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David Janeway – Distant Voices

12/10/2021

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Pianist David Janeway has just released his third trio recording, Distant Voices. The album features Janeway's working trio with Billy Hart on drums and Cameron Brown on bass. On Distant Voices, Janeway looks back in tribute at the Jazz pianists who have influenced him all throughout his career. 
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Some of the selections were written in tribute to pianists like Herbie Hancock and Ahmad Jamal while others were written by composers that had pianists like Bill Evans and Duke Ellington to make them famous.

Sweet and Lovely (Gus Arnheim, composer) was covered by pianists from Thelonious Monk to Vince Guaraldi to Bill Evans to Cecil Taylor. Janeway brings his own sensibilities and talents to the standard and Brown and Hart add their own unique voices. Cameron Brown’s bass is worth special attention. He keeps you off-footed and it is great fun. The trio picks up a Latin rhythm in the last third of the piece and it works well. Pianist Hank Jones’ Minor Contention follows. Again, Brown takes over the Paul Chambers bass lines and the results are so fine. Janeway works over the drive of Billy Hart’s drumming beautifully. By the end of this, the second track, you are well aware that this is going to be a great trip.

Following Mercer Ellington’s Blue Serge, with its beautifully swaying melody and cool rhythms, Woody Shaw’s Moontrane, with its bounce and bop and propulsive rhythms, is Gary Peacock’s Gardenia. Peacock played with the best of them—Bill Evans, Paul Bley, and Keith Jarrett. The Peacock album, Guamba, which featured Gardenia as the closing track, was with Gary Peacock on bass, Peter Erskine on drums, Palle Mikkelborg on trumpet, and Jan Garbarek on saxes. There was no piano but the voices of the horns were perfectly suitable for Janeway’s version on piano. Still, Brown magnificently handles the Peacock basslines and the result is a delightful marvel.

Next comes the first of the Janeway originals and, honestly, this is what we have been waiting for. And they are worth the wait. One for Cedar is a tribute to Cedar Walton. Janeway says of Walton that he was “a prolific composer of consistently interesting tunes that are great vehicles for improvisation. He always plays meaningful, clear, articulate lines and is a master of comping.” Janeway nails it.

Freddie Hubbard’s Brigitte comes right after and Janeway takes to the Fender Rhodes like George Cables played on the Hubbard original. It is sweet and lilting, like the original, and Janeway and the fellas work it so well. 

Janeway brings up another original, Excursion, in honor of Herbie Hancock and Joe Henderson. Janeway wanted “to include an up-tempo piece that would be more open and expansive with the freedom to improvise modally.” Once again, Janeway shoots and scores. This one deserves multiple replays. In Passing is another Janeway original and was actually composed in the 1990s but was brought back into light with the more seasoned view of what grief looks and feels like. It is melancholic without being too mournful, sad but not sickly, and all three of the trio are mindful of what Janeway had in mind.

Arthur Altman’s All Or Nothing At All is from John Coltrane’s album, Ballads. This was from 1963 with the finest group Coltrane ever put together. This cover is one of the highlights of Janeway’s album. Cameron Brown turns in a performance that would have made Jimmy Garrison proud and Billy Hart gets an extended solo that allows him to develop on what Elvin Jones started. But David Janeway takes the opportunity to show his admiration and affection for McCoy Tyner. This one is a treasure.

Pair that with Wayne Shorter’s Nefertiti and you’ve got a reason to stay home nights and listen to this album until the wee hours. The song was the title track of the Miles Davis album that featured Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums. Janeway returns to the Fender Rhodes and does the song great honor. In fact, all three artists give their own voice to the song and turn out a wonder.

The album closes with the Janeway original Movin’ On, a tribute to the passing of Larry Willis, the excellent Jazz pianist who had played in Blood, Sweat & Tears. The guy could play it all and Janeway shows that he can, as well.

Distant Voices is a remarkable recording from David Janeway, proving once again why he gets the call from greats like Benny Golson and Bobby Sanabria and performs at all the landmark Jazz spots in New York City and beyond. He is worth the attention.


                      ~Travis Rogers, Jr. is The Jazz Owl

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Randal Clark – Imaginary World

12/4/2021

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Alto/tenor/soprano saxman Randal Clark has released his debut album, Imaginary World, and he has brought out the big guns to see it through. With Clark are Jeff Lorber, David Mann, and Scott Kinsey on keyboards, Gerald Albright, Mononeon, and Jimmy Haslip on bass (Jimmy also produces the album), Vinnie Colaiuta, Jimmy Branly, Sonny Emory, and Gary Novak on drums, Michael Thompson, Mike Miller, and Jon Herington on guitars, Randy Brecker on trumpet, and a host of others. And they came to play.

