Arturo O'Farrill & the Afro Latin Jazz Orchestra - Virtual Birdland

Arturo O'Farrill & the Afro Latin Jazz Orchestra - Virtual Birdland - Zoho Music

In the liner notes to "Virtual Birdland," Arturo O'Farrill observes, "The images of 2020 were scary, nights of ambulance sirens, freezer trucks, sleeplessness, a nation's economy brought to a halt. Jobs lost, businesses, restaurants, and yoga studios shuttered. With the exception of some high-tech companies and the well ensconced, everybody suffered.

"There were other images. Women and men in scrubs and face shields facing an onslaught of suffering with quiet strength. … People at the lower rungs of the socioeconomic strata who, just by showing up to work, conferred upon themselves wealth of character. Images of violence visited upon young black lives, millions marching in defiance of that hatred. … We saw who was who and what was what and can never unsee the differences. Into this reality we meet a group of musicians, the Afro Latin Jazz Orchestra. One week they're looking at gainful employment. The next they're faced with the reality that the work they've prepared for their whole lives has disappeared."

The Afro Latin Jazz Orchestra has had a weekly gig at New York's Birdland. This was impacted by the Pandemic, along with other free-lancers. O'Farrill noted that "At the beginning of this crisis the Afro Latin Jazz Alliance created an emergency fund for the freelance community, and the orchestra began a weekly stream to raise money to help artists. The production schedule involves musicians donating their time to record individually for hours at a time, then videographers and sound engineers spending days assembling, mixing, syncing, and editing the offering that is shown once a week on Facebook and YouTube." This led to the present recording, the motivation behind which O'Farrill details more fully in his liner notes, which arose with the technology that allowed a brilliant jazz big band recording to occur despite the fact the musicians were physically separate.

The opening "Gulab Jamon" is a multi-dimensional composition with a mix of tropical Afro Cuban rhythms and shifting, and often turbulent orchestral textures with Jasper Dutz's energetic tenor sax as well as the leader's intricate piano solo. Malika Zarra's "Pouvoir," arranged by Kali Rodriguez-Peña, brings an irresistible African groove with ebullient vocals and bras solos set against the vibrant horns. Rafi Malkiel's "Desert" has an exotic flavor (in the manner of Juan Tizol's "Caravan") with the band conjuring caravans on an ancient Middle Eastern trade route. There are intriguing solos from the composer on Euphonium and trumpeter Seneca Black. Then there is the high-spirited interpretation of Larry Willis' "Nightfall," with superior solos from Rachel Therrien on flugelhorn and Ivan Renta on tenor sax and Miguel Blanco's gorgeous arrangement.

Other tracks here are a similarly high level. Especially noted is the Orchestra's rendition of Paquito D'Rivera's buoyant "Samba For Carmen" with a riveting alto sax solo from D'Rivera followed by Adam O'Farrill's red-hot trumpet. The late Chico O'Farrill's arrangement was employed here. Then there is the superb, explosive rendition of Tito Puente's "Para Los Rumberos" with its memorable, recognizable theme and punchy horns. With excellent arrangements and compositions, along with the excellence and joy of the performers who collaborated from all over the globe, this is one of the best Big Band recordings, not simply Latin Big Band recordings, in recent years.

I received my review copy from a publicist. Here Arturo O'Farrill & the Afro Latin Jazz Orchestra perform "Gulab Jamon."

Nelson Riveros - The Latin Side of Wes Montgomery

Nelson Riveros - The Latin Side of Wes Montgomery - Zoho Music

New York guitarist Nelson Riveros provides a Latin accent on seven of Wes Montgomery's compositions and two originals. Riveros is joined by Hector Martignon (piano), Mark Walker (drums), Andy McKee (bass), and Jonathan Gomez (percussion) for this different twist on Montgomery's music. This project took place after he played a gig that involved performing some of Montgomery's songs. The gig inspired Riveros to reimage Montgomery's music in a Latin American style. Riveros said, "I started to hear all kind of rhythms, bass lines, and melodic variations to some of his tunes. The next day, I started writing arrangements, and this very project began to take shape." 

Riveros is an impressive player and does provide an imaginative gloss to the Montgomery compositions. He and pianist Martignon stand out throughout with fresh inventions. The rhythm section on this recording is top-flight. "West Coast Blues" may be the only arrangement that the Latin coating on Montgomery's loping blues doesn't completely jell to these ears, yet his fleet, sophisticated playing still sparkles. "Jingles" is a terrific, briskly paced performance with sterling piano along with Riveros' mix of single notes runs, octaves, and chords. Riveros' original, "Nelson's Groove," is inspired by "Wes' Tune," and he mostly employs octaves during the bridge. His interpretation of "Wes' Tune" has one of his most inspired improvisations, including his use of octaves. Bassist McKee takes a robust solo on this number.

There are standout renditions of Montgomery's "Road Song" and "Four On Six." The album closes with a lovely, relaxed unaccompanied performance of "Leila," played on a nylon-string guitar. It caps an auspicious and outstanding Zoho Music debut for Riveros that also is an excellent tribute to Wes Montgomery.

I received my review copy from a publicist. Here is "Road Song."

Yulia Musayelyan Tango Project - Oblivion

Yulia Musayelyan Tango Project - Oblivion - Zoho Music

Born in Moscow, Russia, flautist-composer Yulia Musayelyan leads an ensemble on this auspicious exploration of tango music. An award-winning artist in her native Russia before she moved to the United States. Currently, she is on the faculty at the prestigious Berklee College of Music. The quartet's other members also are on the Berklee faculty: pianist Maxim Lubarsky, bassist Fernando Huergo, and drummer Mark Walker. 

