Albare - Plays Jobim Vol. 2

Albare -  Plays Jobim Vol. 2 - Alfi Records

This CD is the second volume by the guitarist Albare devoted to the legendary father of bossa nova, Antonio Carlos Jobim. Like the first volume, there are ten renditions of Jobim's signature songs along with the classic "Summer Samba." Albare co-produced this with Phil Turcio, who did the mixing and mastering. Like the first volume, Joe Chindamo is on piano. Chindamo also made all the arrangements and conducted the orchestra. Ricardo 'Ricky' Rodriguez is on bass again, while Pablo Bencid is on drums on most of this recording, and Luisito Quintero is on percussion. Antonio Sanchez plays drums on two songs, Nestor Torres plays the flute for two, and Randy Brecker plays trumpet on two selections.

Reviewing Albare's earlier volume of Jobim's music, I wrote, "Albare is a romanticist as a guitarist, with his guitar (whether electric or acoustic) in a melodic and lyrical mode. His single-note playing sings the lyrics while adding with genial embellishments to the melody while provided with a light, subtle backing." Like the earlier recording, strings provide a lush, breezy feel for "Dindi," "Summer Samba," "Girl From Ipanema," and "So Dança Samba." Nestor Torres' flute adds a nice touch to "Summer Samba," while Randy Brecker's bright trumpet adds some heat to "So Dança Samba," which also sports an appealing guitar solo. Torres' also adds color to Albare's treatment of "How Insensitive," as does Brecker' again enlivens's muted trumpet on "Favela." Albare's picking lends a poignant case to "A Felicidad" and a reflective interpretation of "Trieste." The album closes with the calming, relaxed "Meditation."

Like the prior Jobim tribute, these are relaxed performances where Albare plays with a deft touch. The resulting music is another easy to listen to recording full of charm that captures Jobim's music's beauty.

I received my review copy from a publicist. Here is "How Insensitive" from this album.

Spanish Harlem Orchestra Anniversary

Spanish Harlem Orchestra
15 Anniversary
Artistshare

The title of the latest recording from the celebrated Latin jazz and salsa band is that it celebrates the Spanish Harlem Orchestra's 15th year. After decades of session work, composing, arranging and producing, bandleader Oscar Hernández was approached by producer Aaron Levinson in 2000 about the idea of assembling and recording a Latin jazz orchestra. The result was "Un Gran Dia en el Barrio," the 2002 debut recording which received a Grammy nomination for Best Salsa Album and a Latin Billboard Award for Salsa Album and led to Hernández and SHO touring and wowing audiences. They have won two Grammy Awards in the years since and continue to dazzle audiences.

Certainly, this latest recording will wow listeners with contributions from all the members of this exciting band (with Randy Brecker a guest on one selection). Unquestionably, the opening "Esa Nena" by vocalist Marco Bermúdez and conga player George Delgado gets this very hot recording off. There is plenty of heat, although at a more relaxed tempo on "Yo Te Prometo," with a volcanic trumpet break and crisp solo while the latin percussion trio of Delgado, Luisito Quintero on timbales and Jorge González provide the hot rhythmic percolation with the vocalists of Bermúdez, Carlos Cascante and Jeremy Bosch do their spirited singing while Mitch Frohman's baritone along with Gerardo 'Jerry' Madera's bass helps anchor the performance along while Hernández is superb whether as part of the rhythm section or his imaginative soloing.

Other tracks to note highlight include a couple from Hernández, "Goza El Ritmo" and "Somos Uno," with the latter features some brilliant Randy Brecker trumpet, as well as a lyrical solo from the leader. One could easily discuss all of the other performances as the Spanish Harlem Orchestra dazzles throughout with their vibrant music that will thrill dancers and listeners on a terrific recording.

I received my copy from Artistshare as a participant. This review appeared in the September-October 2018 Jazz & Blues Report (Issue 380) although I have made minor stylistic edits. Here they perform "Somos Uno" live.

