Archive for the ‘ CD Reviews ’ Category

Boney James – The Beat

Smooth jazz. Soprano saxophone. Cover of pop or R&B ballad. Generally, that’s a recipe for blandness – a sound that’s trite.

However, make an arrangement that doesn’t merely turn a vocal into an instrumental and put some competent musicians behind it, and you can get something that sounds really nice.

So it is when Boney James brings in Vinnie Colaiuta on drums, Lenny Castro on percussion and Brandon Coleman on keyboards – the combination for his cover of Stevie Wonder’s “Don’t You Worry ’Bout a Thing.” It’s a charming opening to The Beat (Concord Music Group, 2013).

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Beka Gochiashvili – Beka Gochiashvili

“Giving back to the community,” a phrase often used when someone from a given location achieves success at something and then contributes in some way to another’s quality of life. What better way for a renowned recording artist to give back than to discover or introduce new talent?

Beka Gochiashvili (2012), the self-titled debut of a young pianist, produced by Lenny White, who earlier in 2012 introduced a charming young vocalist, Letizia Gambi.

Born in Tbilisi, Georgia, on March 11, 1996, Gochiashvili was just three years old when he began dabbling on piano. Within five years, he was good enough to win competitions. At 16, Gochiashvili found himself surrounded by a wealth of jazz talent for this recording. Return to Forever partners, drummer White and bassist Stanley Clarke are on this date, along with such notables as bassists John Patitucci and Victor Bailey, trumpeter Wallace Roney, alto saxophonist Jaleel Shaw.

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Kelly McCarty – Roux Steady

How do you make a trio sound like a quartet? Well, one way to do it is put a Novax eight-string guitar in the hands of Kelly McCarty. When not actually playing like a guitarist, McCarty uses the instrument like he’s playing organ chords while covering for the bass. It’s part of what makes the Kelly McCarty 3’s Roux Steady (72 Offsuit Records, 2012) work.

The trio also includes drummer A.J. Hall and tenor saxophonist John A. Diaz-Cortes. The concept of Roux Steady is as much a play on words as it is about making good music. One ingredient is the Jamaican brand of R&B known as rock steady. The other is roux. Outside of artistic references, roux is a sauce or gravy that used in stew, gumbo or jamabalaya. McCarty and his pals get the roux just right as they concoct some New Orleans-style rock steady.

“Hooverville” is a soulful, sassy piece that gives the tenor a lot of space. Diaz-Cortes grinds, wails and just plays for the sheer joy of playing. Behind him, Hall and McCarty put on quite a show themselves.

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Joe Gilman – Relativity

Like anything in life, visual art can inspire song. Joe Gilman captures that thought with Relativity (Capri Records, 2012), a set of 11 compositions that interpret the art of M.C. Escher.

Gilman, music director of the Brubeck Institute’s Fellowship Program, says, “Visual arts and music have been sympathetic forces for generations, as evidenced by Cage and Rauschenburg, Granados and Goya, Rachmaninoff and Boskin, Corea and Piccaso. The work of M.C. Escher seemed naturally appealing; his pieces all contain a unique awareness of the world that reflect his intellect and imagination.”

Accompanying the pianist are Nick Frenay on trumpet and flugelhorn, Chad Lefkowitz-Brown on tenor saxophone and bass clarinet, Zach Brown on bass and Corey Fonville on drums.

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Sweet Honey In The Rock: A Tribute – Live! Jazz At Lincoln Center

Sweet Honey In The Rock is an a cappella ensemble of African American women. Members are Ysaye Maria Barnwell, Nitanju Bolade Casel, Aisha Kahlil, Carol Maillard, Louise Robinson, and Shirley Childress Saxton. The group comprises a rotating cast for many years. The group name has its origin in a quotation from the Bible. From Psalm 81:16 comes the promise to a people of being fed by honey out of the rock.

Blues, spirituals, traditional gospel hymns, rap, reggae, African chants, Hip Hop, ancient lullabies, and jazz improvisation are the styles. In April 2011 the group had two shows at Jazz at Lincoln Center’s Rose Hall. This 2 CD set is compiled from these shows honoring legendary female singers such as Odetta, Billie Holiday, Nina Simone and Miriam Makeba.