The musicians are a stellar group, with Musayelyan playing with fluidity and a gorgeous tone throughout. Pianist Lubarsky adds a definite romanticism with his outstanding accompaniment and inspired solos, while Huergo and Walker provide the dynamic underlining pulse. Musayelyan's performances reflect her cross-genre background. While she was classically trained, as exhibited by her flawless intonation, she is quite an inspired improviser as well. The opening rendition of Astor Piazzolla's "Fuga Y Misterio" illustrates this with the quartet freely negotiating shifts in tempo and musical temperature. Then there is the waltz-like "Flor de Lino," with her lush melodic playing at the fore.

Piazzolla also composed the title track, with a deep, sober melody that provides a backdrop for strongly evocative flute and piano solos. Taken at a breathtaking tempo, "Milonga De Mis Amores," a listener can imagine stylish tango dancers on a performance that displays the clean precision that Musayelyan and the band play. "Como Dos Extraños" is a masterful flute-bass duet along with Musayelyan delivering a charming vocal along with a splendid solo. It is followed by the exhilarating "La Muerte Del Angel." On "Nada," a tango canción written by composer José Dames in 1944, Musayelyan plays the melody on bass flute, while bassist Huergo and pianist Lubarsky both take lyrical solos. Other performances include the beautiful "Nostalgias" with inspired, elegant solos and a vibrant interpretation of Piazzolla's "Libertango." 

The Yulia Musayelyan Tango Project has provided a unique, memorable jazz-tango fusion on "Oblivion."

I received my review copy from a publicist. Here is a performance by Yulia Musayelyan of  "Milonga De Mis Amores."

Noah Bless New York Strong - Latin Jazz!

Noah Bless
New York Strong - Latin Jazz!
Zoho Music

On the back cover of "New York Strong," Arturo O'Farrill is quoted, "Noah Bless is New York Strong. I've seen him on the finest bandstands representing this great city, in a manner that honors that NYC tradition of purposefulness. He is equally at home in swing, rumba, or samba, but always strong." Trombonist, composer and leader Bless is a 30-year veteran of New York City's rich Latin Jazz scene. Bless, in the words of Bill Milkowski, "has immersed himself in Afro-Cuban music, soaking up mambo and rhumba while getting the clave ingrained into his DNA." He toured with legends such as Mario Bauza, Celia Cruz, Eddie Palmieri, Ray Santos, the Spanish Harlem Orchestra, and Arturo O'Farrill's Afro Latin Jazz Orchestra. On this recording, Bless leads a band of Mike Eckroth on piano, Boriz Koslov on bass, Pablo Bencid on drums, and Luisito Quintero on percussion. Alejandro Aviles adds flute to two selections.

Bless is a trombonist who can exhibit a lyrical side as own his "Chasing Normal" or add heat to the surging Afro-Cuban groove of Rudy Calzado's "Ganga." This latter number places the spotlight on Bencid and Quintero. Bencid is on electric piano on the delightful Baden Powell samba, "Canto De Ossanha," with the spotlight on Bless' cashmere wool tone trombone. There is also considerable charm to Bless' interpretation of Jobim's "Ligia," which again shows his melodic side. Bless, in fact, says, "That melodic things always been my strong suit."

Bill Mobley's "49th Street" is transformed from a hard bop composition into a relaxed Afro-Cuban performance with Aviles' flute complementing Bless fluid solo flight over the effervescent groove. Aviles is also present on Bless' original "The Key," a rhythmically charged composition with alternating leisurely and feverish tempos that provides solo space to everyone. An unexpected delight is Bless' arrangement and the group's rendition of James Taylor's well-known folk composition, "Fire and Rain." It is another selection that results in Noah Bless' long-overdue debut as a leader being such a marvelous listening experience.

I received a review copy from a publicist. This review originally appeared in the January-February 2021 Jazz & Blues Report (Issue 394). I have made a couple minor edits. Here is "Sunny Ray" from the album.

Damià Timoner Jerry's Smilin' - A Guitar Tribute to The Grateful Dead

Damià Timoner
Jerry's Smilin' - A Guitar Tribute to The Grateful Dead
Zoho Music

On his Facebook page, Damià Timoner writes, "I was born in Manacor, Mallorca, which is an island in the middle of the Mediterranean sea, and instead of showing preference for fishing-rods, lines and nets, I chose the strings of the Spanish guitar." He studied classical guitar but decided there were enough classical guitarists, so he decided to play his own compositions. While he has played in group contexts, he prefers playing solo and being the focus of attention. His personal listening is oriented to rock artists such as the Grateful Dead, Allman Brothers, Deep Purple, Byrds, Genesis, The Police, Led Zeppelin, Eric Clapton, and AC/DC. Jerry Garcia and the Grateful Dead's music is particularly a favorite of his. This recording has him devoting his nylon string guitar to songs associated with the legendary Garcia and the Dead.

Timoner's performances pretty much stick to the melodic themes and melodic embellishments of these themes beginning with Gracia-Hunter's "Brown-Eyed Woman" and concluding with "Touch of Grey." One can imagine Gracia singing "I will get by, I will survive" during a charming "Touch of Grey." "Ramble On Rose" is a lovely track. Then there is a sterling rendition of the Weir-Barlow penned "Cassidy," played with an eloquent precision. Then there is the bluesy flavor of Garcia-Hunter's "Loser" and the ragged-jug band flavor of Ron' Pigpen' McKernan's "Operator." The songs here span the Dead's entire timeline with a performance of "Dark Star" to "Built to Last" from the Dead's last studio album.