The 11 tracks were composed by Clark, Lorber, Lorber and Clark, Lorber and Haslip, Clark and Scott Kinsey, and David Mann. The compositions are what you would expect from Lorber and this corps of musicians turn it all up a notch or two. I mean, Brecker, Haslip, and Colaiuta on the same track? Yeah, it’s worth the price of admission. But don’t let the assembled stars distract you; Randal Clark has the goods and he brings it all out as the titans raise him up on their shoulders.

Trailblazer (Jeff Lorber, composer) opens the album and it comes out breathing fire. Lorber is featured on bass, keyboards, and guitar and Gary Novak works the drums to drive the motion ever forward. Clark’s solo is a monster. He steals your attention from the start. With Lorber, Michael Thompson and Mike Miller tear up the guitars, as Howard Summers, Alec Clark, Randal, and David Mann make for a hot and bold horn section.

Daybreak (Lorber, comp.) is performed by the quartet of Clark, Lorber, Haslip, and Colaiuta. It’s not the pulse-pounder that you might expect from these four but it is a gorgeous piece of fine movement and texture. The pulse-pounding comes in the next track, Living Underground (Lorber) from the same quartet. Love that rhythm section of Vinnie and Jimmy!

Guitarist Michael Thompson gets a cool feature in Discovery (Lorber/Clark). Randal’s alto sax soars finely while Haslip is paired with drummer Jimmy Branly in the rhythm section. Thompson and Randal make excellent trades and the whole song is spot-on.

The group is shuffled again for Boulevard East (David Mann, comp.) with Randal, Jon Herington on guitar, David Mann on keyboards, Gerald Albright on bass, and Sonny Emory on drums. The slight Funk underneath Randal and Herington pushes the song nicely.

Randal composed Looking Back and the quartet of Randal, Scott Kinsey on keyboards, Jimmy Haslip on bass, and Jimmy Branly on drums is introduced by Randal on solo piano and joined by a smooth bass from Haslip. Randal then switches to soprano saxophone, his second and final appearance on the album with that, and the reminiscence is beautiful.

Time’s Arrow (Lorber/Jimmy Haslip, composers) brings the smoke. Everybody comes to play with Randal, Randy Brecker, Lorber, Colaiuta, Haslip, David Mann on saxes and flute, and five more Clarks (Ashlyn, Alec, Zane, Jace, and Tara—all Randal’s children) on flute, trumpets, and alto saxes to set it all on fire. Haslip and Colaiuta crush it, Randal and Brecker, work their magic and the Clark Clan spices it all up. You’ve got to love the trading between Randal and Brecker. As Randy Brecker said, “Imaginary World is right in the pocket, smokin’ all the way!”

The title track, Imaginary World (Randal Clark/Scott Kinsey, composers) closes the album. The quartet of Randal, Scott Kinsey on keyboards, Haslip on bass, and Branly on drums is a tight group. Kinsey turns in splendid keyboards and Randal’s alto sax is just like we like it. It is a hot closer to an excellent album.
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Imaginary World may be Randal Clark’s debut but it certainly doesn’t sound like it. With seasoned pros joining him, Clark closes 2021 with a bang. And then some.
 
 
                   ~Travis Rogers, Jr. is The Jazz Owl


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Body & Soul by Alexander McCabe

12/4/2021

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Alexander McCabe is a brilliant saxophonist, pianist, and composer. He was a featured soloist with the Ray Charles Orchestra and has toured with the Chico O’Farrill Afro-Cuban Big Band. You have almost certainly heard his music in the movies and on television.

Body and Soul is his sixth album as a bandleader and brings along masters of piano, bass, and drums to create a brilliant jazz quartet. It is Paul Odeh on piano, Ugonna Okegwo on bass, and Craig Wuepper on drums. And while his previous albums were worthy of rapt attention, Body and Soul may be his best effort to date.

Even McCabe says of the album, “This is the best and most satisfying album I've done as a leader. It was fun working with these guys, because not only are they great musicians, but also very close friends. We had several rehearsals and they were all very involved with the musical/artistic process, they all contributed ideas that help make the music dynamic!”

The album of six tracks contains four McCabe originals. The two cover songs are definitely worth McCabe's re-imagining. The first is the title track, Body and Soul, the 1930 song by Johnny Green. McCabe’s alto sax is vibrant and nimble. Wuepper brush work is attentive and Odeh’s piano is understated but fitting.

