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.

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