Kabir Sehgal provides information on specific performances that inspired specific tracks and whether he altered the pitch of specific strings or played a song in its original key. This technical information will, perhaps, be of most interest to guitarists. Regardless, "Jerry's Smilin'" is a first-rate, easy-to-listen recording that displays how Dead's songs continue to inspire and entertain us long after Garcia's passing.

I received a review copy from a publicist. Here Damià performs "Ramble On Rose."

Julio Botti Pure Tango

Julio Botti
Pure Tango
Zoho Music

"Pure Tango" is a collaboration between saxophonist Julio Botti and pianist Matias Lanfranco. Introduced to each other in late 2017, they performed a few tunes together and clicked immediately. While Lanfranco hails from a traditional tango tradition that features folkloric music, and Botti integrates modern jazz and nuevo tango, they blended seamlessly. They performed at the Teatro Coliseo in Argentina on September 8, 2018. While a great success, this concert was bittersweet for Botti. "I realized that it would likely be the last concert that my mother would witness," said Botti. His mother, who had struggled valiantly against cancer, would pass away four months later. Wanting to pay tribute and honor his mother, Botti was inspired to record the music from that concert.

Lanfranco and Botti collaborated in this production. After selecting the repertoire and crafting the sophisticated arrangements, Lanfranco came to New York to record the set, first tracking saxophone and piano, and later the rest of the instruments and vocals in Cordoba, Argentina. Botti observed, "This production is a new path for me, celebrating traditional tango, music which I had never performed, but was always somewhere within me." Kabir Sehgal comments in the liner notes, "Pure Tango" is a blend between the vivid colors that traditional tango offers, with its traditional instrumentation -- and the compelling sound of Botti's saxophone."

The blend of traditional tango with Botti's superlative sax makes for stirring listening, with performances ranging from an elegant chamber group to fiery rousing performances. There is "Taquito Militar" that sounds like a musical cousin to a Brazilian choro composition. The facility of both Lanfranco and Botti is evident here. His soprano sax has the warmth of a master clarinetist, and mention should be made of guitarist Gustavo Gancedo. Botti's gorgeous soprano sax is also featured on Lanfranco's waltz "Cuando Llueve," with Gancedo's acoustic guitar prominent. Pablo Ziegler contributed the arrangement to "Nostalgias." Botti's eloquent soprano sax is set against Lanfranco's stately piano and Alejandro Colombatti's bandoneon. "El Día Que Me Quieras" is an enticing duet between Lanfranco's elegant piano and Botti's pensive soprano sax. Another alluring duet between the two is Botti's 'Recordando" with a simple melody that evokes memories of his mother for Botti.

María Jose Rojas sings on several selections. She is a singer who imparts a dramatic flair on the lovely "Cualquiera de Estas Noches" with Botti's tenor sax snaking around her singing. Colombatti's bandoneon adds to the song's atmosphere. The beautiful tango "El Último Café" evokes the Charles Trenet song, "Que reste-t-il de nos amours?" (known in the US as "I Wish You Love.") While not credited on the album, Rojas stamps her personality on the spirited "Oro Y Plata." Botti adds a rousing tenor sax solo. Botti's tenor sax also lends to the bittersweet quality of "Una Canción," where Rojas sings about an alcoholic smitten by a lady.

Combining passion with the imaginative virtuosity of Botti, Lanfranco and the other performers, 'Pure Tango" is a superlative recording.

I received my review copy from a publicist. Here is Julio Botti and Matias Lanfranco performing "Nostalgias."

Swingadelic Bluesville

Swingadelic
Bluesville
Zoho Music ZM 202008

It has been about three years when I reviewed "Mercerville," by the swing little big band, Swingadelic. Swingadelic was formed in 1998 when the neo-swing movement was cresting. Bassist Dave Post gathered his jazz & blues playing friends together to play engagements at various New York City venues. About that recording, I concluded, "Dancers and listeners will find much to enjoy in this lively, appealing recording."

In his notes for "Bluesville," Dave Post observes, "'The blues' has a lot of different meanings to a lot of different folks. Are they the acoustic blues of Bukka White, the electric blues of Muddy Waters, or the sophisticated sounds of Count Basie, Duke Ellington or Ray Charles? It could be more like a state of mind, like the mood and atmosphere created by Red Garland's beautifully mellow LP 'Red In Bluesville.'"

He further states, "Here's a collection of tunes we do at concerts and dances, in bands both large and small, all of which evoke a blues attitude. Jazz people often call us a blues band, and Blues people will call us a jazz band. It's a mixed up, nebulous world we inhabit, and I wouldn't have it any other way." Post is the only person on every selection here. The collective personnel on this recording includes Dave Post, bass; Colby Inzer, drums; Jimmy Coleman, drums; John Bauers, piano & vocals; Mitch Woods, piano & vocals; Kyle Koehler, Hammond B3 organ; John Martin, trumpet; Bryan Davis, trumpet; Carlos Francis, trumpet; Robert Edwards, trombone; Alex Jeun, trombone; Neal Pawley, trombone & vocals; Audrey Welber, alto sax; Ken Robinson, alto sax & flute; Michael Weisberger, tenor sax; Bill Easley, tenor sax; John DiSanto, baritone sax & piccolo; Vanessa Perea, vocals; Andy Riedel, guitar & vocals; Boo Reiners, guitar; and Joe Taino, guitar. Most of the tracks have a little big band, one a piano quartet, and a few with a full big band.

