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Eric Goletz takes us Into The Night

3/21/2021

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While Jazz trombonist and composer Erik Goletz admits to hating the word Fusion, he does so because “it makes everyone think of unlistenable types of Jazz.” Goletz, however, is a master of Fusion composition and it is anything but unlistenable. On the contrary, Goletz’ music is highly accessible and creates an unquenchable thirst for more from him.

His new album, Into The Night, creates that hot fusion (that word, again) of Jazz, Funk, and Rock. Bringing the trombone to the forefront of Jazz-Fusion makes Goletz unique in the music world. It is a vision that has taken all of 30 years to finally bring together the elements that enabled him to recreate the sounds in his head.

And he’s got exactly the right musicians. With Goletz on trombone and keyboards are Henry Heinitsh on guitar, Mitch Schechter on piano, Mark Hagan on bass, Steve Johns on drums, and Joe Mowatt on percussion. The horn section is Vinnie Cutro and Freddie Maxwell on trumpet, Bob Magnuson on alto sax, Erick Storckman on trombone, and Jonathan Greenberg on bass trombone. That five-piece horn section appears on only two tracks, giving them a big band feel.

The album opens with the soulful Say What?? Eric gives the bluesy solo trombone intro and it serves well to kick off the song, as well as the album. The tune is a catchy one with all of the musicians contributing tight passages. Henry Heinitsh turns in some raucous and righteous guitar.

Mr. PC is John Coltrane’s tribute to legendary bassist Paul Chambers. With that in the background, Mark Hagan’s bass is featured beneath the melodic lines of the trombone. The trombone takes the Coltrane sax parts and widens the tone into something bluesier. Definitely a cool take on the number as Schechter’s piano and Heinitsh’s guitar take brilliant turns. I loved the original and I love this cover.

Into the Night opens with throbbing left-hand piano work. Bass and percussion joins in and the fun starts in earnest. Eric tears it up on trombone in furious frivolity. The percussive piano is a great touch. Listen for the great drumming of Steve Johns, one of the most exciting drummers in the Jazz world…or any world. The transitions are cool and the song just keeps on giving.

After Hours is perhaps the most soulful piece on the album. The tones from the trombone are exquisite and the rhythm section lays down the foundation for great work from piano and guitar. Steppin’ Out is a bouncy bit with the horn section adding the joyful background to the leads from trombone and guitar. The funk groove is tight and hard. This is riotously good stuff.

Cole Porter’s What Is This Thing Called Love gets the Goletz treatment in this hot rendition from the band. The original, of course, is sentimental and slow but Eric sets it on fire and gives is something to talk about. Oasis is a slow mover with warm tones and beautiful movement. Then Cat On the Corner takes us back to the great rhythms and memorable melodies that have come to mark this album. Heinitsh’s guitar is wickedly understated while the horn section embellishes the themes. The Peter Gunn pulses open a wide avenue for Eric’s trombone excursions and those cool piano riffs.

The album closes with Lullaby. The delicate strumming of the acoustic guitar sets the stage for the low, warm tones of the trombone. The melody is beautiful that sounds like it could have Michel Legrand—one of my all-time favorite romantic composers. The song is a duet between guitar and trombone and it completes the album by completing the album.
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Eric Goletz makes Into The Night one of the most interesting and entertaining album of the year. His compositions are right on and the artists know how to take ownership of them. It engages the mind, the heart, and the tapping foot.
 
 
                                     ~Travis Rogers, Jr. is The Jazz Owl


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Bruce Brown's witty and wise Death of Expertise.

3/20/2021

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Bruce Brown has released his fourth album, Death of Expertise. With the first part of his career engaged exclusively in singing and playing piano, Bruce decided to follow up on his lifelong dream of becoming a full-time songwriter. This album, Death of Expertise, reveals yet again just how far he has come in his chosen craft. Whatever expertise may have died in Bruce's life, his composing skills are not to be included.

