2012 was a good year for jazz recordings and live performances. It was a year marked by scandals at the Grammys as they removed so many categories in Latin, World, Spiritual and even Classical categories. In the end, a few of the categories were reinstated and it was a good thing for Bobby Sanabria whose album "Multiverse" was nominated for best Latin Jazz album.

It was a great year for Latin Jazz and for Jazz artists in general with some phenomenal recordings released. As I look at the best of the year, it seems dominated by so-called Latin Jazz artists -- so-called because I don't always like that kind of separation along ethnic lines. This point is proven to me once again as my choices for "Best of the Year" are not broken into ethnic categories but according to who was (in my estimation) the best... or at least my favorite. And the "Latin Jazz" were strongly represented.

My original review from April 1, 2012 can be found here: http://travisrogersjr.weebly.com/8/post/2012/04/when-you-passed-by-new-cd-from-toshi-onizuka.html

It was a remarkable album of incredible virtuosity and originality. It was the product of a Japanese guitarist who studied flamenco in Spain before coming to the United States and creating a jazz sound which bore the impressions of all of those influences.

The compositions were brilliant and the arrangements were unique. I have never heard anything remotely close to its grace and beauty.

http://www.cdbaby.com/cd/toshionizuka2

My original review is located here: http://travisrogersjr.weebly.com/3/post/2012/11/second-cyclethe-new-release-from-melissa-aldana.html

Melissa Aldana is a young sax player from Chile but is rolling through New York City like a storm front. Her album is also marked by superb original compositions and two well-placed and well-arranged covers.

As was written in the review of her latest album, she shows a great maturity and is extremely well-complimented by her three band-mates.

This is her second album and along with her first album "Free Fall" has already created a small body of recordings that hold great promise for the future.

http://www.cdbaby.com/cd/melissaaldana1

Aimée Allen stole my heart this year. I am more of an instrumental fan myself but this is one of those albums that has never ventured far from the very top of my CD stack.

The original review from October 16, 2012 is here: http://travisrogersjr.weebly.com/3/post/2012/10/october-16th-20121.html.

As sterling as her vocal performance is, her writing skills are just that impressive. Enough cannot be said of her sometimes sassy, often sultry and forever sweet approach.

http://www.cdbaby.com/cd/aimeeallen3

Bobby Sanabria was one of the leaders in the fight against the loss of all those Grammy categories, as I said at the top, and his album "Multiverse" received two Grammy nominations.

The original August 8, 2012 review is here: http://travisrogersjr.weebly.com/3/post/2012/08/multiverse-the-latest-cd-release-from-bobby-sanabria.html

Bobby is one of the greatest drummers to ever grace the planet. I listen to him again and again and wonder just how many arms the guy has.

Don't let the kindness of the man fool you, he bursts forth with power and energy like Shiva on crack. In my list of all-time favorite drummers, Bobby is in the Top Three. This album shows why.

http://www.jazzheads.com/store.php?crn=244&rn=570&action=show_detail

Originally reviewed in September, 2012, that review can be read here: http://travisrogersjr.weebly.com/3/post/2012/09/da-y-medio-a-day-and-a-half-the-new-cd-by-berta-rojas-and-paquito-drivera.html

It is a rare occurrence to find a duet of Jazz guitar and saxophone but this was a delightful rarity and a collaboration that still charms me even four months after its release.

This was like a soundscape of Berta's homeland of Paraguay. The title is taken from a the day and a half that Berta and Paquito spent in Paraguay while on tour after which Paquito remarked that "a day and a half is not enough." It is a beautiful exploration of Paraguay through the music of Paraguay's great composers and performers.

http://www.cdbaby.com/cd/paquitodriverabertarojas

It was the end of an era. After decades of live music seven nights a week, a Portland shrine was closing to make room for ... a train station.

The original review of the March 16, 2012 performance is located here: http://travisrogersjr.weebly.com/2/post/2012/03/all-good-things.html

It seemed like all of Portland turned out for the final SoulMates performance at the Candlelight and the trio played with all the passion and fire that have marked every performance from them.

Ironically, the second place finisher was also a SoulMates performance--this time at Jimmy Mak's in Portland and you can read about that here: http://travisrogersjr.weebly.com/2/post/2012/04/i-believe-in-music-i-believe-in-love-a-tribute-to-donny-hatahway-and-roberta-flack.html

Song for Fighter was composed by Toshi Onizuka for solo guitar. It was written shortly after the March 11, 2011 disaster in Northern Japan. His dedication is to “everyone who follows a thorny path.”

It is not a cheer or an encouragement but a consolation. There are moments of utter heartbreak followed by moments of hope. The song fades on a sad but optimistic note.

This is my favorite track of the album "When You Passed By" and upon long reflection it must be pronounced my favorite song released in 2012.

Hear a sample here: http://www.cdbaby.com/cd/toshionizuka2

Of all the albums that got me this year, this one was the album that combined everything I love from Thelonious Monk to Mongo Santamaria.

The original review is here from September 9, 2012: http://travisrogersjr.weebly.com/3/post/2012/09/afro-blue-monkthe-upcoming-release-from-the-chembo-corniel-quintet.html

It featured brilliant performances and arrangements from Elio Villafranca, a vocal interpretation of "Afro Blue" by Mongo Santamaria's own daughter, Ileana and world-class percussion from the amazing Chembo Corniel himself.

Of all the great artists, recordings and performances of 2012, "Afro Blue Monk" by Chembo Corniel has it all.

http://www.allegro-music.com/online_catalog.asp?sku_tag=ASH34922#.UCh0J7r9AB8.facebook

What a great year for recordings. So many wonderful people making wonderful, heartfelt music. A warm thanks to all of you musicians who made the year brighter and more hopeful because of what you have bestowed upon us all.