Performances of "The Late, Late Show" from Basie's Atomic Basie band bookend twelve other performances. The opening performance has pianist Bauers very capable vocal along with Bryan Davis' blistering trumpet. At the same time, the closing instrumental version spotlights Bauers on the piano and Mike "The Iceberg" Weisberger on tenor sax. One of the best selections is trombonist Neal Pawley channeling Mose Allison on his vocal before a booting sax solo from former Ruth Brown saxophonist Bill Easley. Organist Kyle Koehler is outstanding here as an accompanist and soloist with the horns riffing in support. Johnny Otis' hit recording of "Harlem Nocturne" will be evoked by the performance here with Audrey Welber's vibrato lending her also sax a bluesy quality which is matched by Boo Reiners keen lap steel guitar.

Pianist Jon Bauers handles the vocals on a couple of Ray Charles classics, "Mary Ann,' and "Lonely Avenue." Alex Jeun is sensational on the trombone on the former song. There is a charming vocal by Vanessa Perea on the Mary Lou Williams' ballad, "What's Your Story, Morning Glory," that was initially recorded by Andy Kirk with Pha Terrell on vocal. Inspiration for this performance is an Ella Fitzgerald recording, with a terrific tenor sax solo from Michael Weisberger. Mitch Woods guests with his boogie inflected piano on a cover of Mose Allison's "Parchman Farm," with Andy Riedel adding his guitar.

Dave Post contributed an original, "El Blues Esa Muje," which he cites Cal Tjader and Quincy Jones as inspirations. There is some sparkling guitar from Joe Taino and robust trombone from Alex Jeun along with a bass break by the composer who contributed the arrangement with its infectious use of flute. Perea returns for a rendition of "I Don't Know," a Brook Benton composed blues that Ruth Brown first recorded. Against an arrangement with effective use of muted brass and braying saxophones, she delivers a superlative vocal. Carlos Francis takes an outstanding trumpet solo employing a plunger mute.

Among other pleasures is a cover of Charles Brown's "Fool Paradise," with vocalist Bauers with Ken Robinson's bluesy alto sax solo and Robert Edwards gutbucket trombone solo. The rendition of Duke Ellington's "The Mooche," includes more muted brass (including Carlos Francis channeling rubber Miley with the plunger mute) along with Boo Reiners intriguing steel guitar. With excellent playing, first-rate arrangements, and very capable singing, "Bluesville" is a terrific recording centered on the intersection of blues and jazz.

I received a review copy from a publicist. Here is an older video of Swingadelic performing "I Want a Little Girl."

Ted Piltzecker Brindica

Ted Piltzecker
Brindica
Zoho Music

Originally a trumpet major at the Eastman School of Music and a member of the Jazz Ensemble under Chuck Mangione's direction, Ted Piltzecker started practicing vibes at the time and even wrote some vibes numbers while with the band. He became a full-time vibes player after a tour with The George Shearing Quartet. "Brindica" is his fifth album and first for Zoho Music, and the title reflects cultural influences from Brazil, India, and Africa but he also had stops in Bali, Cuba, Puerto Rico, New Orleans, and Harlem and have woven these diverse musical landscapes into the tapestry of this album.

Recorded in Argentina with a core group of drummer and co-producer Fernando Martinez, pianist Miguel Marengo, bassist Mauricio Dawid and alto saxophonist Carlos Michelini, "Brindica" also features guest appearances by trumpeter Jon Faddis, baritone sax player Gary Smulyan, tenor saxophonist Ralph Lalama, trombonist Matt Hall and steel pan/snare drummer John Wooton. Other guests include classical clarinetist Ayako Oshima and classical flutist Tara Helen O'Connor, and Cuban percussionist Jansel Torres on bata and conga.

Some of the musical influences are heard on the opening Afro-Cuban flavored, "Great Idea! Who Pays?" with Wooten's steel pans adding to the jubilant feel while Michelini adds some taut sax trading fours with the leader's shimmering playing on this joyful performance. Wooten switches to snare drum to help provide the Crescent City grooves of the infectious "Uncle Peck," with Faddis, Smulyan and Lalama weaving in and out of the leader's solo with Faddis blasting off with his solo. Pianist Marengo provides a compelling riff as well as an intricate solo on the Latin-flavored "Feliz Paseo" with another notable solo from Michelini and more infectious player by the leader and this splendid rhythm section.

The title track is a thoroughly-composed composition where Piltzecker blends rhythmic elements of Brazilian and African music. It showcases clarinetist Ayako Oshima and flutist Tara Halen O’Conner. The breezy "Look At It Like This" that was inspired by a trek through the Himalayas and the melody reflects the beautiful little pentatonic tunes sung by his guide Hari. Another selection of note is Taylor Burgess' hauntingly beautiful vocal interpreting Langston Hughes’ iconic poem "What Happens to a Dream Deferred?" with Piltzecker providing an elegant vibes solo.

With fresh, varied compositions, and wonderful performances, Ted Piltzecker has provided listeners with this marvelous recording.

I received my review copy from a publicist. This review appeared in the March-April 2019 Jazz & Blues Report (Issue 383), although I have may have made minor changes. Here is Ted Piltzecker playing Duke Ellington's In a Sentimental Mood.

