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Event Horizon Jazz Quartet's debut album is Amazing

7/8/2020

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.

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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Tom Ranier Leads a Path to the Heart on This Way

6/13/2020

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This Way is Tom Ranier’s first album since 2006. That’s not to say he hasn’t been busy. Far from it, he has performed regularly at the Grammys, Oscars, Emmys, Golden Globes and any other high profile awards shows and performers you care to enumerate. He is a much-in-demand recording artist for so many famous acts like Barbara Streisand, Donna Summer, Natalie Cole, Joe Pass, Placido Domingo and many, many more. Plus, there is all the TV work and the movies Forrest Gump and Frozen.In fact, it can be said, he has not had time for his own personal projects.

This was worth the wait.
A photographer as well as a composer/pianist/multi-reedist, Tom Ranier is a master of imagery and never more so than on This Way.

Renier composed six of the eight tunes on this way. You'll hear him on the piano and synthesizer in addition to soprano, Alto, tenor, and baritone saxes. He is just that adept at the B flat, bass, and contralto clarinets. Performing with him or some of southern California's first call musicians. Trey Henry is on acoustic and electric bases, Ralph Humphrey is on drums, and Thom Rotella is on guitar.

Tom has said of This Way, “Every recording is a snapshot in time of where the artist is right at that moment. This album is the culmination of all my experiences and musical influences over the last 15 or so years.”

The album opens with Blue Aria, a Tom Ranier original. The depth and beauty of Ranier’s composition and artistry is warm and evocative. That does not let up throughout the whole album. Each of the compositions create a mood-scape of remembrance and reflection.

Yes, Kloose is a nod and wink to drummer Ralph Humphrey, nicknamed Kloose. Ranier calls Humphrey “One of the absolute masters in the whole world at playing odd time signatures.” Humphrey proves it on this track.

When we get to the first cover, Secret Heart, that is also a heartfelt reminiscence from Randy Brecker and Eliane Elias regarding the incomparable Michael Brecker. Brecker was a master soloist and Ranier has transcribed Michael’s soprano sax for an arrangement for soprano, baritone, and three clarinets. Somewhere, Michael is smiling.

Trio Vision gives range to Trey Henry’s bass in what can only be called an exquisite acoustic trio. The piano-bass-drums trio is my favorite format and these guys just own it.

The second cover and final track of the album is Jobim’s Desafinado. Ranier’s beautiful piano work is enhanced by the four clarinet/bass clarinet passages. You can’t go wrong with Jobim and Ranier takes the already beautiful piece and expands on it.

This Way is indeed worth the 14-year wait. It is veritably impossible to separate the impression and impact of the eight pieces on this album. Each track moves from depth to depth. The album is a session in musical therapy as Ranier plumbs the profundities of life’s experiences.

~Travis Rogers, Jr. is The Jazz Owl

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Antonio Adolfo's BruMa Celebrates Milton Nascimento Beautifully

6/13/2020

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I first encountered the music of Milton Nascimento when, in 1994, I heard the album Deseo by John Anderson. Singing in duet with Anderson on the very first track, Amor Real, was Milton. I was so taken with his talent, his voice, his emotion, that I bought every album I could lay my hands on. In all the time since, and in all the albums since, his music was always of the highest standards.

Now Antonio Adolfo, one of the great talents to emerge from Brazil, has released BruMa: Celebrating Milton Nascimento. Antonio first met Milton in 1967 when they were both participants at Rio de Janeiro's International Song Festival. The next year Antonio and his trio performed with Milton, first in the recording studio and then a two-months run of their show in Ipanema.

This album represents the culmination of over half a century of respect in friendship. Antonio says for this album, “I immersed myself in the music of Milton and his partners. I have been working on this project for six months… adding my Brazilian jazz vocabulary. I once again concluded that Milton Nascimento is the most modern and profound composer in Brazil.”

Milton was nominated for three Grammys and six Latin Grammys, winning one and four, respectively. Antonio himself has been nominated for one Grammy and five Latin Grammys. His albums have garnered worldwide attention as a phenomenal instrumentalist, composer, and arranger. With BruMa: Celebrating Milton Nascimento, add interpreter to his list of accolades.

