Surefire Sweat

Surefire Sweat
Surefire Sweat
Self-produced

On its website, Surefire Sweat describes itself as "made up of a diverse and multi-generational roster of Toronto-based artists. The music, composed by Juno-nominated drummer, Larry Graves, draws on an amalgam of Funk, Jazz, Brass Band, Blues, and Worldly rhythms." Led by Graves, others members of this group include Rob Neal Christian - Flute; Elena Kapeleris - Tenor Sax; Vocals;  Paul Metcalfe - Baritone Sax; Brad Eaton - Trumpet; Paul MacDougall - Guitar; Vocals; Liam Smith - Bass Guitar, Rhodes, Vocals; and Dave Chan - Percussion, Hammond Organ, Vocals.

According to some of the press materials, the original intention for this project "was to provide audiences with a sort of innovative dance music, but the music seems to be as successful in 'listening room' as with environments offering a 'dance floor.'" Indeed that is established on the opening "Threshold" with is driving Afro[pop groove, unison horn parts and Brad Eaton's hot, yet lyrical trumpet solo, where if one is not at least tapping one's feet, then one's pulse should be checked. Much can be said about the other tracks with powerful, focused ensemble playing and excellent soloing. Guitarist Paul MacDougall is an especially striking player as on "Sunshine Interference" where he is the leading voice with African-accented riffs before his scintillating solo. A group chant opens "A Tale of Two Times" with a more sedate tempo and Metcalfe's brawny baritone sax trading fours with MacDougall's bell-ringing guitar before Metcalfe's intense, full-throated solo.

There is a contagious playful spirit on a number of the songs including "RH Factor" with Graves taking several short drum breaks at the beginning of a lively performance which also provides a spotlight for bassist Liam Smith and trumpeter Eaton. "Number Nine" is a vibrant tribute to the great Nigerian drummer Tony Allen with superb trumpet while Graves' driving attack provides an irresistible pulse. "Scoffle Strut" was inspired by guitarist John Scofield and the recording exhibits a bit of a fusion tone. Chan adds color on organ, while Kapeleris' burly tenor sax makes its presence felt on with MacDougall playing with a bit more twang and a touch of reverb. It provides a close to an excellent recording that is wonderfully played and makes for high-spirited, captivating listening.

I received a download to review from a publicist. Here is a video of Surefire Sweat performing "A Tale of Two Times."

Uri Gurvich Kinship

Uri Gurvich
Kinship
Jazz Family

Per its publicity materials, the Israeli born saxophonist latest release "deals with tribal and familial connections between different cultures and individuals, representing "kinship" in various forms." Gurvich is joined by his quartet of the past decade including Argentine pianist Leo Genovese, Bulgarian bassist Peter Slavov and Cuban drummer Francisco Mela. On one selection, "El Chubut," Bernardo Palombo provided and sang lyrics to Gurvich's theme.

On the opening "Song For Kate," Gurvich quickly establishes himself as a saxophonist full of warmth and invention with Genovese comping under the driving, twisting solo before he himself takes a torrid solo. Genovese further shines brilliantly on "Dance of the Ñañigos," with its surging rhythm (Slavov is outstanding) with another authoritative alto sax solo from the leader as Mela propels the performance. Palombo recites a poem from a political prisoner during the Argentine dictatorship of the 1980s to open the somber "El Chubut" and then dramatically sings against stately backing with the leader intensely soloing and accompanying him. A Middle Eastern tone is present on the energetic "Twelve Tribes," with its reference to the tribes of Ancient Israel as Gurvich impresses with the fullness of his tone and there is  an impressive Mela solo also here.

Slavov is outstanding on bass on delightful, bouncy Sasha Argov composition "I'm Tirtzi," while the rendition of the spiritual "Go Down Moses," likely will evoke the classic Coltrane Quartet with Gurvich on soprano solo, Genovese in a McCoy Tyner mode and Mela channelling Elvin Jones. Both of these performances have the group chanting towards the close. "Ha'im Ha'im," (also composed by Sasha Argov) is introduced with a bass solo on another performance that might evoke for some the classic Coltrane Quartet for some and again Mela is superb while Genovese also sounds inspired in his own manner. The title track, in contrast, might suggest Keith Jarrett's European Quartet, with Genovese's playing an impressionistic solo.

This is a superb group of which I am most familiar with Genovese from a tour I saw him part of. They all play with considerable authority and fervor resulting in some enthralling listening.

I received my review copy from a publicist. This review originally appeared in the November-December 2017 Jazz & Blues Report (Issue 375) although I made minor edits to that review. Here is a video of Gurvich and band.