By Dee Dee McNeil
There were lots of great albums to review this season. Here are a few by local West Coast artists that you may want to enjoy.
ASHLEY MAHER – “TREE TO TREE” – Spin Wild Records
Ashley Maher: vocals, Jean Mermose- keyboards; Amady Sidibé & Ken Ngom, guitar; Thierno Sarr, & Willy Bousset, bass; Abdoulaye Lo & Isaac Degbey, drums; Babacar Seck, sabar; Alioune Seck, percussion; Samba Ndokh Mbaye, tama; Amina Doucourè, guest vocals; Mildah (Peljacerel Miambanzila), trumpet; Sylvain Boco, trombone.
From the very first strains of the opening tune, there is the feeling that this is World Music. There is an American funk beat and the whine of a funk guitar that opens the tune. Then Ashley Maher enters vocally, floating like a summer breeze above the groove. The tune is simply called “Music” and the lyrics paint a picture of early morning and a girl awaking to a new day.
Track #2 is called “Salt and Pepper” and continues with a World Music groove. Ashley is a Canadian singer/songwriter who has meshed together West African and Latin American rhythms with Western song structures. The result is this captivating album of multi-cultures. Born to British parents living in Montreal, Quebec, Canada, she moved to Los Angeles at a very young kindergarten age. She was always encouraged to sing and has even studied opera in Italy. At UC Berkeley, she visited a class in African music taught by C.K. Ladzekpo, a master drummer from Ghana. She was captivated by the African music. After studying with the rhythm master for two years, she moved to London, England.
Ashley Maher has released two albums on Virgin Records before this “Tree to Tree” release, as well as an independent release called “Blessed Rain.” On this album she contracted West African and London based musicians.
Ashley Maher’s songwriting and music always incorporates West African roots into the mix. She has been the opening act for world tours and world music icons like Salif Keita, Baaba Maal, Vusi Mahlasela, Zap Mama and more.
Her fourth album was released in 2006, “Flying Over Bridges,” produced by popular Cameroon producer, Andre Manga. This time they contracted world jazz musicians from Los Angeles and featured a guest appearance by guitarist, Youssou N’Dour. The singer/songwriter spent September of 2008 in Dakar, Senegal recording her fifth album with Youssou N’Dour’s band.
This recent release is a culmination of experiences, cultures and compositions that tell stories of life and love. For example, her tune “American in Dakar” is both catchy, rhythmic and the ‘hook’ is melodic. You may find yourself singing along with it. This entire album is Stitched together with African rhythms and easy-listening melodies that encourage you to hum along. Ashley Maher’s voice is smooth and sweet as honey. Her lyrics expose her storyteller-side. She is a musical griot.
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MARK WINKLER – “HOLD ON” – Café Pacific Records
Mark Winkler, vocals/lyricist; PIANISTS: John Beasley (arranger), Rich Eames (arranger), Tamir Hendelman, Eric Reed, Jamieson Trotter (arranger). Greg Gordon Smith, composer/pianist/arranger; Gabe Davis, bass; Christian Euman & Kendall Kay, drums; Joey De Leon, percussion; George Doering & Grant Geissman, guitar; Bob Sheppard, saxophone; Brian Swartz, trumpet; Lemar Guillary, trombone; The GGS Singers, background vocals.
Mark Winkler is back with his 22nd album and it is smokin’ hot! Titled “Hold On” I am immediately captivated by his title tune. Winkler is a prolific lyricist, and his original music has been recorded by a host of top jazz singers including Cheryl Barnes, Dee Dee Bridgewater, Claire Martin, Dianne Reeves, and Randy Crawford to list only a few. Winkler continues to build his original song repertoire, this time teaming with Greg Gordon Smith. Their songwriting union is impressive.
His vocal delivery on the Dave Frishberg lyrics, “A Little Taste” shine. This song is perfect for Winkler. He and Frishberg have a lot in common as songwriters. Consequently, Winkler interprets Dave’s song with emotional clarity. The arrangement of Frank Losser’s popular, “If I Were a Bell” is stunning. Greg Gordon Smith is the arranger.
