Nicholas Brust Frozen In Time

Nicholas Brust
Frozen In Time
Fresh Sound Records

Nicholas Brust is part of the current New York scene. He attended the New England Conservatory in Boston, where he studied with Jerry Bergonzi, Frank Carlberg, Ran Blake, John McNeil, Donny McCaslin, and Miguel Zenón. Before that, he attended the Eastman School of Music, where he studied with Walt Weiskopf, Harold Danko, and Chien-Kwan Lin. This young alto saxophonist, composer, and bandleader has other influences, including Michael Brecker, George Coleman, Robert Glasper, Kurt Rosenwinkel, Kenny Garrett, Roy Hargrove, Frank Strozier, and Bob Berg. On his first full album, Brust is backed Ben Eunson on guitar, Tuomo Uusitalo on piano, Josh Allen on bass, and Jay Sawyer on drums.

From the opening notes of "Work Ahead," one is impressed by Brust's imposing dexterity and sound, as he casts forth ingenious improvisations backed by a first-rate group. The opening track is performed at a breakneck pace, yet he spins his thoughtful ideas with apparent ease. Brust calls "Hearts and Spades" an attempt to draft a pop-jazz tune. It is a lovely ballad starting with a counterpoint line between piano and bass. Bassist Allen solos over Uusitalo's chording before Brust's own melodic blues-inflected ballad playing. Eunson solos over the ostinato while Sawyer's light playing adds rhythmic accents. Another lovely performance is "Brooklyn Folk Song," with more exquisite alto sax. "Frozen in Time" captures one's attention with a bass riff that loops around with Brust and Eunson, jointly laying down the main melody.

"Adversity" is one of several compositions that Brust has written as a homage to the New York scene. Its theme is evocative a Woody Shaw's compositions and features a scintillating guitar solo. Brust dazzles with the fluid development of ideas before the tempo changes to a crawl and sax and horn riff supporting Uusitalo's solo. "Something Like a Storm" is another memorable performance with tempo changes, turbulent musical sections, and Brust's use of dynamics in building the intensity in his solo. The final track, "A Shifting State," is a drummer-less trio with Eunson and Allen. It has a catchy melody set against a shifting rhythmic framework that Allen's bass provides.

"Frozen In Time' is an auspicious debut. Nicholas Brust has crafted ear-catching tunes, which are the foundation for his imaginative and skilled improvisations in the company of a first-rate band.

I received my review copy from a publicist. Here is a 2015 performance of "Brooklyn Folk Song."

Negroni's Trio Acústico

Negroni's Trio
Acústico
Sony Music/ Latin

Negroni’s Trio is comprised of a “father and son team,” José Negroni, on piano and keyboards,  Nomar Negroni, on drums and percussions, completing the trio for this recording is bassist Josh Allen. José, who was born in Puerto Rico, is a classically trained pianist, composer, and arranger while his son, Nomar, followed in his father’s footsteps and developed into a consummate percussionist. The father and son have created their own unique voice performing traditionally known jazz classics, Latin jazz, and jazz fusion. "Acústico" is their latest recording and one that will mesmerize listeners with the mix of the trio's virtuosity, and the charged rhythmic romanticism of the performances of 8 originals and three covers.

Nomar's composition "Let's Go Camping" opens in a fiery matter with plenty of percussive fireworks before segueing into a more lyrical mood. Bassist Allen provides an anchor for the dialogue between pianist and drummer with the energy building back up as José develops his solo over a memorable riff. José's "Air" showcases his graceful and fluid touch while his son provides heat with the groove and the accents he gives. On the atmospheric opening of "Puerto Del Sol," Allen's arco bass meshes with José's plucking of his piano strings before the pianist's lyrical romanticism comes to the fore.

There is a strong Spanish tinge to José's solo that opens "Maria Cervantes." A middle segment in this recording is launched by ardent drumming from Nomar. A closing solo piano one follows this segment. With all of the outstanding originals, there is also an excellent interpretation of Bud Powell's "Tempus Fugit." It is taken at a slower tempo than Powell's original. Bassist Allen is showcased here along with Jose's imaginative inventive soloing and Nomar's vigorous Latin rhythmic groove.

"Monica's Drum's" is a solo feature for Nomar, capping of this brilliant and compelling piano trio recording.

I received my review copy from a publicist. This review originally appeared in the January-February 2020 Jazz & Blues Report (Issue 388). Here is Negroni's Trio performing Tempus Fugit."

