão's shimmering guitar.

Adolfo's original "Afosamba," provides a lively conclusion with Sadoc's fiery, brash trumpet featured along with dynamic percussive interplay leading to more delightful piano on a composition that displays the influence Shorter has had on Adolfo himself. It concludes a well conceived and performed tribute to one of music's most significant figures for over half a century. With Adolfo's arrangements, the marvelous ensemble playing and the thoughtful, as well as imaginative, solos make for a fascinating, superb recording.

I received my review copy from a publicist.

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.

Trio Da Paz 30

Trio Da Paz
30
Zoho Music

The Brazilians comprising Trio Da Paz (Romero Lubambo (Acoustic & Electric Guitars), Nilson Matta (Acoustic Bass), and Duduka Da Fonseca (Drums)) first came together three decades ago, accounting for the title of their new album "30." In the ensuing three decades they have developed into a dazzling ensemble as the incorporate elements of samba and bossa nova with bebop, and other sounds that is on display on the ten performances here, nine of which were penned by members of the trio.

Matta's brisk "Sampa 67" (named after his home town of Såo Paolo) gives all three a chance to display not only the interplay between them, but their marvelous instrumental skills with the composer's own solos followed by sizzling exchanges between Lubambo gypsy-accented guitar and Da Fonseca's propulsive percussion. The afoxé rhythms on Lubambo's bright "For Donato" (for pianist Joåo Donato) lends a invigorating feel along with the writer's own fleet playing mixing single note runs with series of chords while Da Fonseca brilliantly adds color and Matta provides a steady foundation for the trio. Da Fonseca uses brushes for the breezy, and romantic rendition of "Autumn," Lubambo's bossa nova.

There is plenty of charm in De Fonseca's "Alana" (named after his daughter, with the trio's nimble and buoyant handling of the tempo changes, while Lubambo's "Luisa," named after his daughter, has a sedate lilt in its 3/4 tempo. The breakneck tempo of Baden Powell's "Samba Trieste," belies the title on this spirited performance. Plenty of thought went in sequencing the tunes here as shown by Matta's charming ballad "Åguas Brasileiras" following. The exhilarating "Sweeping the Chimney" (by Lubambo) was inspired by workers at De Fonseca's home, and the composer's fretwork dazzles again while De Fonseca's peppery use on brushes lends the feel of someone playing shakers. De Fonseca's "Flying Over Rio" is another lovely bossa nova.

The closing "LVM/ Direto AO Assunto," opens in a reflective fashion with Matta's solo bridging the performances torrid close, again display the virtuosity of the three and the empathy they have for each other. it is an exciting conclusion to this superb album.


I received my review copy from a publicist. This review appeared originally in the March-April 2016 Jazz & Blues Report (Issue 365). Here from 2007 they perform "Wave."

 

Antonio Adolfo Tropical Infinito

Antonio Adolfo
Tropical Infinito
AAM Music

This writer was introduced to the Brazilian pianist and composer-arranger Antonio Adolfo on the album "Copa Village," a collaboration between Adolfo, his daughter-singer Carol Saboya, and the German born vibraphonist-harmonica player, Hendrik Meurkens. Adolfo, who remains a vital performer and composer, as well as educator, had brought us his latest recording "Tropical Infinito." He informs us that this is his first with horns in a number of years. Playing with him is a fine group that includes Jessé Sadoc, Trumpet and Flugelhorn; Marcelo Martins, Tenor Sax and Soprano Sax; Serginho Trombone, Trombone; Leo Amuedo, Electric Guitar; Claudio Spievak on Acoustic Guitar; Jorge Helder, Double Bass; Rafael Barata, Drums; and André Siqueira and Rafael Barata, Percussion.

Its a marvelous program of jazz numbers that were part of early sixties jazz and left a deep impression on him when he was becoming a professional musician. With his band, he approaches these from a Brazilian perspective, being samba for all but one selection. In addition to the five standards, he also has four originals included. This is a recording that strikes the listener from the opening notes of "Killer Joe" to the closing original "Luar Da Bahia," with the vivacious grooves, the sinuous horn solos and the clean, lively arrangements. Benny Golson's "Killer Joe" is a crackling good performance with focused, concise solos from Serginho, Sadoc, Martins, Amuedo before the leader himself set against the percolating rhythm and followed by a pepped up tempo transforming another Golson classic "Whisper Not," with fire from Martins, and sparkling piano although, despite the originality of this rendition, loses some of the character of the haunting, classic Lee Morgan recordings. The hot groove suits better Adolfo's own "Cascavel," with punching horns accenting the driving theme set forth by piano-bass with some boisterous playing from Serginho. A lovely tribute to Adolfo's mother "Yolanda, Yolanda," features some wonderful flugelhorn and lithe soprano sax.

