Brian Lynch Afro Cuban Jazz Orch. – Bolero Nights (for Billie Holliday)

For a fleeting moment -just one fleeting moment- it appears to be a bit of a stretch putting “bolero” and Billie Holiday together. There appears to be a tad too much “bolero” and not enough “Holiday” on Brian Lynch’s Bolero Nights (Venus Records – Japan 2009). Soon, however, the plaintive wail of Lynch’s trumpet and moan of his flugelhorn and the moody arrangements of “Afinque” start to tie “bolero” and Billie Holiday rather tightly together. Although the music is by no means ponderous and depressing to listen to, there is an elemental sadness to it. This is a masterstroke on the part of Lynch because Billie Holiday embodied something similar as she sang her heart out on so many classics. Mercifully, Lynch also avoids the obvious ones. However, he is masterful in mimicing the voice of the great chanteuse with long “blue” notes -especially in the first chorus of “La Sitiera,” when Lynch draws them out in his inimitable manner with dynamic expression. Only some of Ellington’s great trumpeters were known to have done this with untouchable effect, and trumpeters such as Larry Cramer and Reynaldo Melian.

Another masterstroke on the part of Lynch is the presence of Phill Woods. His malleable alto has become infinitely more distinctive with the passage of time. His narrative solo on Charles Mingus’ “Celia” is full of dramatic twists and turns. His is one of the most lifelike descriptions of Celia Zaentz as she swishes hips and high-heels it out of the bassist’s life into what is depicted as darkness, leaving Mingus alone to be swallowed up in the gathering gloom. Ron Blake is also superb and at his bellowing best. Lynch exchanges flugelhorn for trumpet in the climax of the song to heighten the sense of drama at the end of the song. In this arrangement, Lynch actually manages to give this old song new flair by recasting it as if Mingus might have done it in Tijuana Moods or on Cumbia and Jazz Fusion. Either way it is an exquisite reminder of the universality of Mingus’ music in the manner that Ellington’s was.

“Fire Waltz” is another superb arrangement of Mal Waldron’s classic. The heat is turned up by mighty trumpet work from Lynch and a wild and fiery alto solo by Ivan Renta on alto saxophone. Hoffman’s harmonics are completely and utterly alluring and unexpected. Both solos are elastic and breathtaking, especially with stretched out notes by both horn men. The use of guiro and surdo or tympani in percussion is especially noteworthy as it adds to the sombre nature of the song. “Delilah” is another song where the “blue” of the melody and the fact that Lynch uses his flugelhorn together with perfunctory blowing by Marshall Gilkes on trombone in the background makes a fine piece of work on this Victor Young chart. This track is also one where Boris Kozlov gives notice as to why he is a charter member of the Mingus Orchestra. His playing con arco for two choruses is majestic and soulful and fills the heart with a deep sense of wonder.

Woods and Lynch play off each other again; on “I’m A Fool To Want You”, they recall the relationship between Pres and Holliday, who often played off each other in a similar, dolorous manner. Again, the trombone of Gilkes is mournful and sublime as is the saxophone of Ivan Renta, yet again. As Lynch returns, again he is pitch-perfect and leads into a short, but pithy solo by the young Zaccai Curtis. Although Billie Holiday sung several of these charts in her day, “You’ve Changed” is the easiest to recall from her songbook. Lynch’s longish introductions add further drama to his arrangements of these fine charts and the one that introduces Phil Woods again is no exception. Again, Kozlov is outstanding here, with melodic pizzacato accompaniment to Woods’ second sortie, which he introduces with a series of short tripets in fine manner, before settling into a longish mellow tone.

There has been only one other record in the past five years that has sung in rich praise of the bolero as Brian Lynch’s Bolero Nights has done and that is Charlie Haden’s Nocturne and that record was showered with rewards. It is hoped that this record too will find favor in the festival of awards functions that are just around the corner. They will all be well deserved.

Tracks: 1. Afinque; 2. La Sitiera; 3. Celia; 4. Fire Waltz; 5. Delilah; 6. I’m A Fool To Want You; 7. You’ve Changed.

Personnel: Brian Lynch: trumpet and flugelhorn; Phil Woods: alto saxophone (3, 6, 7); Ivan Renta: alto saxophone; Alan Hoffman: tenor saxophone; Marshall Gilkes: trombone; Ron Blake: baritone saxophone; Zaccai Curtis: piano; Boris Kozlov: bass; Little Johnny Rivero: congas, bongos and percussion; Marvin Diz: timbales and drums.

