Gabriel Chakarji’s New Beginning is a testament to the young pianist and composer who is deeply committed to the grace and power of his musical heritage. Born in Caracas Venezuela, Gabriel grew up in a culture full of music that encompasses and transcends Afro-Venezuelan Folk, Caribbean, Brazilian music, Jazz, and Gospel.
   Gabriel says, “All my influences of South-American, Caribbean and Black-American music have one source in common, Africa. We’re trying to bring out all the shared elements, the places were many musical traditions live together, instead of focusing on the genres and stereotypes, we need more of this spirit in a society that suffers from racism, prejudice, and wars. We want to create a space where music can shift paradigms”
   All of that becomes apparent on his latest album new beginnings. Gabriel is the anchor in this terrific album. Gabriel is producer, composer, background vocals, and on piano with Carmela Ramirez, the co-producer, on vocals. Adam O'Farrill is on trumpet, Morgan Guerin is on tenor saxophone, Jongkuk Kim is on drums, Edward Perez is on bass, Daniel Prim and Jeickov Vital are on percussion.
   Mina/San Millan opens the album with that cool piano and percussion interplay. Morgan Guerin tenor saxophone jumps aboard in preparation for Carmela Ramirez’ intoxicating vocals. You’ve got to love the Latin rhythms and the percussionists take it home.
   New Danza is a smooth melody with excellent trumpet interludes by Adam O’Farrill. Again, Carmela adds her rich vocal intonations. But Gabriel stays in the spotlight where he deserves to be. This young man is infectious with his playing and composing.
   No Me Convence (Doesn’t Convince Me) is locked in on the rhythms and this band keeps it tight. Trumpet and sax are in it brilliantly as they play the rhythm melodically, as well. Gabriel and the percussion are so right on. Pay attention to Jongkuk Kim’s drumming on this one. You’re going to love the vocal outro.
   Melodia de Agradecemiento (Melody of Thanks) is opened with a gorgeous piano and bass duet. Gabriel carries that thankfulness in warmth and devotion and Perez’ bass solo is excellent. Kim’s drums add punctuation and texture while the piano and bass weave their melodies and harmonies together. You can feel the Gospel influence as well as a bit of a nocturne. Beautiful.
   New Beginning, the title track, is so hot. Carmela’s vocals and Gabriel’s lead piano are uplifted by the horns and the rhythm section again shows why they are on this album. The improvisational passages are worth every second. You just can’t peel yourself away from Gabriel’s piano.
   Voices is a bit of a melancholy with Gabriel’s piano and Perez’ bowed bass. You just can’t get enough of Gabriel Chakarji. His is masterful and passionate and lyrical. He plays like a Liszt or Paderewski with the soul of a McCoy Tyner.
   Montuno Quince sets off like Brubeck’s Rondo a la Turk before breaking out into impassioned tenor sax solos and riotous rhythms. This may be the most fun song on the album and those Latin rhythms and piano chops are the stuff Jazz dreams are made of.
   Norte y Sur (North and South) is such a cool closing to the album. Again, Gabriel is in front and we like it like that. Kim’s drumming is beautifully articulate and accurate. Perez gets another smoking bass solo before Gabriel and Kim close it all out.
   Gabriel Chakarji is a very young man with the heart and soul of a wizened Jazz master of our yesterdays. His compositions pay homage to his influences while his playing sounds like something yet to come. I remember thinking the same thoughts of a young Brad Meldau or Lyle Mays. Gabriel’s craftmanship promises that same bright future.
 
                             ~Travis Rogers, Jr. is The Jazz Owl

   With Mood Walk (Creative Spirit Records CSR004), bassist Fred Randolph has put forth his fourth album as a leader. As a guitarist turned bassist, Fred carries that sense of melody into his bass playing and certainly in his compositions. Fred confesses that he gets inspired by listening to other music but whatever song he writes bears little resemblance to the piece that inspired him.
   As for the album’s theme, Fred writes in his liner notes, “This album represents the varied energies of life—the mysterious, beautiful, wild, sad, profound, creative, and festive—as manifested in the totemic figure of the jaguar and it’s mesmerizing movements…it’s Mood Walk.”.