Those compositions on this album are full of humor and charm, wisdom and wit, and provide apt and decisive observance of the world around us. His compositions are, of course, well-suited to his easy vocal style and his chosen musical support is equally well-suited to the work at hand. That group is comprised of John Harkins on piano, Brendan Clarke on bass, Andrew Dickeson on drums, with Steve Brien on guitar, Steve Crum on trumpet, and Glen Berger on saxes and alto flutes. Each of these guys make impressive and noteworthy contributions to the whole.

Bruce’s wit is seen from the outset in the title track, Death of Expertise, in which he bemoans the substitution of wiles for wisdom, the appeal to Google in the place of real research or, more succinctly, the loss of the educated mind in favor of the opinionated one. Pay attention to the tightly delivered lyrics and their intrinsic humor. All the while, the trumpet work of Steve Crum stands out warmly with great work from Harkins’ piano and the bass and drums.

They’re Everywhere is a cool turn at bossa nova with more of what has become Bruce’s sly humor. While Antonio Carlos Jobim may have eulogized the pretty girls everywhere, Bruce laments the surveillance culture that is waiting to catch you in your misdeeds. He returns to the bossa with Back in the Day, a short number that reminds us of where we were and how far we have come—some might say fallen.

Find Three Things to Be Grateful For is a fun and optimistic look at eschewing despair and seizing what is good and joyous. Harkins’ piano solo is a worthwhile attention-grabber. The rhythm section keeps the song hopping along its happy path and Bruce’s delivery is spot-on. In the end, gratitude will get you through the day.

Love Makes Us Who We Are is just so fine. Who we love and how we love and how we long to love is the best descriptor of us and Bruce expresses it so well. His chord changes and his slides within the notes is vocal artistry. I love this song so much.

A Mind is a Terrible Thing is a fascinating look at Bruce’s own psychological examination of himself. It is observation without diagnosis and manages to find hope and healing, even amidst pain and heartache. It is melancholy without being maudlin and, in the end, optimism triumphs. You’ve got to love Glen Berger’s soprano sax outro.

Doreen is one quirky tune. Thing of My Funny Valentine with an even darker turn. Again, Harkins is cool in accompaniment on the piano. Love Always Wins is the final word in an era of division and anger, even hatred. It is a sentiment that has taken hold of every debate from politics to theology. “One thing’s for sure/Love will endure.” Steve Crum offers up a sweet trumpet solo. Play this one over and over until you get it.

It leads nicely into To Find Things Out, Bruce’s bright look at learning the lessons life so relentlessly teaches us. It is upbeat and lively and works so brilliantly with the artists in their contributions. We Click is just as uplifting in its list of things that “click.” Think of Jobim’s Aguas de Marco (Waters of March) and the listing of things we see in March. Then Bruce takes a laughing look at ourselves with Losers Are People Too. He says, “Losers, we’re under attack/We might as well be Amish/’Cause we don’t fight back.” It is a hilarious look at those of us who simply let everything slide.

Giving Up Is Not An Option brings along a gentle swing that is as catchy as anything on the album. Crum gets another sweet trumpet solo that is worth hearing closely. He follows that with a frank look at ourselves and our lives in We’re Up We’re Down. While the song is delivered with bright hope, it is the corollary of Giving Up Is Not An Option. Steve Brien gets his best solo on guitar here. He challenges us to avoid despair and to cling to the hope we have.

Bruce concludes the album with The Music Plays Again. Music is the metaphor for the love between two people who experience the ebbs and flows of the relationship. It is the most thoroughly romantic song on the album and is full of warmth and reflection. It is an elegy of the healing power of love.
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Death of Expertise in its entirety is an ode to love and healing in the midst of anguish and disappointment. Even with his humorous sidelong glance at the way we are, Bruce Brown always offers the hope of how we can be.
 
 
                             ~Travis Rogers, Jr. is The Jazz Owl


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Matt Panayides explains Field Theory

3/19/2021

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Matt Panayides is a guitarist and composer whose new album Field Theory is a blend of electric and acoustic guitar with very original compositions. Field Theory is not the expected evolutionary step from his previous releases Conduits of 2016 and Tapestries of Song from 2011. What the album is, however, is a fascinating and purposeful exploration of tonal soundscapes.

