Judy Wexler - Back to the Garden

Judy Wexler - Back to the Garden -Jewel City Jazz

While vocalist Judy Wexler's prior album, "Crowded Heart," was Judy's effort to present "jazz standards for the 21st century," "Back to the Garden" has her reimagining songs from the 1960s of Love, Hope, and Change. Wexler co-produced this with Jeff Colella, who plays keyboards (and melodica on one track). Others on this recording include Larry Koonse on guitar, Gabe Davis on bass, and Steve Hass on drums. Others heard on some of this recording are Bob Thiele, Jr. on guitar, Danny Janklow on alto sax, Jay Jennings on trumpet, and Hendrik Meurkens on harmonica. There are strings present on three tracks.

Reviewing "Crowded Heart," I wrote, "Wexler has a delightful, sometimes dreamy voice that conveys joy and heartbreak with her swing, phrasing, clear diction, and sweet tone." With her excellent command of pitch and her storytelling singing these songs, "Back to the Garden" is a delightful, sophisticated jazz-pop recording. Things kick off with her revival of the Youngbloods' appeal for peace and brotherhood, "Get Together," although the moody backing has it come across more like a plea. There is plenty of charm to her relaxed reworking of The Drifters' hit (by Gerry Goffin and Carole King) "Up on the Roof." Kudos for her rendition of Paul Simon's "American Tune," with a strings section enhancing her plaintive vocal. Koonse takes a short acoustic guitar solo here. The strings also add atmosphere to the optimism expressed in her performance of Bob Dylan's "Forever Young."

Colella plays melodica (and solos) on the rendition of Dylan's protest anthem, "The Times They Are A-Changin'." It is another performance the showcases her skill in highlighting the lyrics. Cotella adds a stark arrangement for the cover of the Buffalo Springfield's "For What It's Worth. It is one of several songs for which Erin Bentlage sang background vocals. One of her top vocals here is of Fred Neil's "Everybody's Talkin'." Hendrik Meurkens contributes an enchanting solo to add to the low-key, rather reflective quality of this performance. Jay Jennings trumpet adds to a nostalgic rendition of Sandy Denny's "Who Knows Where The Time Goes." 

Judy Wexler has produced a most agreeable recording with her appealing, heartfelt vocals and solid, understated backing.

I received my review copy from a publicist. Here is Judy Wexler performing "Up On the Roof" from 2018.

Hendrik Meurkens Manhattan Samba

Hendrik Meurkens
Manhattan Samba
Height Advantage

The harmonica wizard Hendrik Meurkens has undoubtedly displayed the skills that have some to label him as the successor to Toots Thielemans, He is best known for his efforts in Brazilian jazz, and that is what is featured on this his release. Hendrik describes this release, "'Manhattan Samba' is a samba jazz journey that introduces some new compositions of mine, revisits a few trusted older ones and features songs by the Brazilian masters Ivan Lins, Toninho Horta and of course Mestre Tom Jobim. The band consists of the fantastic Helio Alves on piano; two great bass players, Gustavo Amarante and Fernando Huergo; and on drums the legendary Portinho, who is one of the founding fathers of samba jazz drumming in the US."

"Manhattan Samba" is a marvelous recording of Meurkens harmonica playing backed by his first-rate band. The album opens with the breezy "Clear of Clouds," with Meurkens horn-like phrasing flying over the clean, crisp Brazilian tempo. More of the same lively samba groove follows on the exhilarating title track. As a composer, Meurkens writes  very memorable melodies, such as the enchanting "One For Manfredo." In addition to the leader's adept harmonica, pianist Alves scintillates. Equally infectious is "Frenzelosa (Choro No. 2)," on which Portinho dazzles with his cymbal work in support of sterling solos by Alves and Meurkens. The exchanges between them are hypnotic. Huergo is the bassist on the lovely interpretation of the Ivan Lins and Vitor Martins composition "Dona Palmeira." Another lovely selection is the wistful rendition of "Bonita" from Jobim, Gilbert and Lees.

Meurkens' latest is a joy for lovers of jazz harmonica and Brazilian jazz. With an outstanding band and a strong musical program, "Manhattan Samba" is a musical delicacy well worth sampling.