The second cover is Countdown by John Coltrane, featured on his 1961 release Giant Steps. The song features the famous Coltrane changes and McCabe handles it all beautifully. Eschewing the 32-bar drum solo of the original, McCabe jumps right in with the alto sax and gets to work. It was the album closer and McCabe definitely left it all on the field.

The first McCabe original is Elena, a waltz played on soprano sax and named for his niece. It is a lovely piece with its swaying motion and swing from the whole quartet. That is followed by If I See Her, a slower-paced ballad that contains great riffs from Odeh on piano and beautiful alto sax work by McCabe.

Christi’s Day opens with a cool bounce from the piano to be joined by the riveting play of McCabe on the alto. It is a livelier piece that takes all the best from the whole quartet. Bass and drums drive the track relentlessly and Odeh again gets cool passes on the piano. Listen for Okegwo’s bass, not just on his solo. These fellas came to play.

Angela was named for Wuepper’s wife. It is an andante ballad that sounds like something Coltrane would have written. It is a beautiful work that bears many replays. McCabe’s alto sax is a treasure.

Alexander McCabe’s Body and Soul is, for me, the most remarkable outing in his six-album repertoire. It is warm and adventurous, deliberate but delicate, and it is a brilliant expression of who he is as a musician, a composer, and human being.
 
 
            ~Travis Rogers, Jr. is The Jazz Owl


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Elena Maque – Feel Again

12/3/2021

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Elena Maque has just released her debut album, Feel Again. Born in Russia and educated at the Mussorgsky College of Music in Saint Petersburg, Russia, Elena has worked with fabulous musicians from across the globe. Some of them have joined her for Feel Again, including Scott Kinsey, the great keyboardist, Hadrien Feraud on bass, and Gary Novak on drums. They are joined by Leonardo Amuedo on guitar and Brad Dutz on percussion.

The album contains 11 tracks. six of those tracks are her own originals and three are fascinating reimaginings of classic Jazz, Pop, and Brazilian tunes—all instantly recognizable and beloved. Elena’s originals are so well constructed and are, as one would imagine, perfect for her vocals and saxophones. She is an excellent composer, a splendid musician, and an enchanting vocalist.

The album opens with her original Hey Friend. The cool groove features great rhythms and cool guitars plus Elena’s sweet and soulful vocals. Scott Kinsey is featured on the Fender Rhodes and it all comes together in extraordinary fashion. Alexey Nikolaev adds his tenor sax on the piece. Great start.

Next is the Jazz classic Lover Man by Jimmy David, Roger Ramirez, and James Sherman. It was written for Billie Holiday but Elena makes it her own with a bit more sultriness. Guitarist Leonardo Amuedo carves out his own space with a fine approach and then there’s that cool Fender Rhodes from Kinsey. But those Elena vocals! So fine.

Then she really turns it on for the Jobim classic, Girl from Ipanema. I can’t get enough of that song and Elena’s vocals and sax double-down on the enjoyment of it. Plus, Elena tackles both the English and Portuguese lyrics flawlessly. Somewhere Jobim is grinning.

The title track, Feel Again, an Elena original, follows. Novak and Feraud are tight in the pocket on this one. Kinsey’s piano is understated but spot-on. Again, something about the Russian approach to vowels makes her vocals absolutely intoxicating. There is a slight bend to the enunciation and it fits perfectly with Jazz. A splendid track.

The big surprise comes with Lennon and McCartney’s And I Love Her. The instrumentals are warm and—dare I say—seductive with Amuedo’s guitar creating a haunting atmosphere. As much as I want to pay attention to Elena’s sax, it is her singing that just grabs you. Listen to the way she intones That’s all I do… and you’ll hear the ever-so-slight bend of do.
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Weightless is the Elena original that is strictly instrumental. Her warm saxophone is perfectly paired with Darin Clendenin’s piano. The D’Vonne Lewis drums and Brad Dutz percussion are proof of the weightless aspect to the music. As the title suggests, it is effortless, unhurried, and so at ease.

It’s all Elena originals from here to the end and she knows how to keep you entranced with not only the performance but the compositions themselves. Autumn Rain is a melancholic, somewhat mournful, look at love’s departure. It is sweetly soulful with great piano from Kinsey. Feraud has cool passages on the bass, as well as Novak on drums. Beautiful soprano sax from Elena.

Chance changes directions in this upbeat look at freshly found love or, at least, infatuation. David Lange adds a cool accordion to the dancing and shifting rhythms and Elena’s fine alto sax. Sounds like a night in Paris.

The album closes with Like a Song. Oh, yeah. Bring on those Latin rhythms. The song features a trombone appearance by Dan Marcus and joyful flute from Katisse. The tune is marvelously celebratory and fulfills the first rule of performance—leave them wanting more.

