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.

Brian Lynch on the web: www.brianlynchjazz.com

Review written by: Raul da Gama

Poncho Sanchez – Psychedelic Blues (Concord Records 2009)

Few Latin ensembles have continued to play with such elegance, swagger and irresistible sensuality as those put together by Poncho Sanchez for decades. The leader’s ability to wrap his chops around the blues, and keep swing and clave together with attractive simplicity is now quite legendary. At times Sanchez can also blend his bubbling Latin repertoire with forays into a soulful realm, lending his gravelly voice and puckish charm to vocalizing in the grand manner. On Psychedelic Blues, however, he struts in a decidedly Latin style with rhythms and synchopations like greased lightening. In addition, the results are staggering – this whether the music dallies langorously or when it revs up.

Herbie Hancock’s “Cantaloupe Island” is the perfect kick-start – crackling guiro and all – to this old-fashioned set. Yet it breathes life into the session with a wonderful new arrangement by David Torres. As always, the growl of Francisco Torres’ trombone and howling brass of Ron Blake slide in and around the sleek woodwinds – rapier sharp and on the money. “Crisis,” a wonderfully familiar melody from the late Freddie Hubbard burns in a low flame as Arturo Sandoval crackles on the trumpet in characteristic fashion. The “Willie Bobo Medley” is simply the finest example of molten harmonies, angular rhythms and streetwise fun that only this song could bring. Sanchez’s vocals soar like Ray Charles.

Coltrane’s “Grand Central” is somewhat familiar – almost a déjà vu in terms of its arrangement, but the bright reeds and woodwinds, playing counterpoint to brass – especially Torres’ trombone makes for a slightly more angular melody. The timbalero, George Ortiz always puts in a stellar turn everytime the spotlight is on him and his ability to play across Sanchez’s congas is almost ethereal. There is a master class from Sanchez on “Silver’s Serenade,” as he chops and slaps – open-handed and cupped palms – then slices and breaks the skins. All this in just a few seconds of conga solo that seems to last a lifetime as the notes hang in the air delightfully.

“The One Ways” and “Delifonse” showcase not just percussion, but also the work of the ensemble. Solos are somewhat short, but then this is classic showmanship. It is Poncho Sanchez’s way of showing majesterial leadership for his band to follow. Incidentally, his solo on “The One Ways” provides further evidence that there is a master at work. Francisco Torres is staggering and almost speech-like on “Delifonse.” And just when you thought you could not ask for more, it is the turn of the master trumpeter, Ron Blake to take flight with Sanchez, on “Con Sabor Latino.” Nevertheless, it is on “Psychedelic Blues” that the group truly shines. Sanchez leads from the front, ringing fast and surprising changes and when he is ‘on song’ – as he surely is here – there is no telling where his genius will lead him.

The set is relatively short, but then the group always maintains the excitement and swinging pulse at such a fever pitch, that elation lingers longer than the echoes of the last, dying notes. This is vintage Poncho Sanchez the kind that you do not want ever to end.

Tracks: Cantaloupe Island; Crisis; Psychedelic Blues; Willie Bobo Medley – I Don’t Know/Fried Neck Bones and Some Homefries/Spanish Grease; Grand Central; Slowly But Surely; Silver’s Serenade; The One Ways; Delifonse; Con Sabor Latino.

Personnel: Poncho Sanchez: congas, percussion, lead vocals; David Torres: piano, Hammond B-3 organ; Javier Vergara: tenor and alto saxophones; Ron Blake: trumpet, flugelhorn; Francisco A Torres: trombone; Tony Banda: bass, background vocals; George Ortiz: timbales; Joey de Leon Jr.: bongos, percussion, background vocals; Scott C Martin: baritone saxophone; Andrew Synowiec: guitar; Alfredo Ortiz: bongos, percussion. Special Guest: Arturo Sandoval: trumpet (2).

Poncho Sanchez on the web: www.ponchosanchez.com

Review written by: Raul da Gama

Geoffrey Keezer – Aurea (ArtistShare 2008)

Geoffrey Keezer is a pianist of immense technical ability. As a musician and composer he is able to express himself in different idioms and settings. On Aurea, for instance, he makes a remarkable foray into the realm of Afro-Peruvian music. And he emerges from this colorful expedition with such a high degree of excellence that you wonder why more practitioners of jazz on the piano, for all its use as a primary rhythmic instrument in modern ensembles, have not made the journey into the ever-inviting musical realm of Afro Latin America earlier. Now it appears that so many musicians – especially New York based artists – playing in the jazz idiom seem to be besotted with the music of Latin America, especially Colombia and Peru.

It certainly appears, from the music on this record, that Keezer has not only imbued almost every aspect of Afro-Peruvian idioms and the rhythmic phrasing, but that he has also made it his own, emerging here with a virtually original musical avatar. So much so that it is almost impossible to tell “Cayendo Para Arriba” and (especially) “Una Bruja Buena” and “Leucadia” from say “”La Flor Azul” and “La Nostalgiosa”. But more than character Keezer may have also stretched even further the textures of a very elastic rhythmic culture. “Miraflores” with its layers of dark-to-light Afro-Peruvian rhythms under Keezer’s soaring piano improvisations, is a resounding classic. What this suggests is that, at least in terms of charts alone, Keezer may certainly have added to the contemporary catalogue.

He is doubtless, successful in this endeavor in no small measure because of the presence of his musical cohorts. Firstly, the Peruvian percussionist, Hugo Alcázar brings a wild, yet sophisticated reading of both, Keezer’s as well as the Latin standards and traditional songs. Jon Wilkan is the other percussionist and when they are together, they work up a dynamic storm. Also noteworthy are exquisite solos by Ron Blake (“La Nostalgiosa”) also Steve Wilson especially on “Araña Amarilla”. And then there is the majestic reading of all the bass parts by Essiet Okun Essiet and the stylish plucking on acoustic guitar by Peter Sprague. However by far the revealed star on this recording may be vocalist Sophia Rei Koutsovitis, who brings a raw, primal quality to the gut-wrenching readings of the vocal parts and is specially memorable on “Una Bruja Buena,” “La Flor Azul” and “La Nostalgiosa,” where she conjures the spirit of heartland of Peru. The elemental sadness of “Vidala De Lucho” is all too memorable thanks to the vocalist’s reading of the emotional phrasing of the song. Keezer of course set the mood with a spectacular introduction to the song.

In Aurea, Geoffrey Keezer has created a record of unforgettable grace and power. And the artist tells us that he has also made an extra-artistic commitment to the people of Peru. In going with ArtistShare, Keezer has committed to making a contribution to social projects in that country to alleviate some of the economic distress there. In this regard he has broken fresh ground in commitment to the artists whose traditions he shares here on this record.

Tracks Listing: Cayendo Para Arriba; Una Bruja Buena; La Flor Azul; Araña Amarilla; Leucadia; La Nostalgiosa; Miraflores; Vidala de Lucho.

Personnel: Geoffrey Keezer: piano, Rhodes; Steve Wilson: alto saxophone; Ron Blake: alto saxophone, flute; Phil O’Connor: bass clarinet; Sophia Rei Koutsovitis: voice; Mike Moreno: guitars; Peter Sprague: acoustic guitar; Hugo Alcázar: drums, percussion; Jon Wilkan: drums percussion; Essiet Okon Essiet: acoustic and electric bass; Susan Wulff: acoustic bass.

Geoffrey Keezer on the web: www.geoffreykeezer.com

Review written by: Raul da Gama