It is always Mark Winkler’s original songs that I look forward to hearing. He has penned six out of the eleven songs on this new album. Each one is well-written, with wonderful lyrics, great melodies and killer arrangements. The percussion on “Cat Women on the Moon” is outstanding and features Joey De Leon on percussion, with a little help from drum master Christian Euman. As always, Winkler surrounds himself with the crème de la crème of jazz musicians. Every song is plush with talent.
Winkler swings his way through “My Future’s Just a Memory” another Greg Gordon Smith collaboration. It’s a tricky title that makes me listen closely to their lyrics. The horn lines delightfully punch the tune and Tamir Hendelman adds to the excitement and groove on the piano, as only he can. Winkler sings the catchy hook with the unusual title:
“… My future’s just a memory. My upper hand is far behind. The passing days can blur the lines, between the sweet and not so kind, so put your hand inside of mine, and sure enough we’ll be just fine. Let’s make a memory …”
“My Electric Car” is another gem. It makes a political statement in a cute way, about clean air and reducing emissions. The sweet background of the GGS singers adds beauty to the arrangement and the trombone solo of Lemar Guillary is lovely.
Winkler closes with a gorgeous love ballad arranged by Rich Eames. The sweet trumpet of Brian Swartz accents in all the right places and soars on his solo.
As a master songwriter, Mark Winkler’s fresh and emotional lyrics engage the heart and lift the soul.
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MARCUS GILMORE, CRAIG TABORN, NELS CLINE – “TRIO OF BLOOM” – Pyroclastic Records
Craig Taborn, keyboards; Marcus Gilmore, drums/percussion; Nels Cline, 6-string & 12-string guitars; lap steel guitar; bass.
The CD jacket and the CD itself is covered by the awesome floral paintings of Sharon Core. Her beautiful painting of flower petals made me pick up and single out this album from a stack of others. Her paintings are also included inside the lovely brochure that’s part of this album package.
“Trio of Bloom” sprouted from three giant names in the jazz community: Craig Taborn on keyboards (from Minneapolis, Minnesota); Nels Cline (born in Los Angeles) on guitar, and NYC drummer, Marcus Gilmore. Together they bring a rich, inspired, sixty-plus minutes of experimental music.
Nels Cline was born in Los Angeles
“Trio of Bloom” opens with “Night Whistlers” that’s composed by Ronald Shannon Jackson. Jackson’s jazz/rock, Texas shuffle is transformed. Marcus Gilmore introduces it on his drums, setting the tempo and sparking the energy from the first snap of his drumsticks. The keyboard whines out some sounds that defy description, as do the Cline guitar contributions. I fastened my seatbelt.
This free and spirited opening tune paints a musical picture of the cacophony you find in computer rooms, game rooms, and on crowded big-city streets. It’s hardly representative of the album’s beautiful floral design. Still, this tune is an attention-getter, with some parts sounding like traffic horns and subway rails, or a combination of both.
The music settles down on track #2 called, “Unreal Light” that was penned by the keyboardist, Craig Taborn. It’s quieter, with pretty chord changes and guitar strings that ring like distant bells. Although it’s also electronically charged, it’s calmer. I can lay among the tulips on this tune or sunbathe and relax near the lips of the sea. This song sounds like a sunrise and is rather intoxicating with a Latin flair.
Craig Taborn, Nils Cline & Marcus Gilmore
“We all share the broadest range of possible influences. I wanted to lean into those rather than delimit a certain space. I was very aware of how everybody played, so the real question became what that signature would be overall. I tried to leave the possibilities open and to engage each piece on its own terms,” says Taborn, attempting to describe the process this trio of musicians used to come together.
“Breath” sounds like the peaceful background music you hear when you’re on a massage table. It calms and settles the spirit. Gilmore wrote this piece.
Producer and Poet, David Breskin, challenged each of these fine musicians to bring in a selection of original compositions, new and/or repurposed. The result is a blend of talents and composer dynamics that challenge your musical palate. While listening to “Trio of Bloom,” I felt like I was standing before a smorgasbord table that displayed a wild assortment of flavors, spices and dishes to tantalize my imagination. Each song was like an intoxicating dish to tease my tastebuds.
