Peter MacDonough – The Woo (Self produced – 2010)
Review written by: Wilbert Sostre -
The whole concept of Peter MacDonough’s album The Woo: A Latin Jazz Suite for Soprano Saxophone, from the cover art to the name of the songs is based on the movie The Wizard of Oz. Reinterpretations of movie songs is not something new in jazz, John Coltrane did it with My Favorite Things, a song from The Sound of Music. But what MacDonough did here is a Latin Jazz version of a complete movie soundtrack. And just as Coltrane did on My Favorite Things, MacDonough also plays the soprano sax.
MacDonough’s creative and refreshing arrangements bring new life to the music of this classic movie. The sublime sounds of the soprano sax on “Follow the Yellow Brick Road” serves as an intro to the samba rhythms of “We’re off to see the Wizard”. The short tango “Miss Gulch” gives way to the dark, kind of melancholic jazz ballad, “Come out, come out wherever you are Part I”. In “Come out, come out wherever you are Part II”, the same music sounds happier with a smooth jazz arrangement. After the 6/8 African rhythms of “Lions and Tigers and Bears”, the band goes once again into the contagious rhythms of Samba in “Optimistic Voices”.
The samba-reggae “Merry old land of Oz” and the Cuban danzon version of “If I only had” takes the listener to the sounds of the Caribbean. Listening to the nice tumbao and Michael Spiro’s conga solo at the end of the track, is hard to believe these guys (except for Jovino Santos Neto) are not from Latin America.
After the excellent vocals of Australian Adrian Payne over a clave rhythm on “March of the Winkies“, finally the song most people recognize from the Wizard of Oz, “Somewhere over the Rainbow”. With so many recordings of this classic it is hard to come up with an original and fresh arrangement. The odd time signatures on this version do the trick.
The album ends up with the gorgeous piano of Jovino Santos Neto in the light samba “If I were the king of the forest”, the soothing soprano sax sound of “The Lullaby League”, the danceable “Ding Dong” and a more intimate reprise of “Somewhere over the Rainbow”.
Track Listing:
1. Follow the yellow brick road
2. We’re off to see the wizard
3. Miss Gulch
4. Come out come wherever you are Part I
5. Come out come wherever you are Part II
6. Lions and tigers and bears
7. Optimistic voices
8. Merry old land of Oz
9. If I only had
10. March of the Winkies
11. Somewhere over the rainbow
12. If I were the king of the forrest
13. The lullaby league
14. Ding dong
15. Somewher over the rainbow (reprise)
Personnel:
Peter MacDonough – soprano saxophone
Jovino Santos Neto – piano
Mark Levine – piano
Michael Spiro – percussion
David Belove – bass
Paul Van Wageningen – drums
Review written by: Wilbert Sostre
Related links:
Peter MacDonough on the web: www.petermacdonough.com
SF Arts Commission passes resolution
San Francisco Arts Commission passes unanimously a resolution to request the National Academy of Arts and Sciences (NARAS) to reinstate the 31 categories of music that were dropped for GRAMMY consideration on April 6, 2011
These categories include: Latin Jazz, Gospel, Cajun/Zydeco, Hawaiian, various Blues and R&B categories and other significant genres that make up the American Songbook.
SAN FRANCISCO ARTS COMMISSION SPECIAL MEETING OF THE EXECUTIVE COMMITTEE Monday, November 7, 2011
SPECIAL MEETING OF THE FULL ARTS COMMISSION
Wednesday, November 16, 2011
San Francisco, November 16, 2011 - On Monday, November 7th, 2011 at the San Francisco Executive Arts Commission Meeting the resolution, spearheaded by Commissioner John Calloway was proposed to the board commissioners asking them to issue a formal request to the National Academy of Recording Arts and Sciences to immediately reinstate the 31 categories of music genres that were dropped from GRAMMY consideration on April 6, 2011. Members of the community who attended and spoke were musician and previous NARAS governor Sandy Cressman, Recording Artist and 2x GRAMMY Nominee Mark Levine, KPFA Radio Producer Clayton Leander and producer and writer Stephanie Dalton, who presented the public petition that now has over 5,400 signatures.