Before going into the album proper, it must be noted that BruMa in itself means “mist” but the true impact of the word is that it is drawn from the first two syllables of Brumadinho and Mariana, two cities in the state of Minas Gerais that have suffered untold sorrows resulting from ruptured earthen dams that flooded Mariana in 2015 and Brumadinho in 2019—disasters that left the waters below toxic and barren. Milton was always a key figure in preserving the memory of what has happened there.

Antonio is the producer and arranger for the album, as well as manning the piano. With him or Jorge Helder on double bass, Rafael Barata on drums, Dada Costa, Rafael Barata and Claudio Spiewak on percussion, Jesse Sadoc on trumpet and flugelhorn, Marcelo Martins on tenor sax and alto flute, Danilo Sinna on alto sax, Rafael Rocha on trombone, with Lula Galvao, Claudio Spiewak, and Leo Amuedo on guitars. This is one hot band.

The album is kicked off with Fe Cega, Faca Amolada (Blind Faith, Sharp Knife) from Milton’s 1975 album Minas. Rafael Barata’s drums is the first thing you hear and he will remain a precise and powerful presence throughout the album, both on drums and percussion. Marcelo Martins adds his own cool sax but keep your ears open for Antonio’s great piano work and pay attention to these great arrangements. Claudio Spiewak provides some sweet Jazz guitar and it is those hot horns of Martins, Danilo Sinna and Jesse Sadoc that carry the song away to the end in high fashion.

It is the piano and horns that introduce Nada Sera Como Antes (Nothing Will Be As It Was) from the album Perfil (Profile). Jorge Helder’s bass is understated but don’t miss it. Sinna’s cool alto sax is a beauty and Antonio’s bluesy piano is worth the price of admission. Add Rocha’s warm trombone for extra fun.

Outubro (October), from the 1969 album of the same name, is soulful and captivating. Antonio’s piano is accompanied by Spiewak’s acoustic guitar and the result is incredible. Sadoc’s trumpet is gorgeous and that smooth trombone of Rocha’s is so fine. In Brasil, October is in the Spring and this Springtime melody is a wonder of beauty and imagination.

Cancao Do Sal (Song of the Salt), from the 1967 debut album Travessia, is a percussion-lover’s delight. Antonio’s piano and Spiewak’s guitar set up great moments from Rocha’s trombone and the bouncing bass of Helder is right on target.Enter Marcelo Martins on tenor sax and the whole band gels into something quite extraordinary.

Encontros E Despedidas (Encounters and Farewells) from the 1985 album of the same name is a lush and lovely ballad. The piano, of course, replaces the sweet flute intro only to be joined by Marcelo Martins’ alto flute. It is a very nice touch. The trades-then-unison of Antonio and the flute are beautiful. All the while, the rhythm section keeps a solid and steady undercurrent flowing so well.

Following that is Tres Pontas from the 1993 album of the same name. It is named for the city of Milton’s birth. It opens with a vibrant and rhythmic piano and bass that paint an image of an equally vibrant city. The gorgeous textures of the horns depict the changes and growth of the not-overly-large city of only 60,000 or so inhabitants. Jorge Helder gets a fine bass solo with very well-placed runs and touches. Brief but beautiful.

Cais (Harbor) is from the 1972 album by Clube da Esquina, a Brazilian music collective. The album is considered a watershed moment in the storied history of great Brazilian music. Lula Galvao makes his first of only two appearances on the album on electric guitar. The horns are splendidly paced and spaced while the piano and rhythm section holds it all together. Sadoc’s muted trumpet adds mesmerizing touches over the piano and bass lines and carries much of the song’s melody. A specifically gorgeous track on a completely gorgeous album.

Caxanga is from the 1983 album Ao Vivo. Galvao is back on electric guitar and he and Antonio keep things tight between them while Sinna adds his great alto sax leads. Galvao’s guitar takes over the lead while the horns and rhythm section keep the song anchored. Percussion and horns with Anotnio’s cool piano take the song away.