I received a download to review from a publicist. This review originally appeared in the January-February 2021 Jazz & Blues Report (Issue 394). I have made a couple minor edits and corrections. Here is Hendrik Meurkens performing "Bonita."

Hendrik Meurkens - Bill Cunliffe Cabin in the Sky

Hendrik Meurkens - Bill Cunliffe
Cabin in the Sky
Height Advantage

A new album of duets between the harmonica wizard Meurkens and pianist Cunliffe mixes some originals with some Broadway and pop standards that will delight listeners. The elegance of Cunliffe's piano and  Meurkens harmonica mastery is evident with the opening title track  Meurkens certainly displays the skills that have some to label him as the successor to Toots Thielemans, while Cuniliffe's accompaniment and solo dances in its own way as well. Cunliffe provided a string arrangement for the wistful original from Meurkens, "Afternoon," followed by the duo's lovely rendition of Wayne Shorter's "Miyako," and a lively rendition of Joe Zawinul's "Young and Fine."

Cunliffe's "You Don't Know," is a lightly swinging blues-inflected number, while "Invitation" is warmly interpreted. The Cunliffe/McConnell number, "Time to Say Goodbye," has a reflective quality. There is surprise to be heardin a performance of "Ode to Billie Joe," as Meurkens harmonica sings the Bobby Gentry lyrics.  Cuniliffe's piano provides some bounce to "Speak Low." An imaginative take of Jobim's "Wave," has references to "Smoke on the Water" in the closing performance of a recording by two kindred souls, full of marvelous playing that displays their virtuosity, imagination, and wit.

I received my review copy from a publicist. I have made some stylistic edits and corrections to the review that originally appeared in the July-August Jazz & Blues Report (Issue 379). Here is a promotional video for the recording.

Lyn Stanley The Moonlight Sessions Volume One

Lyn Stanley
The Moonlight Sessions Volume One
A.T. Music LLC

A former corporate marketing executive, Southern California vocalist Lyn Stanley has produced this, the first of two volumes that is directed not simply at jazz enthusiasts but also audiophiles with SACD, hi resolution downloads, high end 45 RPM vinyl editions and even 15ips reel to reel tapes. She certainly has assembled a stellar cast of players for this recording session: pianists Mike Garson, Christian Jacob and Tamir Hendelman, guitarist John Chiodini, bassist Chuck Berghofer, drummer Joe La Barbara, percussionist Luis Conte, harmonica maestro Hendrik Meurkens, tenor-saxophonist Rickey Woodard, and trumpeter/trombone player Chuck Findley. Garson, Hendelman, Jacob, Chiodini and Doug Walter provided the arrangements on the standards and adaptations of pop songs.

Stanley is a marvelous song stylist as opposed to a scatting jazz vocalist who delivers a program "All or Nothing at All," "My Funny Valentine," "Embraceable You," "Why Don't You Do Right," "Crazy," "Close Your Eyes," and "In the Wee Small Hours," with a soft, sultry voice and direct, clean articulation of the lyrics. Her natural phrasing and delivery also contributes to the wonderful performances, along with the marvelous musicians such as Findlay's trumpet on the opening "All or Nothing at All," with wonderful piano and the brassy horn riffs. Woodard's tenor sax adds his magic to "Willow Weep For Me," as he embroiders her vocal with guitarist Chiodini adding chords and fills. Meurkens adds his harmonica to a Brazilian tinged treatment of "Close Your Eyes," while harmonica, and Chiodini's guitar to the lament, "How Insensitive, " that she sings in a heartfelt fashion.

One here's a definite Peggy Lee influence on her rendition of "Why Don't You Do Right?' that opens with finger-snapping, bass and guitar before La Barbara lightly uses brushes with Berghofer taking a solo. The choice of the Willie Nelson penned Patsy Cline hit, "Crazy," is an inspired choice with Berghofer opening playing the opening line before the band comes in with a juke joint feel and Findlay and the horns contribute extra spice. Another softly sung late night lament, "In the Wee Wee Hours," with Meurkens' harmonica complemented by Chiodini's guitar accompaniment and La Barbara's brushes providing the right atmosphere for this marvelous closing performance on a wonderfully sung, played, and recorded album of sophisticated jazz vocals.

I received my review copy from a publicist. This review originally appeared in the September-October 2017 Jazz & Blues Report (Issue 374). Here is Lyn Stanley performing live.