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ROBERTO MONTERO – “TODOS OS TEMPOS” – Voicomtudo Music
Roberto Montero, acoustic & electric guitar/vocals/synthesizer guitar, bass & percussion/composer/cavaco; Rique Pantoja, piano/Fender Rhodes; Otmaro Ruiz, piano; Philip Bynoe & Amou De Melo, bass; Leo Costa, Osmar Schulze ‘Peninha’, & Willian Góe, drums; Munyungo Jackson, percussion; Evandro Hasse, trombone; Catina DeLuna, vocals. Other Vocals: Luise Lucena, Dorian Holley, Beth Rohde; Vocal Group on track 8: Leandro Amaral, Cleume Lima, Sergio Mielniczenko, Endo Luis Montero, Silvia Nicolatto & Lynda Reed.
The soft tone of Roberto Montero, singing along with his guitar licks, makes an intimate impression on the first original tune he plays. It’s titled, “Igarape (Aminho De Canoa)” that translates to “River Stream (Way of the Canoe).” This Brazilian musician offers us a medium tempo, very melodic piece to begin his album. It’s soothing, and sounds like a very happy, carefree composition. I can picture the river lapping at the wooden sides of a canoe.
Roberto Montero has been teaching guitar at Los Angeles College of Music for over 20 years. Born in Southern Brazil, Rio Grande do Sul, but raised in Parana and Santa Catanina, Roberto was inspired by his father (Endo) who was an accomplished musician. As a young child, their home was always filled with musicians and music. At the age of fifteen, Roberto dedicated himself to becoming a guitarist. He soon turned his talents to composing. In fact, while working in Brazil, he composed over 100 radio and television jingles as a studio composer, arranger and performer.
Track 3 is titled “Vila Rica” and once again it’s quite notable how melodic Montero is when he composes. Amou De Melo lends a beautiful bass solo during this arrangement. This time, Montero plays the cavaco, a small string instrument from the Brazil and Portugal area. It is known for its bright, lively sound and resembles a tiny guitar with four wires or nylon strings. Pianist, Rique Pantoja also takes a notable solo.
“Born Balaio” or in English “Hamper Box” is a rhythmic production featuring Catina DeLuna on vocals, singing without words, in her sweet, warm way. She is a vocal horn. Otmaro Ruiz sets the rhythm tone on his piano. This is another melodic original song by Roberto Montero.
This talented guitarist landed an audition for the Sergio Mendes Brazil 2001 and wound up performing with the famed bandleader as a member of his popular group. He travelled with Sergio to Japan and Morocco, as well as all across the United States. He was guitarist and singer on the soundtrack of the Century Fox movie, “Rio 2.”
Montero is on the A-List of studio musicians and has been called to work on numerous television shows and award shows, including at NBC’s “The Voice” and on “The Tonight Show.” He was on the scene, as part of the “Honorary Oscars” and with such noted artists as Rickey Minor, Stevie Wonder, John Legend, Tory Kelly, Baby Consuelo, Luis Fonsi and more.
This is a lovely debut album by Roberto Montero, showcasing his multi-instrumental talents, his skills as a competent and engaging composer/arranger and spotlighting him as a band leader, guitarist and producer.
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YUKO MABUCHI – “QUANTUM” – Vista Records
Yuko Mabuchi, piano/composer/arranger; Peter Buck & Lucio Vieira, drums; Hussain Jiffry, bass; Del Atkins, electric bass; Edwin Livingston, acoustic bass; Munyungo Jackson, percussion; Megan Shung, violin/contractor; VIOLINS: Rhea Fowler, Dayren Santamaria, Ellie Dunbar & Kyle Gilner, Chris Woods; VIOLA: Thomas lea, Jeremy Jones, Drew Forde, Emily Williams & Troy Everett; Zack Reaves, cello; John Beasley, Zack Reaves, Bill Meyers & Melvin Maestro, string arrangements.
According to Webster’s dictionary, the meaning of “Quantum” (as a noun) means a small amount of energy or a unit of measurement. As an adjective, it translates to “large or significant.” Although Yuko Mabuchi is a wisp of a woman, she is a huge, significant, energized ball of talent. “Quantum” is certainly an appropriate title for this pianist, composer and arranger. She is a petite energetic woman with an incredible amount of significant style and individualism at the piano. Although she was born in Japan, she has been living and working in the Los Angeles area for over a decade.