The album closes with Tristesse (Sadness) from the 2003 album Pieta. Martins’ alto flute and Antonio’s piano introduce the song with tones that are of palatable emotions. The sadness never becomes despair but, rather, speaks of a sadness that is not without hope or, at least, remembrance. Leo Amuedo contributes a beautiful electric guitar, his only appearance on the album. But it is Antonio’s piano and his incredible arrangements of the incredible Milton Nascimento that makes this album the wonder that it is.

Antonio Adolfo breathes new life into the work of the maestro in a time when Milton Nascimento’s vision and voice should not be forgotten.

~Travis Rogers, Jr. is The Jazz Owl

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The Brecker Brothers' Live and Unreleased

6/4/2020

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If you were listening to Jazz in the 70s and 80s, you heard the Brecker Brothers in all their power, finesse, and glory. I remember well when they disbanded in 1982 and their last album, Straphangin’—their sixth—would occupy a place near and dear to me. They would reunite for a 1992 album, Return of the Brecker Brothers, and for me it was like the sound of the archangel announcing the Second Coming.

Live and Unreleased is a live recording from their July 2, 1980, gig at Onkel P’s Carnegie Hall in Hamburg. Everything and everyone was on and they truly never sounded better. Randy Brecker commented on brother Michael’s performance and said, “Brother Mike was at the top of his game—well, he never wasn’t at the top of his game—and we were clicking as the Brothers horn section.”

According to Randy's liner notes, it was also a time when Michael was writing more and more and a full four tracks on this double-CD are Michael’s original compositions and five are from Randy. And, seriously, the liner notes from Randy and the insert booklet from Bill Milkowski are both worthy of careful attention and enjoyment.

With Randy and Michael Brecker is the amazing Barry Finnerty on guitar, Mark Gray on keyboards, Neil Jason on bass and sometime vocals, and Richie Morales on drums. This was a band who swing, drive, and create the most bone-crushing funk you could ever hope to hear. In a decade full of great Jazz-fusion bands like Return to Forever and Weather Report, the Brecker Brothers never lost their Be-Bop sensibilities and yet could roll as hard as any rock band you care to name.

Thankfully, it is a 2-CD set covering nearly two hours.

The album opens with Michael’s Straphangin’. It is kicked off with the horns almost fanfare intro before Neil Jason’s bass thunders the transition. Mark Gray accompanies on the keyboards and he early and often leaves no doubt how he landed this gig with the Brothers. Then comes the solos. Randy takes off in a run to make Rimsky-Korsakov do a double-take. Michael’s sax solo is a beauty even though Randy intimates that his brother did not always enjoy the song. Still, Michael’s roomy solo is not rushed and it gives space to the others’ contributions. The song concludes with the same fanfare as it began.

Tee’d Off—another Michael piece—is one of four pieces from the album Détente. Michael’s cool sax takes the lead before a glorious combo with Randy then into a tough-as-nails duck and punch with Jason slap-funking the daylights out of his bass. Barry Finnerty cuts loose on some brilliant guitar work, melodic and harmonic. Listen carefully to Morales’ drumming throughout the album.

Sponge is a Randy original and was originally released on 1975’s The Brecker Brother. As my cousin said at the time, “This mother smokes.” Randy and Michael both turn this song from their debut album loose with Finnerty, Gray, Jason, and Morales earning their pay over and over. Randy’s trumpet solos make other world-renowned trumpeters sound like kids with kazoos. And you just can’t get enough of Finnerty. Gray’s keyboard solo is fascinating while Jason and Morales anchor the funk. Smokes.

Funky Sea, Funky Dew (Michael Brecker, comp.) comes from the 1977 album Don’t Stop the Music. Michael takes centerstage on this one and the original 6:13 is stretched to a riotous 18:41. Again, Michael doesn’t fill up his time with aggressive runs but takes time to lay it out slowly and give room to everyone else. Finnerty gets in some excellent chops. Even at almost 19 minutes, it seems too brief.

