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Antonio Adolfo - Octet and Originals

7/29/2022

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Antonio Adolfo has garnered many Grammy and Latin Grammy nominations for his over two dozen albums as a leader. I have had the distinct pleasure to review several of those albums and I own almost all of them.

He is known for the brilliant arrangements and performances for Latin greats, especially Jobim. On Octet and Originals, however, it is Antonio’s originals that are highlighted by this marvelous band, a collective of artists who have served Antonio’s vision and sound before. Of them he says, “There is nothing better than being able to count on a group of wonderful musicians who have recorded with me on my most recent projects. They are all excellent, and I also dedicate this work to them.”

The band is comprised of Jessé Sadoc on trumpet and flugelhorn, Danilo Sinna on alto sax, Marcelo Martins on tenor sax and flute, Rafael Rocha on trombone, Ricardo Silveira on guitar, Jorge Helder on double bass, and Rafael Barata on drums and percussion). These artists are marvelous and just the right players for Antonio’s music.

Several of the compositions on Octet and Originals have been heard on other albums but they have been rearranged for this large ensemble project. And they are worth hearing again. And again.

Anchored in the musical styles and genres of his native Brazil, Antonio has reinterpreted the sounds into a thoroughgoing Jazz collection. Sure, you can hear the samba, the bossa nova, and so many other styles, but this is a great Jazz album.

In addition to all, never forget that Antonio Adolfo is a masterful pianist. In fact, I find myself focusing on his piano—another reason to listen to this new release multiple times. I’ve said it before and I’ll say it again: I can’t get enough of Antonio Adolfo.
The album’s song are thematic, as in Heart of Brazil which is concerned with the Amazon rainforest, and they are rhythmic, as in Boogie Baião. From a waltz, like Teletema, to the minor chords of Minor Chord, Antonio crosses every frontier and category. There is no musical barrier that Antonio doesn’t want to jump over, no musical entrenched style that he doesn’t want to storm and adapt them all into something of exquisite beauty, the beauty of soulistic transformation.

One of the enjoyable pieces on the album is Feito em Casa (English: Made at Home). This is a big band lover’s treasure. Great piano lines, hot horns, and exciting rhythms and percussion. This is the tune I found myself humming long after the album was finished.

The album closes with Toada Moderna, a wonderful tribute to Bill Evans. Evans plays such a large part in Antonio’s musical vocabulary that this is a fine and fitting close to such a (and yet another) remarkable album by Antonio.

Octet and Originals is everything that we love and anticipate from Antonio Adolfo. From the moment we open the CD, we are filled with, not expectation, but expectancy. We don’t know what is coming but we know it will be wonderful.
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Because, with Antonio Adolfo, it always is.
 
 
~Travis Rogers, Jr. is The Jazz Owl


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Nancy Goudinaki’s What I was for You: re.think

7/28/2022

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Nancy Goudinaki’s What I was for You: re.think is worth the wait. She is an excellent vocalist and an astonishing guitarist. And she may have the coolest guitar ever. It is a folding guitar that allows for travel but has a sweet sound. But for most of the tracks, she plays that beautiful nylon string guitar.

What I was for You: re.think is a return to her classical roots but it belongs firmly in the Jazz world. The thread running throughout the album concerns the stages and experiences of a woman’s life. Of the ten tracks on the album, two include Goudinaki’s vocals. Six of those ten are her own originals.

La Catedral by Augustine Barrios opens the album. The classical guitar is enhanced by the backing vocalizations from Nancy and Devo D. The guitar and vocals are gorgeous. Fuoco by Roland Dyens follows with quick-tempo movement and precision rhythms. Barrios is represented again with El Ultimo Canto, a wonderful piece. The three pieces are modern reimaginings of those classical guitar works.

What I was for You: re.think is a Nancy original. The melancholic melody is deepened by JD Allen’s tenor saxophone. It is a warm and profound collaboration. Nancy co-wrote Nereids with Richie Goods who adds his electric bass to this incredible piece. It is one of the loveliest pieces of music you would ever hope to hear.