Feel Again is a brilliant and eminently satisfying album from Elena Maque. A debut, yes, but seasoned with exposure to great music and experience with great musicians. But, seriously, I can’t get enough of her vocals.
 
 
                 ~Travis Rogers, Jr. is The Jazz Owl


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Sky Blossom by Alexis Cole

11/18/2021

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It has been humorously said that Alexis Cole maybe the most talented singer to ever hold a top secret military clearance and, even after a dozen albums of a great career, she may be the best kept secret in Jazz. I must admit that to be true for me. But, after her new album, Sky Blossom, that is no longer the case.

In 2009 she released her first albums and then joined The US army as a jazz singer. She served seven years in the army's big band but continued recording. She has recorded jazz standards, pop songs, Disney tunes, and even recorded with guitarist extraordinaire Bucky Pizzarelli. She left the military in 2016 and truly began to focus on her singing career And contributions through jazz education.

But this new album, Sky Blossom, is enough to make the jazz world sit up and take notice. From Clifford Brown tunes to Anthony Newley to the Gershwins to Miles Davis to Thelonious Monk And more, she shows her jazz mastery of interpretation and performance. She is extraordinary. She is joined by a phenomenal big band under the musical direction of Scott Arcangel. 

The album is kicked off by Clifford Brown’s Joy Spring. The lyrics are by Jezra Kaye and Alexis takes complete ownership of the piece. John Castleman contributes a terrific trumpet solo and the band is on fire from the start in this Scott Arcangel arrangement.

Anthony Newley’s Pure Imagination is a supremely well-known song that was featured in the movie Willy Wonka and the Chocolate Factory. “I love the message of this song, that the only limitation to your reality is your ability to imagine it,” said Alexis in the liner notes of her album. Bob Sheppard gives a remarkable solo on saxophone and the results are enough to make you forget any previous version you ever heard.

George and Ira Gershwin’s How Long Has This Been Going on follows Ann must surely be considered one of the highlights of the album. Rich and sultry are only two of the definitive phrases to describe Alexis’ rendering of this song. It is worth hearing over and over again. And then comes All Blues by Miles Davis and Oscar Brown, Jr. The vocal range is staggering in itself and the Scott Arcangel arrangement contains wonderful surprises. Listen for the alto sax solo from Derrick James of the West Point Band.

The Gershwins are represented again in the classic Our Love Is Here to Stay. The big band delivery adds punch and power that we didn't know was missing. This one deserves repeated listening, as well.

John Lennon's Across the Universe is probably my favorite Beatles song of all time and Alexis takes the music to heart and interprets it with an application to herself. Again, the Arcangel arrangement is superb, giving hints of both gospel and guru. Limitless, undying love which shines across me like a million suns it calls me on and on across the universe is my favorite lyric ever written and Alexis just owns it. Only the piano and cymbals accompany her on the line and the purely vocal delivery is marvelous.

Thelonious Monk’s How I Wish was given lyrics by Jon Hendricks and Alexis was given the lyric from Hendricks himself. Alexis takes these melancholy lyrics on top of the exquisite piano and the lament is palpable. It is Scott Arcangel who plays piano on this Mike Reifenberger arrangement. Gorgeous all around. Hendricks also contributed the lyrics for Gigi Grace’s Social Call. Alexis and Hendricks have a connection that begs for more performances and recordings.

Let me be honest. I'm not a Billy Joel fan. Never have been. But he does right songs that others have reimagined and reinterpreted to phenomenal results. New York State of Mind is one such song. I recall hearing Melissa Etheridge perform it at the Grammys many years ago and I thought she had offered the definitive version of the song. Until now. Alexis takes the song and takes complete possession of it. Her voice, her delivery, her interpretation of the song is something amazing.

The album wraps up with Gene Sheers’ American Anthem. This was one of the songs that concluded Alexis’ tour of duty in 2015. The lyrics of the song were quoted in President Biden's 2021 inaugural address. It is the only song on the album that is accompanied only by solo piano. That in itself gives it a warm and meaningful aspect that is only enhanced by Alexis’ vocals. What a fine way to conclude an album.

Alexis Cole’s Sky Blossom (a term used to describe and open parachute in descent) is a fabulous album. From the arrangements to the song selection, it creates the undeniably perfect platform for Alexis Cole to show her artistry and mastery. The big band sound and the gorgeous vocals are what every Jazz fan longs for. This is an album worth hearing over and over and over.

                   ~Travis Rogers, Jr. is The Jazz Owl


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Carolyn Lee Jones' Christmas Time is Here

11/18/2021

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Yes, it is time to start dusting off old favorite Christmas albums but also time to find some new ones. Christmas Time Is Here by Carolyn Lee Jones is bound to become one of those new favorites.