Side 1 closes with another Michael original, I Don’t Know Either is the second track from the Détente album. Gray and the horns are tight together and Finnerty’s strumming adds a funky bite to the bit. Randy’s hot trumpet cools off for a moment in micro-trades with Finnerty. Some serious stretching going on here, too. But, after all, this was a live recording and you got to give the people what they want.

Mark Gray gets his extended solo in Inside Out, Randy’s composition originally released on the 1978 Live album, Heavy Metal Be-Bop. The thunderous bass line from Jason is a shaker. Randy’s trumpet solo is coolly bluesy and the Michael sax bit is equally cool. Again, everybody gets to offer some beautiful passages along the way. This track just tore it up. It wound up being my favorite track on the album. Listen and you’ll know why.

After such tight Jazz, the Funk returns with Baffled from—once again--Détente. Morales gets the attention with an long and developed solo that shows why he’s aboard. The Latin groove is fantastic. The band returns to more melodic Jazz after Morales’ solo. Composer Randy serves up some beautifully delicious trumpet morsels. The tightknit delivery of Gray and Finnerty is worthy of close hearing.

Some Skunk Funk (Randy’s composition from The Brecker Brothers) is furious and, like Randy says, “has become something of a rite of passage for young musicians.” Michael’s effected sax is stunning and then comes the bass-solo-to-end-all-bass-solos. This song is the stuff legends are made of. The whole band closes out the piece to uproarious applause before the band leaps into the…

East River. Bassist Neil Jason co-wrote the piece with Cash Monet. His real name? Randy says, “He was just Ralphy from Brooklyn, as far as I knew.” Finnerty again gets fantastic guitar work in and Jason takes on the vocals along with the hot bass. The song first appeared on Heavy Metal Be-Bop and the funk is fabulous.

The album closes with Don’t Get Funny with My Money from, of course, Détente. Get this: Luther Vandross co-wrote the lyrics with Randy Brecker. Vandross arranged the vocals and appeared as a backing vocalist on the Breckers’ second album, Back to Back. The song sounds like the lovechild of Rick James and Frank Zappa.

What a way to end a concert and an album. If the ideal is always leave them wanting more, then Live and Unreleased does just that. Even at nearly two hours, you never want the album to end. Maybe it’s because of the early passing of Michael Brecker in 2007 or because we will never get to see the Brecker Brothers band again. Or maybe it’s just because this is one hot album full of amazing artistry and composing and arranging that fills what your heart longs to hear.

Yeah, that’s it.

~Travis Rogers, Jr. is The Jazz Owl

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Spanish Harlem Orchestra brings The Latin Jazz Project

6/3/2020

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The Latin Jazz Project is what we have been waiting for from Spanish Harlem Orchestra. With six previous recordings, they have given us glimpses and splashes of Latin jazz. Thanks to Artistshare, a fan-funded project program, SHO have given us a full length recording of pure Latin jazz. Their last album, Anniversary, was the Grammy winner for Best Tropical Latin Album. A wonderful album.

But Musical director Oscar Hernandez, with two brilliant Latin Jazz albums under his belt, has brought his full creative force to bear with SHO for another album of wonder. The Latin Jazz Project will certainly be a Grammy contender.

On this album, with seven of the eleven tracks composed by Hernandez, a veritable all-star guest cast adds their remarkable contributions. Hernandez produced the album.

The members of SHO certainly deserve to be recognized. Oscar Hernandez is on piano. Hector Colon plays trumpet and flugelhorn as does Manuel Ruiz on five tracks and Jonathan Powell on alternate five tracks. Doug Beavers, the coproducer and in charge of mixing the album is on trombone with Noah Bless. Jorge Castro plays baritone sax with Mitch Frohman on one track with him. Luisito Quintero is on timbales, shakere, shakers and chimes. George Delgado is on congas and Jorge Gonzalez is on bongos. Gerardo Madera is on base with Jeremy Bosch on flute. Bosch, Marco Bermudez, and Carlos Cascante all contribute vocals on track 11.

The album opens with a Hernandez original, Ritmo De Mi Gente. Jeremy Bosch is featured on flute along with Hernandez on piano. The alternating horns and percussion highlights are so hot. Wait for the last note with the baritone sax adding the exclamation point.