Bill O'Connell Jazz Latin

Bill O'Connell
Jazz Latin
Savant Records

Pianist O'Connell scores with his latest release with selections from his excellent trio, with Lincoln Goines on electric bass and Bobby Ameen on drums, with whom he played with as part of the Dave Valentin Band. Guests here include Randy Brecker, Craig Handy, and Conrad Herwig. The eleven selections include seven originals and cover a range of styles and instrumentation.

The disc opens with a celebratory salute to the 44th President, "Obama Samba" with all three soloing. There is a solid, hard swinging rendition of the Cole Porter standard "Just One of Those Things," before O'Connell switches to electric piano with Craig Handy joining in for "It's OK," followed by the trio paying respects to their late leader Valentin on winsome reflective interpretation of Wayne Shorter's "Footprints." Goines sounds excellent on this. Next is a ballad that slowly builds its tempo, "Goodbye My Friend." On this Randy Brecker employs the lower register of his trumpet. After a very appealing piano solo, Daniel Carillo adds some excellent guitar.

Flautist Andrea Brachfeld enhances "Quicksand," with is percolating groove and skittering electric piano, while "Tip Toes" is a Monk influenced original with interesting intervals and chording with some of O'Connell's most inspired playing. With Conrad Herwig adding his trombone, O'Connell provides a latin arrangement for a dazzling reinvention of Irving Berlin's "Puttin' on the Ritz." Ameen's drumming is most noteworthy here, along with an appropriately heated trombone solo from Herwig.

A tribute to his mother, "Mom's Song" includes some hauntingly beautiful guitar from Carillo along with O'Connell's moving piano. Carillo is also heard on the jazz waltz interpretation of Antonio Carlos Jobim's "Zingaro." The brief, galloping original "What Is This," brings to a close this outstanding recording.

I received my review copy from a publicist. This review originally appeared in the May-June 2018 Jazz & Blues Report (Issue 378). Here is "Puttin' on the Ritz," from "Jazz Latin."

For Andrew Neu Big Band Jazz Is A Catwalk

Andrew Neu
Catwalk
CGN Records

This new release is subtitled "The Big Band Side of Andrew Neu," who according to his website "is one of the most exciting, multi-genre musicians today. He is well respected throughout the industry for his work as a saxophonist, woodwind player, arranger, composer, educator and recording artist." About this he says, "After rehearsing for years with these veteran LA studio musicians I'm thrilled to finally release this exciting and fun collection of modern big band music." He has some special guests to enliven the bright, brassy music here including trumpeters Randy Brecker, Rick Braun and Wayne Bergeron, saxophonists Bob Mintzer, Eric Marienthal and Gordon Goodwin, and bassist Brian Bromberg.

This is a strong, tight, swinging band whom play with nuance and heat. The opening "Juggernaut" has a jaunty rhythm, displays the crisp, buoyant quality of the band and the freshness of the arrangements. There are strong solos from trombonist Andrew Lippmann along with Neu's husky tenor sax. The rhythm section of pianist Andy Langham, guitarist Matt Hornbeck, bassist David Hughes and Jamey Tate provide a strong foundation with Tate also taking a solo here. The spicy "Zebrano," is a number that would seem to have get a Latin Dance floor full with Brecker featured with a fiery solo here along with Neu and Tate. Craig Fundyga guests on vibraphone on the title track with a prancing groove and muted trumpet in the opening choruses. It has a driving muted trumpet solo from Michael Stever preceding Fundyga's vibes solo with the horns framing his solo.

Neu's arrangement of "Body and Soul" is striking as it opens for a couple choruses at a ballad tempo before Langham's piano leads it into an Afro-Cuban mode and his solo is followed by Mintzer who sounds quite strong. Neu's lovely ballad, "My Neu" is a feature for Eric Marienthal's lovely alto sax solo, while Neu provides a wonderful orchestration for a lively performance of Cole Porter classic, "What Is This Thing Called Love," with memorable solos from Dan Kaneyuki on alto sax, trumpeter Stever and Neu. "Wasamba" is highlighted by Wayne Bergeron's adept trumpet, along with Brian Bromberg's fleet fingered piccolo bass.

