In 2013, Takeshi Asai recorded and released “French Trio, Vol.1” to critical and popular acclaim. In 2014, the trio of Takeshi Asai (piano), Pascal Combeau (bass) and Maxime Legrand (drums) toured France again, recording those live concerts along with studio recordings to produce “French Trio, Vol. 2” which was released on June 2, 2015 on De Trois Cités Records.

The album was composed mostly by Asai with one song each by Combeau (“Little Black Pudding”) and Legrand (“Libre Arbitre”).

The album opens with “653.” The piano is delicate but straightforward. The rhythm section is solid and even. It carries an autumnal feel and a bit of a contemplative quality. With all of that, however, there are hints of playfulness, as well. Pascal Combeau’s bass solo is coherent with the piano and, together, they are beautifully meticulous.

One of the more pleasing aspects of the album is the duration of the tracks. They allow time and room for exploration and evolution. Such is the case with “653.”

“Beginning Again” starts with Legrand’s swing. It provides a sweet springboard for Asai and Coombeau. There is a hinted reworking of a well-known piece involved with Asai and Combeau combining to deconstruct and then piece it back together. Asai’s improvisations are stronger than ever, combining distinction and delicacy.

“Hircam” is a fascinating composition. There is an ascending quality to the melody while it simultaneously expands in range and dynamics.

This is a remarkable piece that allows all three artists wide expression. It is dramatic. It is visionary. Combeau’s bass solo is accentuated by Legrand’s rim-playing who is at a dynamic high here. The ascending becomes a crescendo that is just splendid. The song continues to crescendo as it fades out in a sonic undertow.

“Hier” takes a step back into a more languid repose. The gentle chords and the legato bass lines, supported by Legrand’s brushes, make for an almost nocturnal atmosphere.

Asai’s cascading doublets are enchanting and are mirrored by Legrand’s brush on snare doublets. The song fades into a lullaby. Sweet.

“Little Black Pudding” is Pascal Combeau’s composition. The piece is romantic and light-hearted. The melody is a celebration and the bass solo is a fun romp. The track is a charming work of straight-up Jazz.

“Intro-Little Vexations” follows. You’ve got to love the title. There is a haunting atmosphere in the solo piano introduction. The chord changes are wonderful and the feeling of overcoming or even ignoring those little vexations is enhanced with the swing of the bass and drum.

Combeau and Legrand are a great partnership. This track proves the tight interaction between them. A jolly, fun piece.

“Libre Arbitre” is Maxime Legrand’s compositional contribution. As is true of almost any work written by a drummer, the time is more important than the melody. Such is the case here. It is indeed the rhythm that catches the attention.

The melody, however, is attention-grabbing on its own. The percussiveness of the piano marks the rhythm out well, as the arpeggios allow the drums to roll out the track.

At eleven and a half minutes, “I Remember the Castle” is the longest track on the album and serves as the album’s conclusion. The groove intro gives way to a romanticized remembrance. The melodic lines and the rhythmic lines are beautifully interwoven. The North African feel is delightful in both melody and rhythms.

Takeshi Asai’s French Trio is a wonderful partnership of complimentary talents. The musicianship and the composing are steadfast and sincere. The improvisation is imaginative and precise. There is a mathematical exactitude that does not inhibit the emotion of the music. There is a camaraderie within the trio that also envelops the listener in its embrace.

Takeshi Asai has developed a depth of insight in improvisational talents and skills. As an artist, he displays an emotion that is restrained but profound. As a composer, he reveals the breadth of his intelligence and imagination. As his audience, we are privileged to participate in the revelation of his heart.



 





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The Swedish sextet Beat Funktion has been called Jazz-funk by some but forget trying to pigeon-hole these guys. You will find elements of soul, reggae, hip-hop, pop, and—yes—Jazz and funk throughout the album, all in a cool mix.

“Olympus” is a concept album centered on ancient Greek mythology. It is a fascinating theme that has a long history in music. Gustav Holst may have called his collective work “The Planets” but it was more about the gods for whom those planets were named. Bill Chase did it with the album “Ennea” and Rick Wakeman did it with “A Suite of Gods.”