With a great but flexible core quartet, and added horns and strings, and great arrangements from Brad Williams and David Pierce, Carolyn Lee Jones has delivered just in time for the holidays. Her vocals are sweet and lush, exactly what you want to tug on the heartstrings in these Christmas classics. In her liner notes, Miss Jones rights, “Here's a Christmas album that I hope will spread holiday cheer to you and yours. It was very special and so uplifting to create this album with my wonderful musical partners. My hope is that this collection of songs for the season will be enjoyed by all for years to come.” 


Nothing on the album belies that sentiment. She kicks off the album with the Robert Wells and Mel Torme classic, the Christmas Song. This is exactly how you want to start a Christmas CD. The cool piano, bass, and drums set up the song perfectly and her vocals are seamless and flawless. What follows is a song that has become a Christmas classic, Christmas Time Is Here, the title song and the hugely popular theme from A Charlie Brown Christmas. The music is, of course, by Vince Guaraldi with lyrics by Lee Mendelson. It is an amazing song with that touch of melancholy that is so attractive and has been since the cartoon came out. Again, Miss Jones just nails it.


A couple of lesser-known tunes follow. Warm in December (Sidney Russel-composer) is from a Julie London recording and Jingles the Christmas Cat by Ray Albert Parker is a fun little number and especially loved by those who love cats. Cole Porter's you'd be so nice to come home too is given a holiday treatment and beautifully transformed by Miss Jones and Company. Brad Williams contributes very nice piano solo, as well as Keith Jourdan on flugelhorn.


Another Julie London peace, written by Bobby Troup, is I'd Like You for Christmas. The original is transformed into a bit of a Jazz waltz with a fine tenor saxophone solo from Shelly Carroll. The song reflects everyone’s desire to love and be loved during the holidays. Merry Christmas Baby is given the big band or even orchestra treatment Results are satisfying.


Red Christmas is a new song and is written by Jeanie Perkins. The song is a whimsical send up of holiday shopping and is a fun and charming tune. Then Miss Jones takes on the sweet and sassy, sultry and slinky holiday classic, Santa Baby. Somewhere, Eartha Kitt is smiling. Toyland, from the Victor Herbert operetta Babes in Toyland, libretto by Glen McDonough, is a beauty. Far from the 1903 original, Miss Jones gives it a bossa nova feel and it feels good.


Irving Berlin appears twice with his classic White Christmas and Count Your Blessings (Instead of Sheep). Both cases, Miss Jones and the band give a 21st century rendering of the 20th century classics. The strings, sax, and B3 of the former with the swinging trio of the latter give a modern statement to the old chestnuts.


Christmas Time Is Here by Carolyn Lee Jones definitely deserves to be in somebody's Christmas stocking. But give it to them as an early Christmas present because you will want to enjoy it all season long.



~Travis Rogers, Jr. is The Jazz Owl


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June Bisantz' 7 Shades of Snow

11/18/2021

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June Bisantz has made a career of collections of original Jazz and she has been acknowledged widely because of it. Now in time for the holidays, Bisantz has put together a marvelous collection of holiday tunes from Arnold Miller and Connie Pierce, originally written for June Christy in 1961, called 7 Shades of Snow. It is wonderful.

The project was initiated in the Winter of 2020 as the pandemic closed venues and recording studios. Music and the creative force, however, will not be denied and 7 Shades of Snow is solid proof of that.

And what a discovery! That Bisantz should uncover this collection and manage to get it recorded with the Jon Burr Sextet at the height of the disaster, is extraordinary.

With bassist and bandleader Jon Burr are Mike Eckroth on piano, James Chirillo on guitar, Brandon Lee on trumpet, Marc Pfaneuf on saxophone, and Alvester Garnett on drums. John Burr did the arranging and producing.

This is not just a holiday collection—although it contains splendid examples of holiday sentiment—but a celebration of the Winter season.

The Merriest kicks off the album with its cool horn section and fantastic introduction to Bisantz’ warm vocals. Brandon Lee’s trumpet solo is short and tight but spot-on. The pairing of trumpet and Pfaneuf’s sax is excellent. Then Ring a Merry Bell carries right along and the fun continues. Again, the horns stand out but Burr’s warm bass solo is worth waiting for.

The ode to the holidays continues with Hang Them on a Tree with the lament-turned-celebration idea of getting rid of sadness and gloom by surrendering it all to the holidays. The beauty of the season is reflected in 7 Shades of Snow, the title song. A slow ballad makes this a wonderful palette for Bisantz’ vocal range and splendid artistry. She is a gem.

