John Pizzarelli Sinatra & Jobim at 50

John Pizzarelli
Sinatra & Jobim at 50
Concord Jazz

John Pizzarelli cites Frank Sinatra and Antonio Carlos Jobim as major influences on his vocals and his latest release commemorates the 50th Anniversary of the Grammy Winning collaboration between the two legends. He pays tribute to those recordings on this set with eight tracks being songs that Sinatra and Jobim recorded at a 1969 session along with two originals, and Michael Frank’s ode to Jobim. Among those with Pizzarelli on this recording are Jobim's grandson Daniel, and drummer Duduka Da Fonseca, bassist Mike Karn and piano player Helio Alves.

On this recording, both Pizzarelli and Jobim channel the elder Jobim more than Sinatra, who admittedly was understated compared to his usual style on the celebrated recordings. The musical tone on most of these selections is more like Getz-Gilberto than the Claus Ogerman or Eumir Deodato orchestrated sessions. The result is delightful performances in their own lightly swinging fashion including then marvelous "Agua De Beber," as well as the lovely medley of "Meditation / Quiet Nights of Quiet Stars," with Daniel singing the latter number in Portuguese before Pizzarelli sings softly in English along with his soft guitar chording, and the pretty "Dindi." There is also the delightful lightly swaying bossa nova medley of "I Concentrate On You / Wave," with Alves exquisite in his accompaniment and Pizzarelli taking a brief acoustic chordal break. Pizzarelli's father recorded "Two Kites" with the elder Jobim, with Daniel taking the vocal on this remake with a vocal chorus with its celebration of the kites flying in the sky. There is also a wonderful tenor saxophonist on a few selections including Michael Frank's "Antonio's Song."

As indicated this is a delightful recording, full of charm and elegance that might not quite reach the level of the legendary Sinatra-Jobim collaboration, but is enjoyable and laudable with its own considerable merits.

I received my review copy from Concord. Here is a video of "Baubles, Bangles & Beads," from this recording.

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."

 

Our Thing Manhattan Style

Our Thing
Manhattan Style
Jazzheads

The group, Our Thing, is a collaboration between guitarist Roni Ben-Hur whose roots are in Tunisia and Israel, bassist Santi Debriano who was born in Panama and grew up in Brooklyn, and percussionist Duduka Da Fonseca whose roots are in Brazil and their latest effort is "Manhattan Style (Jazzheads). In the publicity materials for this release, mention is made of 'home' as a theme underlying the album whether in the originals from the trio or the covers of compositions from Ellington, Coleman and Jobim.

The music here is breezy, uplifting, reflective and exuberant. Ben-Hur's "Home" opens on an exhilarating fashion as he exhibits marvelous technique and tone displayed before solos from Debriano and then Da Fonseca on an scintillating opening track. Ornette Coleman's mid-tempo blues, "The Blessing," is another vehicle for Ben-Hur to showcase his touch, tone and musical sense that evokes Wes Montgomery and Grant Green to these ears before another taut Debriano solo while the trio's rendition of Jobim's "Polo Pony," further evidences their sophisticated interplay, with the deft support of Ben-Hur's wonderful playing. Ellington's "African Flower" just may be the diamond of this recording of many musical jewels, as Da Fonseca uses mallets and percussion to accent Ben-Hur as he states the theme with a marvelous Arco solo from Debriano the centerpiece. The sober, melancholic tone of Debriano's "Imaginary Guinea" reflects it being composed during the earthquake in Haiti in 2010. Its title is a reference to Vodun, whose followers in Haiti believe that Guinea is where their ancestors reside and that they will be reunited with them there in death. Guinea also represents Africa.

This superb recording closes with the lively title track that Da Fonseca composed after seeing Freddie Hubbard at the Blue Note in the 1980s where Hubbard was was “playing his butt off.” This selection opens with Ben-Hur's vibrant lead before Da Fonseca takes an explosive solo. "Manhattan Style" is simply terrific.

I received a download of this from the record company.This review appeared in the November-December 2016 Jazz & Blues Report (Issue 369). Here is a video clip of the three.

 

Our Thing By Roni Ben-Hur and Santi Debraino

Our Thing (Motéma Music) is the first time studio collaboration between Israeli-born guitarist/composer Roni Ben-Hur and Panamanian-born bassist/composer Santi Debraino. The idea and inspiration for the collaboration started in the summer of 2011 within the walls of the beautiful Chapelle Notre-Dame-de-la-Sardaigne, a 12th century church atop the tiny village of Saint Cezaire, France, where Ben-Hur and Debraino co-lead a much-lauded annual jazz camp. The pair also give an eagerly awaited annual concert as a centerpiece event of Festi-Jazz.

Our Thing brought them in the studio with the Brazilian born drummer Duduka Da Fonseca who like them is part of the vibrant New York scene. And there is considerable magic heard in this trio from the opening moments of their spirited interpretation of Thelonious Monk’s Green Chimney, to the closing moments of Irving Berlin’s Let's Face The Music And Dance. Seven of the eleven tracks are originals form the trio and bring together a blend of sounds and rhythms as expected from their diverse backgrounds.

Debraino’s Milonga For Mami, for example is a lovely ballad with the bass up front after Ben-Hur states the theme accented by De Fonseca’s parade like cadence. Debraino also contributed the title track, a lively Bossa Nova with Ben-Hur delighting with imaginative single note lines as the rhythm deftly propelling the performance along. Antonio Carlos Jobim’s Fontographia is a lovely performance that further displays the trio’s rapport and how well they complement each other. 

Ben-Hur’s Anna’s Dance, is another original with a Brazilian cast which Da Fonseca effectively drives with an understated attack, while his Ear’s Key, is a lively blues that the guitarist takes the lead with his crisp attack followed by Debraino’s assertive solo before trading fours with Da Fonseca. Irving Berlin’s Let's Face The Music And Dance, is given a spicy latin accent that again showcases Ben-Hur’s propulsive playing and musical invention that Debraino and Da Fonseca support thoroughly.

The musical delights of this trio is captured in a beautifully engineered recording. It is a performance that merits listening to on headphones to catch the nuances of the three. This superb recording is also one of the better jazz guitar recordings this listener has heard recently.

I received my review copy from a publicist.

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.