Beat Funktion, however, has brought along various voices and talents with great effect. Three vocalists are featured on three different tracks and each lends a particular slant to the interpretation.

Daniel Lantz is the composer, lyricist, keyboardist and musical director. His choices of collaborators are appropriate to each piece involved. American rapper Damon Elliot on “King Minos,” Sani Gamedze on “It’s About Time” and Rebecca Laakso on “Where’s the Sunshine?” all contribute uniquely and meaningfully.

The crossover ability of the six musicians is remarkable. The meet and conquer the challenge of adapting to such varied styles, often within the space of a single track.

“The Prologue” is the narrated introduction by British voice actor Ralph Erle and the instruments. Daniel Lantz wrote the introduction, giving a backdrop of mythology for the music to follow. The humorous end of the narration belies the serious cultural and sociological interpretations that follow.

“Game of the Gods” features Olle Thunström on tenor sax. The rhythm section thunder away whole the horns create a playful image of the Olympian gods toying with humanity, all menacing and merciless.

“King Minos” features seven-time Grammy winner Damon Elliot rapping the story of King Minos of Crete. Olandersson’s trumpet punctuates the funky groove and Lantz’s keyboards back up the vocals. Guitarist Johan Öijen adds some sweet soul interludes in the breaks.

As I said, the choice of Elliot to tell Minos’ story is perfect and sets up the move from Minos and his Minotaur to the “Chimera.”

The Chimera was another of the monstrous creatures that populate Greek mythology. The Chimera was a hybrid beast and is musically interpreted by Lantz through the use of multiple styles, motifs and times. Brilliant.

“It’s About Time” concerns Hera, Queen of the Olympians, wife of Zeus and arguably one of the most despised figures in Greek mythology. Lantz portrays a different aspect of the goddess who tried to kill Hercules and others. Sani Gamedze sings sadly of the decision to break away from a brutal relationship. “It’s time you pay for all of your wrongs, It’s time I start to make things right.”

It sounds like it could have come from late 1970s Gloria Gaynor. Maybe it’s more disco than funk but it works well and offers a sensitive reinterpretation of a well-known mythological figure. I had never been sympathetic to Hera (did I mention she tried to kill Hercules?) until now.

Thunström’s sax is hot and you’ve got to love the groove of the rhythm section.

“Waters of Thessaly” is an interlude carried mostly by Lantz’s Fender Rhodes. Thessaly saw a convergence of many waterways and bodies of water in the glory days of Greece. Odysseus had visited Thessaly and Jason and the Argonauts launched their expedition from there. Several rivers from the Pindus watershed flow throughout the region and met other rivers near Mount Olympus.

The waters were said by some to be purifying and were the source waters which Hercules diverted to clean the Aegean Stables during his 12 Labors.

Accompanied by flute, harp and strings, the piece incorporates elements from other tracks on the album as in the coming together of various waterways. In the liner notes, Daniel Lantz challenges listeners to determine which tracks are referenced.

It doesn’t require a lot of thinking to realize who is the mythological character used as the basis for “Viper Lady.” The trumpet and guitar get cool solos but there is a menacing hiss that sounds like what Medusa’s serpentine coif might make.

The Jazz-funk of this track is more fun than watching this Gorgon sister turn herself into stone.

“Don’t Look Back” is about the tragic mistake of Orpheus in his attempt to rescue his beloved Eurydice from the clutches of Hades (the god and the place) in the underworld. The only requirement to complete Eurydice’s salvation is simple—do not look back at her until they have both reached the surface. Orpheus can’t wait to see her and turns around only a few steps from the surface. He fails and loses her forever. It is one of the saddest tales in all of mythology.

Ollandersson’s trumpet is as plaintive as Orpheus’ lyre. It is melancholy and mournful. Orpheus must say goodbye to sweet Eurydice for a second time.

“The Hydra” was another chore of Hercules 12 Labors, imposed on him by who? Oh, yeah. Hera. The Hydra was a multi-headed dragon who regrows two heads for every one severed. And Hercules had to kill the beast.

