Tobias Meinhart - The Painter

Tobias Meinhart
The Painter
Sunnyside Records

Born in Bavaria, saxophonist Tobias Meinhart established himself in Europe before moving to New York twelve years ago, where he has established himself on the scene. "The Painter" is his second recording for Sunnyside. Meinhart is backed by his core quartet of Eden Ladin (piano), Matt Penman (bass) & Obed Calvaire (drums). They are joined by Ingrid Jensen on trumpet and Charles Altura on guitar. Meinhart wrote most of the ten tracks on this recording.

One can't praise the sterling rhythm section here as they navigate the opening "White Bear," a rhythmically complex post-bop composition with a percolating groove built on an ostinato piano riff and Calvaire's deft drumming. Meinhart displays a most attractive tone here and then on the meditative "Oak Tree," where Jensen adds her gorgeous brass sound while Ladin provides a delicate foundation. Then there is the energy of "Movement," with Meinhart's cotton candy tone matching his crafted, fluid solo. Penman's bass solo introduces the title track, which Meinhart enters with some multiphonic on his horn, transitioning into a gorgeous ballad with Ladin's deft piano and Calvaire's skillful use of brushes supporting Meinhart's outstanding playing.

On "Bird Song," Meinhart opens on alto flute, which leads to a call and response with Jensen, with the leader shifting to tenor sax as the two duet over the rhythm section. Meinhart and Ladin duet on an intimate and outstanding rendition of the Brazilian classic "Estate," again displaying the warmth Meinhart invests his saxophone playing with. After a twirling waltz, "Neowise," there is "Last Dance," which was inspired by the ESPN Michael Jordan documentary. Opening with Meinhart on flute before shifting to tenor sax, this track has a dreamy quality and evokes some early seventies post-bop jazz such as Keith Jarrett's American Quartet.

"Dreamers" is a hymn that Meinhart sings over his serpentine soprano sax, the final track, although Meinhart's strength is as an instrumentalist and not a vocalist. Guitarist Altura and pianist Ladin shine with sparkling solos before Meinhart returns, singing and guitar and sax weave around each other as the track closes. Like the rest of the album, the performance displays the exemplary ensemble interplay along with the focused, often passionate solos on this top-flight recording.
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I received a download to review from a publicist. Here Tobias Meinhart performs "White Bear."

Carlos Henriquez Dizzy Con Clave: Live at Dizzy's Club Coca-Cola

Carlos Henriquez
Dizzy Con Clave: Live at Dizzy's Club Coca-Cola
RodBros Music

Henriquez, the bassist with Wynton Marsalis and the Jazz at Lincoln Center Orchestra for the past twenty years, leads an octet on an exciting Afro-Cuban tribute to Dizzy Gillespie that was recorded live at Dizzy's Club Coca-Cola at Jazz at Lincoln Center in late 2017. His band consisted of trumpeters Michael Rodriguez and Terrell Stafford, trombonist Marshall Gilkes, tenor saxophonist Melissa Aldana, pianist Manuel Valera, drummer Obed Calvaire, and congas/vocalist Anthony Almonte.

It goes without saying that Dizzy Gillespie helped create the 'Cubop' era inspired by trumpeter Mario Bauza and percussionist Chano Pozo. Henriquez devised the superb arrangements of Gillespie's compositions, whether bebop classics like "A Night in Tunisia" or "Groovin' High," or the Afro-Cuban classics such as "Manteca" and "Con Alma" that are performed so powerfully here.

"A Night in Tunisia" certainly gets this recording off to a hot start with Melissa Aldana and Michael Rodriguez both soloing hot against the volcanic rhythm section with a thunderous percussion segment. Muted trumpets open "Groovin' High," before Rodriguez takes off with a blistering Afro-Cuban accented solo before Henriguez displays his facility and imagination before the performance transitions into a hot mambo band romp as Almonte taking the lead vocal with the horns blasting. Like the entire recording, it is an exhilarating contemporary synthesis of modern jazz and the traditional Cuban rhythms.

Then there is the exciting performance of "Bebop," that showcases Stafford's explosive trumpet followed by Aldana's sizzling tenor sax. "Manteca" is taken perhaps at a slightly less blistering pace, but the horn ensemble explodes, and the rhythm percolates like a Yellowstone geyser with Rodriguez brilliant on trumpet here. "Con Alma" is given a lush arrangement and taken at a comfortable pace with all four horns soloing along with pianist Valera. Valera and trombonist Gilkes stand out with their romantic, lyrical playing.

"Dizzy Con Clave" is a wonderful recording by a superb band with compelling performances of the terrific inspired arrangements by the Henriquez that greatly honors the memory and legacy of Dizzy Gillespie.

I received from a review copy from a publicist. This review originally appeared in the March-April 2019 Jazz & Blues Report (Issue 383).  Here is a video of Carlos Henriguez playing "Bebop" Live From Dizzy's Club Coca Cola.