Feel Alive is a fascinating venture into bent notes and sweet vocals. One Night in Caldera explores delicate textures of the guitar with Latin hues and warm chords.

Berimbau by Baden Powell de Aquino, the great Brazilian guitarist, is rendered beautifully with all the Brazilian flavor one could hope. A masterpiece of composition and performance.

Ariadne’s Lullaby was written for Nancy’s infant niece with all the charm and tenderness one could imagine. The percussive taps and exquisite fingerpicking overflow with affection. In addition, Ariadne gets a guest vocal on the track with her sweet coos and giggles. Absolutely lovely.

The album concludes with a solo guitar return to What I was for You: re.think. This version was played with the MOOVtravel Guitar. It is an excellent sound and provides a fine return to the earlier track in the album.
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Just when I was hoping to hear classical guitar, Nancy Goudinaki arrives to present more than I had hoped to hear. Not only extraordinary among women guitarists, she is outstanding among all guitarists.
 
 
~Travis Rogers, Jr. is The Jazz Owl


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CeCe Gable gives us Next Year's Song

7/26/2022

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CeCe Gable has released four well-received CDs that has gotten great attention and acclaim from Jazz audiences and critics alike. Her fifth album is Next Year’s Song, an album that brings her vocal talents to bear on Jazz classics that are beloved and sought-after.
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With CeCe are Alan Broadbent on piano, Harvie S on bass, Roni Ben-Hur on guitar and Matt Wilson on drums. This is a great line-up that brings the punch to CeCe’s purr. Broadbent not only provides irreplaceable piano artistry but adds original compositions, as well. He is remarkable. The cool bass of Harvie S is evident from the opening track, the title track. Drummer Matt Wilson never disappoints.

Maybe the most engaging of all the tunes is the melancholy Two for the Road by Henry Mancini. In an album full of memorable and meaningful songs, this one is a standout. A longtime favorite, it is given new life by CeCe and band.

Roni Ben-Hur gets a beautiful solo on No Moon At All and Broadbent adds his spectacular piano musings. Both worthy of the price of admission. But it is CeCe’s staccatoesque vocals that transform the Julie London classic into a real swinger.

But then there’s The Long Goodbye by Alan Broadbent. It is a wonderful piece that Charlie Haden took to glory but CeCe (with Broadbent himself on piano) takes that song to the heights set by its own composition.

My Romance gets a cool drum solo from Matt Wilson that makes you go back through the album a gain just to concentrate on his drum parts. It’s worth the review.
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Come Rain or Come Shine (Harold Arlen and Johnny Mercer) and From Me to You close out the album beautifully. The cool samba guitar on Broadbent’s From Me to You helps make this an ideal finale to a wonderful album.
 
 
 
~Travis Rogers, Jr. is The Jazz Owl

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The Vienna Sessions by Markus Burger

7/25/2022

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Markus Berger’s musical sojourn has been well-documented over the course of 15 albums beginning with the 2002 solo piano release Ultreya. That quest continued included his duo project with saxophonist Jan von Klewitz, Spiritual Standards.

It was their 2017 album--Songs Inspired by Martin Luther—that first drew my attention to Burger. From there, I journeyed backwards an absorbed everything, including the Accidental Tourists’ 2019 album The Alaska Sessions with Peter Erskine and Bob Magnusson. What a wonderful trip it’s been.

Now Burger continues with another solo outing, The Vienna Sessions. It is the next evolutionary step in all that Burger has sought and achieved. As a longtime fan of Keith Jarrett, it was easy and understandable to hear reminiscences of La Scala and others. But it is also easy to see the influence of Lyle Mays and Esbjörn Svensson. Burger firmly entrenches himself in the hallowed hall of brilliant solo pianists, not through imitation, but influence.

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The 16 tracks on The Vienna Sessions are remarkably breathtaking and entrancing. Burger composed each of the tracks on the album. Burger describes the occasion of this recording.

