Slide Attack Road Trip

Slide Attack
Road Trip
SACD

Led by trombonists Howard Levy and Alan Goidel, Slide Attack is a quintet inspired by the group led by J.J. Johnson and Kai Winding. They bring an ebullient, straight-ahead swinging bop approach to their all original repertoire. The group's other members are Hiroshi Yamazaki on piano, Michael Goetz on bass, and Charles Zueren on drums. The two leaders have experience playing in various settings, including big bands, Broadway shows, and more. Levy contributed five originals, Goidel three compositions, and pianist Yamazaki one.

Things kick off with Yamasaki's "Spring Roll," which was written over the chord changes of Sonny Rollins "Airegin. Pianist Yamasaki takes the first solo, followed by Goidel's wooly solo and Levy's fluttering one before Zeuren showcases his stick work. Goidel wrote the title track that has a bubbling feel featuring Levy's expressive plunger mute solo. Jobim's "Sa Danco Samba" is the foundation for Levy's "Clauditti," dedicated to his wife. He brings a solid drive to his playing, followed by a sparkling Yamasaki solo and Goidel's more gravelly playing. Levy's "Struttin'" is based on Herbie Hancock's "Watermelon Man," with some fascinating interplay between the two during the opening of this playfully funky performance.

Goidel's "Look Within" is a beautiful ballad that showcases bassist Goetz before the composer's feathery playing. "Owens" was inspired by Levy's Aussiedoole. It is a take on "I Got Rhythm" that opens with a spirited Levy spirited followed by Yamasaki's crisp, fluid piano solo, Goidel's measured one, and another melodic bass solo by Goetz.

"Bluesdemic," derived from the challenging changes of Charlie Parker's "Blues For Alice," is a swinging blues with more top-flight solos. The other selections are equally fascinating. "Road Trip" is an outstanding recording with first-rate tunes, a tight swinging ensemble, and superb soloing.

I received my review copy from a publicist. Here is a video clip of Slide Attack.

Flavio Lira Coffee Gold Sugar Cane

Flavio Lira
Coffee Gold Sugar Cane
Interrobang Records

A bass guitarist as well as a composer, the Brazilian born Lira describes this recording as "my love letter to all of Latin America: a rhythmic fusion of samba, baião, regional folklore, tumbao, clave, partido alto, jazz influence from the north, classical fugue, and more. The strength of Latin America is in its incomparable diversity. In this project, I have brought together 38 artists from 15 different countries."

Starting with the lively original "5to9," with Edmar Colon's sax spotlighted, that opens this, this recording is full of rhythmic and musical vitality. Then there is the Spanish language rendition of "All the Things You Are," captivatingly sung by Nella Rojas with sterling piano from Anibal Cruz and some intricate bass from the leader. Lira contributes a funky bottom to the irresistible rhythms of "Solo No Frio," while Howard Levy's harmonica dances on "Cumbamba," over the percolating percussion. Valentine Komissarouk wordlessly sings on the breezy "Pra Frente," with Lira soloing on his bass guitar and Ryan Fedak taking one on vibraphone.

There is a playful rendition of Luis Otavio Almeida's "Laurinha no Frevo," with its sunny rhythms as well as featuring the flute of Anggie Obin on flute and soprano sax of Livio Almeida, followed by the driving groove of "A Rã," by João Donato and Caetano Veloso with sparkling vibes from Fedak and synthesizer from Thiago Vitório. A dreamy rendition of Jobim and de Moraes' "Favela (O Morro Não Tem Vez)" follows with more pulsating vibes, as well as another strong electric bass solo by the leader, and piano from Alexei Tsiganv and drums from Graciliano Zambonin on drums. The wordless singing of Komissarouk along with the melodious clarinet of Juan Ruiz and the cello of Catherine Bent add to the charms of Lira's reflective "Still in Movement," while the bass flute of Fernando Brandão adds to the breezy tropical flavor of "Flopida at Night," which also has a deft piano solo by Tsiganov. Vocalists Ronaldo Andrade and Keisel Jimenez and the electric piano of Anibal Cruz are present on the animated samba Vai Lá, Vai Lá,"

The closing "Bass Fugue" displays Lira's guitarist approach to the bass guitar along with Fernando Brandão's flute, and Kevin Scollins's guitar. One can not overemphasize the percussionists present here (Kan Yanabe - pandeiro, tamborim, shaker, and Julio Santos - tantan, repique de mão) and elsewhere in adding rhythmic and other accents to this splendid, and memorable, celebration of Latin and Brazilian jazz.

I received a download from a publicist to review. This review appeared in the November-December 2018 Jazz & Blues Report (Issue 381). Here is a clip of Flavio Lira.

The Flecktones Launch New Disc

Its been nearly two decades since Fleck and the original line-up of The Flecktones, with pianist/harmonica player Howard Levy back in the fold alongside Fleck, bassist Victor Wooten, and percussionist/ Drumitarist Roy "Futureman" Wooten, have been in a studio. Rocket Science (Entertainment One Music) Fleck has taken the banjo far from his bluegrass roots in such bands as The New Grass Revival with the Flecktones, who are equally innovative. Levy’s piano roams from hard bop to a Keith Jarrett romanticism while also playing his innovative harmonica with a technique has cast a spell on a wide range of musicians from blues to jazz. Wooten perhaps eschews bass effects here, but lays down some of the funkiest bass one os likely to have heard in some time, while Futureman unleashes here Drumitar, his MIDI-based device that allows him to trigger samples using his fingers and which replaces the original which was on its last legs after two decades.

There are two many joys to be experienced on the performances heard here. Prickly Pair mixes in bluesy guitar sounding playing from Fleck (on an electric Deering Crossfire set against Levy’s harp as Wooten adding a funk bass and Futureman sets out a shuffle beat, with a brief interlude of ragged stride piano (sampled from a recording?). Levy and Fleck collaborated on a suite, Joyful Spring and Life In Eleven, that makes use of the odd time signature of the Bulgarian dance rhythm called Gankino. Levy’s piano has a classicist touch and the performance almost suggests a waltz before Levy kicks off a blistering tempo with his harp on Life in Eleven. The seamless transitions in tempo, themes and mood can be mesmerizing within and between performances. Falling Forward has a lyricism between Levy’s piano, Fleck’s jazzy solo and Wooten’s bass counterpoint that might make a Ron Carter smile.

The fusion of jazz, blues, funk, world, folk, bluegrass and other elements helped establish Bela Fleck & the Flecktones two decades ago as a breath of musical fresh air. They continue to defy categorization and Rocket Science shows that listening to them is as exhilarating as ever.


My review copy was received from a publicist.