Dial & Oatts - Rich DeRosa -The WDR Big Band

Dial & Oatts - Rich DeRosa -The WDR Big Band
Rediscovered Ellington
Zoho Music

Produced in cooperation with the maestro's family. His nephew, Steven James, notes that "In 1979, my mother, Ruth Ellington, and I wanted to record and archive all of the Tempo Music catalogue. This included compositions by my uncle, Duke Ellington, and many of his musical associates. We hired Garry Dial to do this job. I am thrilled, that after 38 years, Garry has revisited the more obscure tunes of Duke Ellington."

The trio of Garry Dial - piano, arranger; Dick Oatts - soprano sax, alto sax, flute, arranger and Rich DeRosa - conductor, arranger, big band orchestration undertook this task, but in a manner that did not try to simply recreate the Ellington sound and try to bring something original in a manner that the Duke did when approaching the classical repertoire as he did with Tchaikovsky’s Nutcracker Suite, stating "Rediscovered Ellington is presented in the same respectful manner. To continue Ellington’s legacy, we resurrected these compositions with our perspective through personalized arrangements. Although a few of them suggest a “tip of the hat” to Duke’s sound, most of these renditions showcase how quality music may be transformed into something new and refreshing while respecting the original essence of its composer. We hope you enjoy these compositions in this context."

For example the opening "Hey Baby," was originally recorded for Victor in 1946, and is a mid-tempo swinger with some sterling solos from Oatts (soprano sax), Paul Heller (tenor sax), Dial (piano) and Johan Hörlen (alto sax) as well as has multicolored shout sections from the brass section, especially heard at the closing section. "Let The Zoomers Drool," is Ellington-Hodges composition with a bluesy feel, superb Dial piano solo along with trombonist Shannon Barnett, with the Oatts-DeRosa arrangement here providing a definite Ellington Band flavor and Oatts alludes to Jonny Hodges with his alto sax towards the end. There is a pensive ballad, "I Like Singing" from a musical "Saturday Laughter" that was written with lyricist Herbert Martin, that has a lush orchestral setting and solos from Dial and Oatts (on alto sax).

The composer and arranger Onzy Matthews worked with the Duke in the late 1960s and early 1970s and likely composed most of "Just A Gentle Word From You Will Do." While probably performed live, this is the first recording of this composition with its straight-ahead melody recast (by Oatts and DeRosa) across the horn and reed sections and in addition to Dial's lively piano, there is delightful flute from Oatts and spirited, if a tad blustery, trombone by Ludwig Nuss. There are no known recordings of either "Introspection," or "Kiki." The former number is an uptempo swinger that is far from introspective and displays the Big Band's marvelous playing along with outstanding solos from Oatts and.trombonist Andy Hunter. The latter number is a jaunty showcase again for the precision and command of The WDR Big Band along with pianist Dial, Karolina Strassmeyer on alto sax, Jens Neufang's riveting baritone sax solo, and John Marshall who takes blazing trumpet solo (and what marvelous timbre he has) on another performance with a definite Ellington tinge to it.

"Love Came" is a lovely ballad that was issued first on Bob Thiele's Red Baron label (it may have been recorded in 1965 but I do not believe it was issued until a few years later), and this is a quiet, reflective performance. It is followed by "KCOR," likely one of the latter compositions of Ellington, opening in a introspective fashion before enlivened by the full band and Oatts impassioned soprano sax solo. The closing ballad, "I Must Be Mad," has wonderful interplay between Oatts on alto sax and Dial on piano, with the full band entering midway through this lovely closing number.

One might question such the approach of recasting material, that was either rare (that is had a brief public life with Ellington) or unheard, away from an Ellingtonian sound, yet one would be hard-pressed to fault any of the performances here. The trio with the celebrated The WDR Big Band, have provided strong, fresh big band performances of the lesser known, but not lesser in quality works of Duke Ellington on an important and enthralling recording.

I received my review copy from a publicist. This review originally appeared in the November-December 2017 Jazz & Blues Report (Issue 375).

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.

Swingadelic Visits Mercerville

Swingadelic
Mercerville
Zoho Music

The self-described 'little big band' Swingadelic was formed in 1998 during the neo-swing movement was cresting when bassist Dave Post gathered his jazz & blues playing friends together to play engagements at various New York City venues, and when the swing scene waned the band stayed active playing swing dance groups, concerts, festivals, schools and private engagements and today plays 100 dates a year. This new album is a tribute to the legendary songwriter Johnny Mercer. Previously Swingadelic has recorded tributes to Duke Pearson and Allen Toussaint.

Pianist and vocalist Johnny Bauers traces the origin of the present recording to the work he did for a Mercer show during the 2009 centenary of him. Subsequently he brought this concept to Swingadelic's Dave Post, and enlisted Vanessa Perea, the sublime vocalist featured on this recording and we started doing shows all over the New York area. During these shows, they told the story of Johnny’s life and the stories of his songs, striking a chord with our audiences. According to Bauers, "[t]his CD is an attempt to recreate some of that magic we feel when we go onstage and perform this great music."

As my first exposure to Swingadelic, I was surprised and impressed by the band's solid musicianship and the focused performances of such familiar numbers as "Too Marvelous For Words," "Blues in the Night," "That Old Black Magic," "I Wanna Be Around," "Jeepers Creepers," "Moon River/The Days of Wine and Roses," "G.I. Jive," and "One For The Road." This set kicks off with "Too Marvelous For Words," where the band punchy, brassy playing grabs the listener. Johnny Bauers is a decent singer, but vocally the star here is Vanessa Perea whose timing, intonation and relaxed phrasing shines. He does shine in a Louis Prima manner with his growl on "That Old Black Magic," and does a credible job crooning on the Tony Bennett hit, "I Wanna Be Around."