The tenor sax of Gordon Goodwin is featured on a crisply played "Too Much of a Good Thing," while Rick Braun's mix of lyricism and heat is heard on Ennio Morricone's marvelous "Cinema Paradiso" on which Neu is also heard. After a lively "Blue Sesame" with a heated muted trumpet solo from Jeff Jarvis, there is a spirited "Alpha Dog," with Brian Bromberg adding a funky electric bass solo, along nice high register work from Anthony Bonsera on trumpet and Tate's drum solo to close this recording. Neu's compositions, arrangements and the strong ensemble work behind the excellent soloists result in a terrific, hard swinging big band recording.

I received my review copy from a publicist. This review originally appeared in the March-April 2018 Jazz & Blues Report (Issue 377). His website is https://www.andrewneu.com/.  Here is
"Juggernaut" from the album.

Mike Stern The Trip

Mike Stern
The Trip
Heads Up

Mike Stern has recuperated from a horrible injury that left him with two broken arms and significant nerve damage, he was left with significant nerve damage in his right hand that prevented him from doing the simplest tasks, including holding a pick. Following a second surgery, he gained more control of his nerve-damaged picking hand and subsequently devised a scheme where he literally glues his right-hand fingers to the pick, strengthening his grip and allowing him to more fully realize his signature speed, precision and fluidity informed mainly by bebop and the blues.

Feeling sufficiently fortified, Stern and his stellar crew of sidemen — many of whom go back with him to the ‘80s — went into Spin Studio in Long Island City between January and March of 2017 to record his 17th album as a leader. His sly, self-deprecating sense of humor comes across in the title of the album, "Trip," as well as on individual tracks like “Screws” (he initially had 11 screws put into his arm following his first surgery) and “Scotch Tape and Glue” (his current method for holding onto the pick). Produced by pianist-keyboardist Jim Beard, "Trip" features a number of longstanding colleagues including trumpeters Randy Brecker and Wallace Roney, saxophonists Bob Franceschini and Bill Evans, bassists Victor Wooten and Tom Kennedy, and drummers Dave Weckl, Dennis Chambers and Lenny White.

The title track is a driving composition with a bit of funk and some fervent tenor sax from Franceschini, with Wooten and Chambers providing a tight bottom while Randy Brecker's muted trumpet adds a Miles Davis ambience to "Blueprint." His former Davis colleague Bill Evans adds some staccato tenor sax to open the effervescent "Half Crazy," with some percolating backing from pianist Jim Beard, drummer Lenny White and bassist Tyrell Phell to support Stern's horn-like likes. The afore-mentioned "Screws has the same rhythm trio along with Wallace Roney's trumpet on an performance that starts playful and reflective before Stern forcefully solos, following this up with pretty, tender acoustic guitar on "Gone." Then there is the funky fusion of "Whatchacallit," followed by the ebullient, latin-tinged "Emelia," with Stern on acoustic guitar as well as singing (Gio Moratti adds the backing vocal).

"Scotch Tape and Glue," is a spirited high-velocity romp based on the changes to "Green Dolphin Street," while the closing "B Train" is a quirky, mid-tempo contrafact on"Take the At Train,' with Roney muted playing adding to the enjoyment to Stern's own inventive playing. It is a delightful close to a varied recording that is perhaps more impressive knowing what he has had to overcome. Stern is modest about his own playing noting that “Everybody played their asses off on this record," but he certainly is back on top of his game on this excellent recording.

I received from my review copy from Concord. This review originally appeared in the November-December 2017 Jazz & Blues Report (Issue 375). Here is an interview of Mike Stern.

