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.

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.