The medley of two songs co-written with Henry Mancini, ""Moon River/The Days of Wine and Roses," opens with Panea's lovely, wistful treatment of the former number before Bauer's crooning of the latter number, but he cannot convey the humor present on Louis Jordan's hit on "G.I. Jive." Paul McCartney wanted to collaborate with Mercer in the 1970s but health issues prevented this from happening. The performance of "P.S I Love You" is a fascinating mash-up of the Beatles song with a Gordon Jenkins-Mercer collaboration of the same name.

A serviceable singer, Bauers' piano and his arrangements are first-rate and help account for the splendid playing throughout this recording. Also, there are a number of notable solos including those of guitarist George Naha on "Acc Cent Chu Ate the Positive" and "Blues in the Night," while John Disanto's baritone establishes the feel on "That Old Black Magic." Robert Edwards trombone enlivens "I Wanna Be Around" while Audrey Welber's clarinet is featured on "Goody Goody," and Michael Weisberger ably reprises Louis Jordan's alto sax solo on "G.I. Jive."

Dancers and listeners will find much to enjoy in this lively, appealing recording.

I received my review copy from a publicist. Here Swingadelic perform a song that will be familiar from Bobby Darin.

swingadelic

Chris Washburne Rags and Roots

Chris Washburne
Rags and Roots
Zoho Music

From the opening moments of Joplin "Maple Leaf Rag," trombonist Chris Washburne's new recording provides a fresh take on some ragtime and the roots of jazz. His co-producer, Kabir Sehgal observes that this album "is a bi-hemispheric ragtime revival that marks the centenary of both Joplin’s passing and the first noted jazz recording. By reimagining ragtime and the roots of jazz, Chris Washburne has created a path for new audiences to discover this quintessentially American music. His Rags and Roots is both a tribute to and triumph of ragtime and a sounding out of the truly global roots of jazz." And he does so with this reinvention of Joplin's classic that shifts from traditional jazz to a more modern take only hinting at the melody as well as having Sarah Elizabeth Charles sing the rarely heard lyrics. It is a performance full of surprise and joy.

This performance opens a wondrous and fresh take on other songs from Joplin, Brazil, Haiti, Cuba and Mexico. The leader has brought together a terrific band that includes his trombone and vocals; Alphonso Horne trumpet, vocals; Evan Christopher clarinet, vocals; Andre Mehmari piano, vocals; Hans Glawischnig bass, vocals and Vince Cherico drums, vocals. In addition to Charles, other featured vocalists on this include Thelonious Monk Competition finalist, Vuyo Sotashe and Gabriela Anders.

"Maple Leaf Rag": sets the tone for this outstanding recording. It is followed by a mashup of W.C. Handy's "St. Louis Blues" and Moises Simons "El Manicero (The Peanut Vendor)," that was initially joined together by the Cuban big band, Los Hermanos Castro. This performance fascinates with the interweaving of the two numbers, including the vocals from Charles (on "St. Louis Blues") and Anders (of "El Manicero'), along with solos from the leader and pianist Mehmari. There is the lively Caribbean-Crescent City rhythmic mashup for Louis Moreau Gottschalk's "Bamboula," with Evan Christopher's joyful, serpentine clarinet initiating this with more marvelous piano and some marvelous brass before Christopher with a pensive, woody solo, and playful brass and woodwind riffs.

"Here's One," originally pioneering Harlem Renaissance giant William Grant Still's arrangement of a spiritual, is wonderfully sung by Sotashe followed by a lovely rendition of Joplin's "Solace (A Mexican Serenade)" and then Ernesto Nazareth's buoyant "Odeon," from Ernesto Nazareth's with choice solos from bassist Glawischnig and trumpeter Horne.    Charles' lovely vocal on Joplin's "Picture on Her Face," is followed by the exuberance and invention of "Mildly Entertained," a transformation of "The Entertainer," into a fresh composition. "Ala Cote Gen Fanm," was composed by Haitian composer Gerard Dupervil but the original misogynistic lyrics were adapted by Candice Hoyes and Sarah Elizabeth Charles transforming this into a Haitian feministic anthem with Charles singing in Haitian Creole against a spirited backing. "Lisete," evolved into a popular Haitian folk ballad which Washburne interprets as a charming piano, clarinet, and trombone trio.

Danish-American ragtime composer, Jens Bodewalt Lampe, penned "Creole Belles," that some may know from Mississippi John Hurt's lilting recording. Christopher's ebullient arrangement provides a contemporary take on traditional New Orleans Jazz with a fine vocal from Sotashe. The album closes with a somber "Strange Fruit." Charles delivering the first verse backed solely by Glawischnig's bowed bass before the full band enters with sober horns set against a funeral march tempo on a Charles' compelling rendition of the anti-lynching song made famous by Billie Holiday.

"Rags and Roots" has fresh takes on ragtime and early jazz classics that is wonderfully arranged, as well as superbly played and sung. It is a superb recording.

I received my review copy from a publicist. This review originally appeared in the May-June 2017 Jazz & Blues Report (Issue 372). 