Mabuchi opens her album with the Marcos Valle Brazilian composition, “Batucada.” She reinvents this piece by interjecting her soulful, bluesy piano styling. Next, she woos the listener with her classical brilliance at the 88 keys. Assisting in that brilliance is John Beasley’s string arrangement. The energy blasting through Yuko’s fingers and into my listening room is palpable. I am always amazed at this pianist’s power and punch on the 88-keys.
An original composition by Mabuchi follows, warmly infused with a string section, this time arranged by Melvin Maestro Lightford. It’s titled “Ikumi’s Lullaby” and Yuko explains the meaning behind this tune.
“This song is a prayer that my niece (Ikumi) and all her generation will continue the beautiful traditions of music that has been passed down through generations, connecting with the past, expressing the present, and inspiring the future. I hope that they will explore all the rich tapestry of musical traditions that our world has to offer.”
With Mabuchi’s rich classical music roots, she celebrates Mozart’s legacy with a tune Yuko calls “Little Mo.” This dynamic pianist is convinced that if Mozart had been born today, he would certainly be a jazz musician. During this outstanding arrangement, Mabuchi reworks Mozart’s “Piano Sonata #11, the third movement,” into an exciting jazz elevation. Yuko shows us why the world refers to Jazz as America’s classical music.
A composition titled “The Lion and the Lamb” (often used to symbolize the dual nature of Jesus) features Yuko interpreting the popular metaphor to represent a future state of peace and harmony on earth. When I listen to Yuko Mabuchi play piano, it sounds like the tones are speaking to me. Her musical phrases play like spoken words tumbling into the universe.
Somehow, she manages to take a very familiar song like “Boy From Ipanema” and reinvent it.
This album offers us a string of original compositions by Yuko Mabuchi, as lovely as a pearl necklace. She continues to unlock her magnificent talents as a pianist, arranger and composer. Her artistry is like a rich jewelry box full of extraordinarily expensive precious stones. Yuko Mabuchi is a rare diamond, glistening in the midst.
Streaming and CD purchase available at YUKOMABUCHI.COMhttps://yukomabuchi.com
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Michael Dease
Flow
(Posi-Tone)
One of the top trombonists around today and also a fine baritone-saxophonist, Michael Dease sticks to the former (with one exception) during this excellent straight ahead jazz outing. On Flow, he is joined by pianist Geoff Keezer, bassist Jared Beckstead-Craan, drummer Gary Kerkezou and, on half of the pieces, Sharel Cassity on alto and flute. Tenor-saxophonist Shane Karas guests on Cassity’s bluesy ballad “Love’s Lament.”
The music, five Dease originals, Charlie Parker’s “Cardboard,” Duke Pearson’s “New Girl,” and four other songs including one tune apiece by Cassity and Keezer, can mostly be considered modern hard bop. The pianist is in particularly inventive form throughout the program, Cassity is a strong asset whenever she appears, the rhythm section is versatile and supportive, and Dease shows why he is rated so highly as a trombonist.
The number of highpoints are many including the driving “ST In The House,” Pearson’s “New Girl” which is an obscurity well worth reviving, the surprising free interplay between Dease and Keezer during the first part of “Cardboard,” Claudio Roditi’s “Recile’s Blues,” and the moody ballad “Entitlement.” Most surprising is “The Rodfather” for it finds Dease switching to string bass and playing quite well with Keezer and Kerkezou in a trio.
But in reality, all 11 selections are rewarding. Flow (available from www.posi-tone.com) is the latest in a string of easily recommended Michael Dease recordings.
Irving Flores Afro-Cuban Jazz Sextet
Armando MI Conga
(Amor de Flores Productions)
A brilliant Afro-Cuban pianist originally from Mexico and long based in San Diego, Irving Flores has worked with Poncho Sanchez, Airto, and the Spanish Harlem Orchestra in addition to leading his own groups. A virtuoso, he sometimes purposely shifts tempos and slows down the music in order to express himself emotionally before resuming the tune’s momentum.
Armando MI Conga is a New York session on which Flores is joined by bassist John Benitez, drummer Horacio “El Negro” Hernandez, Giovanni Hidalgo on congas for seven of the nine performances, trumpeter Brian Lynch on four songs, and Norbert Stachel for one number apiece on tenor, clarinet, flute, and baritone; three of the performances have the two horns making the group a sextet.