Gabriel Espinosa Songs of Bacharach and Manzanero

Gabriel Espinosa
Songs of Bacharach and Manzanero
Zoho Music

Growing up as a youth in Merida, in the Yucatan, Mexico, bassist, composer and arranger Gabriel Espinosa, first was exposed to the music of American composer Burt Bacharach and Mexican composer Armando Manzanero in the mid-60's when both came to prominence in their respective countries. Growing up at that time he was member of a band that played both Beatles songs and bossa novas and at the time also getting introduced to jazz. Hearing both Bacharach and Manzanero at that time affected him greatly as they both "wrote beautiful, highly memorable melodies with sophisticated harmonies … ." Espinosa, in fact, worked with Manzanero in the mid-90s helping produce two albums by him.

Exploring common ground between the two, and getting to fulfill his desire to do a vocal album with his favorite songs by the two, he selected five songs from each, and invited the wonderful Tierney Sutton to sing the five Bacharach numbers while he handled five from Manzanero. Among those accompanying Espinosa, a Professor of Jazz Studies at Central College in Pella, Iowa, are pianist Misha Tsiganov, drummer Mauricio Zottarelli, trumpeter Jim Seeley and chromatic harmonica virtuoso Hendrik Meurkens, who he has collaborated with as co-leader on various projects. Espinosa plays bass on three tracks, "Adoro," "Raindrops Keep Fallin’ on My Head," and "Cuando Estoy Contingo," while his arranger’s touch is prevalent throughout. Songs from Bacharach and Manzanero. Joe Martin plays upright bass on three selections while Gustavo Amarante plays electric bass on four.

Espinosa's arrangements and leadership provide the unifying thread of the music which alternates between his Spanish vocals of Manzanero' songs and Sutton's English renditions of the Bacharach songs that will be much more familiar to most listeners. While Sutton has established herself as among the leading jazz vocalists of today, and has dueted with Espinosa before, this is his first album where he has presented himself as a vocalist and ably acquits himself throughout as on the driving rendition "Adoro" as well as "Come Yo Te Aime," with Meurkens contributing his wonderful harmonica here as well as on the poignant "Esta Tarde VI Llover." The most familiar Manzanero song is "Somos Novios" which will be familiar to Americans as "It's Impossible." Espinosa's romanticism is complemented by the warmth of Seeley's flugelhorn.

The Bacharach numbers should be familiar to most listeners. The Carpenters' classic "(They Long To Be) Close To You" opens with a dreamy romanticism before segueing into a lively samba groove with Itai Kriss contributes lovely flute, while "The Look Of Love" is rendered as a bossa nova with Sutton's soft vocal aided by Misha Tsiganov's electric piano and Seeley's melodic trumpet. Sutton provides a restrained "What The World Needs Now," backed by just a trio, with Zottarelli using brushes and Tsiganov's accompaniment a display of restraint and eloquence. Meurkens harmonica contributes to Sutton's melancholic take on "Raindrops Keep Falling On My Head," as well as her wistful interpretation of "Alfie."

As Bill Milkowski observes in his liner notes, "Espinosa puts his own unique spin on these ten classics with subtle reharmonizations to inject new colors along with new intros, interludes and rhythmic twists that draw on his background in bossa nova, samba and jazz." With the vocals of him and Sutton's, and the fresh arrangements of these songs, one has a delightful album of vocal jazz, where the romance and melody lingers on long after one has finished listening.

I received my review copy from a publicist. Here is Hendrik Meurkens and Gabriel Espinosa in performance.

Hendrik Meurkens Harmonicus Rex

Hendrik Meurkens
Harmonicus Rex
Height Advantage

The remarkable jazz harmonica wizard, Hendrik Meurkens, may be best known for his magic in the realm of Brazilian jazz, but on his latest release, "Harmonicus Rex," his focus is on straight ahead jazz. On this session he is joined by the legendary Jimmy Cobb on drums, along with bassist Marco Panascia and pianist Dado Moroni. Joe Magnarelli on trumpet and Anders Bostrom on alto flute are each heard on four of the eleven tracks (one on which they both are heard). The program on this release are five originals as well as six interpretations of standards.

