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.

 

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.

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."