Sorry to See You Go is a farewell to the old year. This in itself is a harkening back to better days as no one was or is sorry to say goodbye to 2020 or 2021. In our times, Hit the Road Jack is closer to the mark. But’s remember what 1961 must have been like. And that’s the thing, too…June Bisantz lays on the nostalgia without being maudlin. It is a fond look back without the self-pity of our contemporary age.

She closes the album with Winter’s Got Spring Up Its Sleeve. This is a great tune with optimism and hope and a beautiful instrumental arrangement from Burr—as are all the tunes here. Seriously, what a great conclusion to a Winter’s reverie. It almost begs a celebration of Spring album from this crew.

​June Bisantz and the Jon Burr Sextet have given us a wonderful soundtrack for a return to holiday joys and loves. 7 Shades of Snow is the best gift we could ask to find in our stocking.


~Travis Rogers, Jr. is The Jazz Owl


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BronX BandA – Love & Resilience

10/28/2021

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Just when I was wishing someone would send me some new Latin jazz, Annette Aguilar sent me the new album Love & Resilience (Amor y Resilencia) from BronX BandA. Just what the doctor ordered!

In the band's liner notes, they write: “This album is dedicated to the youth, families and communities of the South Bronx that casita Maria serves. These songs, that reflect the spirit of music, are a seed planted in the imaginations of young people... it is time to soar.” Indeed, this music will make you soar.

The band is comprised of the brilliant pianist and keyboardist Arturo O’Farrill, who also serves as creative an artistic director. With him is Juanma Trujillo on electric and acoustic guitars, Mezzo-Soprano Kayla Faccilongo on vocals, Baba Israel with rap and spoken word, Leo Traversa on base, Leonor Falcón on violin and viola, the brilliant Annette Aguilar on percussion, Juan Carlos Polo on drums, and Clark Gayton on trombone. Artists, one and all, who never disappoint.

The album opens with the rousing and rapturous El Festejo (in English, the Celebration). Now this is how to kick off an album. Composed by Juanma Trijillo, O’Farrill cranks it up with a hot organ and the rhythm section catches fire right away. The joyous vocals are captivating.

The band describes themselves as deeply rooted in the Bronx. The members come from different musical styles, even different age groups, and different “thought patterns that coalesce into a collective beehive mindset. The differences define unity. The Jazz ensemble brings awareness of the history of Jazz in the borough through an aspirational reality of collectivity and creativity. The compositions are based on oral histories of Bronx heroes and citizens collected during the pandemic.”

Aspirational it may be but this music is inspirational, as well. As a white boy raised in South Florida, Latin music has always been dear to me. There was no other music that made me as happy, even joyful, as the music of my Latino brothers and sisters. Love & Resilience Resounds with that spirit, energy, and hope.

Kayla Faccilongo opens the second track, Ain’t I A Woman? by Leonor Falcón and Juanma Trujillo. Kayla herself wrote the opening Canto. She is amazing. The lyrics are stirring and her delivery is rapturous. The rhythm section is phenomenal and Leonor Falcón’s viola and Trujillo’s guitar make the whole song sound like an early King Crimson outing. Astonishing.

Nuyoriptian Part One
continues with the Falcón strings and O’Farrill’s gorgeous piano. Trujillo and Kayla join in and the Juan Carlos Polo original is in full force. The piece is slow and measured and gets punctuated by the Clark Gayton trombone. All the while, Annette Aquilar and Juan Carlos Polo anchor the percussion tightly.

It jumps up with Parima by Leonor Falcón with fierce and flawless rap by Baba Israel. Baba is right on with his lyrics and the politics behind them. O’Farrill turns in some of his best Jazz piano on the album as Annette and Juan Carlos work the percussion alongside the trombone and violin. It is rousing and inspirational and meaningful.

Okay. I want to move to the Bronx.

Nuyoriptian Part Two: Two Weeks in ’71
is by Juanma with rap lyrics by Baba. I couldn’t get enough of this. Kayla’s background vocals are subdued and wonderful as Baba pulsates the theme of “everywhere you went, there was music.”  O’Farrill’s Fender Rhodes is tight as Baba intones “the continuum of Mozart and Tito Puente.” Magic.

Then comes Juanita’s Hope by O’Farrill and Polo with the freestyle rap from Baba Israel. Everyone contributes splendidly and the song brings back the Latin rhythms and sensibilities in full force. Good God, ya’ll.

Clark Gayton’s Carnival is a joyous and bright passage that leaves nothing but a smile behind. Again, all of the contributions are meaningful and wonderful. Juanma’s guitar and Arturo’s piano leads are fantastic. Keep an ear out for Kayla’s backing vocals with the trombone and strings. Bouncy and beautiful with a cha-cha-cha ending.