The music is consistently stirring and exhilarating to say the least. Flores, who contributed all eight songs, begins the program with the full group in blazing form on “Armando Mi Conga.” “Gary en Nanchital” shifts tempos a few times while “With Amanda In Favignana” is a boppish number with Lynch as the only horn and Flores taking a particularly powerful solo. The romantic ballad “Tramonto A Massa Lubrense” is a change of pace, particularly compared to the passionate and somewhat intense “Music en La Calle.” “Samba Con Sabor” is a joyful romp with some complicated parts. “Recuerdos” has the rhythm section paying particularly close attention to the tempo changes and Flores’ ideas. ”Dana Point” with Stachel on baritone is quite fiery. The exciting set concludes with Flores taking a thoughtful unaccompanied piano solo on a second version of “With Amanda In Favignana.”
Listeners who enjoy consistently heated performances by an all-star Latin jazz band will certainly want to discover the masterful Irving Flores and pick up his Armando Mi Conga which is available from www.irvingflores.com.
Chicago Jazz Orchestra
More Amor – A Tribute To Wes Montgomery
(Chicago Jazz Orchestra)
The great guitarist Wes Montgomery’s recording career can easily be divided into three sections. After Montgomery (1923-68) played for years in Indianapolis, he was discovered and during 1959-63 recorded one small-group gem after another for the Riverside label along with a lone set (Fusion) with an orchestra that looked towards the future. He was on Verve during 1964-66 where he was often featured with a big band although he also recorded some classic sets with the Wynton Kelly Trio. During 1967-68, the guitarist was showcased on three fairly commercial albums for A&M on which he primarily just played the melody of each song. Those sold very well but unfortunately he passed away before he could really enjoy the financial rewards.
The Chicago Jazz Orchestra was founded as the Jazz Members Big Band in 1978 by Jeff Lindberg and trumpeter Steve Jensen. After Jensen’s death in 1997, the band was renamed the Chicago Jazz Orchestra. On More Amor, a double-Lp, they pay tribute to the big band recordings of Montgomery with four songs from the guitarist’s Verve period, two from the Fusion album, a pair of songs originally recorded in a group with organist Melvin Rhyne, and big band adaptations of Montgomery’s “Four On Six” (first recorded with a combo in 1960) and “Road Song” from the A&M period.
The 24-piece big band is joined by 16 strings and, most importantly, guitarist Bobby Broom. There are times when listening to such pieces as “Four On Six,” “West Coast Blues,” “Fried Pies,” and “Baubles, Bangles And Beads” that one could be excused if they thought they were hearing a Wes Montgomery album. Wes has always been a strong influence on Broom’s style although Broom also displays his own musical personality in spots. Jeff Lindberg transcribed an arrangement apiece by Don Sebesky (“More, More, Amor”) and Oliver Nelson (“Boss City) while the newer charts of Charley Harrison, Tom Garling, and Alex Brown are in a similar mid-1960s style. In addition to Broom, there are occasional solos from some of the sidemen including trumpeters Pharez Whitted and Victor Garcia, tenor-saxophonist Scott Burns, altoists Rajiv Halim and John Wojciechowski, and pianist Dan Trudell
More Amor is a well-conceived tribute and easily recommended to fans of Wes Montgomery and Bobby Broom. It is available from www.cjomusic.org.
Eddie Daniels
To Milton With Love
(Resonance)
This is a most unusual project. In 1968 Brazilian singer-composer Milton Nascimento recorded Courage, his debut album other than a slightly earlier obscurity. Produced by Creed Taylor for the A&M label, the soft-spoken vocalist was joined by a large studio orchestra arranged by Eumir Deodato that included Herbie Hancock, Airto, many horns, and a full string section. Courage introduced Nascimento to American audiences and was a major step in launching his career on an international level. His songs were considered by many to be the next step in Brazilian music after bossa-nova.
To Milton With Love is an instrumental album consisting of the same ten songs as on Courage (along with the original “For Milton”) with Eddie Daniels in Nascimento’s place. Having recorded tribute albums to Egberto Gismonti and Ivan Lins, Daniels was a natural to interpret Nascimento’s pieces. In addition to alternating between clarinet and tenor, he also plays flute extremely well and makes a rare appearance on soprano sax during “Gira Girou.” No matter what instrument, Daniels embraces and gives warmth to the melodies before creating variations. He is joined by pianist Josh Nelson (in superb form), guitarist Anthony Wilson, bassist Kevin Axt, drummer Ray Brinker, and occasionally the Lyris String Quartet with arrangements contributed by Nelson and Kuno Schmid.