   Fred has assembled an excellent array of artists for Mood Walk. Which includes Dan Zemelman on piano, Erik Jekabson on trumpet and flugelhorn, Sheldon Brown on tenor sax and flute, and Greg Wyser-Pratte on drums along with guest artists Greg Sankovich (keyboards and organ), Sivestre Martinez (percussion), Brian Rice (percussion) and Dillon Vado (vibes).
   Fred kicks off the album with On the Upside, inspired by the great Clifford Brown. Erik Jekabson is given the centerstage on trumpet and makes great use of the moment. Sheldon Brown takes over on tenor sax and it is clear from the start that this is going to be a fun ride—jaguars and all. Fred’s own bass solo is its own thrill ride and Dan Zemelman on piano and Greg Wyser-Pratte on drums get in their own cool trades. Then the whole band takes us home on a piece that makes you think, “Yeah, Clifford would have dug this.”
   Unaware is described as being about “people who walk through the streets unaware of their surroundings.” The work is inspired by Chick Corea. Brown switches to flute and the result is a sweet sense of non-engagement. Dillon Vado’s work on the vibes follows the flute and the package amounts to a cool wistfulness, a blissful unawareness. Fred’s bass imparts a feeling of a quick stroll before piano and drums resume their doublespeak. This is good stuff.
   T Bone Slide is a fun R&B romp inspired by the amazing Bernard Purdie’s drumming. The whole band contributes with additional help from Greg Sankovich on organ and Silvestre Martinez on percussion. Brown’s sax rolls through the piece and the rhythm section is just on fire. Fred’s bass growls behind the electric piano before taking over for a solo. The central melody is held and passed beautifully between them all and the whole piece is great rollicking fun.
   The tempo drops off in Strange Game, a song “about the music business” and inspired by the latest David Crosby album. Obviously, Fred is eclectic in his listening. Zemelman’s piano is warm and a bit melancholy. Jekabson’s flugelhorn then Fred’s bass contribute to the melancholy before giving way to Brown’s flute. This is a sweet piece with brilliant playing from the artists.
   Greg Wyser-Pratte’s drums jump start Mood Walk to introduce the blues playing from Brown tenor sax and Jekabson’s rousing trumpet. Zemelman gets a great turn on the piano before Fred lets the jaguar out for a walk. The rest of the band gets to trade off until they take the song out together. It’s playful in a cat-like way and bluesy all at once.
   Knowing is a crisp Latin-driven rhythm piece. The harmonies of Zemelman’s piano and Fred’s bass lay a cool foundation for the solos of Brown and Martinez’ percussion. As a lover of Latin Jazz, I couldn’t get enough of this one. The unified horns were great punctuations. Pay attention to Greg Wyser-Pratte’s drumming.
   Mr. Now was inspired by Coltrane Plays the Blues. Martinez is back on percussion and makes an unmistakable contribution with the Wyser-Pratte drums and cool Zemelman piano. Sheldon Brown takes on the Coltrane vibe on tenor sax and does not disappoint. McCoy Tyner and Elvin Jones would have enjoyed hearing Wyser-Pratte and Zemelman in their respective roles. The homage done to them all is true to the spirit of those past masters.
   Todd’s Idea is based on the inimitable Todd Rundgren (remember what I said about Fred’s eclectic tastes). Sankovich is on the Wurlitzer electric piano and the horns all make for a catch-a-whiff-of-Rundgren throughout the piece. Rundgren’s humor, his emotion, his kindness, all are evident in this piece that seems more about the man than any particular piece or album of his. This track is the biggest departure from the rest of the album and I don’t mean that in a bad way.
   A Congolese band playing the Ndombolo rhythm inspired Fred to write Nouveau Monde. The title, of course, means New World. While the French used that world to describe America, it is also used to describe a utopia based on human aspirations. Having been too many times disappointed by the former, I would like to believe in the latter. Such a song as this gives hope for just such a thing.