The maneuvering, striking, slashing and biting are brilliantly recreated in the clash between the instruments. The ebb and flow of the conflict are brought excitingly to life. The Hydra seems to come alive in our own time thanks to Olle’s sax effects.

“Fallen Hero” is as much about modern life as it is about fallen Greek soldiers. It is sweet and sad, commemorating those who fall under the weight of life’s heavy struggles. The heavy bass and drum groove are the unrelenting pressures that every human must face.

“Where’s the Sunshine?” is about Medea, the priestess of Colchis, wooed and later abandoned by Jason on the quest for the Golden Fleece. Medea’s despair leads her to acts of heinous revenge. At last, she calls upon her grandfather Helios who drives the chariot of the Sun. Helios sends his chariot to rescue her.

Rebecca Laakso sings the despairing words of Medea to Helios. It comes across as another example of disco’s cry for female freedom. Again, Lantz has a way of making us give well-known characters a second look.

“Siren Song” was the enticing trap for mariners who passed too close to the island of the Sirens. In Homer’s “Odyssey,” the hero Odysseus is determined to hear the song for himself, so he has his crew tie him to the mast. The crew plugs their ears with bees’ wax so they can remain unaffected.

Odysseus gets to hear the song but is nearly driven mad. Lantz’s piece is written in a cyclical, layered form to simulate the intoxicating effect. Layer after layer is added with all of the instruments coming into play.

“Swords and Sandals” is a general look at the bloody history of Greece. The sax—then organ—solos are like the approach of two different armies—perhaps Athens and Sparta—while both sides share the sounds of clinking armor and the shuffling of sandals slogging through the sand.

The inexorable marches are what all ancient armies bore in common.

“Epilogue” is the penultimate piece. It bemoans fate or the lack of it and calls for celebration. Don’t worry about interference from gods (singular or plural). Instead, party with them.

“Mount Olympis” is that celebration. It is a celebration of life in harmony. Harmony with humanity, harmony with nature. The gods don’t get the last word.


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If most people were asked to name a Jazz harmonica player—if they could name anyone at all—it would be Toots Thielemans. Most harmonica playing comes in the form of Bob Dylan or Neil Young or John Popper. Parisian Yvonnick Prene is set to change all that.

With 2014’s retirement of Toots Thielemans, Prene has taken the opportunity to release an album in tribute to Thielemans and with Prene is guitarist extraordinaire Pasquale Grasso. The album is “Merci Toots.” This is Prene’s third album as a leader and he is a much sought-after contributor.

I first heard Prene on Lorin Cohen’s album “Hone” and was staggered at the beauty and warmth of his playing. So I was in great anticipation for the hearing of “Merci Toots.”

As Thielemans and pianist Kenney Werner formed a dynamic duo, so have Prene and Grasso who first met in 2012 and formed an instant musical bond. It is fitting that Prene has chosen a guitarist as musical partner in this tribute because Thielemans himself was also a guitarist (and famous whistler). Prene and Grasso are familiar and confident with each other and it shows from the opening notes.

Prene has chosen nine mainstream pieces that are familiar to all Jazz listeners but it the improvisations that are so exciting and noteworthy.

The album is introduced with Bud Powell’s “Celia.” What a great start! Grasso opens the piece warmly and is soon joined by Prene’s chromatic harmonica.

“Celia” informs the listener right away that this album is going to be a treat. The respectful but still improvisational approach to Bud Powell was delightful.

“Dameronia” by Tadd Dameron follows after. Grasso creates a full, even lush, backdrop to Prene’s thrilling runs. Their interplay is focused and tight. A duo is a challenge but, as Prene says, “We wanted to make an album which reflects the interaction that can happen onstage between tow musicians who enjoy playing together.” “Dameronia” was one of the tunes that they had not played together on stage before and this gives an added freshness to the piece.

Charlie Parker’s “Koko” is splendidly recreated. Again, the duo accomplishes a formidable reevaluation of what Parker’s ensemble did. The question keeps arising, “Can these two really render the fullness of the original group’s performance?” The answer is always in the affirmative.

