Melissa Aldana, the young Chilean saxophonist, released her first CD entitled “Free Fall” in 2010. It was a dazzling foray into mature jazz. That is not to say that she was over her head because she was not. In fact, she seemed right at home in the classic quartet setting of piano, bass, drums and horn.
                                  
“Second Cycle” is her second sojourn but in the altered quartet of sax, trumpet (Gordon Au), bass (Joseph Lepore) and drums (Ross Pederson). The compositions are all by Melissa or Gordon Au with the exception of Sammy Fain’s “I’ll Be Seeing You.”

Like “Free Fall,” Melissa’s new CD is released on Greg Osby’s Inner Circle Music label. Osby knows how to back a winner. He has established a reputation as a cultivator of young talent and his label’s artist list reads like a collection of future legends.

Melissa Aldana is one of those future legends. She plays cool. She plays raw. She is soothing. She is thrilling. Her hometown of Santiago, Chile should be extremely proud of her.

The album kicks off with “Ellemeno” a mid-bop piece from trumpeter Gordon Au. It is a sure sign of Melissa’s confidence that her own CD opens with a piece dominated early on by the trumpet. When she takes her own solo, it is surely worth the wait.  The piece closes with both horns in duet. They play well together.

Drummer Ross Pederson has appeared on several recordings and his performance on “Second Cycle” shows why. His talents are on display from the opening track as he seems to channel Elvin Jones.

“Meeting Them” is the second track and is an original composition by Melissa herself. It is easy to be taken by her understated approach as the rhythm section attempt to steal the show. Pederson gives a quasi-military introduction and at first it seems like Melissa misses the beat but it becomes immediately clear that she is exactly where she intends to be. The piece is almost avant-garde in its loose timing and rough riding. It is fascinating.

Gordon Au composed “Liquiescence” and is a lovely and intelligent work. The sax and trumpet work in great partnership. Think John Coltrane and Don Cherry.

This track is one of those examples where the listener should listen behind the front pieces because Joseph Lepore lays down some exquisite bass work underneath.

The following four pieces are all Melissa Aldana compositions. “First Cycle” is a bold experiment in rhythm and non-melody. I say that without criticism because Melissa performs the sax percussively rather than melodically and she does it with courage and attack.

Amazingly, while the listener is caught into the rhythm of the piece a melody does emerge that prepares the way for “Second Cycle.” It is tempting to categorize tracks 4-6 as a suite. They seem to belong together and surely this is what Melissa had in mind because the percussion of “First Cycle” gives way to the melody of “Second Cycle.” It is an aggressive melody that has an almost sultry kind of charm. Then this surrenders to a lively core progression melody that characterizes “Free Fall.” The rhythm section is harnessed in service of the punchy melody from the horns.

“My Own World” follows and is another original from Melissa. The title invokes imagery of wistful daydreams but the truth of the music is far from that. It is a commanding performance from Melissa and she is planting her flag in a sax player’s jazz world that clearly and deservedly belongs now to her. She is at home in this world of jazz saxophone and it is indeed her own world.

“Polyphemus” is composed by Gordon Au and it is as rousing and exciting as Homer’s epic figure of the Cyclops. The temptation is to make the mythological themes fit by hook or by crook into the motifs of Au’s music.

With that said, there is an intriguing interplay and counterplay which is evocative of the duping and blinding of the powerful Polyphemus by the shrewd Odysseus. This is brilliant trading between the horns and Melissa is as smoking hot as the ember that blinded the Cyclops.

In “Polyphemus” Melissa is at her skillful best. She is precise and articulate. She is energetic and she brings out the best in her fellow musicians.

The Sammy Fain tune “I’ll Be Seeing You” is sweet and satisfying and Melissa plays it just that way. It also features some of Joseph Lepore’s coolest upright bass work as Ross Pederson continues to exhibit his mastery— this time through the brushes.

The song is wonderful on its own merits but Melissa, Joseph and Ross successfully stamp their own images on it.

Melissa’s piece “The L Line” closes out the album and it is a fine finish. All of the musicians get their own moments before the close and they all take the opportunity to shine. There are the brilliant flashes that remind one of Bill Chase’s band in their power and cohesion and velocity.

As impressive as Melissa Aldana’s first CD was, with “Second Cycle” she has made a mature and melodic jump ahead. If the first rule of entertainment is “always leave them wanting more,” then she has accomplished that delightfully.


Preview and purchase "Second Cycle" here: http://www.cdbaby.com/cd/melissaaldana1

“Class is Now in Session” is the second release from trumpet virtuoso Farnell Newton. The CD was released in June of 2011. With the re-release of Farnell’s first recording (with Marcus Reynolds) in September of 2012, it is fitting to revisit this fine offering from Farnell and his friends.