Ignacio Berroa Trio Straight Ahead From Havana

Ignacio Berroa Trio
Straight Ahead From Havana
Codes Drum Music

The organizing principle of drummer Ignacio Berroa is taking standards from the Cuban repertoire and reimagining them in a straight ahead jazz context. On this recording he is joined by pianist Martin Bejerano and bassist Josh Allen (Lowell Ringel substitutes on two of the ten songs) with Conrado "Coky' Garcia adding percussion on two tracks and Ruben Blades takes the lead vocal on one.

The approach can be heard on the opening "Alma Con Alma" that some may be familiar with from Ray Barreto's recording which comes off like a solid hard bop number that allows one to approach Bejerano's considerable technique as well as strong post-Bud Powell playing on this with Allen and the leader terrific supporting his fiery playing here, followed by Allen's own brisk, cleanly articulated solo and Berroa's hot solo. One not knowing the nature of this session would simply find this to be superb bop piano. A similar musical imagination invests the treatment of "Le Tarde," into a medium tempo swinging number with Bejerano engaging the listener with his fluidity, touch and nuance. The rendition of the Afro-Cuban Children's lullaby, "Drume Negrita" (some will know from Celia Cruz), has a latin tinge with the leader's drumming accenting the relatively spare piano lead. Ruben Blades is heard on "Negro De Sociedad" which is performed in a more relaxed manner than the hot salsa fashion that is incorporated at the beginning and end here.

Other delights include the bouncy "Los Tres Golpes," with Garcia's percussion adding to the driving groove, the reflective "Si Me Pudieras Querer," and the dazzling, spirited "Me Recordaras," that closes this fabulous recording.

I received my review copy from a publicist. This review originally appeared in the July-August 2017 Jazz & Blues Report (Issue 373). Here is the Ignacio Berroa Trio in performance.

World Music 5 - America

World Music 5 is a terrific new Latin Jazz Ensemble comprised of pianist Jose Negroni, drummer Nomar Negroni, bassist Josh Allen, violinist Federico Britos and woodwinds of Ed Calle, that happened when Negroni and Britos invited Calle to lunch one day and they join together to form a new ensemble. One result is a new double-CD album "America" (MOJITO RECORDS),an album (to paraphrase the press release), celebrates folkloric, traditional, and original Latin American and North American music. "America" features 16 original arrangements, adaptations, and or compositions by Federico Britos, Jose Negroni, and Dr. Ed Calle. The recording includes a vast array of genres including Venezuela's joropo, Mexico's jarabe tapatio, Brazil's choro, Cuba's danzon, Uruguay's candombe, the bolero claimed by Mexico and Cuba, and American Broadway and jazz standards, and presents works by master composers including Leonard Bernstein, Ernesto Lecuona, Duke Ellington, Pedro Elías Gutiérrez, Rodgers & Hammerstein, Agustin Lara, Cole Porter, Rafael Hernandez, and Brazil's Pixinguinha.

While described as a chamber jazz ensemble, the thrilling music here blends lyricism with hot rhythms and saucy leads on which the romantic feel of Bernstein's "America" is succeeded by Calle's radical reworking of J. Gonzalez Rubio's "Jarabe Tapatío (Mexican Hat Dance)," with its familiar theme bookending Calle and Britos highly energized solos. Then this in turn is followed by a lovely ballad by Calle, "Thinking of You (Pensando en Ti)," with lovely solos from Calle, Britos and Negroni, whose trio is stellar throughout in supporting everyone involved. Then there is a stunning rendition of "A Um Zero," a choro from Pixinguinha with Calle opening on bass clarinet before switching to clarinet. There is wonderful interplay with Britos along with Negroni's piano on this joyful and lyrical ragtime evoking performance followed by a rendition of "My Favorite Things" with Calle providing his own personal stamp on this Rodgers and Hammerstein number.

There is so much joyous music on "America," of which I have only described a portion, although the recording ends with a volcanic eruption of a performance of "Caravan." Many of the songs will be new to many reading this, but as World Music 5 display on renditions of familiar songs as "America," "Mexican Hat Dance," "My Favorite Things," and "Caravan," they bring virtuosity and melodic, harmonic, and rhythmic inventiveness, to provide exhilarating performances on the 16 compositions here and the most familiar songs will sound new. "America" is a recording that appeals to the heart and the head and stunned this writer when he first heard it and repeated listening to this sensational album brings new joys.

I received as a download from a publicist. Here is a performance of them of "Caravan."