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Rudresh Mahanthappa Assembles the Hero Trio

7/19/2020

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​I've always enjoyed about Rudresh Mahanthappa is the way he never settles on a given expression or style. Ever since I began listening to him, he has pushed his own boundaries to new places and always finds fertile soil for his musical imagination wherever he ventures. Such is the case with his new album entitled Hero Trio.  

Simply taken on the value of the three members of the trio, it is indeed a heroic lineup. With Rudresh, on alto saxophone, is the brilliant bassist Franςois Moutin and the fantastic drummer Rudy Royston. This is the same line-up that has accompanied him beginning with the 2015 CD Bird Calls.

Rudresh opens and closes the album with Charlie Parker tunes and in between Covers or rather reinterprets pieces from Stevie Wonder, Keith Jarrett, Ornette Coleman, and even Johnny Cash. He and Franςois and Rudy turn those pieces on their ears. Rudresh has an unmistakable sound that makes him easy to identify but his unique interpretation of legends like Parker and Coltrane and Jan Garbarek is simply astonishing.
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The album opens with Parker's Red Cross and, for the rest of the album, will not depart far from the Yardbird songbook. Across is a fascinating traversing of time signatures and changes. From the opening track, the trio puts their full talents on display and gives you a sweet taste of things to come. 

Then Rudresh takes on Stevie Wonder with the latter’s Overjoyed. That tune has been one of the most recognizable songs since it was released in 1985. But somehow Rudresh takes that work of such love and optimism and looks sideways at it through a more melancholic approach. A revised title could be Overjoyed in Spite of.  

In one of the coolest tracks of the whole album, the trio dogs into that great Caribbean rhythm of Parker’s Barbados and then transitions into Coltrane’s 26-2. Buckle up for this one. Rudresh, Franςois and Rudy give it all they’ve got here and it pays off handsomely. I don’t mean that it is fast and furious, I’m talking about their incredible precision. I keep coming back to this track.

I Can’t Get Started is a 1936 composition of Vernon Duke and Ira Gershwin. Bunny Berrigan chose it as his theme song for his band starting in 1937. It has been recorded by Lester Young, Dizzy Gillespie, Sonny Rollins, Oscar Peterson, and Paul Bley, among so many other legends. Rudresh, a future-legend of his own, takes on the ARollins-Carter rhythm scheme and, with Franςois and Rudy, owns it. His tonality is fantastic. Franςois’ bass solo is low and smooth.

The Windup is from Keith Jarrett’s phenomenal album Belonging. It was Jarrett that brought me into the Jazz fold in 1975 and to hear a new favorite take on an old (and current) favorite is a blessing. Rudresh nails the Garbarek parts beautifully and the trio again proves that no one, no band, no orchestra, is beyond their reach. Listen over and over and pay attention to each member of the trio as they interpret and reinterpret Jarrett’s European quartet. And they do it without a piano.

Then comes the boldest attack of all—Rudresh takes possession of Johnny Cash’s Ring of Fire. You don’t have to be a Country & Western fan to appreciate Cash. In fact, it may help if you’re not! Cash is a far better composer that many of us Jazz snobs might like to admit. U2 attempted it but Rudresh proves the point.

I’ll Remember April got its official debut with Abbott and Costello in 1942. It has been recorded by Chet Baker, Cannonball Adderley, Miles Davis, Eric Dolphy, Charles Mingus, Sonny Stitt and dozens more. But Rudresh was taken with Sonny Rollins Blue Note recording of the tune. Again, with a pianoless trio. This trio just hammers it home and earns its place among the honored recordings.

Ornette Coleman’s Sadness is a work of wonder, especially under the tender mercies of Rudresh, Franςois, and Rudy. Franςois opens the piece and sets the tone. Rudresh expands and explores the Coleman piece with emotional and meaningful passages. Rudy knows just when to add and to subtract. These three belong together.