Moving from his early inspirations of Jimi Hendrix and Jimmy Page, Matt discovered jazz in high school and has expanded those horizons ever since. In 2018, he began work with Matt Vashlishan, a multi woodwind artist who gained fame working in Dave Liebman's band and who plays the Akai EWI (electric wind instrument). Together, with Panayides on electric guitar and Vashlishan on electric wind instruments, the present album began to develop.

With Panayides and Vashlishan, the band on Field Theory are Rich Perry on tenor sax (with 23 albums as a leader), Robert Sabin on bass (having appeared with Bob Mintzer and Donny McCaslin), and Mark Ferber (Nora Jones, Wadada Leo Smith, Fred Hersch, Lee Konitz) on drums. This is the band to paint the vision established by Panayides.

The entirety of Field Theory is a marvelous foray into musical and tonal expansion. The bent notes, the tight arrangements, the harmonies, and those brilliant improvisations make this one of the most intriguing albums of the year. Panayides and the band do not disappoint.

Kite Flying kicks off with a five stroke drum intro that coolly sets it all in motion. The melodic line is infatuating and the development of it is brilliant. Wait for the Vashlishan EWI. The rhythm section is smoking hot making this fun stuff.

Disturbance gets rolling with an imaginative arpeggio with guitar, bass, and sax. It reminds one of Disciple from the King Crimson glory days. Then comes the transition in Closer Now with its slower tempo but equally intoxicating guitar work, supplanting precision with polish, meter with melody.

The title track, Field Theory, is just as the title describes. Field theory is the psychological theory that examines the interaction between the individual and the environment. In physics, it explains physical phenomena and the way in which it interacts with other matter. In just that way, Panayides explores the interaction between the instruments individually and the way the individual interacts with the whole band or field. It is also an examination of human individual interaction with society, as in Gestalt psychological principles. Listen for it. You’ll see what I mean.

Looking ‘Round Corners is a return to the melodic and harmonic. This is one of those tunes that relentlessly catches the imagination. Then Energy Mover returns to the furious temps and interactions. Ferber gives a cool drum solo but it is Panayides’ fierce pick-strum approaches that seize the most attention. Think of Django Reinhardt at his coolest and Vashlishan’s tenor sax playing the Stephane Grappelli role and you get the idea. Sabin’s bass lines are deliberate and hot.

2.27.20 is the date on which the album was recorded. Just before the pandemic lockdowns. It is a demanding improv required from each of the musicians. Three minutes of sound and fury…signifying much.

The next four tracks are part of a suite called Penta Folk. It is an imaginative tale of visiting other-worldly people and the experiences of the encounter from Landing to Coalesce to Ascend and Depart. Highly thoughtful and expansive. I only with that the whole album was used to develop the ideas here. It’s that good.

The album comes to a close with the reflective Self Narrative. It opens with a five-note guitar exposition that returns throughout the piece. The saxophone takes a brief departure from the reflection and occasional guitar riffs depart then return to the motif. A thoughtful piece.
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Field Theory is a fascinating and insightful album, full of thought-provoking and meditative compositions within a format of masterful artists who contribute as well as execute. With a look back to classic Jazz guitar and a look forward to what awaits Jazz guitar, Matt Panayides provides the prism through which we may look in wonder.
 
 
                       ~Travis Rogers, Jr. is The Jazz Owl


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Diego Baliardo and The Gypsy Evolution's Este Ritmo.

3/18/2021

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If you have ever listened to the Gipsy Kings, then you probably know Diego Baliardo who was a founding member of that world class group. Now, Baliardo is releasing Este Ritmo (This Rhythm) with his new group, The Gypsy Evolution, on Moondo Records.

Baliardo is the ambassador and exemplar of Gipsy music. Born in Montpellier, France, he and The Gipsy Kings toured the world bringing their own interpretation of this marvelous music.

The Gypsy Evolution is comprised of Baliardo family members and their and friends. Marlon Baliardo and Gibson Baliardo are brothers in addition to being Diego’s grandsons. They play guitar and sing back-up vocals. Gibson also plays piano. Antoine Ona, a friend of Gibson’s, plays bass, while Pacheco Rodolfo is a world-class percussionist.