   Obviously, you will want to pay close attention to the percussion and drums of Martinez and Wyser-Pratte throughout the piece but Brown’s tenor sax, Jekabson’s trumpet and the thundering bass of Fred Randolph are like dancers responding to the rhythm.
   Meadows (Os Prados) is inspired by Brazilian composer Carlos Althier de Souza Lemos Escobar, artistically known as Guinga. Because of his pale skin, he was called Gringo and Guinga is based on his own mispronunciation of the word. (Just a little trivia from the Jazz Owl’s treasure trove).
   The song itself is a waltz of Brazilian inspiration with Brown’s flute getting beautiful moments. In fact, all of the artists are afforded the spotlight with Fred giving a sweet, warm solo that suits the piece so well. This is a contender for best track on the album.
   The album wraps up with Funky N.O. Thing. Fred’s bass opens the piece with a funky indeed solo that almost puts you in mind of Traffic’s I’m a Man. Appropriately, everyone solos on this piece. Brian Rice’s percussion and Sankovich’s organ are in lockstep with the core band. Like anything associated with New Orleans, this song makes you want to dance. There are a thousand things right with this song and not one thing wrong.
   The same can be said of the album as a whole. Fred Randolph’s Mood Walk is an assembly of swinging, waltzing, reflective, melancholy, funny and fun songs drawn over his wide-ranging tastes in music—all rendered in a Jazz paradigm. I will be looking at his back catalog.


        ~Travis Rogers, Jr. is The Jazz Owl

   Most Santana fans will know who David K Mathews is. He was the keyboard player for Santana and comma in fact, has played with stars since he first appeared with Tower of Power at the age of 23. For the next 20 years, he toured with Etta James and, since 2010, he has been touring with Santana. Those are just three in a lengthy list of artists he has performed and toured with.
   Growing up in the San Francisco Bay Area, he has been influenced by that city's musical scene and now is a contributor to that city's great legacy. To reflect that heritage, Matthews has released two and is planning on a third and fourth album called The Fantasy Vocal Sessions. Volume one focused on acoustic sets well volume 2 focuses on soul pop and R&B. Volume 3 is planned to focus on the Blues and Volume 4 will center on Afro Cuban and Brazilian music.
   They recorded the first two albums at San Francisco's famed Fantasy Studios. Sadly, that studio closed in 2018. Even though Fantasy Studios may be gone, it remains a fantasy lineup of vocalists and musicians.
   Jazz vocalist Amikaeyla Gaston appears on three tracks, beginning with the opening track, For the Love of You by the Isley Brothers. Sweet and soulful with David K. Mathews on keys and backup vocals from Lilian Kane, Kimiko Joy, and Leah Tysse. Carl Lockett is on guitar with Ray Obiedo on rhythm guitar. Lockett gives a cool and laid-back guitar solo. But, as Mathews intended, the focus is on Amikaeyla. And rightfully so.
   She also is featured on Superwoman by Stevie Wonder with the same musicians as For the Love of You. Dewayne Pate is on bass, Billy Johnson on drums, and Peter Michael Escovedo is on percussion. Mathews sits the Fender Rhodes and together they do great honor to the Stevie Wonder piece. At just over 10 minutes, the song still seems too short. It’s that good. Lockett contributes another masterful guitar solo but the whole piece—in two parts with a keyboard interlude—is seamlessly beautiful. It doesn’t take long to recognize the amazing contributions made to the Santana bands by Mathews.
   Amikaeyla’s rendition of Jimmy Webb’s Wichita Lineman is staggering. The lineup changes a bit with Mathews on Fender Rhodes on Peter Barshay on acoustic bass, Marc van Wageningen on electric bass, and Deszon Claiborne on drums. Exquisite performances from all concerned makes the something extraordinary. The doubling of acoustic and electric basses is worth the price of admission. Mathews’ touch on the Fender Rhodes is splendid.