A particular highlight for these ears is the performance Oliver Nelson's "Stolen Moments," whose tempo is pretty close to Nelson's classic with Bill Evans, Eric Dolphy, Freddie Hubbard and Roy Haynes with a slight rhythmic accent in the backing and standout playing from Martins and Amuedo (very nice use of chords in his solo). Trumpeter Sadoc provides plenty of fire on Horace Silver's "Song For My Father," while Serginho's growls and slurs provide smoldering heat. After a delightful samba "Partido Leve," with delightful piano and flugelhorn, Barata takes a spectacular drum solo set against the ensemble. The standard "All the Things Your Are," again brings together a sonorous arrangement (or re-imagining of the harmonies) from Adolfo along with a marvelous solo followed by Amuedo's inventive serpentine single note guitar runs.

"Luar Da Bahia" ("Moon Over Bahia") has an evocative and enticing melody with lyrical playing from the leader along with Martin's soprano before Helder's marvelous bass solo, concluding a throughly splendid record of fresh, original takes on jazz classics, superb arrangements and fascinating new compositions that are superbly played.

I received my review copy from a publicist. For a sample, here is "Cascavel" from "Tropical Infinito."

Clare Fischer - Out of the Blue

Brent Fischer has been busy preserving and perpetuating his father's legacy since the legendary Clare Fischer passed away in 2012. "Out of the Blue" is the latest Clavo Records release of previously unissued old and new recordings by the pianist, composer and arranger with his original keyboards supported by his son and producer Brent who provided arrangements and played Percussion Instruments and Bass; Peter Erskine or Mike Shapiro on drums, and Denise Donatelli & John Prolux -providing vocals for "Out of the Blue."

This recording contains several of Fischer's original compositions along with seven jazz and Brazilian standards. Son Brent's notes in the attached booklet provide a context for this posthumous release as well as details each of the selections. Listening to this a number of times one notices a stately elegant quality to Clare Fischer's piano on the opening "Love's Walk,' with Peter Erskine and Brent accompanying him. What also one notices is the articulation and the fascinating development of the musical themes. He employed an electric keyboard for "Tema Do Boneco De Palha (Theme Of The Straw Doll)," one of several Brazilian performances here, and he makes use of the instruments tonality in constructing the performance here and at the same time retain the relaxed, uncluttered feel of his piano.

"When You Wish Upon A Star / Someday My Prince Will Come" is a marvelous solo piano feature where he finds common threads between the two songs. "Starbright" is another fascinating performance with his electric keyboard suggesting a vibraphone at times. "Cascade Of The Seven Waterfalls," is another Brazilian delight, while the title track features the vocals of Donatelli and Prolux adding both horn-like lines and scatting against the trio backing. "Millbrae Walk," inspired by the late Cal Tjader, again has the leader evoking vibes on his keyboards on this lively performance which is followed by a haunting solo rendition of the Jobim-Gilbert-De Moraes penned "Amor Em Paz." Johnny Hodges' "Squatty Roo," is a delightful, sprightly duet between father and son and then followed by an introspective, poetical reading of Django Reinhardt's lovely "Nuages." Again it sounds like vibes being (along with piano) played on a highly energized performance of Fischer's "Novelho," with a bass solo and trading fours with the drummer followed by some lively piano. The closing medley of Brazilian classics "Carnaval / A Felicidade / Samba De Orpheu," further displays his ability to bring out an emotive quality of each note.

In the notes, Brent Fischer hints at more musical delights from his father. Certainly "Out of the Blue" will whet the musical appetite for these.

I received my review copy from a publicist. Here is some vintage Clare Fischer.

Saboya Adolfo Meurkens Copa Village

A new album “Copa Village” (AAM Music) represents a collaboration between Brazilian singer Carol Saboya; her father, pianist and composer-arranger Antonio Adolfo who now lives in and the German born vibraphonist-harmonica player, Hendrik Meurkens. “Copa” in the disc title refers to Rio de Janeiro’s Copacabana section while the Village refers to Greenwich Village, both being musical meccas in the 1950s and 1960s, when Brazilian and jazz musicians began collaborating in earnest with the emergence of bossa nova in the United States.