 

John Hart Exit From Brooklyn

John Hart
Exit From Brooklyn
Zoho Music

Moving to New York in 1984, fresh out of college, guitarist and composer John Hart initially landed in Brooklyn, although he eventually moved to the suburbs. In his notes to his new Zoho Music release, "Exit From Brooklyn," he mentions the vibrant jazz scene in that Borough which was part of his thirty years in the City experiencing virtually every facet of New York's jazz scene, including spending 16 years with organist Brother Jack McDuff. He met his partners in his trio, bassist Bill Moring and drummer Tim Horner, shortly after moving to New York, and while running into each other at apartment jam sessions and whatever, they formed a trio around 2000 and "Exit from Brooklyn" is their fourth CD together. Currently Hart is director of Jazz Guitar Studies at the University of Miami Frost School of Music and spends more time there, but this does not that affect his status as a performing jazz musician.

"Exit From Brooklyn" has the trio performing three originals and seven standards and from the opening rendition of "Here's That Rainy Day" to the closing "Where or When," there is much to enjoy from the leader's fleet fretwork and the support and solos from Moring and Horner. There are plenty of nice touches, such as the 6/8 rhythm for "Here's That Rainy Day," along with the twists and turns of his improvisation. In contrast, Hart's title track evolves and expands out of a riff Hart introduces at the beginning and on which Moring also solos and then followed by a lovely rendition of Billy Strayhorn's "Star Crossed Lovers," with Horner on brushes.

Another highlight is when Hart and trio interpret "April in Paris" that he performed with Jack McDuff. The performance here is based on the Wild Bill Davis arrangement of famous Count Basie recording, and in addition to some of Hart's choicest playing, Moring (a Basie alumni) solos and then Hart and Horner trade fours. Again on "Just Friends," one is impressed by the fresh twist Hart gives this familiar standard. More twists and turns are heard on an brisk original blues "I Mean It!," followed by two Thelonious Monk compositions including an exquisite rendition of "Ask Me Now." These are among the pleasures of "Exit From Brooklyn," that make it so appealing.

I received my review copy from a publicist. I do not believe this review has previously been published. Here is John Hart with a different rhythm section.

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."

 

Hector Martignon's Banda Grande The Big Band Theory

Hector Martignon's Banda Grande
The Big Band Theory
Zoho Music

As Hector Martingnon writes "Should you be insane enough to want to start a Big Band…. do it in New York! … It was at that veteran of all venerable old Manhattan venues, the Nuyorican Poets Cafe in the Lower East Side, where my flirts with the Big Band format became a love affair, with all its challenges and intricacies. Starting off as an experimental workshop, with personnel, compositions and arrangements varying every week, some suitable for the dance needs of the crowd and some suitable for a full concert, Hector Martignon's Banda Grande slowly but surely came of age."

The 20 or so instrumentalists provides a composer and arranger with a wide palette of musical colors and styles which are explored here, "from the Baroque sinfonía concertante, visiting the inquiring language of the sixties' and seventies’ Jazz, to the Brazilian eccentricities of a Hermeto Pascoal, adding, of course, my own honest attempts at composing and arranging." Budgetary and space issues forced him "to divide the recording into four sessions, each of which left (almost) untouched: 1. rhythm section plus some soloists, 2. horns, 3. strings and 4. some solo overdubs."

The breath of his musical ambitions is heard early on in the opening "Hell's Kitchen Sarabande" with its contrasting musical colors set against a latin-infused funky groove that celebrates Hell's Kitchen's strangely alluring decay before it became an extension of the touristy Times Square. There is marvelous alto sax (Alex Han?) heard here set against a surging background, followed by Andy Hunt's gruff but melodic trombone. The salsa flavored "99 Macdougal Street" was inspired by a year living on that Village street and was written while a member of Ray Barretto's New World Spirit. The leader's piano, Samuel Torres' percussion and Christos Rafalides' vibraphone, along with David De Jesus hard bop styled alto sax stand out on this multi-layered performance that shifts from salsa to straight hard bop.

Martignon's creation of interesting instrumental voicings is also displayed on the rendition of the bossa standard of Bruno Martino, "Estate," with the leader playing accordion along with Christos Rafalides' vibraphone underpinning Chris Washburne's trombone along with tenor sax by Chelsea Baratz, with the leader's arrangement providing a swirling setting for the strong solo statements and the fresh take on this classic. This lively rendition is followed by songs inspired by his stay in Germany and the Christmas markets there. Inspire by groups of trombones playing Christmas songs there inspired "Trombone Chorale" with its integration of a string quartet with the big band sonorities and all the four members of the trombone section all spotlighted. Similarly bridging the classical and jazz worlds is a standard of European Sacred Music, "Erbarme Dich," one of the most haunting Arias (No. 47) out of the "St. Matthew Passion" by J.S. Bach, with an alto vocal by Brenda Feliciano.

A playful rendition of Bill Evans' "Interplay" has muted trumpets while Enrique Fernández' baritone helps anchors the performance with solos from Chelsea Baratz on tenor sax, John Benitez on bass, Vince Cherico on drums and Samuel Torres on congas and maracas. Martignon observes "Nostalgias del Futuro is the first movement of a “Concerto for Harp and Orchestra” I wrote for my fellow Colombian and harp virtuoso Edmar Castañeda." This also showcases his deftness in arranging strings in a big band context and avoiding a syrupy tone. "Maestra" was the first composition of Martignon for a big band and this Cumbia has Martin Vejarano on the indigenous Gaita (a sort of flute with reeds).

The closing "The Fruit Vendor's Last Dream" was inspired by the fruit vendor who immolated himself on January 4, 2011, protesting against the corruption and abuse of power exercised by the authorities in Tunisia, giving rise to the Arab Spring. This performance has a stately quality with the centerpiece being a moving solo from bassist Benitez. It serves as a coda to a marvelous big band recording that will intrigue and fascinate listeners who will discover new delights with repeated listening.