   Tony Lindsay—another 25-year alumnus with the Santana band—appears twice. You recognize the voice the minute you hear it. He first appears on the second track of the album, You Had to Know. Good Lord. His incredible take on the song written and performed by the legendary Donny Hathaway is wonderful. Donny is—along with Marvin Gaye—one of my two favorite vocalists of all time. Set to be critical, I was amazed. Mathews is on the keyboards and his work with the Hammond Organ is warm and moving. And, let me say it, spiritual. The horns (Mel Martin, Joe Cohen, Mike Rinta, Jeff Cressman, Bill Ortiz, and Louis Fasman) add an almost angelic ascendancy to the piece.
   Tony’s second vocal contribution is on Ray Obiedo’s So Sweetly. Ray himself is one of the background vocalists—with Lilian Kane, Kimiko Joy, and Leah Tysse, again—and is also on guitars. Marc Russo’s alto sax is beautiful. David K. Mathews’ first musical love is Jazz and he takes all of these various pieces and casts them into Jazz stylings without losing their Soul, Pop, or R&B origins.
   One of the great surprises was the appearance of Steve Miller. He takes off on the third track with One Mint Julep and the results are fantastic. The song starts off in a Big Band arrangement (Quincy Jones’ 1961 arrangment) before Blues master Miller works the Rudolph Toombs composition. Mathews is on the Hammond and Miller is on lead guitar. There’s no escaping the Blues when Miller is involved. Leah Tysse is the lone backup vocalist and she is terrific. Mathews is obviously comfortable working with great guitarists and this dueling with Miller is one more instance of that great dynamic. The Big Band returns to finish out the piece. What great fun.
   James Brown’s I Got You (I Feel Good) is cranked up with Mathews on the Hammond and Funky Fred Ross taking the vocals. The horns of Joe Cohen, Mike Olmos, and Mike Rinta spice it all up and the funky, funky bass of Marc van Wageningen is so hot. Brian Collier’s drums are tight in with the bass. Talk about in the pocket. Bruce Conte and Ray Obiedo share the guitar responsibilities.
   Good God, ya’ll.
   Lady Bianca follows on the next track with Giving Up, the Van McCoy song. She has performed with both Frank Zappa and Sly Stone. That means discipline and power. Mathews remarked, “She has the power and believability that reminds me of my beloved Etta.” Chris Cain is the brilliant lead guitarist and his solo is worth hearing over and over. The soulful acoustic piano of Mathews comes off so well on the heels of the guitar solo. Deszon Claiborne’s drumming is understated but so spot on. This song just worked my heart over.
   Glenn Walters takes on the Little Anthony and the Imperials 1964 massive hit, Going Out of My Head. Little Anthony’s adolescent-sounding vocals are cast aside for a grown-up version of longing. Mathews is on the Fener Rhodes and synthesizers with cool solos on the Rhodes and a great tenor sax solo from Wayne de Silva. Walters has got the stuff.
   Paul McCartney’s Yesterday features Kenny Washington on vocals and Mathews on the Rhodes again with Ray Obiedo on guitars, Dewayne Pate on bass, and Billy Johnson on drums. They turn to Beatles’ Pop tune into something of profoundly soulful. The chord changes remain mostly intact but the delivery is oh-so-different. Mathews and company turn this into a song into something better than I ever imagined. Kenny just owns this.
   Al Cooper’s I Love You More Than You’ll Ever know is one of my favorite songs ever covered by Donny Hathaway. Alex Ligertwood is the vocalist for this song and he does not disappoint. Ligertwood was Santana’s vocalist from 1979-1994. Although the Kooper song was featured on Blood, Sweat, & Tears debut album, Ligertwood follows the trail blazed by Donny. This was my favorite track of this wonderful album.
   David K. Mathews has taken a delightful collection of songs from several genres and has given us a masterwork of favorite vocalists interpreting these moving and inspiring and reflective songs in ways that do honor to the originals. Mathews’ playing is incredible and his assembly of supporting artists is appropriate and well-conceived.
I can’t wait for Volumes 3 and 4.
​

          ~Travis Rogers, Jr. is The Jazz Owl

   I've been a fan of the low woodwinds for a long time. I've heard remarkable artistry centered around baritone saxophone, alto flute, C flute, and bass clarinet—all instruments played by Landrus on this album. Even among the brass instruments, the richness of the trombone is very attractive. Among male opera stars, it was baritone Robert Merrill that intrigued me far more than the tenors like Luciano Pavarotti or Placido Domingo. The warmth and richness of the low woodwinds is something wonderful.