Bobo is a Marty Sheller composition and features the fantastic Bob Mintzer who makes every phrase, every note, count. Hernandez and the percussion are so tight. Colon and Powell with Beavers and Bless and Castro just cook the horn passages. Pay attention to Luisito Quinetero’s percussion work.

Invitation (Kaper and Webster, composers) brings along Kurt Elling’s vocals and Miguel Zenon’s sax work. Elling, of course, is world-famous and Zenon is world-class. Zenon’s sax is a vocal as Elling and the two of them together is like watching Zeus and Thor trading thunderbolts. But again, Hernandez with those horns and percussion…

Angel Fernandez’ Acid Rain features Bob Franceschini on sax and Jonathan Powell on trumpet in this instrumental piece with its fascinating horn runs atop the cool rhythmically rainy beat. A smoking groove.

Trumpeter extraordinaire Tom Harrell is featured on the Oscar Hernandez original Las Palmas. Cool and beautiful piano solo from Hernandez. George Delgado’s congas are a cool treat.

Hernandez brings together two of the baddest cats in the business on his Silent Prayers. A sweet piano introduction is joined by saxman Dave Liebman who slides into an equally tasty solo. In the background for the first 1:44 of the track, bassist Jimmy Haslip comes aboard with that incredible bass solo before Bosch adds his flute. The loveliest song on the album, Silent Prayers is enough to make you say a prayer of thanks for the incredible artistry of the composer, soloists, and the whole band. Liebman returns to give wing to the prayers before piano, horns, and percussion take us home.

Thelonious Monk’s Round Midnight is one of my favorite pieces of all-time. Hernandez takes the Gene Amato arrangement to a Latin paradise. The piano melodic line holds true with that great percussion and horn treatment. Powell is featured on trumpet and the whole song sounds like Monk in San Juan or Havana. Hernandez, of course, steals the show.

Hernandez’ Fort Apache features trumpeter Michael Rodriguez who joins the horns in a raw and aggressive foray against Hernandez’ steady piano with a spot-on percussion section. Powerful stuff.

Vibraphonist Joe Locke takes the lead on Latin Perspective with time given for Bosch’s flute. Locke is a master artist and always lights up the proceedings wherever he appears. Bosch fits like hand in glove with Locke and Hernandez. The solos of Bosch and Locke are worth the wait. They depart the track en corps before fading into the 36-second improv between Locke and Hernandez, titled Joe and Oscar.

Descarga De Jazz wraps up the album with chorus vocals from Bosch, Marco Bermudez, and Carlos Cascante. Mitch Frohman’s tough and tight baritone sax gets the feature but it’s Hernandez and the percussion that keep setting up the horn passes. You gotta love the vocals and that baritone sax just rattles your spine.

Oscar Hernandez and Spanish Harlem Orchestra have created an album of raw energy, tight grooves, beautiful melodies, and compositions to thrill and amaze any listener. The Latin Jazz Project was wroth the wait.

~Travis Rogers, Jr. is The Jazz Owl

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Lady Bianca is Right on Time with Word and Song