Baliardo wrote and arranged all of the music for Este Ritmo, proof enough of the artist’s genius.

The album opens with the cheery Me Voy A La Playa (I’m Going to the Beach) with its Latin rhythms and bouncy tempo. This only sets up the even more jaunty No Tengo Dinero (I Have No Money), a witty and wistful turn with tight guitars and steady percussion.

Cara Bonita (Pretty Face) is warm and lush with the cool bass lines and the full strums of the guitar. It is a lovely and romantic piece with excellent movement within the melody. Mi Cintura (My Waist) is a percussionist’s venture into backing up the melodic lines from the guitars and vocals. Throughout it all, the flair of the flamenco is ever-present and always appreciated.

The album takes an emotional turn with Mi Niño (My Child) with its paternal affection and protection before returning to the dance tempo of the title track, Este Ritmo. The pace varies but the musicianship of the band is as flawless as ever. Then on to the steady pulse and pluck of Casita Mama (Mama’s House) with distinct vocals and the undulating rhythms of guitars, bass, and percussion. This is a great tune.

Loquito Loca (Crazy Crazy Parrot) is a great piece of fun and Bonito (Nice) has some of the most delightful vocalizations of the album with layered vocals to add to the fun.

The album closes with El Loco (The Madman) and its vivid vocals and gorgeous guitars. The percussion lights it up in all the right ways and closes on a deliberate full stop.
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Este Ritmo is the inevitable evolutionary step of Diego Baliardo, now with The Gipsy Evolution. The legacy of Gipsy guitars, mixed with flamenco stylings and Latin rhythms is a marvelous combination that will not allow the listener to be still. It may be a foot or a finger or the whole body but something’s got to move.
 
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                   ~Travis Rogers, Jr. is The Jazz Owl

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Juan Carlos Quintero's Caminando. Simply breathtaking.

3/17/2021

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Colombian-born guitarist Juan Carlos Quintero released his album The Way Home in 1997. While it has been out of print for over two decades, Quintero is re-releasing the album under the title Caminando. Quintero continues his work with long-time Colombian collaborators, co-producer Guillermo Guzmán, and artist Guilloume. It is Guilloume whose paintings always appear on Quintero’s album covers. Quintero credits the two of them with helping to ground the music in his native Colombian roots.

In addition to those two, Caminando features percussionists Munyungo Jackson, Walter Rodriguez, Tiki Pasillas, Angel Figueroa, and Ron Powell.  Eddie Resto and Alec Milstein are both featured on bass while Joe Rotondi sits the piano. Together this group provides the ideal backdrop and support for Quintero’s vibrant guitar.

Quintero and his family left Medellin, Colombia when Juan Carlos was just a baby. Still, the rhythm and reason of Colombia’s intoxicating music legacy never left him. At the age of eight, he picked up the guitar. Juan Carlos says, “No matter what style I ever played in, I always came back to my heritage. Music from Colombia crosses so many boundaries and its ability to seduce while celebrating life has always moved me. Colombian rhythms are so majestic, they have a strong natural appeal to me. This music seems to show up every time I compose or perform, I can't help it.”

All of that is made manifest from the very first track, El Baile (The Dance). He follows the cumbia folk style of Colombia. Quintero’s guitar style is at the same time precise and lush. The understated piano of Rotondi sets off flawlessly against the guitar. The percussion is subdued but magnificently frames the melodies.

Caminando (Walking) is such a cool take on the cha-cha-cha with it andante tempo, casting vivid imagery of a take-it-all-in afternoon stroll. It calls to mind Smetana’s tone poem The Moldau with its boat ride down the Moldau River. In the same way, Quintero creates image-after-image in this cha-cha-cha tone poem. Brilliant.

El Pueblo (The People) returns to the cumbia style and Quintero’s musical mastery is rarely more evident with his gorgeous tones and rhythmic delivery. Hermanos (Brothers) has a fascinating way of integrating the Latin with the American. The rhythms are unmistakably Latin while the melody ebbs and flows between the two. This is an intriguing composition that I like very much but then I am wild about the whole album.