   After his acclaimed 2017 large-ensemble album Generations, multi-reedist and composer Brian Landrus becomes more introspective on his 2020 release, For Now. He brings together an excellent quartet in the persons of pianist Fred Hersch, bassist Drew Gress, and drummer Billy Hart. Adding their talents to the quartet are Michael Rodriguez on trumpet and Sarah Caswell on violin along with a string quartet featuring Caswell, Joyce Hamman on violin, Lois Martin on viola, and Jody Redhage-Ferber on cello. An All-Star cast.
   The album opens with The Signs, a Brian Landrus original. Michael Rodriguez on trump it makes his first appearance Here and introduces himself with aplomb. The inimitable Fred Hersch shows why Landrus picked him for the piano duty. Then Landrus joins on the baritone saxophone and the whole thing takes on a cool swing. Drew gress and Billy hart’s bass and drums keep a tidy rhythm throughout at all. This is a good way to start an album.
   Clarity in Tme is another Landrus original. The string arrangements behind Landrus’ baritone create a longing reminiscence. Everybody knows pianist Fred Hersch, and he proves over and over again that he deserves every moment of recognition that he gets.
   Landrus’ The Miss is introduced by Hersch’s solo piano. Hersch weaves in and out of the composition and Landrus takes on the higher tones of the baritone sax. The string quartet adds a fine depth to the melancholy waltz. It is a very introspective piece that invites unbidden memories during the listening. A moving work of art. That melancholy becomes straight up sadness in JJ. Billy Hart’s drums take on a melodic strain on their own and the Gress bass is a fitting partner in rhythm. You have to love the bari sax runs employed by Landrus on the piece which are supplanted by the graceful tones of Rodriquez’ trumpet. Still, keep your ears open for what Hart is doing. Hersch earns his payday in his intelligent piano solo.
   For Now, the title track, is introduced by the lush and lyrical string quartet. The warm sounds of Landrus’ bass clarinet climb on top of the strings and Hersch’s piano fills the space in this imaginative and evocative reverie. Then we cut to the standards. Landrus’ bass clarinet takes on the whole of Thelonious Monk’s “Round Midnight. Somewhere, Monk is grinning. The bass clarinet seems like that must have been what Monk had in mind as an alternative to the piano. Landrus definitely has the ear for alternative voicings and interpretations. This in itself was worth the price of admission.
   Kaper and Webster’s Invitation is an up-tempo bouncing piece with Landrus back at the bari sax and Hersch and the rhythm section make this swing in all the right ways. Pay attention to Gress’ bass lines here. He and Hart are in lock-step and the support to Hersch is remarkable.
   For Whom I Imagined, another Landrus original, is introduced by Caswell’s violin and the string quartet. Landrus’ bass clarinet is like Dante finding himself in a dark wood, wandering, with thoughts of his beloved Beatrice pulling him forward. The alto flute is like the elusive dream who cannot be realized. Wondrously structured and performed.
   The Night of Change (Brian Landrus, composer) is a shift in tempo and light-hearted delivery with the alto flute taking the lead. Add in Rodriquez. Trumpet for the fun. A sweet and lovely piece. The Second Time--also a Landrus composition—takes a more dulcet approach with the baritone as the featured instrument. Accented strings cast bright spots against the warmer tones of the sax.
   Her Smile and The Wait are also Landrus originals. Rodriquez’ horn and the strings contribute fine textures and tones in Her Smile. Landrus’ baritone and Caswell’s violin are in great dialogue. Gress’ bass is worthy of close attention. It is a light and romantic piece that makes Her Smile my smile. Then they pick up the tempo just a bit with The Wait. Hersch’s piano gets an early solo before the bass clarinet takes centerstage. Waiting for the arrival of the lover, waiting for the phone call, the letter, isn’t doing nothing. It is waiting and so much happens during the wait. The song The Wait is no different; it is full of moments of anticipation from the piano or the bass while Hart keeps up the pitter-patter of the anxious heartbeat. This was fun stuff.