Nuyoriptian Part Three: En Foco (In Focus)
by Arturo O’Farrill almost defies description with the flux of times and keys and styles. Juanma nails a spotless guitar that transitions to Leonor’s violin then to Clark’s trombone and Kayla’s majestic vocals before returning to Arturo’s keyboards and then all around again. I love this song.

Bassist Leo Traversa offers his original Pasos for his first compositional appearance on the album and this was worth the wait. Hot trombone passages, warm violin, gorgeous keys, and amazing percussion mark this piece. But then, that could be said of the whole album.

Traversa continues with Song for Elena, lyrics by Kayla Faccilongo. It is a ballad, if not lullaby, with lovely bass lines and touching Fender Rhodes before being joined by Kayla’s vocals. That’s the opening half. The bouncing bass and Latin piano take over for the second half as Leonor’s strings and Clark’s trombone punch it up. Annette and Juan Carlos bring it all together beautifully.

Leo’s not done as he also contributes Bertha’s Beat. The percussion leads it off and Baba adds his tribute to musicians and those in the music community, even those who collect records. The Bertha referred to is Bertha Hope who was so collaborative with Bud Powell, Thelonious Monk, Mary Lou Williams, and others. Truly an homage to the great Jazz masters of the past.

Annette Aquilar’s Wizzard’s Move closes this momentous album. The rhythmic and percussive tune is further brought to life by Baba Israel’s vision of life in the South Bronx. Everyone is afire with this one. It is funky, soulful, tight as a drum, and oh-so-much-fun.

And this is how to end an album.

Love & Resilience
is not only an extraordinary album of community and unity but it really is also about love and resilience. It’s about finding the light of hope in the darkness. This is an album to cherish.
 
 
                            ~Travis Rogers, Jr. is The Jazz Owl


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Susan Krebs with Mixed Remotions – Daybreak

10/27/2021

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Susan Krebs likes to mix it up. She has played with small formats like only guitar and bass or with a larger Jazz chamber ensemble. Now on her eighth album, Daybreak, she records with seven other musicians collectively known as Mixed Remotions.

With Susan Krebs on vocals are Rich Eames in piano, Jerry Kalaf on drums and vibraphone, Rob Lockart and Doug Walter on woodwinds, Domenic Genova on bass, Scott Breadman on percussion, and Riner Scivally on guitar. Together, they produce the good stuff.

Susan describes the music like this: “Mid pandemic, living alone, I was longing for connection. I especially missed being in the creative zone with my longtime musical comrades. I felt a deep need to gather ourselves however we might and make music, the pandemic notwithstanding. Soon we were off again on a new musical endeavor!... Focusing on this project gave me relief from my isolation and returned me to a sense of well-being, the lift of musicmaking, a bomb for us all. I'm grateful.”

And it shows. The song selection is excellent with two Hoagy Carmichael selections and tunes by Sandy Denny and Frank Loesser and others. They all work and they flow seamlessly together.

She opens the album with the Frank Loesser and Jimmy McHugh’s Can’t Get Out of This Mood, an emotional stroll with cool percussion and splendid vocal delivery. Susan’s vocals, teamed with the vibes and the woodwinds make this a great listen.

The title song, Daybreak, by Ferde Grofe is from the 1926 Mississippi; Tone Journey, an orchestral suite in four parts. Harold Adamson wrote the lyrics for the piece, which was originally the final movement. That was when the song became Daybreak and was recorded by Harry James, Jimmy Dorsey, and Tommy Dorsey and their vocalists and orchestras. All three releases reached the top 20 charts. Susan and the band make it as warm and sultry as you could wish. Beautiful.

The first Hoagy Carmichael tune is How Little We Know with lyrics by the great Johnny Mercer. It is splendidly arranged by Doug Walter and performed on guitar exquisitely by Riner Scivally. The vocals are straight-ahead the band nails it.

Inside a Silent Tear
by Blossom Dearie and Linda Albert and again arranged by Doug Walter. The Rich Eames piano is so cool and the rhythm section is right on. The slow-mover is lush and wonderful. Then comes Sandy Denny’s Who Knows Where the Time Goes?, which she recorded with the Strawbs in 1967. The song was picked up by Judy Collins before Sandy rereleased the song with the band Fairport Convention in 1969. Listen to any of Sandy Denny’s version and hear what Susan Krebs and Mixed Remotions have done so beautifully with it.