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Brian Lynch on the web: www.brianlynchjazz.com

Review written by: Raul da Gama

Hot House – Cuban Tribute to Charlie Parker (Independent 2008)

There are really only two truly innovative and unforgettable records made to honor Charlie Parker. One is the remarkably inventive Tribute to Monk and Bird (Tomato Records, 1978) with music by the legendary artists arranged and directed by the German composer Heiner Stadler, which featured Thad Jones, Stanley Cowell, George Lewis, George Adams, Warren Smith, Lenny White and Reggie Workman. This record was so far ahead of its time that most audiences have still not caught up to its magic. Its raison d’etre was an attempt to re-interpret Monk and Bird in a thoroughly modern, possibly European context.

The other record in praise of one of the music’s greatest innovators is this one: Hot House – Cuban Tribute to Charlie Parker. And this too for reasons completely different to what Stadlers’ record has come to be known for. The invention here is no less astounding. The record is important unique for the fact that the tribute is, first of all, it is an unabashed homage to the music itself. And this homage acknowledges the many points in the history of the music, from the origins in New Orleans through swing to the bebop era that became perhaps the most arresting and enduring invention in Afro-American musical polyrhythms. Next is the fact that Steven Gluzband, the cornetist and trumpeter who directed this project has brilliantly de-constructed bebop and re-cast its exquisitely maddening rhythms in Afro Cuban form.

So Parker’s “Red Cross” becomes a mambo-flamenco rhythmic soup that is so heady the music swirls around the body and all but levitates it onto a dance floor to dance crazily. “Quasimodo” is even more ingenious. While the melody is played fairly true, the tres guitar adds the element of the son to the music and there is a wildly incredible contrapuntal melody running throughout the song. Benny Bailey’s “Five Sisters” gets a fairly straight bebop treatment until by the middle of the second chorus it is reconstructed in Latino harmonics and rhythmical patterns. Itai Kriss’ flute solo is, like Parker’s solos always were: short and memorable. So is Tad Dameron’s “Hot House” been reconstructed, by fusing bebop with mambo. Parker’s “Little Suede Shoes” was always written with an underlying Caribbean rhythm, even when Bird himself played it. But here it becomes so outrageously danceable that it is impossible to sit still. Dizzy’s “Night in Tunisia” is perhaps the most unforgettable reconstruction, with a riveting Changüi rhythm.

But it is not just the altered rhythmic idioms that give this record its special and unique character. It is, after all, a Cuban tribute. What is so special is the unbridled invention that runs throughout… the counterpoint that is employed, giving the music an almost European shade of the baroque. It is such an apt device to put counterpoint with bebop as both are perhaps the most enduring harmonic and rhythmic innovations in music over several centuries.

The addition of the tres to the music of Bird is another stroke of genius. Of course bebop has been recast as danzon/son/Changüi… still what a brave move… and how much more memorable the record and the music has become. Of course the musicians are excellent throughout, especially the core band of Gluzband, whose horn is blazing hot throughout. “Chinchillita” is an exquisite percussionist. Remarkably also, Steven Gluzband was spot on when he chose to also make this as homage to Afro-American music be that as it may include New Orleans, Swing and Bebop. His respect for the heritage shows in a creation that shines on its own. Hot House may well be not just an unusual record, but also one of the finest musical documents released this year.

Tracks: Red Cross; Everything Happens to Me; My Heart Belongs to Daddy; Hot House; Quasimodo; Five Sisters; Convergencia; N’est-ce Pas?; Little Suede Shoes; A Night in Tunisia; I Love Paris.

Personnel: Gabriel “Chinchillita” Machado: all percussion; Pablo Moya: tres; Jorge Bringas: bass; Art Bailey: piano; Steven Gluzband: trumpet, cornet. Special Guests: Roman Diaz: bata drums; Itai Kriss: flute: Marshall Gilkes: trombone; Chico Alvarez: vocal, guiro; Ali Bello: violin; Meg Okura: violin; Rachel Gluzband: viola; Jesse Reagen: cello.

Steven Gluzband on the web: www.gluzband.net

Review written by: Raul da Gama