The album closes with Charlie Parker’s Dewy Square. The song is all too brief but they make every note count. If sports teams like to “leave it all on the field,” then so does this amazing and fascinating trio. All three take the time offered and they just own each and every piece presented.

Hero Trio is exactly what it says it is. Rudresh Mahanthappa, Franςois Moutin, and Rudy Royston have created a powerful, precise, and—okay—perfect album. There’s no Kryptonite on this album.
 
 
                            ~Travis Rogers, Jr. is The Jazz Owl



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The Time is Now for Jorge Perez-Albela

7/18/2020

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What a great year for albums and it's only July! Jorge Perez-Albela has just released the time is now and apparently that title is correct. His wife Sissy Castrogiovanni has recently released her own solo album called Terra and now she is the featured vocalist on The Time is Now, as well.

With Jorge and Sissy are pianist Tim Ray, bassist Jesse Williams, along with guest saxophonist Lihi Haruvi, vocalist Santiago Paredes, and trumpeter Phil Grenadier who join Jorge who is on drums, Peruvian cajon, and percussion, as well as vocals. It’s a bit of a reunion as Tim, Jesse, Lihi, Sissy and Jorge were together on Sissy’s album.

That same tight playing, incredible singing, and brilliant composing have carried over well to The Time is Now. As he states on his website, “The ten tracks that make up The Time is Now reflect an array of musical traditions and are tied together by a jazz sensibility.  Inspired by the saying “Music unites us. Music connects us to the truth.”

The music is composed and arranged by Jorge with the exception of Raices, composed and arranged by Pepe Vasquez. Jorge also wrote or co-wrote the lyrics for every song.

Patricia Albela provides excellent liner notes and explanations of each track and I will refer you to her notes.

The album opens with The Mirror and Jorge’s drumming and percussion before being joined by the excellent Tim Ray on piano. Sissy’s vocals and Lihi Haruvi’s soprano sax join forces to create a powerful chorus. Jesse Williams’ bass is as brilliant as ever and that piano-bass-drums section is fascinating. 

Throughout the album, Jesse Williams shows why he was picked by the husband and wife team on both of their recent albums. His opening solo and later return on A Mis Padres (a tribute to Jorge’s parents) is moving and emotional. The bass lines on Shing Star are doubled with the piano and it bounces beautifully.

Sissy’s vocals are as emotional and meaningful as one could ever hope. She is amazing in her range and reach and richness. She does not disappoint in any regard.

Tim Ray’s piano is terrific. Jay Bird Koder, brilliant Jazz guitarist and sought-after session musician, once counseled young improvisors, “Think about what you want to play next…then don’t.” He was talking about creating space for the other artists on stage or in the studio with you. Tim Ray is an excellent example of such a strategy. In moments when you expect to hear the piano, you don’t. He lets the moment last before moving on. That is a treasure.

N.I.T.T (Now Is The Time) is smoking hot fun. The whole is tight with a pause for beautiful vocalizations from Sissy.

Jorge himself is just fantastic. From drums to cajon to all other percussion, Jorge is great fun and fascinating to hear. He can swing with the best and then simply blister the skins. His compositions and arrangements are worthy of great notice and admiration.

He moves from the soulfulness of El Reto to the samba of Pra Brasil to moving emotion of Gratitude to the bone-crushing funk of N.I.T.T., Jorge has composed, arranged, and lead a marvelous album.

Do yourself a favor and listen to Sissy’s Terra and Jorge’s The Time is Now back to back and over and over.
You’re welcome.
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This is the Time is everything you want to hear. There are no lags or weak moments. Every track, every note, every beat is meaningful and right on time.
 
 
                      ~Travis Rogers, Jr. is The Jazz Owl


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Mafalda Minnozzi's Sensorial is a Must

7/18/2020

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Finally, internationally known vocalist Mafalda Minnozzi will be releasing her new and greatly anticipated album Sensorial: Portraits in Bossa & Jazz. Born in Italy but based in New York City, Mafalda approaches an American and International audience after a 20-year career in Brazil.