Libre (Free) is sensationally driven by the bass lines beneath Quintero’s guitar and Rotondi’s subtle piano. It is a lovely melody that is indeed free. There is a joy and a warmth of the piece that is unmistakable. Pay attention to the interplay of guitar and piano. Gorgeous.

The Way Home is Quintero’s most emotional, even romantic. And if you think you’re hearing a touch of the bolero, you are correct. The touch of the Wes Montgomeryesque electric guitar is a sweet touch. Spring is as lovely as the William Blake poem of the same name. Both are wrapped in natural wonder. Quintero wrote the tune for his niece and he says of the piece, it is “a nursery rhyme run amok.” Lucky niece.

Caribbean Sun Dance is exactly what you would imagine—full of island rhythms and bright textures. The basses and percussion light it up and the piano is wondrously textured and nimble. Then come the final two pieces wherein Quintero and the band leave it all in the studio. Little Indians is a smoking hot, straight-ahead Latin Jazz number that leaves nothing to be desired. This thing just cooks.

Quintero wraps it all up nicely with Porque Si! (Because!) which tells you exactly why he ends it this way. It is a cool Cuban jam, like the descarga. The percussion is well worth the attention but Quintero himself turns it all loose to close out the album. With bent notes and quick-picks, this leaves you craving the days of records when you could turn over the album for more. Alas, nothing to turn over.

With the re-release of Caminando, Juan Carlos Quintero has returned us to the glory days when Jazz and Latin Jazz were not so distant. The artistry of Quintero and everyone involved is sterling and the compositions are soulful and touching. This is an album to savor over and over.
 
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                                 ~Travis Rogers, Jr. is The Jazz Owl


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Serenata by Gregg Karukas. Glorious.

3/17/2021

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Serenata is pianist Gregg Karukas’ 13th album and his first solo piano recording. It is also his first recording since the sad passing of his wife from cancer.

This also represents the first time since 1993’s Home for the Holidays that he is using material other than his own original compositions. That is not to say that Karukas does not include originals on this album. On the contrary, he has included both new and revisited originals of his own. And some of his most inventive work are his romantic interpretations love classic Brazilian songs from Milton Nascimento to Dori Caymmi.

On serenata, Karukas abandons his brilliant flash for a more emotional, even romantic, treatment and interpretation of these wonderful and timeless songs from the wonder of Brazil. The transition reminds me of Rick Wakeman’s move from the fire of Criminal Record to the sweet and romantic beauty of Country Airs.

Even from his 1987 debut album, The Night Owl, Karukas proved himself a master of those great Brazilian melodies. Make no mistake, however, Karukas as shown himself to be master of genres from jazz to pop to rock to gospel. But it is on this album, Serenata, that Karukas truly reveals himself. It is almost as if he is repeating all the lovely words and thoughts that passed between him and his wife. This album is remarkable and it is almost impossible to point out one or even two songs that stand out.

Indeed, each and every song is a treasure. From the upbeat and lively Tudo O Que Voce Podia Ser (All That You Could Be) from the great Milton Nascimento to the lovely and soulful Nascente (Spring) by Karukas himself, Gregg Karukas touches the varied emotions and moods of love and, yes, loss. Then a joyous reverie paints Paisagem da Janela (The Window Landscape) in such glorious ways.

He concludes the album with Lament (Final Embrace) and Long Ago, both echoing the pain and longing of such loss. The entire album is an elegy of melancholy but without regret. It is a testimony to love.
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Gregg Karukas has again and again shown his talent and skill and virtuosity through his first twelve albums. With Serenata, he lays bare his heart and encourages us to do the same.
 
 
                             ~Travis Rogers, Jr. is The Jazz Owl


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Angela's Ring - A Jazz Opera

3/14/2021

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Bassist Kabir Sehgal and pianist Marie Incontrera have composed a wildly entertaining and circumspectly informative Jazz opera with Angela’s Ring. The subject is the European financial crisis of the last decade.