Meurkens' "Mundell's Mood" is a bright, swinging number that opens this with the leader and Magnarelli stating the theme before the trumpeter takes the first solo before Meurkens takes the first of his solos on his chromatic harmonica with his melodic invention and horn like phrasing (if not tone) at the fore before a break from Moroni with Magnarelli and the leader trading fours prior to the coda. Its the beginning of a delightful, and wide-ranging, recording with the rhythm section exemplary throughout. The groove of Meurkens' "Slidin'" has Meurkens sounding a bit more wistful at first before he solos vigorously followed by Bostrom's lovely flute.

Moroni rumbles a bit to set the mood for a lovely quartet rendition of Dave Brubeck's "In Your Own Sweet Way." Then there is a lovely, bluesy original ballad performance, "Afternoon" with Magnarelli on flugelhorn contributing to the mood that Meurkens' engenders here. Both Magnarelli and Bostrom are present for the lively rendition of Milt Jackson's blues, "SKJ," while Meurkens' fluidity, melodic playing and invention is showcased on the Rodgers-Hart classic "Falling in Love With Love," with Moroni and Panascia also showcased. "A Summer in San Francisco" is a lovely, lazy original that features Bostrom while Magnarelli adds his bright tone to a relaxed, rendition of Freddie Hubbard's "Up Jumped Spring."

The album closes with marvelous quartet performances of the standards "Darn That Dream" and "What's New." And one cannot emphasize how exceptional the rhythm section is throughout nearly one hour of delightful, straight-ahead jazz on "Harmonicus Rex."
I received my review copy from a publicist. This review originally appeared in the May-June 2016 Jazz & Blues Report (Issue 366). Here Hendrik Meurkens performs "Darn That Dream."

Hendrik Meurkens Harmonicus Rex

The remarkable jazz harmonica wizard, Hendrik Meurkens, may be best known for his magic in the realm of Brazilian jazz, but on his latest release, "Harmonicus Rex," his focus is on straight ahead jazz. On this session he is joined by the legendary Jimmy Cobb on drums, along with bassist Marco Panascia and pianist Dado Moroni. Joe Magnarelli on trumpet and Anders Bostrom on alto flute are each heard on four of the eleven tracks (one on which they both are heard). The program on this release are five originals as well as six interpretations of standards.

Meurkens' "Mundell's Mood" is a bright, swinging number that opens this with the leader and Magnarelli stating the theme before the trumpeter takes the first solo before Meurkens takes the first of his solos on his chromatic harmonica with his melodic invention and horn like phrasing (if not tone) at the fore before a break from Moroni with Magnarelli and the leader trading fours prior to the coda. Its the beginning of a delightful, and wide-ranging, recording with the rhythm section exemplary throughout. The groove of Meurkens' "Slidin'" has Meurkens sounding a bit more wistful at first before he solos vigorously followed by Bostrom's lovely flute.

Moroni rumbles a bit to set the mood for a lovely quartet rendition of Dave Brubeck's "In Your Own Sweet Way." Then there is a lovely, bluesy original ballad performance, "Afternoon" with Magnarelli on flugelhorn contributing to the mood that Meurkens' engenders here. Both Magnarelli and Bostrom are present for the lively rendition of Milt Jackson's blues, "SKJ," while Meurkens' fluidity, melodic playing and invention is showcased on the Rodgers-Hart classic "Falling in Love With Love," with Moroni and Panascia also showcased. "A Summer in San Francisco" is a lovely, lazy original that features Bostrom while Magnarelli adds his bright tone to a relaxed, rendition of Freddie Hubbard's "Up Jumped Spring."

The album closes with marvelous quartet performances of the standards "Darn That Dream" and "What's New." And one cannot emphasize how exceptional the rhythm section is throughout nearly one hour of delightful, straight-ahead jazz on "Harmonicus Rex."

I received my review copy from a publicist. Here Meurkens is heard performing "Up Jumped Swing" with Cobb and Moroni by Ray Drummond on bass.

Saboya Adolfo Meurkens Copa Village

A new album “Copa Village” (AAM Music) represents a collaboration between Brazilian singer Carol Saboya; her father, pianist and composer-arranger Antonio Adolfo who now lives in and the German born vibraphonist-harmonica player, Hendrik Meurkens. “Copa” in the disc title refers to Rio de Janeiro’s Copacabana section while the Village refers to Greenwich Village, both being musical meccas in the 1950s and 1960s, when Brazilian and jazz musicians began collaborating in earnest with the emergence of bossa nova in the United States.