Farnell plays everything from jazz to hip-hop to funk to Latin jazz and he plays them all with aplomb and determination. He is a splendid performer and an educator. His educator status is not limited to his role as instructor in jazz at Portland State University but he educates as he plays. There is always something to be learned from Farnell, if one has the ears to hear.

“Class is Now in Session” is the title track which opens with a muted trumpet and the repeating chant of the title from Farnell himself. It is a :58 announcement that the listener is about to learn something wonderful.

“Bump” follows after with nice guitar work from AG Donnaloia. The song is supported with an on-going neo-Soul, almost Urban, rhythm section. Farnell keeps the muted trumpet understated and intriguing.

“Daddy’s Little Girls” is dedicated to his three angels Jade, Jewyl and Jazmyn and the song is introduced by the three of them saying in unison “We love you, Daddy.” Farnell turns in some of his sweetest trumpet work ever on this track. The horn overdubbing is brilliantly produced by Steveland Swatkins. It is emotional without being maudlin.

“Everything is Clear” features Jarrod Lawson’s vocals who also arranges the horn accompaniment. Swatkins produced this track, as well, and shares song-writing credit with Farnell and Jarrod. This is an exhibition in brilliant from all corners; the horns, the vocals, the keyboard work are all exceptional. Farnell’s tonality is riveting and Jarrod’s lyrics and vocals are unmistakable.

“Woke up with a smile on my face today
Shaken by the words you whispered to me the other day
And you wondered if I feel it too and I’m here to tell you that I do

Woke up with the thought of you on my mind
Schools and teams and flocks of things follow you wherever you go
And I wonder if you see me too the way that I see you

Sometimes I’m a little slow to see
Which things are good and which are bad for me
And sometimes I’m a little slow to see
Which fruit is good and which is bad to eat

But now that you’re here
I know which way to steer
Now that you’re here
Everything is clear”

Jarrod’s intonations are sterling and Farnell’s additions at the end of each stanza are stunning. This is the song that makes the listener hit the replay button over and over. Farnell is at his best here.

“Recess” features Greg Goebel on piano, Chris Brown on drums and Eric Gruber on bass and they all light it up. Greg Goebel sounds like Brubeck’s best work and Chris and Eric are the perfect rhythm section for him. Like any child will tell, “Recess” is just too short.

Those three stay on for the next two tracks beginning with “A Child Not Yet Born.” It is a Farnell composition and its beauty and elegance are captivating. The performances by all the musicians are flawless. This sounds like a piece that could have been composed by Miles himself.

Farnell has a great discernment for picking the right musicians to play alongside him and this album shows that once again. Each musician is perfect for that particular moment.

This is proven again on “Groove Easy” composed by Wendell Logan. Goebel, Brown and Gruber are with Farnell again and they do, in fact, groove easy. Chris Brown, of course, is the son of legendary jazz and R and B drummer Mel Brown but Chris has earned the right to stand on his own legend and merit.

Greg Goebel is one of the young Portland stars recruited by Gino Vanelli for touring and recording. His straight up jazz work is impressive.

Eric Gruber is another one of Portland’s great jazz players. He has been performing with George Colligan’s Quartet and he never fails to impress.

“Love Games” features the Soul vocals of Michael Whitmore. Farnell’s muted trumpet is again a delight to hear fronting the handclap and tap-pad rhythm.

Alex Milsted on alto sax squares off with Farnell on “Funky Horns.” The trades and the unison playing are a fun ride. One almost catches a feel of Average White Band at work here. There is a hard snare groove anchoring the piece as the horns explore the terrain. This was the second piece deserving of repeated replays.

“Baby Names” features Toni Hill on vocals and she is, once again, the perfect voice for the song. She sings through a litany of “baby names” and she is convincing. A funky guitar and organ interlude and backdrop are cool for Farnell’s fronting trumpet.

The album closes down with “The Bluest Eyes Revisited.” “The Bluest Eyes” was a great track from Farnell’s previous release entitled “Sense of Direction” and I loved it. The songs starts off like it is truly a reprise of the original track but at the 0:35 mark, there is the sound of a tone arm being dragged across a vinyl record and the song begins anew. The difference is like listening to Miles Davis’ 1953 “Miles Ahead” then being immediately jolted by Miles’ 1989 “Amandla.” The contrast is that sharp but no less satisfying.

The whole album is just that satisfying. I have not heard Farnell on a recording or in a live performance when he did not give it everything. His dedication to the music and the audience is incredible.

“Class is Now in Session” is indeed an education in performance at the highest levels with musicians who can only add and never subtract.

Purchase this at: www.fnmusicweb.com