Today, November 16, 2011 the Arts Commission heard from Recording Artist and 5x GRAMMY Nominee John Santos and San Jose Jazz Festival Board President Arturo Riera spoke on the importance of this resolution, where upon the commissioner board unanimously voted to send the resolution to NARAS’ National Board Chair George Flanigen, Board Secretary Glenn Lorbecki, and President Neil Portnow.
The resolution will be presented to the San Francisco Board of Supervisors and to the San Francisco Mayor’s office and there will be a request for the public to attend the Board of Supervisors meeting when announced.
For up to date information please visit: www.grammywatch.org or please contact Stephanie Dalton at stephanie@urbanmusicpresents.com or Clayton Leander at latinjazzmecca@gmail.com.
The Resolution Reads:
This resolution to reinstate the 31 categories of music that were dropped by the National Academy of Arts and Sciences (NARAS) for GRAMMY consideration on April 6, 2011 supports the music genres that are truly reflective of the contemporary musical landscape and cultural diversity of the United States.
WHEREAS, the City and County of San Francisco, which maintains a proud tradition as a hub of cultural and musical diversity, is home and host to valuable contributors of the American musical lexicon, including numerous GRAMMY®-nominated and -winning composers, artists and professionals; and
WHEREAS, NARAS, an influential nonprofit 501(c)(6) organization, is based in California and home to 30% of its 20,000+ members, and includes a San Francisco Chapter; and
WHEREAS, the decision to drop the 31 categories from GRAMMY consideration was done by secret committee without consulting the voting membership of NARAS and without local chapters’ Board of Governors’ knowledge; and
WHEREAS, the eliminated categories include Latin Jazz, Contemporary Jazz, Hawaiian, Cajun, Zydeco, Native American, Tejano, Classical Crossover, Instrumental Rock, along with significant reductions in awards given to the categories of Gospel, Blues and R&B; and
WHEREAS, protests and meetings have occurred in Los Angeles, San Francisco, New York, Hawaii, Chicago, New Orleans, and other national locations to resolve this severe and extremely insensitive blow to cultural expression and recognition in our country; and
WHEREAS, respected GRAMMY-winning and -nominated artists, including Paul Simon, Herbie Hancock, Bonnie Raitt, Carlos Santana, John Santos, John Calloway, Eddie Palmieri, Wayne Wallace, Bobby Sanabria and many others have joined NARAS members, colleagues, and past Chapter governors in writing letters and signing a petition with 5,000 cosigners urging NARAS to reverse their secret decision and reinstate the GRAMMY categories; and
WHEREAS, national and international media coverage (KTVU, San Francisco Chronicle, Washington Post, CNN, MSNBC, Reuters, BBC, Wall Street Journal, etc.) has been given to the outcry against this unjust and harmful decision in over 1,200 national and international stories published and syndicated in print, broadcast, and digital formats; and
WHEREAS, NARAS has a responsibility to their voting membership to ensure that ethical decision practices are maintained because the GRAMMY is considered to be the highest award achievable for music excellence in the Unites States and therefore should strive to include genres and categories of particular creative and foundational significance; and
WHEREAS, the thousands of affected musicians, engineers, manufacturers, composers, arrangers, graphic artists, publicists, distributors, and other industry professionals who work in the eliminated categories will suffer economically from not being able to participate in the GRAMMY awards; and
WHEREAS, thousands of California consumers and patrons of these important musical traditions have also been negatively affected and disrespected by this ill-advised decision; and
WHEREAS, the NARAS leadership has acknowledged that a “mistake” was made indicates that these genres should never have been eliminated in the first place;
NOW THEREFORE, be it resolved that the San Francisco Arts Commission urges the National Academy of Arts and Sciences to immediately reinstate the eliminated categories in order to restore integrity and diversity to the GRAMMY Awards and fulfill the organization’s responsibilities to its membership and as a nonprofit organization representing the interests of diverse musicians and recording professionals; and be it
FURTHER RESOLVED, that the San Francisco Arts Commission directs its administrative staff to send copies of this resolution to NARAS National Board Chair George Flanigen, Board Secretary Glenn Lorbecki, and President Neil Portnow.