I received my review copy from a publicist. This review originally appeared in the July-August 2016 Jazz & Blues Report (Issue 367). Here is Hector Martignon's Banda Grande playing "Interplay."

Julio Botti Sax To Tango

Julio Botti, Pablo Ziegler Producer
Sax To Tango
Zoho Music

"Sax To Tango" is the second CD collaboration between Argentine born, but New York domiciled saxophonist Julio Botti and his celebrated mentor and colleague, Nuevo Tango pianist, arranger and composer Pablo Ziegler. The prior recording, a Latin Grammy nominee, featured classic quintet settings with occasional string quartet accompaniment, while the present recording is more ambitious in its arrangements featuring The University of Southern Denmark Symphony Orchestra under the baton of Argentine conductor Saul Zaks in a selection of nine iconic Astor Piazzolla Nuevo tangos, one Tango standard, and three compositions by producer Ziegler who also plays piano. The recording sessions were scheduled in connection with a live concert of the material.

As Ziegler observes the saxophone was never a traditional tango instrument but he finds Botti able to express Nuevo Tango as if a tango singer and the orchestrations both frame his vocalized and passionate playing but add to the romanticism inherent in the music. This becomes clear on the opening "Primavera Porteña," part of Astor Piazzolla's "Los Cuarro Estaciones Porteñas (The Four Seasons of Buenos Aires)," which was inspired by Vivaldi's "The Four Seasons" but composed at different times and not primarily intended to be performed together or in seasonal sequence. This composition is a celebration of spring and followed by "Invierno Porteño," a celebration of winter. Both compositions and the lovely orchestration allow plenty of space for Botti to sing on the soprano and dance through the orchestrations with various shifts in tempo and mood with Ziegler's piano itself adding to the music. Much the same can be said of the performances throughout.

The music is beautiful, passionate and invigorating with the orchestrations enhancing the many delights of Botti's voice as he brings life to the rest of Piazzolla's "Los Cuarro Estaciones Porteñas," along with the beautiful melody of Juan Carlos Cobian's "Nieblas del Riachuelo," the lively "Fuga Y Misterio," with sax dancing along with Ziegler's piano, the Piazzolla composition "Oblivion," with some hauntingly beautiful saxophone, and Ziegler's own "Rojotango," with its sense of drama in the orchestration. "Sax To Tango" is a remarkable recording full of many listening delights.

I received my copy from a publicist. This review originally appeared in the September-October Jazz & Blues Report (Issue 368). Here is a brief video clip to promote this recording.

Fuernado Huergo's Swinging Hashtag

Fernando Huergo
Hashtag
Zoho Music

Currently a professor at Berklee School of Music, Argentine-born bassist Fernando Huergo brings the tango as well as the folkloric music (including the chacerera 6/8 folkloric rhythm) of his native land together with the American Jazz he also grew up listening to his seventh recording and label debut for Zoho. As quoted in Bill Milkowski's liner notes, "I’m from Argentina, I love the music from there, is in my blood. I love Astor Piazzolla and I love folklore music, but I also love Duke, Monk, Mingus and Benny Golson and all the jazz greats. So I tried to combine those things and create something hopefully interesting.”

With his electric bass and group of Yulia Musayelyan on flute, Rick DiMuzio on tenor sax, Leo Genovese on piano and Fender Rhodes and Franco Pinna on drums, Huergo provides 8 originals and four interpretations from Thelonious Monk, Wayne Shorter, Mongo Santamaria and Billy Strayhorn. "Hashtag" is a diverse program of swinging grooves and moods wonderfully played with the leader's bass anchoring the music. The Argentinian rhythms provide accents underpinning the performances here starting with the opening title track with Genovese's Fender Rhodes and Pinna's touch and rhythms provide a base for Huergo's scintillating solo followed by DiMuzio's robust tenor. Throughout, the blending of sax and Musayelyan's flute lends a delightful flavor. Genovese (who I first was exposed to as part of Jack DeJohnette's Quartet with Joe Lovano and Esperanza Spalding), also dazzles here.

The twelve song program mixes the leader's wonderful originals with interpretations of some classic and less familiar compositions including a fresh rendition of Monk's "Evidence" which opens as a duet with Pinna before the horns state the theme with clipped phrasing followed by some stunning piano from Genovese. Huergo's ballad "Cerca (To Fran and Clara)" opens with statement of the theme from the horns with a lovely flute solo from Musayelyan and Pinna is employing brushes. "Troesma" has more lovely voicings, as well as incorporating tango rhythms from the horns on the head with the flute sounding more probing and insistent here (and there is nice counterpoint exchanges on the main theme between her and DuMuzio here) while Genovese dazzles with his technique and imagination. Wayne Shorter's lovely "Infant Eyes" showcases the leader's virtuosity on the electric bass (Jaco Pastorius is obviously a major influence on him) as well as his arranging skills, while again the quintet freshly interprets Mongo Santamaria's "Afro Blue."

The album includes tributes to Weather Report ("Weather") and Astor Piazzolla ("Astor") and closes with a choice performance of Billy Strayhorn's "U.M.M.G. (Upper Manhattan Medical Group)." It is easy to recommend "Hashtag" with its mix of strong and varied compositions, scintillating arrangements, strong solos and marvelous ensemble playing.

I received my review copy from a publicist. This review originally appeared in the July-August Jazz & Blues Report (Issue 367). Here is a video of Fernando Huergo performing.