I admittedly held my breath for Thelonious Monk’s “Round Midnight.” It is one of my favorite tunes by one of my favorite Jazz masters. I never expected to be so completely moved so deeply and so nearly to tears. Wonderfully interpreted.

Prene and Grasso display a tender affection for the piece that is remarkable. This was also a piece that was new for them to perform together. This track got many, many replays. The closing section is spectacular.

Charlie Parker gets another nod with “Confirmation.” It is a challenging piece but it receives a fun and bouncy treatment from Prene and Grasso. The quick changes are handled with impressive ease. Grasso is equally impressive with his lock-step speed and the two musicians show amazing interaction.

“Be Bop” by Dizzy Gillespie is an even more exacting revelation of that interaction. The improvisations on “Be Bop” are heart-stopping. This may be the real showcase for their cooperative melodic lines. It is also the most fun track on the album.

The one track on the album composed by Thielemans himself is “Bluesette.” It is the piece that used guitar and whistling together and Prene and Grasso take on the parts brilliantly. It further proves Prene’s correct decision to form a duo with Grasso for this album.

“Little Girl Blue” is a Richard Rodgers standard. It is a sweet and charming melody which is treated gently by Prene and Grasso. It is difficult to get enough of this track. Grasso’s approach is delicate and warm against Prene’s air of innocence and wonder. Sweet and melancholy.

Paul Raye’s “Star Eyes” is lively and playful. It is a fine example of the duo’s handling of a standard. It is given a fresh twist and new interpretation.

The whole album is fresh, despite being a tribute to a Jazz genius. The emotion that Prene and Grasso bring to the works of Jazz greats is moving. Yvonnick Prene is skilled and talented without a doubt but there is a depth to him that calls to the depths within the listener. It is no wonder that he is in such demand.

For Jazz harmonica, Toots Thielemans is no longer the only game in town. The impact of the master on Prene is unmistakable, to be sure. In fact, Yvonnick Prene would probably agree that there would be no Prene with Toots. And for that, we say “Merci, Toots.”

 


 

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Thana Alexa
“Ode to Heores”
Jazz Village JV579002


Thana Alexa – Voice
Lenart Krečić – Tenor Sax
Sergio Salvatore – Piano
Jorge Roeder- Bass
Antonio Sanchez - Drums

 
I first heard Thana Alexa through the albums of Gene Ess and was immediately taken with the way she used her voice as an instrument and not solely as a means of transmitting lyrics. She is indeed a musician but this album, her debut as a leader, shows her brilliant skills as composer and arranger. Her original tunes are crafted so well and her arrangements so imaginative that it is difficult to imagine that this is not her fourth or fifth album.

From the opening track, “Ode to Heroes,” Thana shows that she is indeed an instrumentalist with her voice. Now percussive, now lush and lyrical, now precise and distinct, she employs a wide range of vocal techniques and make them all work beyond belief.

On this track alone she is joined by Donny McCaslin on tenor sax. His solos are splendid but he begins the track in percussive punctuation alongside Thana’s vocals. Antonio Sanchez is a perfect fit on drums. Inventive and exciting, Sanchez moves from quick strikes to broad strokes in fascinating displays.

Sergio Salvatore on piano is a steady anchor throughout the piece and Jorge Roeder on bass rolls in tight with Salvatore.

The piece “Ode to Heroes” is an original composition. It is written so well and was imagined with Sanchez and McCaslin playing their unique styles hand in hand. The vocals are indeed the leading element of the piece and the lyrics themselves speak of inspiration and following a hero’s lead.

Still, it is the sound of the vocals—even more than the meaning of the lyrics—that carry the emotion of the piece. The sound and cadence of the words carry the weight of the lyrics. An altogether extraordinary composition.

“Trace Back Your Footprints” is a Wayne Shorter composition that Thana wrote lyrics for and arranged. Lenart Krečić takes over on tenor sax for the remainder of the album. Christos Rafalides solos on vibraphone and works incredibly well with Salvatore.

