Robin McKelle Alterations

Robin McKelle
Alterations
Doxie Records

Vocalist Robin McKelle's new album has the singer interpret several songs by a diverse list of female innovators including Dolly Parton, Sade, Amy Winehouse, Adele, Janis Joplin, Carol King, Billie Holiday, Joni Mitchell, and Lana Del Ray. Backing McKelle on this release is co-producer, pianist and arranger Shedrick Mitchell, acoustic and electric bassist Richie Goods, drummer Charles Haynes, guitarist Nir Felder. Saxophonist Keith Loftis and trumpeter Marquis Hill guest on one song each.

There is quite a variety in material and McKelle's approach to the tunes ranging from straight-ahead jazz singing to songs more in a Memphis soul vein. With a slight vibrato, an impressive vocal range, nuanced phrasing, and timing, she displays a thorough command of the material set against a choice rhythm section and Mitchell's first-rate arrangements. As McKelle says, "We fused jazz, soul, r&b, blues and rock all while keeping a continuity in the music."

From the opening Latin-tinged rendition of Amy Winehouse's "Back to Back" to the appealing duet with Mitchell of Carole King's 'You Got a Friend," McKelle shines. There are a number of highlights, including her own "Head High," which is set against a Coltrane-ish groove. Mitchell sounds like he is channeling McCoy Tyner while Keith Loftis' solo is terrific. In contrast to the full-throated delivery on "Head High," the low-key vocal on Billie Holiday's "Don't Explain" is complemented by subtle, restrained backing. Marquis Hill adds his muted trumpet to a plaintive vocal on Lana Del Ray's "Born To Die." McKelle has recorded a classic soul album, so one should not be surprised by her Memphis soul-rooted rendition of Dolly Parton's "Jolene," or the funky blues-rock rendition of Janis Joplin's "Mercedes Benz."

There is considerable charm in her relaxed, tender take on Joni Mitchell's "River," which one more illustrates how well she can instill her personality on such varied material. It is the consistency of McKelle's marvelous performances and backing that make "Alterations" such an outstanding album.

I received a download to review from a publicist. Here is a performance of "Don't Explain."

Ernesto Cervini Tetrahedron

Ernesto Cervini
Tetrahedron
Anzic Records

Toronto-based Ernesto Cervini has established himself as a drummer-composer- bandleader, of considerable merit. His Quartet, his sextet Turboprop, and various trios have shown him to be a fresh, imaginative voice. Besides Cervini, the members of his quartet are electric bassist (Rich Brown), an electric guitarist (Nir Felder), and the Cuban-born, Toronto-based alto saxophonist Luis Deniz. The quartet initially started as a chordless trio with Brown and Deniz, to which Felder was later added. "Because we're so used to playing this music as a trio without any comping," Cervini notes, "we were able to incorporate Nir without having to worry about our traditional 'jobs' in the band."

The origin of the band as a chordless trio provides an understanding of the imaginative approach Cervini brings, beginning with an ingenious rendition of "Softly, As In a Morning Sunrise." It starts off with a lengthy unaccompanied bass solo, with the band playing off the underlying bass pattern until playing the melody late in this enthralling performance. Bassist Brown contributed "Forward Motion," with stunning guitar and sax before Cervini takes a drum solo. Listening to this performance I had a sense of "this reminds me of something else." After the drum solo, "Harlem Nocturne" was evoked. This superlative performance is I believe a contrafact to "Harlem Nocturne," although played at quite a quicker tempo than the strip club tempo of that tune.

Felder provides a stunning introduction to a lovely interpretation of Vince Mendoza's "Angelicus," as Deniz's alto sax gently develops the theme. Cervini adds to the atmosphere with his adept use of brushes. "Stro" is Cervini's funky minor-blues nod to Toronto Blue Jays (and New York Mets) pitcher Marcus Stroman. It has a descending electric bass loop that anchors the interchanges within the band, particularly Felder's percolating guitar and Deniz's bluesy alto sax. Deniz further impresses on the Bunky Green bebop waltz "Summit Song" with Felder adding his scintillating guitar. Deniz and Felder's opening to Cervini's "Wandering" provide a chamber jazz quality with the tension the dynamism of their solos against a rubato rhythmic feel.

Ernesto Cervini again leads a sterling band and brought together stimulating originals and imaginative arrangements of covers for some absorbing music. "Tetrahedron" is another first-rate recording from him.

I received my review copy from a publicist. Here this band performs "Stro."

 

The Wee Trio Wee + 3

The Wee Trio
Wee + 3
Bionic Records

A new album from The Wee Trio, a Brooklyn, NY based group comprised of vibraphonist James Westfall, bassist Dan Loomis and drummer Jared Schonig. The trio is known for transcending musical genres in their material, but with their latest release they recruited colleagues Nicholas Payton (trumpet), Nir Felder (guitar) and Fabian Almazán (piano) to appear as guest soloists on individual tracks.

Discussing the guest artists, Loomis explains "Nicholas Payton is the prelude to our story as a band. We say that the trio connects so well because we had listened to so many of the same records. Mr. Payton's music was definitely an important part of all our lives. His playing, his intention as a bandleader, and his compositions were important building blocks for all of our own musical conceptions and development. Nir Felder is the present tense in the story of the band. We all met Nir very soon after we moved to the city and played with him a lot in our first years here. Our encounter with Fabian Almazán is a look to the future. Jared has known Fabian for a several years, but James and I just started playing with him for this project. Fabian plays with relentless creativity that really brings out the best side of the band. We love to play familiar material and take a lot of risks with it - push it to see what new options we can find hidden in it. With Fabian we got a chance to expand that approach to a quartet setting and bring it some new material that we wrote especially for him."

The trio opens with a chamber jazz mood with guitarist Felder on "R T 3." His guitar and Westfall's vibes initially mesmerize. Felder's solo quietly builds its heat with supple support from Loomis and Schonig. He is also heard on the closing two tracks, "Gibbs Street" and "Apparition," with marvelous interplay with Westfall, and the seamless backing from Loomis and Schonig.

With pianist Almazán, "Titan Up" is a brief, quite energetic performance followed by another performance with him, "Climb," where he displays his facility and imagination as he takes off from the somewhat reflective opening to very spirited mode followed by lively playing from Westfall. "Redwood" is a tribute to the California Redwood groves, with pianist Almazán joining on a performance of a composition that attempts to grasp the expansiveness of the feeling of walking there of being in an endless horizontal and vertical space.

Nicholas Payton is heard on a blues, "Sabotage," and then "No Justice," playing exquisitely, imaginatively and lyrically as he constructs his solos which serve as the take off for Westfall's own (marimba on "Sabotage" and vibraphone on "No Justice"). "Belle Femme De Voodoo," the last selection with Payton evokes a New Orleans parade with Payton's playful solo incorporating growls and slurs against the bouncy rhythm.

The one cover is Meshell Ndegeocello's "Lola," that Schonig arranged with Loomis bass providing the center of the performance before Westfall takes off on his solo. It is one of the two trio performances on this latest release from The Wee Trio. With their accomplished guests they have provided another fresh and highly engaging recording.

I received my review copy from a publicist.This review originally appeared in the March-April Jazz & Blues Report (Issue 371). Here is the Wee Trio with Fabian Almazán performing "Titan Up."