Now they have released Brutal Fairytale, an album of 11 original tracks with nine of them coming from Blanco and the remaining two from fellow bandmates. The results are energetic and absorbing.
With Blanco on piano, Cuban percussion, and vocals are Brandt Fisher on tenor sax, of whom Blanco says, “He puts the Jazz in Jazz Wires.” Gabriella Aragon adds her “beautiful vocals and cold-blooded trombone.” Noah Austin brings the physics to the music and Anthony Channita “is the happiest drummer ever.” Joe Ballestrasse is the bassist and sometime songwriter for the band, often showcasing his ability to play Cuban music. Of the group, Blanco says, “I think good music starts with good people, and Jazz Wires is great example of that.”
Indeed, they must be good people because this is good, good, good music.
You are immediately introduced to Gabriella’s vocals on the first and title track, Brutal Fairytale. She sounds, at first, like Katharine Whalen of Squirrel Nut Zippers but you soon discover a different breadth and depth to her vocals that makes her uniquely her own. The free-wheeling horn and percussion introduction is immediately tamed by Gabriella’s vocals. The tune takes on a swinging Jazz feel and the results and astonishing. The sax solo from Fisher is smooth and the Blanco piano is stellar. Buckle up.
Spanish Tale in Arabia jumps up with a Chick Corea style piano and horn intro that sizzles. Fisher’s tenor sax is on fire and again Blanco piano smokes. Austin’s trumpet punctuates the tunes. Pay attention to the cool bass of Ballestrasse—very understated, very cool.
Digital Memory opens with a tight piano ostinato and remains submerged to sax and the rest of the horns. This is a cool horn arrangement with great rhythms from Ballestrasse and Channita. The song is so well-constructed and is absolutely riveting. This one got many replays. Garjavan is much in the same vein.
Origins is a look homeward with brilliant Afro-Cuban rhythms and great trombone leads from Gabriella. The vocals in the finale are great fun. Fireplace is a brief painting of solitude and solace that is all-too-short. Hermit’s Song continues that feeling of solitude and solace, especially as carried by the horn section and the sweet and subtle piano beneath it all. In Wooden House, it is the piano and tenor sax that carry the mood.
Lo-Fi Banger picks up an almost Gospel vibe that is loaded with soul. The underscoring piano, bass, and drum is a fine touch. Then Traces of You sees Blanco on lead vocals with his solo piano for the first half of the song. This is a gorgeous tune and reaches the heights when the horns and percussion join in. Yeah, I said it: gorgeous.
The album ends with Ska-Monk. First come the acapella voices, then the horns and rhythm section join in. Solos from piano, tenor sax, trumpet joined by trombone thread their way through the tune before Channita’s brief drum solo. Definitely Ska but still with an eye toward Jazz lovers. Listen all the way to the very end. It’s worth it.
Brutal Fairytale is a one-of-a-kind album. The incredibly high energy and creativity make this a Jazz treasure.
~Travis Rogers, Jr. is The Jazz Owl