The group is supported by Stacey Wade (piano, keyboards), Parker McAllister (bass), and Jovol Bell (drums, percussion). The Group’s specialty consists in vocal harmonies. Each member of the group takes its own functions in different octaves. The onomatopoeia with hiss, rhythm tones and other instrumental interpretations occupies a large space.

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Felipe Salles – Departure

Brazilian saxophonist Felipe Salles brings an international lineup to his fifth recording as a leader, Departure (Tapestry Records, 2012). The ensemble consists of musicians born in Uruguay, Germany and the United States.

A native of Sao Paulo, Salles lives in New York City. His band normally plays a fusion of Brazilian and Latin music with jazz. He plays tenor and soprano saxophones, flutes and bass clarinet. On this date, he’s accompanied by pianist Nando Michelin, bassist Keala Kaumeheiwa, drummer Bertram Lehmann and trumpeter Randy Brecker. Contributing on some tracks is violinist Laura Arpiainen.

The title song opens the set. Tranquil, yet full of movement, it’s a story without words. Salles and Brecker play like co-authors of an epic tale, working jointly at times but also stepping back to let the other express himself. For his part, Salles presents a tour-de-force, layering multiple wind instruments during Brecker’s lead, then presenting the tenor when it’s his turn.

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Lao Tizer – Downbeat

Lao Tizer has assembled a cast of stars for Downbeat (JLK Productions, 2012), recorded by the group he named after himself.

Tizer consists of Lao Tizer, keyboards; Chieli Minucci and Jeff Kollman, guitars; Karen Briggs, violin; Rufus Philpot, bass; Raul Pineda, drums; and Steve Nieves, saxophone, percussion and vocals. The combination presents 12 original songs that mix elements of jazz with other styles of music.

If you could take the keys to dad’s car, go out for a spin with no restrictions and no possibility of negative consequences, you might end up with something like “Pulse.” This electric, full-of-energy piece is part rock, part jazz and all movement. Guitars and violin are out front much of the way, but the tight rhythm section keeps the listener within the lanes. Minucci, Kollman and Briggs take turns pressing on the accelerator for this musical joy ride.

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Danny Green – A Thousand Ways Home

A native of San Diego, pianist Danny Green is equally versed in jazz, Latin and classical music. Though mostly jazz, elements of the other styles also appear on A Thousand Ways Home (Capri Records, 2012).

Joining Green are bassist Justin Grinnell, drummer Julien Cantelm, mandolin player Eva Scow contributes to four songs, and Tripp Sprague plays tenor and soprano saxophones on six tracks. Three guitarists and a vocalist sit in for one song each.

Scow joins the core trio for “Unwind,” a lively, up-tempo piece. Mandolin and piano are nearly indistinguishable during some high-speed phrases. Cantelm augments the sound with timely rim shots. Scow puts the mandolin to the test during the middle break, shifting to rhythm player when Green takes over.

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Boney James – The Beat

Economic yield says little about the qualities of a musician. Four gold albums, three Grammy nominations and sales totaling more than 3 million records, nevertheless speak for themselves. Boney James is without any doubt a smooth jazz superstar.

Meet with each new release the expectations of his fans, is no easy task. Even so Boney James has made this object once more with his album The Beat, scheduled for release April 9, 2013 on Concord Records.

The qualitative implementation of his musical ideas ensure musicians like Brandon Coleman (keyboards), Vinnie Colaiuta and Omari Williams (drums), Lenny Castro (percussion), Rob Bacon and Jairus Mozee (guitar), Dwayne Smith and Alex Al (bass), Richard Braun (trumpet) and many more.

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Peggy Duquesnel – Seems Like I Know You

Pianist and singer Peggy Duquesnel is since more than 25 years an active musician. She has released eight jazz, pop and inspirational CDs as a featured artist. Although at home with straight ahead jazz, she had always an affinity for pop music.

When crossing over between jazz and pop smooth jazz comes into play. This is especially true when music stars have contributed to the recording as trumpet player Rick Braun, keyboard wizard Jeff Lorber and bass wonder Jimmy Haslip.

From the instrumental point of view, this EP offers an exquisite music of the finest quality. Melodies and arrangements are convincing in every respect. Peggy merges pop and jazz on the starting title song, which is destined as first single for radio broadcasting. From the more vocal position Peggy is at home in the solid pop music.

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