5/30/2020

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   Lady Bianca is a wonder. She has released albums of “funky R&B”, Soul, Blues, and Gospel. She has appeared with a galaxy of stars from every genre. Now she releases Lady Bianca Sings Hold On Just a Little While Longer/Gonna Have a Mighty Good Time.
   Sadly, it an EP. I say sadly because you just don’t want it to end. She has a fantastic band with herself on vocals, piano, and clavinet, Oshmin O. Oden on bass, Joey Truso on drums and tambourine, Rod “Bigg Daddy” Munson on guitar, Lionel DeWitt Holoman, Jr on Hammond B-3, and Neil Barnes on harmonica. The Sons of the Soul Revivers (James Morgan, Dwayne Morgan, and Walter Morgan, Jr) are her background vocalists. This band is smoking hot.
   I was born and raised in the Church. There were so many things about the church that can invite criticism but, let me say this, the music that Lady Bianca and her league of crafty players brings just makes everything all right.
   There are only two songs on the EP but they make great use of every second available. And you will need to hear it over and over to fully appreciate what every artist contributes.
   Rev. Cleophus Robinson, Jr’s Hold On Just a Little While Longer is arranged by Lady Bianca. Rev. Robinson’s original was on his 1980 album Consolation. His version was a slow, almost mournful, exhortation to keep the faith and hold on. Amazingly, Lady Bianca—in the days of police brutality against our brothers and sisters and rampant, unrestricted racism at the highest level of government--has turned this into a joyful anthem of faith and hope.
   The musicianship is fantastic. Holoman on the B-3 is fantastic and Oden’s bass reminds me of my favorite bassist, James Jamerson. Executive Producer Neil Barnes contributes some fine harmonica work behind it all.
   But Lady Bianca sends thrills down my spine. She is emotional and uplifting; powerful and graceful. And she gives me hope. Add the Sons of the Soul Revivers with the backing vocals and you’ve got church. It reminds me of the Bubba Brown quote: “Blues is before your prayers get answered.”
   Clearly, our prayers for peace and unity have not been answered yet but…hold on.
   Gonna Have a Mighty Good Time is an original from Lady Bianca, Stanley Lippitt, and Oshmin Oden. Lady Bianca offers an invitation and she calls on the players (and pray-ers) to step forward. Immediately, Barnes starts in on a cool harmonica. Bigg Daddy Munson chops some sweet guitar and Holoman’s B-3 is so hot. Joey Truso has the church-style tambourine in full swing and you can’t get away from that Oden bass.
   Gonna Have a Mighty Good Time is the perfect follow-up to Hold On Just a Little While Longer. It is the joyous expectation of the faith found in the first track. It’s not only an expectation of a good time in church but a good time in our world. Faith will have its rewards and, as Romans 5:5 says, Hope does not disappoint.
   Lady Bianca makes your lips shout, your heart rejoice, and your hands fly up in the air.
   Visit her website to sample her previous albums or go to https://www.amazon.com/Lady-Bianca to buy everything available.
   Lady Bianca is right on time with the word and the song.

Postscript: After writing this review, Minneapolis erupted over the murder of Mr. George Floyd. I am enraged on behalf of our brothers and sisters. In the midst of my anger, I returned to this album to find comfort. And find it I did.

~Travis Rogers, Jr. is The Jazz Owl

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Gabriel Chakarji's New Beginning

5/21/2020

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

   ~Travis Rogers, Jr. is The Jazz Owl

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Sissy Castrogiovanni sings of life and love on Terra