“In August 2019, I had the privilege of spending two afternoons in Vienna, the music capital of Europe, recording. I traveled to Vienna with my friend and producer, Jim Linahon, to spend two days recording in the Bösendorfer piano showroom, courtesy of Ferdinand Bräu. Vienna has been my favorite European city for a long time. And I have been a fan of Bösendorfer pianos since studying at the Folkwang University of the Arts in Essen, Germany, where I fell in love with the sound of this amazing instrument. For the past 20 years,

I have visited Vienna many times, and have played in various ensembles around this beautiful capital of Austria. Vienna has always had a distinct impact on me. The city’s people, their humor, elegance, and joy, are like few other places I’ve been. While recording, I enjoyed exploring the sound of the piano, especially in the upper register. I also chose to improvise in a minimal way to let the instrument guide me on a musical stroll. I found my time in Vienna relaxing, inspiring, and deeply spiritual. I hope you, the listener, will enjoy the music as much as I enjoyed playing it
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There are moments of solemnity and grace like the all-too-brief Doom and Gloom and Silent Lament and there are wistful and enchanting moments like Daybreak and An Afternoon in Vienna. The delicate movement of Cibelle’s Lullaby and the reminiscence of Fall Days and lovely beyond description. Then there are moments that will stay in your heart long past the conclusion of the music, as with O Great Love and Morning Mist.

As much as I would love to dissect and analyze each piece on the album, it is like saying this brushstroke of a Monet painting is more interesting or charming than another stroke. It must be taken as a whole. And, taken as a whole, I can say this about The Vienna Sessions: I have never been so emotionally moved by an album since first hearing Keith Jarrett’s the Köln Concert or, at least, since Takeshi Asai’s Live in New York, Vol. 2.
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Markus Burger has given us astonishing, lyrical, even momentous music—both in performance and in composition—for over 22 years now but it has led up to this the exquisite charm, delight, warmth, and beauty of The Vienna Sessions.
 
~Travis Rogers, Jr. is The Jazz Owl

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Ian Wardenski Quintet's Trust

7/25/2022

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Ian Wardenski has been called a Jazz guitarist, composer, and theorist. It is perhaps that last description that best hints towards what will be discovered on the Ian Wardenski Quintet’s album, Trust. 

The quintet is comprised of Wardenski on guitar, Mercedes Beckman on alto sax, Jerry Ascione on piano, Amy Shook on bass, Frank Russo on drums, and Tamara Tucker on vocals. All of the nine tracks are composed by Wardenski himself and they are outstanding. The artists are brilliant in their undertaking of Wardenski’s highly theoretical and experiential arrangements. Tamara Tucker’s vocals are treated as another instrument that serves to transcend and overarch the instrumental contributions.

The rhythms are intricate and Shook and Russo anchor those rhythms with Ascione’s percussive piano. With Tucker’s vocals, Wardenski and Beckman layer on the melodic lines that cross from angular and discordant to lush and warm. Indeed, this is a theoretical Jazz exposition that captivates the mind and rewards the heart.

Trust, the title track, has those moments of warmth that include all of the artists concerned. Ascione’s piano is moving and Wardenski’s guitar with Tucker’s vocals are often touching and reflective.

Before Long, the opening track, is a fascinating introduction to the whole album. The rhythm section is intriguing. Listen closely to Russo and Shook. The layering effects on the whole album compelled me to visit Ian’s website (www.ianwardenski.com) in hopes of finding videos of the quintet performing these pieces from Trust. I was rewarded with videos of five of the nine tracks from the album. It only confirmed what I felt—that I want to see these artists in a live performance someday soon.

The album concludes with a triptych of Matching Energies Modalus I, II, and III. Russo’s drums get the honor of kicking it all off before being joined by everyone else. Ascione’s piano is some of the coolest stuff on the album before Wardenski’s guitar interlude that would make Robert Fripp proud. MEM II sees Wardenski’s guitar at its most lush and open, relying on warmth over precision. Mercedes Beckman also contributes one of her finest solos on the heels of Wardenski. This one also gets another fine solo from Ascione’s piano. Tucker and Russo close out II. The Tucker opens the finale. Once again, as throughout the album, Wardenski, Beckman, and Tucker are in lock step for an extended portion of the piece. Then comes a great trade between guitar and piano that is tight and cool. Beckman then gets an extended feature that takes us to the end before being rejoined by the quintet at large.
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Trust by the Ian Wardenski Quintet is nothing if not fascinating. While tugging at the heart, Trust is a feast for the mind of Jazz listeners. The exploration of rhythms, melodies, and musical arrangement lead to rewards long hoped-for. Not ambient music, listen to Trust with intent.
 