   The album closes with Thelonious Monk’s Ruby, My Dear, as if the object of affection all along was Monk’s Ruby. Fred Hersch takes the opening of this classic piano work and then Brain Landrus’ baritone sax takes over the melody, that unmistakable melody. Before long, you realize that it is just Landrus and Hersch, piano and sax, carrying the whole piece. Wonderful interplay.
   Through all of For Now, Brian Landrus creates atmospheres of love and longing, wanting and waiting, with a collection of celebrated and accomplished artists who feel it just as deeply as he does.
 
 
            ~Travis Rogers, Jr. is The Jazz Owl
​

   Who would have expected the landscape designer to release one of the most incredible vocal CDs of the year? Yet Mayita Dinos has done just that with her debut CD, The Garden Is My Stage. With a rich ancestry from Puerto Rico and Turkish and Greek dissent, Mayita has taken that, along with her love for all things growing, and a love of Jazz to bring this album to life.
   Los Angeles is a place rich in Jazz talent. With Kathy Segel-Garcia as vocal coach and coproducer, Mayita brought along Bill Cantos and Rich Eames on piano, Gabe Davis on acoustic bass, Hussain Jiffry on electric bass, Dori Amarilio on guitar, Michael Hunter on trumpet and flugelhorn, Alex Budman with flute clarinet and soprano sax, Steve Hass on drums, and Tiki Pasillas on drums in percussion. The results are remarkable.
   Here choices in songs is beautifully focused on life in the garden—flowers, trees, birds, and more. The first reaction may be to think that it is a contrived song list but this is not the feeling you get from the track list arrangement. Rather, it is clearly a reflection of what is dear to Mayita’s heart. Again, the results are remarkable.
   The album opens with Charlie Parker’s Ornithology with lyrics written by Mayita herself. Dori Amarilio’s guitar and Alex Budman’s flute contribute to the samba treatment. Rich Eames piano creates the image of calling birds with response from Budman’s soprano sax. And through that sweet musical chorus, Mayita’s vocals sound completely at ease and so very natural, as though she was releasing her 10th album instead of her first.
   From the very first song, it is clear that Dori Amarilio's arrangements are going to be breathing fresh life into these great songs. The arrangements are stellar and so very well-suited for Mayita and the supporting artists/
   That ease and naturalness continues into Stevie Wonder and Syreeta Wright’s Come Back as a Flower from Stevie’s album, The Secret Life of Plants. Again, Amarilio’s guitar is of singular excellence. The whole group contribute beautifully in what has always been one of my favorites from the Secret Life… album.
   From Bird and Wonder, Mayita takes us to Thelonious Monk’s Pannonica (lyrics by Jon Hendricks). The woman by the name of Pannonica is described as a butterfly. Flute, guitar, and piano provide the lightly flighty movement as Mayita intones the descriptive and lyrical narrative. Her voice flows easily over the airy melodies.
   From that garden reverie, Mayita flows into Joni Mitchell’s Woodstock. Amarilio’s guitar lead-in sounds like the delivery of Carlos Santana which enhances the Woodstock feeling. His playing is just as clean as Santana’s. Of course, the focal lyrics are:
         We are stardust
          We are golden
          We are billion-year-old carbon
          And we’ve got to get ourselves back to the garden
   And you were wondering what Woodstock had to do with a garden.
   Mayita very competently alters the tempo and the rhythm of her singing along with a few Jazzy changes to the vocal melodic lines. What she creates could be a Jazz standard fashioned from the bones of a rock standard.
   Lullaby of the Leaves (Bernice Petkere/Joseph Young) is introduced by Amarilio’s Wes Montgomery-sounding guitar. Then Bill Cantos’ piano takes over and Mayita’s vocals are delivered like something from a 1930s black and white movie.
   At this point, I was asking myself, “Good Lord, why haven’t I heard her before?” And just as quickly comes the response, “Oh, yeah. This is her debut album.” I mean, yeah, she’s that good.