In 1969, Antonio Adolfo was pianist with the the legendary Brazilian singer Elis Regina who had just met Toots Thielemans in Stockholm and they recorded a classic recording “Elis & Toots - Aquarela do Brasil.” Several years later he met Meurkens who he refers to as “another incredible harmonica player.” They have played together several times including in Summer 2014 in New York City with his daughter leading to the recording of this album.

For this recording, they are joined by guitarist Claudio Spiewak, bassist Itaguara Brandão, drummer Adriano Santos and percussionist André Siqueira for some fresh takes of Brazilian music, including renditions of five songs penned by Antonio Carlos Jobim; a collaboration between Adolfo and Meurkens; three from Meurkens and two from Adolfo. Included are several celebrated Brazilian music classics starting with the lovely “The Girl From Ipanema (Garota de Ipanema);” and “Aqua De Beber (Water to Drink);” both by Jobim and Adolfo’s “Pretty World” (with English lyrics by Alan Bergman and Marilyn Bergman).

Listening to her lovely singing on “The Girl From Ipanema,” one cannot avoid noting her rendition holds up well to the famous Astrid Gilberto rendition with Meurkens’ harmonica adding to this rendition's charm. “Copa Village,” a collaboration between Adolfo and Meurkens, is a breezy  performance with Saboya’s charming wordless vocal serving as an additional horn-like voice to the harmonica. There is  lovely piano here as the rhythm section provides solid, restrained support. Meurkens "Show De Bola (lyrics by Paulo Sergio Valle)" is lively with spice to the wonderful singing added by Meurkens' vibraphone. The rendition of “Aqua De Beber” is terrific with marvelous harmonica solo and Adolfo’s marvelous piano. Saboya delights on her father’s “Pretty World” that some may know from recordings by Sergio Mendes and Stevie Wonder.

Adolfo’s “Visão” with a lovely Saboyo wordless invocation of the melody is the final track. Originally recorded by Elis Regina and Toots Thielemans on “Aquarela do Brasil”, it is a fitting conclusion to the excellent and enchanting“Cope Village.”

I received my review copy from a publicist. I have made some stylistic changes to the original review that appeared in the May-June 2015 Jazz & Blues Report (Issue 360). Here are Adolfo and Meurkens performing recently.

Phill Fest's Projeto B.F.C.

Guitarist Phill Fest, son of bossa nova pioneer Manfredo Fest, has issued Projeto B.F.C., which explores jazz and bossa from high energy samba and baiao rhythms, to subtle bossa gentleness. B.F.C. refers to the Brazilian-Florida connection (as Phill has been in South Florida for over a decade). He is backed by pianist Robert Prester, Brazilian drummer Ronie Martinez and bassist Russ Howard with Hendrik Meurkens adding his harmonica virtuosity to several selections. The material includes originals by Phill, pianist Robert Prester, drummer Martinez and genre defining compositions by Manfredo Fest.

A couple of short percussion features by Martinez open and close this lively album. Fest’s own Florianoplis was previously recorded by his father and is a brisk and lively number that displays his fleet guitar playing backed by the lively accented group. Kenny Drew Jr paid tribute to Manfredo with Samba De Cayo Hueso, and Meurkens adds his chromatic harp virtuosity to the scintillating solos by Prester and Fest. One also has to acknowledge the crisp and lively support of Howard and Martinez here (and he takes a short solo break on this selection) and throughout. On Baiao Da Amizade, there is much charm in the interplay between Fest and Prester (who overdubs on acoustic guitars and vocalizes) before Howard solos.

Meurkens is also present on Manfredo’s lovely Clearwater Sunset, with Phill adding lovely guitar against the light swaying rhythm. Prester’s Commonwealth Ave opens with Gershwin-esque piano prior to Fest taking it into another gear on another spirited performance. Manfredo’s “Dig This Samba” is another lively performance that has Meurkens once again joining the group for another marvelous performance on a recording of Brazilian jazz that consistently delights listeners.

I received my review copy from a publicist. Here Phill Fest and group perform Manfredo's Dig This Samba.