With tunes from Antonio Carlos Jobim and other Brazilian notables, Mafalda releases an album under the musical direction of guitarist Paul Ricci, delving deep into the Brazilian songbook while, at the same time, lacing Brazilian Bossa and New York City Jazz into a seamless and sensuous experience of mood, melody, and even some melancholy.

Mafalda is surrounded with brilliant musicians. Besides musical director Paul Ricci on guitars, Art Hirahara in on piano, Essiet Okon Essiet and Harvie S. split duties on acoustic bass, Victor Jones is on drums, with Rogerio Boccato on percussion, and Will Calhoun on the Udu drum and shaker on track seven.

The album is 13 tracks with Jobim composing or co-writing seven of them. That’s good enough for me.

But from the very beginning it becomes obvious that the Bossa will undergo a Jazz treatment and it will continue for the whole album.

The album opens with A Felicidades (Jobim). Let me say again what I have said for many times before. Portuguese is the most beautiful for lyrics and singing. And Mafalda nails it. Paul Ricci’s cool guitars along with Art Hirahara’s piano is just so fine. Harvie S on bass and Rogerio Boccato’s percussion lay a cool foundation for it all.  Listen for the interlude based upon Baden Powell’s Consolaςāo. Baden Powell de Aquino was a brilliant Brazilian guitarist who combined so many musical influences and whose work with Elis Regina first captivated me. Ricci does a fantastic job of carrying across the moods and virtuosity of Baden Powell.

Vivo Sonhando (Jobim) is another stand-out with the ethereal guitar of Ricci and the cool Victor Jones beat. Mafalda is absolutely intoxicating. Hirahara gets some improvisational time as he and Mafalda create moments of exquisite beauty.

Morro Dois Irmāos (Chico Buarque) comes next. Francisco "Chico" Buarque de Hollanda is a Brazilian-born singer-songwriter, playwright, and more, who focused on the socio-economic conditions of his homeland. It is a terrific framework for Ricci’s guitars and the improv from the rest of the band. Pay attention to Mafalda’s vocalizations at the very end.

É Preciso Perdoar (Alcyvando Luz) opens with an introduction from Coltrane’s Lonnie’s Lament which Ricci and Hirahara perform to perfection. While Luz was an excellent composer and performer in is own right, Mafalda and Ricci take the piece to new heights with expanded vision and imagination.

Desafinado (Jobim) opens with Hirahara’s piano and is soon joined by Mafalda and Ricci. The rest of the band remain in the bullpen until half-way through the song. The guitar and piano serve as the principal instruments alongside Mafalda’s fine vocals.

Mocidade (Toninho Horta) is another fine showcase for Ricci. After all, Toninho Horta was called one of the top five guitarists in the world by UK’s Melody Maker magazine. Harvie S on bass is again cooking in the background. Make sure to hear him out.

Samba Da Benςāo is another contribution from Baden Powell. Percussionist Will Calhoun makes his only appearance on this track. Delicate guitar and piano work allow Calhoun’s contribution to come through and also makes for a shimmering framework for Mafalda’s gorgeous vocals.

Once I Loved (Jobim) changes over to English lyrics. Again, Ricci and Hirahara weave their magic together for the reflective tune. Boccato’s percussion gently propels the music at a sweet pace as Mafalda makes this piece her very own.

Triste is another Jobim piece that flowers under the gentle treatment of Mafalda and the band. It’s hard to ruin a Jobim piece but it is also difficult to render it in ways that make the listener say, “Oooohhh, yeahhhh.” Mafalda and Ricci make that happen every time.  

Chega De Saudade (Jobim) isn’t as sad as the title suggests. Mafalda turns longing into anticipation. Masterful.