 
~Travis Rogers, Jr. is The Jazz Owl


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Transitions by Yaron Gershovsky

7/25/2022

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Yaron Gershovsky has more than made his mark already. He has performed with the likes of Dr. Lonnie Smith, Pharoah Sanders, Wayne Shorter, Abraham Laboriel, Steve Gadd, Richie Havens and so many more. For over 40 years, he has served as the musical director for the Manhattan Transfer, writing two Grammy-winning songs for them.

His solo albums include Personal Notes and State of Mind, both critically acclaimed and well worth the listening.

Now Gershovsky has released Transitions and it features some of the best players in Jazz. Joining Yaron on piano are bassists Will Lee and Boris Kozlov, Alex Sipiagin on trumpet, drummers Cliff Almond, Clint de Gannon, and Ross Pederson, David Mann on alto flute, and the wonderful vocalist Aubrey Johnson.

Gershovsky is a remarkable pianist and an extraordinary composer. Both of those talents are highlighted on Transitions in addition to a lovely mixture of covers and featured artists.

In the original ballad Show Me the Way, for example, Yaron provides beautiful piano along with Alex Sipiagin’s wonderful muted trumpet. He is equally adept and at home with Simon & Garfunkel’s Scarborough Fair wherein he is joined with the amazing Aubrey Johnson. I’ll confess: I am not a fan of Paul Simon but Yaron and Aubrey won me over to this tune. In fact, I was so taken with Aubrey’s talent that I immediately downloaded her album Unraveled.

Aubrey also appears on the cover track of Jobim’s So Danco Samba and the Gershwin tune I Got Plenty O’ Nuttin’. On all three of those tracks, the great Boris Kozlov joins in on bass and Ross Pederson sits the drums for two of those. Put Kozlov and Pederson in the rhythm section and you can’t go wrong. And when it’s not Pederson it is Cliff Almond or Clint de Gannon on drums. And if not Kozlov, it is Will Lee at the bass. Nobody misses.

With all the attention to the supporting artists, the listener is never distracted from the brilliance of Gershovsky on the piano and keyboards. He is a marvel and worthy of all the attention and his compositions deserve the greater portion of the praise.
The album opens with Northern Lights, a trio number that swings tightly. Transitions is a cool number with a more modern feel, proving that Yaron can compose and play anything from Bop to Swing to Cool and Pop. What She Said is a gorgeous number dedicated to Ruth Bader Ginsberg. It is also a trio with Kozlov and Almond. It seems clear that—for this album at least—Yaron prefers the trio. And so do we.

Seven of the 13 tracks are Gershovsky originals with the remaining numbers by Sammy Fain (I’ll Be Seeing You and Secret Love), Simon & Garfunkel, Gershwin, Jobim, and a folk traditional tune (The Lonely Tree). However, Gershovsky masterfully makes each song his own. Everyone is familiar with I’ll Be Seeing You but Yaron puts his own indelible stamp on it.

Transitions is Yaron Gershovsky’s flag-planting of his territory in the Jazz world. As performer and as composer, Gershovsky belongs among the hallowed rolls of modern Jazz top-tier composers and arrangers.
Make room on your CD shelf for this man.
 
 
~Travis Rogers, Jr. is The Jazz Owl
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Caught in the Kenny Shanker Vortex

7/25/2022

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Kenny Shanker is respected and admired Jazz saxophonist and pianist. As his four previous projects as a leader prove, he is also a brilliant composer and arranger. That assessment is reinforced with his 2022 release, Vortex.