5/21/2020

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   Sissy Castrogiovanni is it incredibly talented singer, songwriter, and producer. Her new album Terra is her second album as leader and is sung in its entirety in Sissy's Sicilian dialect. The album is a crossroads of her various influences from Sicily and the Mediterranean, the rhythms of Africa, and intricate Jazz harmonies.
   With Sissy on vocals, she is joined by Tim Ray on piano, Jesse Williams on bass, Lihi Haruvi on soprano saxophone, Jamey Haddad percussion, and Jorge Perez-Albela on drums, Cajon and Djembe. They are joined by special guests Puccio Castrogiovanni on marranzano, pipes, and vocals, Claudio Ragazzi on guitar, Fabio Pirozzolo on frame drums, and Marcus Santos on percussion. They are supported fire a five-piece string section and eight-voice backing vocals.
   The album opens with Gandalf (Wayfaring Stranger), a traditional American melody arranged by Sissy herself. The subject, of course, is Tolkien’s wise wizard who ignites purpose and passion and brings a smile. Tim Ray’s piano is a wandering stroll through the beauty of surroundings, full of life and meaning. Lihi Haruvi’s soprano sax comes on top of the piano and the passion and drive are riveting. Through it all, Sissy’s vocals soar and penetrate. Haddad and Perez-Albela provide rhythms with the pace of Shadowfax on a dead run. The piece ends beautifully with Sissy’s intonations.
   A Sissy original, ‘A Panza (Guts), is about experiencing that double heartbeat of particular situations where one's guts are speaking to them. Sissy's message is that your guts are always right. It is straight-ahead vocals with tight support from the band and features Claudio Ragazzi no the first of his two appearances on the album.
   Magia (Magic) features Claudio Ragazzi on guitar again. The song centers on the idea that wonderful opportunities always arrive and we should indulge our fantasies to make the world a better place. The wonderful vocal chorus sings with Sissy and the anthemic results are accompanied by Ragazzi’s acoustic guitar and the rhythm section. The trades between Ragazzi and Ray are one of the coolest parts of the piece. Haruvi’s soprano sax drifts on the fringes of the piece but adds a fine texture to the work.
   ‘Nsonna is another Ssisy original with the string arrangements by Tim Ray. The song was inspired by Sissy's son Manuel whom she encourages to dream big and dream always. The dreamy piano introduction is sweet (in a good way) the warmth and affection of Sissy’s vocals are priceless. The strings dominate the last section of the song until Sissy and Ray close the piece as it was begun.
   Ancili (Angels) is about unexpected moments and words that surprise us in their intensity and timeliness. The chorus returns like an angelic choir as the band creates all the warmth and comforting passages that are associated such moments of encounter.
A lover who goes away
A stranger becoming familiar
A thought that doesn’t go away
And we don’t know how come it is there
   Jesse Williams’ bass has some cool moments in the background and then a solo that is both subtle and profound.
   Ama (Love) is a lively, optimistic piece on why we are here—to LOVE. Sissy’s vocals are affectionate, wistful, playful, and moving in their delivery. The rhythms of Haddad, Perez-Albela, and guest Marcus Santos are solid with the percussive playing of Ray on piano. Ray cuts loose with a fine solo half-way as the rhythm sections keeps up the tight groove.
   Terra (Earth) is more about the life of Earth. Sissy plays on the idea of a living Earth, dancing among the stars and planets, now suffering at the hands of humanity. There are passages that are lively, then melancholy, then mournful. The fragile touch of the soprano sax along with the drifting piano creates images of our home in all it’s delicacy. Sissy follows the soprano sax’s solo with an impassioned plea on behalf of home.
   Paci (Peace) speaks of lessons learned—and not always rightly—and the forgiveness that is essential to our progress and even survival. Ray’s piano accompanies the dialogue between Sissy and Puccio Castrogiovanni. Jorge Perez-Albela provides drumming that is worth special attention. The instrumental interludes are wonderful and the choral runs are great listening.
   Stranizza D’Amuri (Strangeness of Love) was arranged by Nando Michelin and opens with a sweet bass solo before being joined by Sissy’s lush vocals. Piano and drums join in and the whole band surrounds an energetic soprano sax. Sissy sings,
   And when I meet you in the street
   I feel a shock in my heart,
Though death is raging outside
   The miracle of love does not die
   Love
E Vui Durmiti Ancora (You still Sleep) is a traditional Sicilian song with lyrics by Giovanni Formisano, arranged by Juan Andres Ospina. It is not a lullaby but rather a call to awaken.
The sun has already appeared on the sea
And you my darling still sleep

The birds are tired of singing
They are rested on this little boat

And they wait when it is that
You'll look out the window
   The melody is beautiful and moving and Sissy’s vocals are full of longing and loving. The strings give wings to the melody and Ray’s piano is touching. An excellent way to close the album.
   Sissy Castrogiovanni’s Terra is a description of, and a prescription for, life in harmony—harmony with the world, the human family, and ourselves. The compositions and arrangements are remarkable and the performances are stellar. The album is more than a CD, it is a philosophical-spiritual treatise.