Jogral (Djavan/Neto/Machado) opens with beautiful guitar and piano work. So help me, I thought I heard a flute but it was Ricci’s incredible taste and tone. Mafalda improvises with vocalizations that are energetic and fun.

Un’ Altro Addio (Toquinho/Moraes/Bardotti) is sung in Italian. It is Another Goodbye and again Mafalda keeps the melancholy at bay with an upbeat, energetic delivery.

The album concludes with Jobim’s Dindi. It is the second song on the album to be sung in English. Mafalda makes English as sweet as Portuguese. Dindi (pronounced Jin-jee) is a standard of Brazilian Bossa and rightfully so. Mafalda would have made it so, were it not already.

Mafalda Minnozzi has brought forward everything she learned and enjoyed in her sojourn in Brazil. Under the musical direction of Paul Ricci and the talent of Art Hirahara and the others, Sensorial: Portraits in Bossa & Jazz breathes fresh life into music we have loved for so long.
 
                                ~Travis Rogers, Jr. is The Jazz Owl

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Event Horizon Jazz Quartet's debut album is Amazing

7/8/2020

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Event Horizon Jazz Quartet are four of Chicago's top tier Jazz musicians. The group is comprised of Jim Kaczmarek on Saxophones and flute, Scott Mertens on piano and keyboards, Donn DeSanto on bass and Rick Vitek on drums. While the band covers a diverse range of songwriters and musicians in concert, on Event Horizon, their debut album, they offer a collection of 11 originals written either by Kaczmarek or Mertens.

Even with that, Kaczmarek stresses the collective attitude of the band. “Each band member has his own strengths and unique voice that shape every arrangement. Oftentimes, Rick or Donn will come up with an idea that largely changes and improves upon my original concept. “

It is that collective sense that makes the interplay of these fine artists so clean and clear. They do not overplay one another, rather they are adept at creating space for each other.

As musicians, they are exemplary. As composers and arrangers, they are brilliantly creative. As artists, they have a unified voice that has an impact and inspiration worthy of close attention.

They album opens with Chelsea Playground (Mertens), introduced by a sing-song Blow the Man Down melody from Kaczmarek’s soprano sax. From there, Kaczmarek and Mertens take off on fanciful flights that are anchored by DeSanto’s bass and Vitek’s drums. From the opening track, it is obvious that these artists know their way around their tunes and around each other.

Guess Not (Kaczmarek) follows with a cool, cool piano intro leading into a smooth tenor sax by Kaczmarek. Mertens gets in some sweet Monkesque piano jabs but pay attention to the excellent drum punctuations from Vitek. The fun continues with Escher Drive (Mertens) which takes as many quirky turns as an M.C. Escher painting. Cool melody with some excellent bass work by DeSanto.

Dark Waltz, When Sadness Comes (Kaczmarek) is a slow rolling Jazz nocturne. The melody is delicious and the rhythm section just nails every part of it. DeSanto gets a sweet bass solo while Vitek works the cymbals. Good stuff all around.

Black Samba (Mertens) is the samba that the title promises but with a touch of melancholy that is exquisite. The soprano sax carries most of the fantastic melody while the rhythm section anchors the samba. Mertens piano is fantastic and the bass and drums are spot on. I think this is the song that stole my heart. Can’t get enough.

Event Horizon (Kaczmarek) is introduced with a cacophonous swirl with tremolo bowed bass and free Jazz that turns into something that may, in fact, be approaching a black hole’s event horizon. The swirls and gravitational tidal forces are in perfect order with no Hawking Radiation in sight. It’s cool and snappy and fun.

Great, There is No Love (Kaczmarek) has it all—the smoking drums and wonderful flute. Mertens piano is just so fine.

Evening Mist (Kaczmarek) is a slow dancer with Kaczmarek’s beautiful sax and some smooth bass lines. It’s wistful and wandering and wonderful. Beautiful.