In addition to such songs as “Travessia” (taken as a ballad showcase for Daniels’ tenor), “Vera Cruz,” an uptempo romp on “Tres Pontas,” the rollicking “Rio Vermelho,” and a happy carnival-type treatment of “Catavento,” Daniels and Nelson stretch out a bit as a duo on the pianist’s “For Milton.”
Everything works well throughout this very accessible set. Even without Nascimento’s vocals, his rich melodies carry a strong message of overcoming one’s struggles with determination and joy. To Milton With Love is available from www.resonancerecords.org.
Zahili Zamora
Overcoming
(Self-Produced)
A few years ago, Zahili Zamora performed at the Monterey Jazz Festival, making a strong impression on me when she improvised on piano while singing in harmony at the same time. While other performers might sing while playing unisons on piano or guitar, I have still never heard anyone else improvise vocal harmonies at that tempo.
Years have passed and now Zahili Zamora has a new 34-minute EP, Overcoming. Unknown to me and most of her audience, she often felt nervousness and emotional turmoil before and after her performances, wondering if she was good enough. Although the answer was obviously yes, it has taken her some time to overcome the fear. The five originals on this set address that problem.
The opener, “Rumination,” begins with some brief spoken word, features Sean Jones on flugelhorn playing the theme and an inventive solo, and Ms. Zamora contributing some thoughtful piano accompanied by bassist Gerson Lazo Quiroga, drummer Julius Millenberger, and Pedrito Martinez on bata drums. “Blissful Sorrow,” which is about learning new ideas while letting go of some of the values from the past, has Zahili Zamora singing wordlessly a little. It includes some adventurous playing from Yosvany Terry on soprano and is more blissful than sorrowful. Quiroga and Millenberger are part of the rhythm section again.
“Despair,” a flugelhorn-piano duet with Sean Jones, is not as bleak as the title might make one believe and is actually a bit optimistic. The pianist takes “Duality Embrace” as an unaccompanied solo. That piece is about meshing together her many influences from classical music to jazz while becoming a very individual musical melting pot. Overcoming concludes with “Negra” which triumphantly finds her accepting who she is without apology. Zahili Zamora contributes another powerful piano solo while joined by Quiroga, drummer Yandy Garcia Palacio, and percussionist Keisel Jiminez.
The release of Overcoming (available from www.zahilizamora.com) is a major step forward for the pianist. Hopefully next time one will get to experience those improvised vocal harmonies!
Roland Kirk Quartet
Domino
(Moosicus Records)
Rahsaan Roland Kirk was one of the most unique performers in jazz history. A brilliant tenor-saxophonist whose sound was a bit influenced by Johnny Griffin, he was also an innovative flutist (often humming along with the instrument), and played the manzello (which is in the soprano range), the stritch (a strange looking straight alto) and the clarinet in addition to punctuating his performances (particularly in later years) with whistles, sirens, gongs and other unusual instruments. On top of all of that, he was a master at circular breathing, served as his own horn section by playing up to three horns at once and, while based in bebop, he could play anything from New Orleans jazz to free improvisations. Kirk managed to do all this despite being blind.
Back in 1963 when he was simply known as Roland Kirk, he was filmed for two television shows in Germany, heading a quartet that also had pianist George Gruntz (a major player himself), bassist Guy Pedersen, and drummer Daniel Humair. Moosicus Records has released Domino which has all of the performances as both a CD and a DVD. Filmed on Nov. 15-16, 1963, the shows were aired separately in 1964 and 1965.
The black and white films, unseen for 60 years, are wonderful and give one an opportunity to see just how amazing Roland Kirk was. He is seen constantly switching between playing one horn (sometimes a flute) and three (tenor, manzello and stritch) The first show features him playing “Domino,” “Sister Sadie,” “Tenderly,” Charles Mingus’ “Better Git It In Your Soul,” and “Three In One, Without The Oil.” The second program has Kirk soloing on a particularly remarkable version of Charlie Parker’s “Blues for Alice,” a heartfelt “I Remember Clifford,” “There Will Never Be Another You” (which is mostly a feature for his stritch), and “Three For The Festival.” The listing on the back cover leaves off the last number.