Following quickly on the heels of his 2021 release Beautiful Things, Vortex is another step in the long musical quest begun by Shanker and his fellow artists on Josh Levinson’s 2009 recording Elevation wherein Mike Eckroth (piano) and Brian Fishler (drums) began their work with Shanker. That continued and saw the addition of Yoshi Waki on bass for Shanker’s 2011 album Steppin’ Up and Daisuke Abe on guitar in 2013’s Coalescence by the band of the same name.

The line-up of Shanker, Abe, Eckroth, Waki, and Fishler remained for every album of Shanker’s since 2014’s Action City and is what we get to hear for Vortex. And they just keep getting better.

In my review of Shanker’s 2021 Beautiful Things, I wrote: “Kenny Shanker’s Beautiful Things is something gorgeous. With echoes of the world and sound of Bebop, it is what we need to hear now. As ugliness seems to grow and encroach all about us, Shanker truly reminds us that we are surrounded by Beautiful Things.”

Vortex is a wonderful continuation of the thread begun with Beautiful Things. Seven of the ten tracks are written by Shanker himself with splendid covers of Lulu’s Back in Town by Harry Warren and Al Dubin, The Duke by Dave Brubeck, and the sweet Autumn Leaves by Johnny Mercer.

The covers are fantastic and worthy of attention but it is Shanker’s originals that grab you. And it all begins with the opening track, the title track Vortex. Cool piano lines from Eckroth set up Shanker’s alto sax incursions. Pay attention to Waki (bass) and Fishler (drums) throughout the track and, indeed, the whole album. Daisuke Abe lends his guitar to the piece and you soon realize that this line-up is as on fire as ever. Bill Mobley’s trumpet joins for this track and two others and is a fine addition to the proceedings.

Winter Song is one of the most lyrical numbers with wondrous piano from Eckroth. Shanker’s warm alto sax is salve for the soul. A good bass solo by Yoshi Waki is included. That is following by the energetic Hunter with its pursuit and elusion motif with all the artists involved. Great fun.

Ramble is a more andante stroll through cool transitions and phrases. Nightfall is a Jazz nocturne that is both reminiscent and melancholy in all the best ways. It is the one song that I kept playing on repeat.

The mood lightens with Dave Brubeck’s The Duke. Shanker’s rendition of the Paul Desmond sax parts is perfect. Dave Brubeck had this to say about The Duke: “The idea for The Duke came to me when I was in the car, taking my son Chris to nursery school. The original title was The Duke Meets Darius Milhaud. When I first wrote it, I didn’t understand how complex it was. It goes through all twelve keys in the first eight bars. It hits all the roots. It could be the first jazz tune that does that.” Shanker and the guys do complete justice to the great tune.

Cinnamon and Midnight Snack, both Shanker originals, are creative forays sees the addition of Mobley on trumpet for Cinnamon and Shanker picking up the soprano sax for Midnight Snack. The album closes with Johnny Mercer’s Autumn Leaves. Abe’s guitar opens the final track before Shanker joins with the cool alto sax. Abe and Shanker trade passages with spot on bass work from Waki.

Kenny Shanker’s Vortex is the inevitable next chapter in the continuing story of this collaboration of artists. These are the right players to give realization to Shanker’s musical vision. If this were a baseball team, the advice would be: “For God’s sake, don’t trade anybody!”
 
 
~Travis Rogers, Jr. is The Jazz Owl

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Dan Olivo's Day By Day

7/7/2022

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Actor and singer Dan Olivo has just released his debut album, Day By Day. The child of actor parents, performance must have come easy to Dan.

The album sounds deceptively like a big band but is actually a much smaller ensemble consisting of Ian Robbins on guitar who also serves as musical director, bassist Lyman Medeiros, Hammond B3 player Joe Bagg, drummer Kevin Winard who is always spot on, Kyle O’Donnell on the many reeds, trombonist Garrett Smith, Jamelle Adisa on trumpet, and vocalist Renee Myara Cibelli. This is a fine collection of some of L.A.’s finest artists.

Olivo has chosen well in his song selection and Robbins has arranged them so well for Olivo and the band. An excellent collaboration!