   ~Travis Rogers, Jr. is The Jazz Owl

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AJOYO's War Chant

5/20/2020

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   Do not let it be said that Jazz has nothing to offer in this present time. The glory days of Jazz are not over, far from it, and if you need proof of it, all you need to do is listen to AJOYO’s new album War Chant. This is their second release following their 2015 eponymous album.
   Once I had listened to war chant, I immediately went online to find that 2015 album. Without a doubt, the seeds of War Chant were planted in their first album. AJOYO is an exciting band with exciting compositions and a brilliant take on what is happening in our world, specifically America, today. There is no doubt that they are putting oppression and greed in the crosshairs. They speak truth in the choking atmosphere of lies. And they do it with the amazing rhythms of Cameroon and the tight melodies and harmonies of Jazz.
   The band itself is a fantastic collection of brilliant musicians and thinkers. The founder and bandleader is multi-reedist Yacine Boulares who is also the composer of all the tracks on the album, with the exception of the first track in which he shares co-writing credits with vocalist Sarah Elizabeth Charles. Jessie Fischer is the keyboardist and producer, Kyle Miles is the bassist, Michael Valeanu is the guitarist, and Philippe Lemm is the drummer.
   War Chant is the opening track and is fitting as both album title and the introduction to everything that is to follow. Valeanu and Miles start off with staccato pops on guitar and bass and are joined with staggered rhythms of Lemm before Sarah delivers her vocals with power and meaning.
   Make it great again
   America
   Was Never Great
   To those of us who
   Were not free
   Can’t you see
   Self pride is
   Suicide
   You don’t have to be a political theorist to figure out who and where they are talking about. Don’t mistake this for preaching or hand-wringing hopefulness. This is what the title says it is—a war chant. It is inspiring. It is moving. And it is right on time. Each artist contributes masterful passages. Sarah’s soaring vocals are impassioned and thrilling.
   The final refrain is
   Sit on down
   And give a listen
   Imma testify
   And it doesn’t stop there.
   Invitation opens with a hard saxophone intro from Yacine before Sarah adds her beautiful vocals. The sax wafts in and out of the keyboards and that driving rhythm. By the end of this track, I knew that this is a band I have waiting for. There is no weak spot in the line-up and all of the compositions are the work of sheer genius.
   Better Love follows and features Vuyo Sotashe on vocals with Sarah. Yacine gets in a cool and melancholy sax bit while the rhythm section is cooking with those Cameroonian beats. Fischer’s symphonic keyboards sounds like something conceived by Rick Wakeman as much as Chick Corea. Valeanu’s choppy guitar accents are excellent.
   So melodic. So harmonic. So beautiful.
   Assyko features Takuya Kuroda on trumpet. The piece starts of with the palmas clapping before rockish guitar starts in. The trumpet and sax are in great duet together and work some cool trades between them. Kuroda is an excellent guest for this track. But don’t lose sight of the rhythms that propel this piece. The construction of this song is fantastic. Don’t lose sight of the rhythms that propel this piece. The construction of this song is fantastic.
   Syzygy is smoking hot. Joel Ross guests on vibraphone and it adds a spacey feel to the astronomical theme of the piece. Philippe Lemm on drums and Michael Valeanu are tight as you could ever want and they all turn this into a piece that Weather Report would be proud to claim. But, I admit, I missed Sarah’s vocals.
But Somber Joy brings her back and she is worth the wait. Yacine has that soulful, warm sax with the clapping underlying it all. Fischer has the wonderful keyboards support that punctuates the piece. Sarah moves from battle-cry to ballad beautifully.
   JoJo’s Groove features Akie Bermiss on vocals with Sarah. Groove is right. Bermiss is powerful and he and the band offer up some bone-crushing funk for your pleasure. Valeanu gives us the crunchy guitar and he makes it work.
He continues with an acoustic introduction on Same. Then he turns on the electric guitar and is joined by Yacine’s exquisite soprano sax. Lemm’s nearly-military beat is perfect for the message of the struggle against uniformity, individuality within unity. Yacine’s sax is gorgeous.
   Sleep starts with a hypnotic beat and droning echoes of bass and keyboards. The accented guitar and keyboard arpeggios create a techno atmosphere and Sarah’s vocals are like the elusive voices of a dream.
   War Chant is a spiritual call-to-arms against oppression, greed, fear of others, and isolation—national and individual. AJOYO does it with grace and strength, intelligence and wit, and—most of all—a love and acceptance of who we are and who we should be.

   ~Travis Rogers, Jr. is The Jazz Owl

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