This is one of the best Rahsaan Roland Kirk films that is available although any footage and recordings of the musical genius is of great interest. Domino (not to be confused with the 1962 recording of the same name) is available from www.amazon.com.
Lizzy & The Triggermen
Live At Joe’s Pub
(Self-released)
Lizzy Shapiro leads a ten-piece band from Los Angeles that can be heard in their excellent EP Good Songs For Bad Times. Their recent CD, Live At Joe’s Pub, finds the singer making her debut in New York, heading a group with both East and West Coast musicians. Many of the arrangements are by Dan Barrett. The lineup of musicians include trumpeter Gordon Au, trombonist John Allred, Nate Ketner on alto and clarinet, Rickey Alexander on tenor, baritone and clarinet, violinist Bobby Hawk, pianist Chris Dawson, guitarist Luca Pino, bassist Gary Wicks, and drummer Anthony Ty Johnson.
The music is mostly swing-oriented. Lizzy has a powerful voice and a versatile good-humored style. She is in excellent form on a repertoire that includes “When I Get Low I Get High,” “A Lot Of Livin’ To Do,” “Ding Dong, The Witch Is Dead,” a surprisingly operatic version of “I Love To Singa,” and “When That Man Is Dead And Gone” to name a few of the vintage songs. The band gets to cut loose on two instrumentals (“Good Queen Bess” and a hot version of “Struttin’ With Some Barbecue”) although I wish that they had more solo space on some of the vocal numbers.
Lizzy is heard at her best on a touching version of “La Vie En Rose” which also features John Allred and Chris Dawson. Her comments between songs, which set up many of the tunes, are included on this enjoyable club recording.
This would be a fun band to see live. Live At Joe’s Pub is available from www.lizzyandhetriggermen.com.
Jason Kao Hwang
Myths Of Origin
(True Sound Recordings)
When one thinks of an improvising orchestra, it is generally not of one with the instrumentation of ten violins, five violas, four cellos, three guitars, bass (Ken Filiano), and drums (Andrew Drury). Jason Kao Hwang, an innovative violinist, does not play a note during this live recording which took place at the 2022 Vision Festival in Brooklyn. Instead, he contributed the nine compositions which are played during a continuous 42-minute set.
But there is more to this performance than that. A few decades ago, cornetist Butch Morris came up with the concept of conduction. He conducted freely improvising ensembles with hand signals as they created new and unique music, giving the musicians spontaneous directions as to their moods, volume, grooves, and general ideas.
On Myths Of Origin, some of the ensembles (including the closing “Never Forgotten”) were composed, a few are completely improvised on-the-spot under Hwang’s directions (“The Collapse Of Gravity”), and some sections combine the two approaches. Parts of “Multiply And Rise” swing a bit with Filiano’s walking bass, “Anthem Of Knowing” hints at being low-down and bluesy, and “Spin Fast And Burn” has an infectious riff. In addition to the consistently adventurous solos and the interplay between the musicians, it is the dense and spirited ensembles that are most memorable.
This is potentially forbidding music that grows in interest with each listen. Myths Of Origin (available from www.jasonkaohwang.com) is well-worth exploring by listeners with open ears who love the sound of strings.
Nicole Zuraitis & Friends
Live At Vic’s Las Vegas
(Cavalry Productions)
Nicole Zuraitis is a powerful singer and pianist who had released eight albums prior to Live At Vic’s Las Vegas. While she is a fine jazz pianist, the focus here is primarily on her vocalizing at the head of a group also including tenor-saxophonist Tom Scott, trumpeter Keyon Harrold, organist Rachel Eckroth, guitarist, Idan Morim, bassist Sam Weber, and drummer Dan Pugach.
The high-powered set begins with Nicole Z’s soulful singing on “Got My Mojo Working” which also features organist Eckroth and Tom Scott. The vocalist takes “The Nearness Of You” at a medium-tempo, is heated on “All Stars Lead To You” (which has some excellent trumpet playing by Harrold along with some raging organ), and performs a funky version of Dolly Parton’s “Jolene.” “Pure Imagination” is a change of pace as she displays the beauty of her voice while accompanied by guitarist Morim.