Last Blue Jay (Kaczmarek) is as sad as the title indicates.  Kaczmarek is referencing the tragic death of friends and the emotions are both warm and melancholy. Vitek’s cymbal washes over the sad sax and the touching piano make for an emotional piece.  

Strut (Kaczmarek) kicks off with a strutting drum and bass and the sax adds to the attitude. The piano is almost like the Greek chorus adding to the story but with sassy commentary. This is work of fun and demonstration. All four artists get to contribute in meaningful and personal ways.

We Would Love to Have You (Kaczmarek) is the welcoming words of being accepted at a job you always wanted. The calypso bass and drums are the perfect foundation for the raucous sax and piano. It is a great way to end an album.

Event Horizon Jazz Quartet is a brilliant blending of diverse influences and inspirations that combine to create works of wonder and profound interest. This, their debut album, is the harbinger of great things to come.
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They make me want to move to Chicago.
 
                      ~Travis Rogers, Jr. is The Jazz Owl

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Noa Levy & Shimpei Ogawa - A Duet of Sheer Brilliance

7/8/2020

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Jazz is the best of all collaborative art forms. It calls for crossing musical styles, cultures, and inspirations. That is most assuredly true of Noa Levy and Shimpei Ogawa in their debut CD You, Me & Cole.

​Noa was born and raised in Israel and currently lives in San Francisco. Shimpei is from Aichi, Japan and is now living in New York City. Both of them come from jazz rich environments and they have teamed up with bass and vocals only to create a spectacular album of their own interpretations of magical Cole Porter tunes.

Noa is an incredibly gifted vocalist and interpreter. She goes from sultry and sexy to wistful and whimsical. Shimpei is an extraordinary bassist. His carrying of the melodic line shows his ability and talent for creating a one-person swing.

They open the album with I Get a Kick Out of You and it becomes immediately clear that they have the vocal and artistic chops to handle Cole Porter perfectly. They change up times and keys and rhythms and they definitely make the listener want to hear more.

That collaboration of musical styles and cultures is nowhere more evident than on the album’s second track, My Heart Belongs to Daddy. Shimpei infused his arrangement wish tango, having studied yet in Argentina. In Noa's vocal delivery, she infuses the piece with her own Jewish culture. In fact, Noah describes the song as “a Jewish tango.”

Just One of Those Things carries the beauty and fascination of Near Eastern Religious music. It starts with Shimpei’s cool, bouncing bass lines and Noa’s delightful vocals join in for a remarkable duet that is more than the sum of the two parts.

That exquisite alchemy continues for the whole album. What is This Thing Called Love also exhibits hints of those lovely intonations of the Levant, despite the arrangement’s Charles Mingus inspiration.

So in Love is one of the most deliciously haunting tunes you could ever want to hear. Shimpei’s bass line is like a one of Bach’s cello concerti. The bass and vocals almost create a counterpoint and both Porter and Bach would be smiling broadly at the arrangement.

It’s Too Darn Hot is both whimsical and sexy, a deadly combination. Good Lord, Noa’s delivery is amazing. If you ask why just vocals and bass, Anything Goes answers the question definitively. Noa updates the lyrics with contemporary references that is both funny and bitingly critical. Pay attention.

Love for Sale is emotional without being maudlin. “When a smile becomes a smirk, I go to work” is delivered flawlessly. The lyrics are so amazing and Noa delivers with seriousness cloaked in irreverence, even sarcasm.

The album closes with In the Still of the Night. Said to be inspired by Esperanza Spalding, the arrangement is gorgeous and both bass and vocals take the song to a place unexplored by Cole Porter.

Noa Levy and Shimpei Ogawa are astounding artists. This collaboration is something to be cherished by all Jazz lovers. It deserves repeated hearings to get acquainted with the music (even if you know Cole Porter), to listen to Noa exclusively, to hear Shimpei’s virtuosity, then to just sit back and enjoy every single moment.

    ~ Travis Rogers, Jr. is The Jazz Owl


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