Dave Frishberg’s Listen Here is a warm piece with great vibes and beautiful woodwinds to set up the Susan Krebs vocals. Then Hoagy Carmichael’s Stardust closes the album. It is a beautiful song and Susan and the fellas perform it splendidly. The Latin rhythms make for a cool switch-up and Susan’s vocals and Rob Lockart’s soprano sax are wonderful together.

Susan Krebs and Mixed Remotions’ Daybreak is a great revisiting and reimagining of some of the great pieces of the American Songbook. The arrangements and the performances are excellent and make you happy to hear those songs once more.
 

                         ~Travis Rogers, Jr. is The Jazz Owl


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Nicole Henry's Time to Love Again

10/27/2021

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The marvelously talented Nicole Henry has released her eighth CD with Time to Love Again. It has been six years to wait for her follow up to 2015's Summer Sessions. It was worth the wait.

Nicole has taken  Jazz standards and Pop hits and turn them upside down with her remarkable talent and style. Tunes that I enjoyed in their pop setting have been wondrously rephrased, even reinvented, by Nicole's artistry. Then she brings along her South Florida compatriots including Pete Wallace on piano, organ, and keyboards, Doug Emery on organ, Eric England on bass, Dave Chiverton on drums, Aaron Lebos on guitar, Richard Bravo and Eduardo Rodriguez on percussion, Troy Roberts, Tom McCormick, and John Michalak on tenor saxophones, Teddy Mulet on trumpet and trombone, Jim Hacker and Jean Caze on trumpet, Jorge Dorbal, Jr. on trombone, Gregoire Maret on harmonica, Dan Warner on acoustic guitar, Camilo Velandia on electric guitar, and Samantha Natalie, Nikki Kidd, Lenora Jaye, and Rachel Brown on backing vocals.

Time to Love Again has it all. Nicole has astonishing delivery, intonation, and interpretation and the artists with her help her bring it all to pass.

It all starts with Anthony Newley’s Feeling Good from the 1964 musical Roar of the Greasepaint—the Smell of the Crowd. The hot Latin rhythms that open the song are picked up by the piano, guitar, bass, and organ before being joined by a brilliant horn section. Pete Wallace’s piano work is right on target. From the start, however, it is the magic that is Nicole that steals your heart.

Then comes Midnight at the Oasis made popular by Maria Muldaur and one of my favorite tracks on the whole album. Gregoire Maret adds that unmistakable harmonica to an already unforgettable song that Nicole transforms into what should become a Jazz standard. Then Nicole takes on the James Taylor classic, Your Smiling Face.  John Michalak’s tenor saxophone adds great soul and depth and Nicole herself makes this Pop classic pleasing to any Jazz aficionado.

Nicole follows with I Didn’t Know What Time It Was by Rodgers & Hart from the 1939 musical Too Many Girls. The song has been recorded by McCoy Tyner, Chick Corea, Billie Holiday, Charlie Parker, Ella Fitzgerald, and Barbara Streisand but Nicole makes this song her own and Pete Wallace makes the piano part absolutely priceless. So help me, I kept hitting repeat and kept loving it more and more.

Nicole returns to the Pop world with Sade’s Is It a Crime? Aaron Lebos’ guitar is excellent and the Jean Craze trumpet is worth special attention. Nicole then works her magic on the 1965 Pop song by Buffy Sainte-Marie, Until It’s Time for You to Go. The song centers on a couple who cannot stay together because of the different backgrounds. Nicole just owns it. I always loved the original but Nicole steals the show.

Wild is the Wind came to my attention with the David Bowie version, which was actually a tribute to Nina Simone. As I recall, this 1975 Bowie version was what introduced me to Nina Simone. Nicole surpasses all previous versions through her flawless and warm delivery.

Another favorite artist of mine is Joan Armatrading. Nicole reinterprets Joan’s song Love and Affection and the results are marvelous. The background vocals from Samantha Natalie, Nikki Kidd, Lenora Jaye, and Rachel Brown and Samantha’s vocal arrangement are stellar. Cool chord changes and Nicole’s interplay with Michalak’s tenor sax and the smoking B3 from Pete Wallace turn this song upside down and make it a true treasure.

Nicole wraps up the album with that great Stevie Wonder classic Overjoyed. While the song has been rearranged, it remains beautifully faithful to the masterful original. Somewhere, Stevie’s is digging this. The musical arrangement is cool and a bit funky but the Nicole vocals are fabulous. Great way to close out a great album.

Nicole Henry’s Time to Love Again is a gorgeous treatment of songs we already loved only to discover that we could love them all over again. Nicole Henry is a marvel and a gift to music.
 
 
                      ~Travis Rogers, Jr. is The Jazz Owl

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