The rhythm section (including Thana’s vocals) is intoxicating. Salvatore captivates and the male chorus is a terrific surprise. Hearing Thana’s treatment of the Wayne Shorter number is a rich treat.

“Ghost Hawk” is also an original by Thana. It is a wonderful composition in both music and lyrics. Salvatore’s piano lines are warm and touching. Sanchez draws attention to his drumming choices and Roeder’s bass is sweet, line after line.

But Thana’s voice…Good Lord. She is enchanting. The lullaby in the last stanza is wonderful. Touching, heart-rending with a loving and lovely melancholy. It serves as a great transition into “Groove Tune.”

“Groove Tune” is a spot-on title and another Alexa original. It is a cool break moving from lyricism to hard groove and starts with the straight-up 4/4 groove. Salvatore, Roeder and Sanchez enhance that groove at every possible turn. Krečić’s tenor sax takes off on some cool moments of his own and with Thana’s vocals. Sanchez again gets great swing and the vocals with men’s chorus is a whole other groove.

“Siena”—another original—sounds like a piece that Sarah Vaughn would have recorded. It was nominated for Croatia’s 2011 PORIN Award for “Best Jazz Composition.”  It is romantic and it is emotional. Salvatore’s piano is warm and touching. Those lyrics are rich and sweet. “Took your chances/No defenses/Found the love/That feels like home.” Who couldn’t love a line like that? Beautiful.

As young as Alexa is, she has the daring and maturity of someone 30 years older.

“In a Mode” is one of those pieces that can be called an instrumental, even though there are vocals on it. The vocals don’t need the lyrics, however, because the melody carries the day. It is a cool foray into modalism (thus, obviously, the title) and it pays off.

Krečić’s tenor sax is blistering and, at some points, raw. Sanchez’ sweeping cymbals are astounding.

“When Evening Comes” begins almost as a call to prayer. The lyrics themselves reinforce that impression. “When the Sun goes down and evening comes to you, think about the day that’s past. Could you have done anything different? What will change tomorrow?”

Scott Colley gets the bass solo and shows exquisite tone and phrasing. He is following by Salvatore’s fitting piano and then by Thana’s repeated stanza, accompanied by Krečić’s sax. This one was a favorite.

“The Wanderer” is Alexa’s vocal rendition of Charles Mingus’ “Goodbye, Pork Pie Hat.”  It was Mingus’ farewell to Lester Young who had died two months before. The song appeared on Mingus’ great album, “Mingus Ah Um.”

Jorge Roeder covers the John Handy bass solo and works a thing of great beauty. He is steady and soulful, just like Alexa’s vocals. The song itself is vocals and bass. Seems simple enough but the dynamics of the piece are anything but simple. It is elegant and profound.

“Take Five” is, of course, written by Paul Desmond with lyrics by Dave and Iola Brubeck. This arrangement, however, is all Thana Alexa. Krečić gets to take on Desmond’s sax role but Sanchez brings his own style that turns the piece upside down. Add Salvatore’s left hand on piano to Roeder’s bass lines and this piece takes a deep dive into the bass clef. This is as exciting as it always has been.

“M’s Lullaby” must be a reference to her mother, Mercy. This is Alexa’s vocals with solo piano accompaniment. The sweetness of the lullaby is as much from the words as from the light and lovely melody. “No matter how bad you think that you appear, Never feel lonely ‘cause I’ll always be right there.” This forms the bridge to the last song on the album, entitled “You Are Not Alone.”

“You Are Not Alone” is the continuation of “M’s Lullaby” but with the full group joining in. The layered vocals are powerful and meaningful.

The piano, bass and drums are tight and impressive. These three fit so well together and are the ideal support for Alexa’s unique vocals. Then again, every artist on this album contributes their all to this recording.

“Ode to Heroes” is Thana Alexa’s stunning debut as a leader and is worthy of great attention and acclaim. Her voice is enthralling, her compositions are heart-warming and her arrangements are heart-stopping. She has a beautiful delivery not heard since the glory days of Basia Trzetrzelewska. It is no wonder that she is in such demand as guest vocalist. She brings out the best in the music, the musicians and, certainly, in herself.



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