Rosanna Vitro's Delirium Blues Project Has To Serve Or Suffer

A project conjured by vocalist Roseanna Vitro and pianist/arranger Kenny Werner, the Delirium Blues Project is succinctly described by producer Jeff Levenson as ”a celebration of the blues as the basis of much popular music.” Anyway, they spent a week in August, 2007 at New York’s Blue Note and this living recording, Serve or Suffer (Half Note), was the result.

In addition to Vitro and Werner, the Delirium Blues Project features a genuine all-star horn line-up of Randy Brecker, trumpet; James Carter, tenor sax; Ray Anderson, trombone; Geoff Countryman, baritone sax; Adam Rogers, guitar; John Patitucci, acoustic and electric bass; and Rocky Bryant, drums. Bringing together the marvelous Werner arrangements with Vitro’s singing and the terrific musicians, one has a intriguing recording that provides a different take on some blues and bluesy material.

While horn dominated one should not short-change the fine playing of guitarist Rogers, yet the real musical fireworks are provided by Brecker, Carter and Anderson. The material is fresh from the opening piece of jive, What Is Hip, followed by a Tracy Nelson number, Goodnight Nelda Grebe, The Telephone Company Has Cut Us Off, with a fine vocal (Nelson was an influence on Vitro) and a choice Brecker solo. Blue is an indigo ballad with a marvelous solo from Carter while he apparently is on soprano with some serpentine playing behind the vocal on Joni Mitchell’s Be Cool, with Rogers employing a bluesy tone on his solo. Lil Green’s In the Night, may be the most familiar number here but Patitucci’s bass is the sole accompaniment for Vitro’s intimate vocal.

A funk groove underlies the rendition of Dan Penn and Spooner Oldham’s ‘Cheater Man,’ on which Vitro takes a wordless solo, while on Mose Allison’s Everybody’s Cryin’ Mercy, Ray Anderson growling plunger mute work would make Tricky Sam Nanton proud. Most of the players get to stretch out on the closing, Don't Ever Let Nobody Drag Your Spirit Down, a tune by Eric Bibb, C. Hoglund and Maria Muldaur, whose bass line is a cousin to Green Onion/ Help Me.

This is the type of band that Al Kooper wishes he could have had thirty odd years ago with the original Blood Sweat & Tears while the sophistication of the music also suggests Steely Dan. One hopes that this aggregation was more than a one-shot deal, as this resulting recording whets the appetite for more delirium.

This review originally appeared in the July 2008 Jazz & Blues Report (Issue 306) and I likely received my review copy from that publication. Here is Ms. Vitro and Kevin Mahogany singing Blue Monk.

Nasar Abadey Will Be at Mid-Atlantic Jazz Festival

091007 Duke Ellington Fest Gala-1143
Originally uploaded by NoVARon

Its less than 24 hours from when I post this, when the terrific Nasar Abadey (seen here at the 2007 Duke Ellington Festival Gala) will be leading his band, Supernova at the Mid-Atlantic Jazz Festival. Its a terrific line-up with Jimmy Heath, Kirk Whalum, Janine Gilbert-Carter, Randy Brecker, Paul Carr and so much more. I am looking for some terrific music and hope to post some blog entries about it. All this takes placing at the Hilton Hotel in Rockville, MD. For more information visit http://www.midatlanticjazzfestival.org/.

Mid-Atlantic Jazz Festival Standing Up For Real Jazz

Its less than two weeks until this year’s Mid-Atlantic Jazz Festival taking place at the Rockville, Maryland Hilton Hotel over the President’s Day Weekend. Under the auspices of Washington DC area saxophonist and educator, Paul Carr, the Festival has a focus on not simply bringing some of the best local and national jazz performers to the area, but to help nurture and support Jazz Education.