In 1969, Antonio Adolfo was pianist with the the legendary Brazilian singer Elis Regina who had just met Toots Thielemans in Stockholm and they recorded a classic recording “Elis & Toots - Aquarela do Brasil.” Several years later he met Meurkens who he refers to as “another incredible harmonica player.” They have played together several times including in Summer 2014 in New York City with his daughter leading to the recording of this album.

For this recording, they are joined by guitarist Claudio Spiewak, bassist Itaguara Brandão, drummer Adriano Santos and percussionist André Siqueira for some fresh takes of Brazilian music, including renditions of five songs penned by Antonio Carlos Jobim; a collaboration between Adolfo and Meurkens; three from Meurkens and two from Adolfo. Included are several celebrated Brazilian music classics starting with the lovely “The Girl From Ipanema (Garota de Ipanema);” and “Aqua De Beber (Water to Drink);” both by Jobim and Adolfo’s “Pretty World” (with English lyrics by Alan Bergman and Marilyn Bergman).

Listening to her lovely singing on “The Girl From Ipanema,” one cannot avoid noting her rendition holds up well to the famous Astrid Gilberto rendition with Meurkens’ harmonica adding to this rendition's charm. “Copa Village,” a collaboration between Adolfo and Meurkens, is a breezy  performance with Saboya’s charming wordless vocal serving as an additional horn-like voice to the harmonica. There is  lovely piano here as the rhythm section provides solid, restrained support. Meurkens "Show De Bola (lyrics by Paulo Sergio Valle)" is lively with spice to the wonderful singing added by Meurkens' vibraphone. The rendition of “Aqua De Beber” is terrific with marvelous harmonica solo and Adolfo’s marvelous piano. Saboya delights on her father’s “Pretty World” that some may know from recordings by Sergio Mendes and Stevie Wonder.

Adolfo’s “Visão” with a lovely Saboyo wordless invocation of the melody is the final track. Originally recorded by Elis Regina and Toots Thielemans on “Aquarela do Brasil”, it is a fitting conclusion to the excellent and enchanting“Cope Village.”

I received my review copy from a publicist. I have made some stylistic changes to the original review that appeared in the May-June 2015 Jazz & Blues Report (Issue 360). Here are Adolfo and Meurkens performing recently.

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."
 

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.

The Musical Living Joy of Véronneau

Based around the vocals of Quebec native Lynn Véronneau, Véronneau has established itself around the Washington DC area with its interesting blend of musical inspirations ranging from gypsy jazz, brazilian sambas, folk and Beatles. In addition to her, the group is comprised of Ken Avis on guitar, vocals and percussion, David Rosenblatt on guitar and percussion and Pete Walby on drums. On their self-produced recording Joy of Living (Véronneau Music), they are joined by David Kline's violin and
tenor saxophone.

Lynn Véronneau has a lovely voice immediately evident on the opening La Mer (known here in the States from Bobby Darin's recording Beyond the Sea), with the light backing of the guitars and drums and Kline's violin. She has a gift for Brazilian tunes including The Gentle Rain, Concovado, and One Note Samba, with the band providing subtle and complementary backing. This style is also present on the charming rendition of The Street Where You Live, with a nice single-note acoustic guitar solo as well as Kline's violin adding coloring. Saxophonist Antonuik adds a nice flavor on The Gentle Rain, that might suggest to some the Getz-Gilberto collaborations.

There is a enchanting rendition of the traditional Mexican Ranchera song, Cielito Lindo, that might be more familiar from performances of it by Mariachi Band and she also places her own stamp on Brazil. with her gentle longing beginning transformed into a lively samba. David Rosenblatt contributed an original instrumental Abertura do Verao (Opening of Summer), that is a lovely guitar duet, while Antoniuk returns for the lively closing "Blue Skies."

If there is a favorite selection on this, it may well be the lovely rendition of Lennon & McCartney's For No One, as she sings "she no longer needs you, in her eyes you see nothing," with a lovely violin break over the two-guitar accompaniment. The gentleness of the performance accentuates the heartache reflected in this classic Beatles number. She simply has a way of touching the listener's heart and this track may exemplify this best, but there is plenty of Joie de Vivre on this excellent recording.

Véronneau will be performing June 2 at the Creative Cauldron (www.creativecauldon.org) in Falls Church, Virginia.

I purchased this recording.

Lauren Kinham's Delights With "Avalon"

Vocalist Lauren Kinhan is best known as a member of the vocal group, The NY Voices, as well as two other vocal ensembles, Moss, and JaLaLa. With JaLaLa, she was part of the memorable tribute to Johnny Mercer, "That Old Mercer Magic." She has just issued her second solo recording, "Avalon," (E1 Music), which displays her talents as a songwriter, and not simply a singer.