Other selections include the charming and swinging original “Middle C,” a very passionate version of “Everything Must Change,” some scatting on “The Coffee Song,” the singer hinting strongly at Barbra Streisand on “Rhiannon,” a modernized “Wichita Lineman” which finds her wailing on her scatting, and the low-down blues “Do I Move You.”
Throughout Live At Vic’s Las Vegas (available from www.nicolezmusic.com), Nicole Zuraitis is certainly energetic and enthusiastic. Although a little more restraint might have given this set additional variety, her frequently over-the-top vocals are impressive.
Ruben Reinaldo
Fusion Olivica
(Free Code)
A talented jazz guitarist from Spain who has his own sound, Ruben Reinaldo is also a studio and session player, an arranger-composer, a musical director for a wide variety of groups in different styles, and an educator. In 2020 he recorded a set of guitar duets with Kely Garcia on the Free Code label.
Fusion Olivica has Ruben Reinaldo as the main soloist on eight of his originals in a quartet with organist Antonio Lopez, bassist Gustavo Hernan, and drummer David Failde. Released as an Lp, the program begins with a soulful blues that in spots is reminiscent of Eddie Harris’ “Cold Duck Time” (“Escuchas Teis Blues”). Among the other highlights are “A Vigo, Con Mis Cinco” which is in 5/4 time, the infectious and danceable “Vida En Padrenda,” the grooving “Latino Ribas De Sil,” and a catchy Latin jazz number (“Nubossa Bahia”).
Throughout the program, Reinaldo performs creative and concise improvisations that make every note count, Lopez proves to also have his own voice on organ whether accompanying the guitarist or taking his own short solos, and Hernan and Failde make for a perfectly supportive team. Not that more evidence is needed that jazz is a universal language, but this set can be offered as proof.
Guitarist Ruben Reinaldo’s Fusion Olivica (available from www.amazon.com) can hold its own with recordings by his American counterparts.
Stella Cole
It’s Magic
(Decca)
Stella Cole is a 26-year old singer with a beautiful voice who loves vintage standards. It’s Magic is her third release and is a set of older love songs with “Alfie” easily being the most recent. The vocalist is accompanied by a trio and 12 strings (three songs reduce it to a string quartet) arranged by pianist Alan Broadbent.
The ten songs (which include “Then There Was You,” “Say It,” “The Touch Of Your Lips,” and “My Ideal”) are all well-known but not too closely associated with any one singer from the past. Stella Cole digs deep into the lyrics, fully understanding the words and thoughts that she is interpreting without ever wandering from the melody. She does not think of herself as a jazz singer and one can compare this album to Linda Ronstadt’s projects with Nelson Riddle which helped popularize some of the classic American popular songs among a younger generation.
While I wish that Stella Cole would improvise here and there and take a few chances rather than singing the songs (all taken at the same slow tempo) pretty straight, maybe she will have a similar effect upon these classic tunes as Linda Ronstadt did 40 years ago. It’s Magic is available from www.amazon.com.
Iacopo Teolis
The Moving Forest
(Parco della Musica Records)
A trumpeter from Italy who turned 26 this year, Iacopo Teolis has a warm tone, a wide range, and an adventurous spirit. Although a fine soloist, The Moving Forest puts more of an emphasis on his writing abilities during its eight pieces (seven originals plus “I Remember Clifford”) which hang together as a suite.
Teolis utilizes a sextet comprised of his trumpet and flugelhorn, bassoonist Marco Taraddei, pianist and keyboardist Vittorio Solimene, cellist Livia De Romanis, bassist Stefano Zambon, and drummer Luca Caruso; Arianna Teollis’ voice is briefly heard on “La Piccola Principessa.” Starting with “Ife,” the episodic music is often quite dramatic. Teolis’ most memorable soloing is on the title track and the quietly emotional and complex ballad “Love Story.” His occasional interplay with bassoonist Taraddei (particularly on “Bi’tz #5”) is colorful and the closing “Time Lapse Of Climate Change” has a triumphant feel.
While the music would have benefitted a bit if the musicians had had more opportunities to get away from the written and improvised ensembles in order to cut loose (as pianist Solimene does on “She Never Promised A Rose Garden”), this is a worthy effort that grows in interest with each listen. The Moving Forest is available from www.amazon.com.
Scott Yanow