It has been often said that to listen to Goh Kurosawa is to force oneself to abandon any notion of category or genre. While it is true that he flows effortlessly between flamenco, jazz, rock, samba and even classical, it should not be said that Goh has not firmly planted his flag in the fabled land of jazz. It should not be mistaken that he is not a jazz player.

However, it must also be remembered that Goh carries the flag of another fabled land, that of his homeland Japan. This is magnificently displayed in several tracks on the album. The most obvious are the two tracks of traditional Japanese folk music that have been beautifully arranged by Goh himself.

“Energy” is Goh Kurosawa’s second recording as a solo artist; his first album being “Hitori” from 2007. The official release for “Energy” is January 19, 2013 with a tour of Japan and the US West Coast to follow. It is on the Onigawara Records label.

This album seizes the listener’s heart from the opening strings. Entitled “Green is Her Favorite Color” the piece has all the delicacy and emotion and charismatic changes that one could imagine from a Japanese folk song but it is a delightfully original piece written by Goh himself. It is a song that keeps the listener returning for more of it.

The delicacy is built upon in the second track “My Family My Friends.” Goh’s punch and slap has become characteristic in his live playing but it is in fine energy on this album. The percussion is all Goh on this track as he provides the rhythmic slap and thump in this solo effort.

The haunting loveliness of the traditional Japanese folk song “Sakura” is heartbreakingly rendered by Goh and it is heartbreakingly short at only :54 in length. It is the one and only disappointment on the album that this was not given a 10 minute expansion. It would have betrayed the truth of the song, however, to make it any longer. The love of the Sakura (cherry blossom) is in large part because of its exquisite but too-rapid blossoming and passing. The song is just and appropriate.

Another Japanese folk favorite follows next entitled “Ano Subarashii Ai.” Goh is supported by vocal master Mon David. It is lively and uplifting. Goh’s lead vocals are surprisingly delightful. The backing vocals, whose parts were arranged by Mon and Goh, take on a hard rap that is reminiscent of Shadowfax’s “Brown Rice.”

Supporting Goh instrumentally on this track are Hugo Aguayo with the percussion of cajon, palmeros and "shouts" and JP Maramba on bass and“shouts."

What should not be lost in the midst of all that, however, is the delicate delivery of Goh’s guitar. Mon carries the rhythm guitar and does so splendidly. However, it is still Goh's flamenco guitar on the chorus lines that are so inspiring. Additionally, the verse section is in 5/4 time and is not traditional to Japanese music. If possible, listen again and again and focus on the flamenco guitar.

The light acoustic guitar follows after in a beautiful rendition of “Can’t Help Falling in Love.” The refined attention to the touching glissando and the striking chords are captivating. This was a delightfully emotional tribute—not to Elvis Presley, but to falling in love.

The astonishing succeeding track is another shocker; it is a staggering flamenco guitar version of Bob Marley’s “No Woman No Cry.” Goh’s understanding of divergent musical forms is impressive. I have seen him perform live with speed and power and vicious attack. On “Energy”, by contrast, he harnesses that with one exception. 

However, it is the energy of the power and speed that has been disciplined into a delicate approach. “Energy” is not the absence or lack of power, it is the enlightenment of power.

Goh shows that and his interpretive understanding once again on the Charlie Haden piece “First Song.” His approach to three completely different styles—Elvis to Marley to Haden—is a remarkable revelation of Goh’s own spirit and intelligence. Once again, he does it through the medium of the flamenco guitar and the results are heart-warming and soul-stirring.

Then come the most rewarding moments of the entire album in the form of an original suite composed by Goh, who also arranged all the tracks on the album. The suite is collectively called “Fruit Bunny” with the three segments respectively entitled “Bun Bun”, “If I Could Only Find My Apple” and “Inochi/Energy.”

“Fruit Bunny: Bun Bun” is a sweet acoustic foray into childhood. “If I Could Only Find My Apple Tail” is the one track where Goh’s speed and power are on display and he shows it through the electric guitar. It is the only track to utilize that instrument and it is like listening to Deep Purple for the first time all over again. I was transported back to the first time I heard “Machine Head” and I was loving the feeling. At the 6:36 mark, though, a tenderness emerged that is surprising. Then the strength that had been evident in the first minutes was brought to a maturity with a moment of Brahms’ “Lullaby” added. The musicians with Goh on this track actually are members of his band SHARP THREE with Kai Kurosawa on 24-string Beartrax Big Mama Bear (an instrument that he designed) and the exceptionally tasteful drummer, Chuck van Haecke

The theme of the suite began to take shape—or at least my interpretation of the suite. It was about growing up and finding oneself. The innocence of “Bun Bun” was followed by the raw energy that grew to maturity in “If I Could Only Find My Apple Tail.” But even at the end of that adolescent romp, there was a brief look back at childhood and innocence.

The third movement of the suite was “Inochi/Energy.” The flamenco guitar painted a portrait of the person who has moved from the simplicity of childhood through the unbridled passion of youth and has now learned to harness all of that and has grown in “Inochi” which is also a synonym for life. Indeed, Goh has taken the listener on a life-journey to a place where life and energy have been refined.

The final track could have been the fourth movement of the previous suite as it fits so well with what has gone before. Entitled “Tiara” it is truly the crowning moment of the album. It is reflective and it is calming. It is a moment of rare beauty.

It was recorded at the fabulous recording studio called Estudio Dragão in São Paulo, Brazil and the song is dedicated to his friend there who introduced him to the studio. As it worked out, this was the first song recorded so the album project initiated in Brazil.

Only Goh Kurosawa could have done this album. It was recorded with no overdubs or loops. It is not only his talent that is brought to bear; it is his heart and it is his wisdom.  It is his energy and life that have been revealed on this album of joy and gratitude.