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Press inquiries
Stephanie Dalton, Urban Music Presents
415.796.2319 / 415.503.8207
stephanie@urbanmusicpresents.com
Mark Levine returns his Grammy nominations
In a bold, but sincere and honest move, Pianist, Educator and Author Mark Levine decides to return his Grammy nominations to NARAS and LARAS, and distances himself from such organizations. Here is his letter to Mr. Neil Portnow.
July 20, 2011
Neil Portnow, President
National Academy of Recording Arts & Sciences
3030 Olympic Blvd
Santa Monica CA 90404
Dear President Portnow,
I am returning my 2003 Grammy Nomination medal and plaque to NARAS, and my 2010 Latin Grammy Nomination parchment to LARAS. I’m also refusing your offer of a Life Membership. I no longer want to be associated with your organization.
Your actions in delisting the categories that have most contributed to American music have been racist, and go against everything my parents taught me about America.
To quote Frank Sinatra at the original Grammies awards ceremony in 1959: “Remember ladies and gentlemen, it’s about excellence, not popularity.”
Peace,
Mark Levine
Mark Levine & The Latin Tinge – Off & On: The Music of Moacir Santos
If ever that a record could be likened to a comet streaking across the musical stratosphere and a long time coming at that, this one by Mark Levine, Off & On: The Music of Moacir Santos (Left Coast Clave Records 2009)would be just that. Moreover, in personifying this album, as are comets that streak past, this one would be Kohutek because it is a rare gem of a record. There are several reasons for this.
Primarily this is one of the few occasions in recent times that Moacir Santos, the rarer of two modern Brasilian masters’ music is being honored. Think Brasilian music in North America and the name of Antonio Carlos Jobim comes to mind first. Few if any artists and aficionados of the music will even recall the name of Santos. Not that he is obscure by any stretch of imagination. In fact, Moacir was a teacher and mentor to such luminaries as the guitarists, Baden Powell, Oscar Castro Neves, Joao Donato and Dori Caymmi.
Santos was born in Pernambuco, in arguably one of the culturally richest parts of (northeastern) Brasil. He began performing at three years of age and like few before him, completely inbibes the primeveal Afroethnic culture of the region. In a short period, his music acquired a singular sophistication about it, while retaining the visceral northeastern quality—in its rhythms and especially in its melodies.
Moacir Santos’ approach was melodic – in the top of the melody and its bottom—the bass lines he wrote for the lower melody. This lent an exquisite aire to his melodicism—one where the heavy surdo and pedal point was softened into unheard of melodic lines while still retaining the underbely of the bass structure. No one-not even Jobim, for all his lyricism had done this before. There is something more about Santos. The sounds he heard came from deep African canticles—also shared by Haiti and Cuba (via Haiti). Therefore, this record by Mark Levine becomes not just an offering of love and respect, but also an authentic document to Moacir Santos’ music.
The repertoire on this record is mixed. There are familiar tracks such as the superbly affectionate and primal maracatu “April Child.” Several other classic Santos creations include “Suk-Cha” and “Nana.” Others, such as “Early Morning Love” and “Kathy” may be lesser known. Everywhere the arrangements are invention and deep feelings. Santos’ angular approach to rhythm and his jazzy approach to instrumentation sends the music soaring high.
This is a highly courageous attempt at creativity by Mark Levine. To bring a musician’s work out into the open—and that too one from relative obscurity is commendable. Mary Fettig occupies Santos’ reeds chair and she does a star turn. She is superb on soprano and the fluttering beauty of the flute—especially contrasted with the contrapuntal, bellowing on the bass clarinet on “Suk-Cha” is memorable. Michael Spiro is ever so elegant—again. John Wiitala on bass and drummer Paul van Wageningen complete what is truly a magnificent group.
Tracks: Nana; Early Morning Love; Off and On; April Child (aka Maracatu); Suk-Cha; Kathy; Jeguie; Tomorrow is Mine; Haply Happy; What’s My Name (Aka Odudua *which is Toruba for “Oldest Living Ancestor”); Luonne (Aka Sou Eu); A Saudade Mata A Gente.
Personnel: Mark Levine: piano; Mary Fettig: flute, soprano saxophone, bass clarinet; Michael Spiro; percussion; Paul van Wageningen: drums; John Wiitala: bass.
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Mark Levine on the web: www.marklevine.com
Review written by: Raul da Gama