Olivo is in the style of the classic crooners like Dean Martin, Frank Sinatra, Harry Connick, Jr. and Michael Bublé.  In fact, Olivo performs Connick Come By Me as a tribute to Connick.

The other songs on the album range from old vaudeville tunes like 1924’s How Come You Do Me Like You Do? by Gene Austin and Roy Bergere and It Had to Be You by Isham Jones to 1932’s It’s Only a Paper Moon by Harold Arlen, then to 1946’s Time After Time (NOT the Cyndi Lauper song) by Sammy Cahn and Jule Styne, to 1965’s L.O.V.E. by Bert Kaempfert and Milt Gabler and made famous by Nat King Cole.

Also included is Burt Bacharach and Hal David’s This Guy’s in Love with You. It was released in the US in 1968 by Herb Albert as a single wherein he sings in addition to the trumpet. Olivo also includes the Latin-rhythmed Sway, the Bluesy Come by Me, Fats Domino’s I’m Walkin, and concludes the album with All the Way, that beautiful standard by Jimmy Van Heusen and Sammy Cahn.
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A crooner aficionado’s delight, for sure, Dan Olivo has drawn the right songs together with the right artists and has offered an album that will find an audience in love with it.
 
 
~Travis Rogers, Jr. is The Jazz Owl


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Vicki Burns' Lotus Blossom days

7/6/2022

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Vicki Burns has released her third album as a leader with Lotus Blossom Days. She brings along a great collection of instrumentalists who include pianist Art Hirahara, Dayna Stephens on sax, trumpeter Josh Deutsch, Masaru (Max) Koga with the reeds, Sam Bevan on bass, who also arranged most of the tunes on the album, trombonist Nick Vayenas, and drummer Billy Drummond. This is an excellent array of New York’s first-call musicians.

In an album of 12 songs, three are originals. She has a good representation of the standards such as Harold Arlen and Johnny Mercer’s This Times the Dream’s on Me and Out of This World. The album was originally to be called Bittersweet as the theme of the album is to chronicle the life of a love affair. The theme remains, even with the change of album title. Even while the song list does not follow the affair chronologically, the pieces can be put together…much like the broken heart after a break-up.

If You Never Fall in Love with Me opens the album. Originally titled Del Sasser and written by Sam Jones and Donald Wolf, the song is given a Latin treatment by the band. It is a great hook for the remainder of the album. Vicki’s vocals are captivating and Sam Bevan gives a cool duet with his bass and Vicki’s understated scat.

Bernice Petkere’s Close Your Eyes follows with awarm delivery from Vicki and cool trumpet from Josh Deutsch. This was a great tune.

Billy Strayhorn is represented twice with Lotus Blossom Days and Bittersweet, both with lyrics from Carol Sloane, and Roger Shore, respectively. Art Hirahara is fantastic in his accompaniment with Vicki on these (and all of the songs of the album) and they become the core of the album. Wonderful.

Lee Morgan’s tune The Sidewinder is given lyrics by Mary Ellen Donald (Vicki’s student, no less!) and renamed Watch Out. You Don’t Have to Believe is a wonderful Flamenco-inspired tune written by Tessa Souter. Hirahara and the horns are brilliant.

Vicki composed two songs for the album, Love Spell and Siren Song. Both are aptly named as Vicki can cast a love spell just by listening to her song and she is, after all, quite the siren herself. Siren Song, of course, was first recorded on her first album but is appropriately reimagined here.

Two songs that grabbed me the most were two other reimaginings of classic Jazz tunes. John Coltrane’s Equinox is given lyrics from Chris Caswell and retitled A Long Way to Go. Thelonious Monk’s Well You Needn’t was given lyrics by Mike Ferro and called It’s Over Now. Both of these contain the wondrous original melodies with brilliant vocals by Vicki.
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Here’s the thing about Vicki Burns, she has an amazing range and she knows how to intone in just the right way to get the emotion across to the listener. You can hear the joy, the melancholy, the rapture, the devastation and all are equally convincing. Perhaps that is the final word on such a great talent as Vicki Burns, she is convincing.
 
 
~Travis Rogers, Jr. is The Jazz Owl


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