The Mid-Atlantic Jazz Festival was attempt to continue the legacy of the East Coast Jazz Festival that ran for 15 years starting in 1992. The ECJF originated in honor of Elmore “Fish” Middleton, a Washington, DC jazz radio programmer, whose commitment to promoting jazz music and supporting emerging jazz artists became the guiding principle behind the festival. The driving force of the ECJF was the late Ronnie Wells, a Washington DC jazz icon. After her passing, so did the ECJF.

Jimmy Heath will be featured at the 2011 Mid-Atlantic Jazz Festival. He is seen here at the 2005 New Orleans Jazz & Heritage Festival with brother, Albert 'Tootie' Heath as The Heath Brothers.

As stated on its website “The Mid Atlantic Jazz Festival (MAJF) represents an auspicious renewal of the spirit and intent of the ECJF, as a showcase for some of the DC area’s finest established and emerging artists, student ensembles, and a healthy dose of renowned touring jazz artists as well. MAJF is designed to take the ECJF mid-winter jazz festival tradition to the next level and to further enhance arts & culture in the Washington, DC region.”


This year’s MAJF has an auspicious program and here are links to the overview (http://www.midatlanticjazzfestival.org/news/mid-atlantic-jazz-festival-2011-february-18th-21st)of the activities the festival website as well as a full schedule (http://www.midatlanticjazzfestival.org/schedule).


Here are some acts of special interest to me.


Friday night, February 18, at 7:00 p.m. in the Ronnie Wells Main Stage will be the explosive Nasar Abadey & Supernova, celebrating their brand new release Diamond in the Rough. This group with Joe Ford, James King and Allyn Johnson was also one of the group’s that participated in 2010 in “The Rhythm Road: American Music Abroad,” a program that Jazz at Lincoln Center administers for the United States Department of State Bureau of Educational and Cultural Affairs.


At 10PM that night, the great Jimmy Heath will be performing. One of the giants of modern jazz as a saxophonist, composer, big band leader, he has truly walked with giants which alludes to his recently published autobiography and he is an NEA Jazz Master. Earlier in the day Jimmy will be doing a JazzTimes magazine Before & After blindfold test with Larry Applebaum. Heath will be signing his autobiography, I Walked With Giants, on Saturday.


Saturday has many events.


Williard Jenkins will be signing African Rhythms, the autobiography of Randy Weston (Composed by Randy Weston, Arranged by Willard Jenkins).

Janine Gilbert-Carter at 2008 DC Blues Festival

At 1:30 the Festival presents an acclaimed program of the essence of jazz song: “Sistas Can Sang,” a tribute to female legends of jazz & blues featuring the voices of Lavenia Nesmith, Janine Gilbert-Carter, Bonnie Harris, Kristine Key, and Dottye Williams. I look forward to this. Of these ladies, I have only had the pleasure of seeing Janine Carter-Gilbert perform.


At 7:00PM, The Bobby Broom Trio will be performing on the Main Stage. I recently reviewed his CD of Sonny Rollins recordings and greatly anticipate this performance.


At 10:00PM the great Freddie Cole performs. Freddie is also participating in a JazzTimes magazine Before & After blindfold test during the Festival.


Sunday afternoon will include a gospel brunch and a performance by saxophonist Kirk Whalum who has a recent recording that is a tribute to the music of Donny Hathaway.


Sunday night the Jazz Academy Orchestra featuring special guest, trumpeter Randy Brecker, will perform at 7:00 PM.


Sharon Clark, one of the Washington area’s finest vocalists will be on the main stage at 8:30PM

Sharon Clark at 2007 Duke Ellington Jazz Festival

Paul Carr will lead his quintet featuring Bobby Broom, Allyn Johnson, Michael Bowie, and Harold Summey at 10PM.


Local High School Big Bands will be performing in the Hotel Atrium throughout the Festival and also a smaller venue, MAJF Club that will feature a number of performers.


As can be seen, this will be a pretty full weekend of music. The website for the festival with all the details is http://www.midatlanticjazzfestival.org/.


I am looking forward to it and hope to post on the shows (hopefully with some photos).


I took the photos on this page.