She has done this with some of her closest friends who happen to be some of New York’s finest musicians, including drummer and percussionist, who co-produced this with Lauren, and bassist Peter Nowinski who is on most of this. Peter Eldridge, fellow New York Voices band mate, plays piano and co-pens some songs. Jonatha Brooke joins her on “Here After” while Romero Lubambo guests on “Until You’re Mine” and “Here’s My Avalon” and Donny McAslin and Joel Frahm add their signature horn handiwork. Andy Ezrin is also featured on piano and B3 organ.

There is plenty of Brazilian accents heard throughout this as on the opening “Until You’re Mine,” with its light rhythms, and the marvelous song “Here’s My Avalon,” with a bit more fervent rhythm and some terrific horns (Joel Frahm’s alto sax is very impressive throughout as is Romero Lubambo’s guitar) on a love song she wrote for her daughter while away from home.while her scatting dances along with the band as the song rides out. “Here After,” is a dreamy pop number wonderfully sung with Jonatha Brook’s duet vocal, while “Move Over Sunshine,” has an uptown, bluesy flavor with brassy horns as she belts out the lyric in a most graceful manner.

An engrossing rhythm drives “Hide the Moon and Stars,” with lovely flute from Aaron Heick and a hint of flamenco in this romantic song. “Screaming Savoir Faire,” co-written with Andy Ezrin who plays piano as she sings, somewhat disconsolately, about her lover leaving and not keeping the promises he made. On a song like this one appreciates how she avoids coming off as maudlin, with her timing and phrasing of the lyric being enchanting. A bit of funk in the groove with some slide guitar accents on “Writing on the Wall,” as she effortlessly glides from whispering to trumpeting the lyric with vocal chorus support and Ezrin soloing on Fender Rhodes. “Savor the Wine,” is a rock styled number with Ben Butler setting the tone with his guitar against Eldridge’s piano, while the rhythm on “Dory and a Single Oar,” struts with Denny McCaslin adds some atmospheric tenor sax. The next two performances, “As If,” and “There Alone Go I,” have a bit more intimate backing and more lovely singing.

As she has showed over the past two decades, Lauren Kinham is a marvelous singer, able to handle pop and rock flavored material as effortlessly and heart fully as Brazilian sambas and Johnny Mercer standards. With the seamless backing and wonderful playing by the musicians behind her, she delights and enchants throughout with her songs and vocals on “Avalon.”

This review originally appeared in the June 2010 Jazz & Blues Report (issue 326) at pp.16-17 (www.jazz-blues.com). The review copy was supplied by a distributor for the recording label.

Roy Hargrove Big Band in Montreal

2010-0612 Roy Hargrove Big Band at DC Jazz Festival-1230, originally uploaded by NoVARon.

Last night in Montréal , Monday June 28, Roy was wearing a dark suit and Roberta Gambarini was lovely in a chiffon blue dress (this picture was taken in Washington DC 12 days ago). I was seated in the back of the lower level with my camera stowed away and listened to another riveting evening by this superb big band at one of the concert halls at the Place d'Artes.

Like the previous show, Roy took the mike, this time during "Autumn Leaves" but a highlight of the performance (amongst the many) may have been New Orleans pianist Jonathan Batiste who was not with Roy in Washington. Throughout the evening he was mostly in the background, helping drive the band and rhythm with his playing while exhibiting a deft touch. It was marvelous watching and listening to him soften his touch comping behind Roberta Gambarini's enchanting vocals. Than on "Autumn Leaves," he started a solo in a very Monk-ish way, deliberately playing some skittish, angular figures before a display of his technical virtuosity. Then he dazzled us on the opening of a hot latin number before the band kicked in.

Its a band of terrific soloists and ensemble playing and watching Hargrove dance around while Roberta was singing or listening to his soloists enhanced the marvelous evening. I had previously placed in my Amazon cart the album "Emergence," based on the DC performance. Last night's performance cemented that decision. Now to locate some Jonathan Batiste music.

For FTC regulation purposes, I purchased my ticket.

Early June Promises Great Jazz & Blues In And Around the Nation's Capital

Living around Washington DC, I felt it appropriate to note some really great events around Washington, the beginning of June.

July 3 to 6, the Western Maryland Blues Festival returns to Hagerstown (July 3-6) with a Hamilton Loomis and Bernard Allison on Friday June 4; Kenny Neal, Eric Liddell, Trombone Shorty, Michael Burks and Tommy Castro on Saturday June 5; and a family Picnic with Eden Brent and Corey Harris & Phil Wiggins on Sunday June 6. The shows take place downtown Hagerstown, Maryland except the Sunday picnic at City Hall Park. For more information, check out http://www.blues-fest.org.