   Mayita then takes on Jorge Drexler’s Un pais con el nombre de un rio. The Uruguayan musician, actor, and doctor composed the song which translates as The Country Named After a River, which is, of course, referring to Uruguay. Mayita sings it in the Spanish Rioplatense dialect and does it beautifully. Not to keep mentioning Dori Amarilio’s guitar but the Spanish guitar is a brief but beautiful introduction.
   The chorus reveals her choice for the song.
          It's hard to leave
          it's hard to stay
          it's hard to forget
          the smell of the wet earth
   Of course, with a Puerto Rican mother (and being born there), and a grandmother who taught her songs in Spanish, her diction is perfect. The song, the music, and the singing flow just like the Uruguay River. The song is placid but not listless. Sweetly and warmly done.
   Then she brings on the Freddie Hubbard/Rochelle House song, Little Sunflower. Michael Hunter’s flugelhorn taks on the Freddie parts. Tiki Pasillas’ percussion and Steve Hass’ drums, as was true with Un pais con el nombre de un rio, are spot on and contribute in great measure to the success of these pieces. Gabe Davis’ bass and Hussain Jiffry’s fretless bass add great harmonic texture. But Hunter and Cantos work so very well together and the whole track is extraordinary and warm as Mayita makes this song her own.
   The South American vibe continues with Antonio Carlos Jobim’s Double Rainbow (lyrics by Gene Lees). You can’t go wrong with Jobim and that is certainly true of Mayita’s treatment, accompanied by the same line-up. Cantos gets good piano work in this song and Hunter’s muted trumpet is a cool backdrop.
   La Lola is an original composition of Mayita’s with lyrics by Frederico Garcia Lorca. Only Gabe Davis’ bass accompanies Mayita’s rich and captivating vocals.
          Under the orange trees she washes
          diapers made of cotton
          She has green eyes
          and a violet voice.
          Ah, love
          under the blossoming orange tree!
   Sadly, the song is just under two minutes in duration. It is a soulful ballad of exquisite loveliness with a bit of melancholy that just pulls at the heart.
   From there, Mayita moves us with Billy Strayhorn’s A Flower is a Lovesome Thing. Strayhorn wrote the music and the lyrics and Mayita’s sings it like she was sitting beside him when he wrote it. Budman’s flute and Hunter’s trumpet are in sweet duet trading passages as the great rhythm section keeps the Latin flavor alive.
   From the gardenias of the Strayhorn number, she uncovers the rose in Spanish Harlem (Jerry Lieber/Phil Spector). Hunter’s cool trumpet and Cantos’ piano create a beautiful nightscape for Mayita’s lush vocals. Add Amarilio’s acoustic guitar with Hass and Passillas on drums and percussion and this is rendered as the classic that it always has been. The andante tempo is just right for this song. Plus, she miraculously sings in tones that reflect her father’s heritage and her own love for Middle Eastern music. Those influences transform this old Lieber chestnut into something more engaging and moving than ever heard before.
   Pianist Rich Eames arranged the Ann Ronell song, Willow Weep for Me. Backed by just the trio of Eames, David, and Hass, Mayita conveys the melancholy set in an arboreal sanctuary with cool delivery and soulful instrumentation. Gabe Davis gives a warm and touching bass solo that leads into Eames’ brighter piano solo. It is like feeling sadness inside surroundings of joy and beauty.
   Mayita closes her debut album (God, let there be many more to come!) with Jobim’s great piece Agua de beber. Hunter and Budman introduce the song on trumpet and flute along with Amarilio’s acoustic guitar. Mayita interprets the piece in about one-third the tempo of other covers like Al Jarreau’s. It works. But the outro picks up the pace and she wraps up the album with those joyful Jobim sounds.
   What an album. Mayita Dinos sings with such polish and poise that it belies the fact that this is her first foray into recording. The artists supporting her are brilliant, the production is sterling, the song selection is flawless. It is only May but I can’t imagine any album coming out this year that can remove her from Best Debut Album on my Favorites of 2020 list.
 
 
~Travis Rogers, Jr. is The Jazz Owl