The European Debt Crisis was the result of so many factors that it would take an opera on the scale of Wagner’s Ring Cycle to address them all. Sehgal was working as an investment banker in New York as the ruinous crisis began to take shape. He said that one of the many reasons for the far-reaching problem was that the leaders were, obviously, from different countries with different cultures and different peoples with their own unique and sometimes self-serving approaches to international economics. That is the basis for Angela’s Ring.

Writing with Sehgal was Marie Incontrera and producer Herschel Garfein. What began as a Classical work was rewritten to combine the sometimes opposed but frequently complementary styles of Jazz and Classical. Sehgal used all of his connections to bring together a remarkable collection of artists from the Jazz and Classical worlds.

The music is performed by the Leveraged Jazz Orchestra and guest soloists including Aaron Diehl (piano), Grace Kelly (saxophone), Grammy-nominee Manuel Valera (piano), Oran Etkin (clarinet), Edmar Casteñada (harp), and Grammy-nominee Papo Vazquez (trombone). The music is superb and the delivery is excellent, providing the Jazz rhythms and swing against which the classically-trained vocalists are tasked in Angela’s Ring.

The Angela of Angela’s Ring is, of course, German Chancellor Angela Merkel and is played deliciously by Lucy Schaufer. Schuefer’s Merkel is tough, charming, witty, and/or unbending. From Follow Germany and The World looks at Me we see the sentiment that Germany was indeed the leader of the European Union and the doubt she experienced is hauntingly described in Is It Too Late to Save Europa?

David Gordon portrays George Papandreou, Greece’s Prime Minister from 2009 to 2011. He is a character we pity in his unenviable position of being caught between the nation he loves and the cruel or, at best, intractable European Council. His negotiations with Merkel in Let Us Lie is delightfully full of double-entendres followed by his cheering nation in Papa the Greek. It all goes sour after that with Greece requiring not one but two multi-billion-dollar (actually euros) bailouts, culminating in A Greek Tragedy and What Have I Done?

Brandon Snook is France’s president Nikolas Sarkozy who is paired with Merkel in the brilliant and hilarious We Are Merkozy. His unique role is emphasized in Greece Relies on Me and What Plan Is This? Gordon plays the insecure Sarkozy wonderfully well.

Throughout the album are ten News Flashes that keep the events moving. While not all of the details are stringently accurate, they do present the mood, tension, and drama of the events.

Erik Bagger portrays the philandering Italian Prime Minister (2008-2011) Silvio Belusconi. Berlusconi was brought down by his sex scandals and “bunga bunga parties.” In the riotously ribald Bunga Bunga, Berlusconi and Papandreou are in duet with Berlusconi saying the unforgettable lines, “Did you hear the latest poll? They asked young women if they want to make love to Berlusconi. One-third said Yes and two-thirds said AGAIN???” It was followed by the appropriate rimshot. This provided much-needed levity in the midst of a heart-breaking story of catastrophe.

In the end, however, it is Marnie Breckinridge’s portrayal of International monetary Fund (IMF) Chair and Managing Director Christine Lagarde who stepped into the five-year term in 2011. She was reelected to a second term in 2016. Lagarde solves the crisis with her usual diplomacy and toughness. It was the imposition of Greece’s austerity measures that secured the needed help. In 2015, she called for massive debt-forgiveness for Greece.

The final News Flash tells of the second bailout to the tune of 130 billion euros and the imposed austerity measures. The opera concludes with a reprise of Let Us Lie with an introduction based on the melody of Beethoven’s Ode to Joy which is referenced three times in Merkel’s parts.

Ironically, only days before the scheduled release of Angela’s Ring, the European Union and Central Bank had extended the eurozone to most European countries with the exception of Greece.
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It is not very often that we see a Jazz opera and rarer still to hear a work of Jazz and Classical vocals that is so instructive, humorous, and sympathetic to an international crisis but Angela’s Ring is all of that. Sehgal, Incontrera, and Garfein have teamed to create a magnificent work that serves an historical landmark as well as a musical wonder.
 
 
                               ~Travis Rogers, Jr. is The Jazz Owl


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