The DC Jazz Festival (formerly the Duke Ellington Jazz Festival) returns to the Nation’s capital with events taking place between June 1 and June 13. The Festival will have concerts through the city as well as partner with clubs and museums for various events. There will be stellar line-up of talent from around the globe including such celebrated artists as Paquito D’Rivera; Dianne Reeves; the Eddie Palmieri Latin Jazz Band; the Roy Hargrove Big Band; James Moody; Claudio Roditi; Edmar Castaneda; Michael Philip Mossman; Akua Dixon and Quartette Indigo; the Berklee World Jazz Nonet; Roberta Gambarini; the Marshall Keys Quartet; the Marian Petrescu Quartet featuring Andreas Öberg; Tony Madruga, Uri Gurvich; and many others.

Among signature performances will be Janine Gill at the Phillips Collection on June 3 for a special Phillips Collection After 5. June 4, as part of the Jazz in the Hoods will feature Trumpeter Thad Wilson at the Madison Hotel; the Felicia Carter Quartet at the Mandarin Oriental; and Stanley Clarke with Hiromi at Blues Alley. June 6 and 7 will be Jazz’n’Families Fun Day at the Phillips Collection with featured performers including the Berklee World Jazz Nonet, Brad Lind, George V. Johnson, Janelle Gill, Reginald Cyntje, the DC Jazz Collaborative, Susan Priester, and Victor Provost, as one can listen to jazz and view Renoir, Pablo Picasso, Georgia O’Keefe, Marc Rothko, and many others. Tuesday, June 8, the Festival presents A Tribute to Oscar Peterson at the 6th and I Historic Synagogue by Marian Petrescu Quartet w/ Special Guest Andreas Oberg. Thursday, June 10th will be one of the signature events at the Lincoln Theater, NEA Jazz Masters Live Concert with All-Star tribute to James Moody featuring the Dizzy Gillespie All-Stars, and special guests Regina Carter, Roy Hargrove, Roberta Gambarini & NEA Jazz Masters Kenny Barron and Paquito D’Rivera. Friday, June 11 will feature Jazz Under the Stars at the Carter Barron Amphitheatre with some great latin jazz including the world - renowned Poncho Sanchez Latin Jazz Band and Colombian Jazz harpist Edmar Castaneda, with special guest Paquito D’ Rivera. Saturday June 12, they highlight will be two shows at George Washington University’s Lisner Auditorium: a free afternoon show with Claudio Roditi Quartet (Brazil) & the Eddie Palmieri Latin Jazz Band and and an ticketed evening show with Dianne Reeves and the Roy Hargrove Big Band, with special guest Roberta Gambarini. On Sunday, the signature Festival event will be two performances at the Kennedy Center, Paquito D’Rivera Presents The Jelly Roll Morton Latin Tinge Project with Paquito D’Rivera, Michael Philip Mossman, Akua Dixon & Quartette Indigo and Pernell Santurino. Pat Martino is at Blues Alley and the Dizzy Gillespie All Stars with Cryus Chestnutt, are at Bohemian Gardens this weekend part of the many shows under the Jazz in the Hoods umbrella For more information, contact the Festival’s website, http://www.dcjazzfest.org.

That same weekend, the Washington area hosts the Tinner Hill Blues Festival in Falls Church, Virginia. Thursday night, June 10, at the State Theatre in Falls Church the Festival opens with Chuck Brown Sings The Blues, where the King of Go Go will join the stage with DC’s Blues Legend Bobby Parker. Nadine Rae will open. Other vents include a panel on Saturday Morning, June 12, at City Hall Park, near the Cherry Hill Farmhouse, Red, Black and Blues: Native Americans, African Americans and their shared blues musical traditions with Dr. Ron Welburn, Elaine Bomberry, Pura Fe. Lee Gates, Murray Porter and Corey Harris. Starting at 1:00PM will be a free festival in the Park with Patty Reese; M.S.G. The Acoustic Trio; Murray Porter; Corey Harris & Phil Wiggins; Big Daddy Stallings, Pura Fe and Clarence ‘Bluesman‘ Turner. There will be showings of the film “John Jackson: A Blues Treasure” and a cd release party for the Smithsonian-Folkways release of John Jackson’s Rappahannock Blues, culled from hundreds of performances. Sunday, June 13 will be a Blues Brunch and Jam at Bangkok Blues. For more information visit, http://www.tinnerhill.org/blues.