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.

Gabriel Espinosa Songs of Bacharach and Manzanero

Gabriel Espinosa
Songs of Bacharach and Manzanero
Zoho Music

Growing up as a youth in Merida, in the Yucatan, Mexico, bassist, composer and arranger Gabriel Espinosa, first was exposed to the music of American composer Burt Bacharach and Mexican composer Armando Manzanero in the mid-60's when both came to prominence in their respective countries. Growing up at that time he was member of a band that played both Beatles songs and bossa novas and at the time also getting introduced to jazz. Hearing both Bacharach and Manzanero at that time affected him greatly as they both "wrote beautiful, highly memorable melodies with sophisticated harmonies … ." Espinosa, in fact, worked with Manzanero in the mid-90s helping produce two albums by him.

Exploring common ground between the two, and getting to fulfill his desire to do a vocal album with his favorite songs by the two, he selected five songs from each, and invited the wonderful Tierney Sutton to sing the five Bacharach numbers while he handled five from Manzanero. Among those accompanying Espinosa, a Professor of Jazz Studies at Central College in Pella, Iowa, are pianist Misha Tsiganov, drummer Mauricio Zottarelli, trumpeter Jim Seeley and chromatic harmonica virtuoso Hendrik Meurkens, who he has collaborated with as co-leader on various projects. Espinosa plays bass on three tracks, "Adoro," "Raindrops Keep Fallin’ on My Head," and "Cuando Estoy Contingo," while his arranger’s touch is prevalent throughout. Songs from Bacharach and Manzanero. Joe Martin plays upright bass on three selections while Gustavo Amarante plays electric bass on four.

Espinosa's arrangements and leadership provide the unifying thread of the music which alternates between his Spanish vocals of Manzanero' songs and Sutton's English renditions of the Bacharach songs that will be much more familiar to most listeners. While Sutton has established herself as among the leading jazz vocalists of today, and has dueted with Espinosa before, this is his first album where he has presented himself as a vocalist and ably acquits himself throughout as on the driving rendition "Adoro" as well as "Come Yo Te Aime," with Meurkens contributing his wonderful harmonica here as well as on the poignant "Esta Tarde VI Llover." The most familiar Manzanero song is "Somos Novios" which will be familiar to Americans as "It's Impossible." Espinosa's romanticism is complemented by the warmth of Seeley's flugelhorn.

The Bacharach numbers should be familiar to most listeners. The Carpenters' classic "(They Long To Be) Close To You" opens with a dreamy romanticism before segueing into a lively samba groove with Itai Kriss contributes lovely flute, while "The Look Of Love" is rendered as a bossa nova with Sutton's soft vocal aided by Misha Tsiganov's electric piano and Seeley's melodic trumpet. Sutton provides a restrained "What The World Needs Now," backed by just a trio, with Zottarelli using brushes and Tsiganov's accompaniment a display of restraint and eloquence. Meurkens harmonica contributes to Sutton's melancholic take on "Raindrops Keep Falling On My Head," as well as her wistful interpretation of "Alfie."

As Bill Milkowski observes in his liner notes, "Espinosa puts his own unique spin on these ten classics with subtle reharmonizations to inject new colors along with new intros, interludes and rhythmic twists that draw on his background in bossa nova, samba and jazz." With the vocals of him and Sutton's, and the fresh arrangements of these songs, one has a delightful album of vocal jazz, where the romance and melody lingers on long after one has finished listening.

I received my review copy from a publicist. Here is Hendrik Meurkens and Gabriel Espinosa in performance.