Voices of Beauty, of Dreams, of Hopes

There's something so appealing about music from Latin America; whether it's the rhythms, the "Romance Language" lyrics, or the expansive melodies, how the music gets to one's emotional core. 

Photo: Lauren Desberg

Gretchen Parlato made quite a splash on the contemporary scene in the mid-2000s, her alto voice with a nasal edge moving easily through lyrics, her wordless vocals rising easily over rhythm sections, and her ability to mesh with other voices. Ms. Parlato has recorded with Becca Stevens, Esperanza Spalding, Terence Blanchard, Lionel Loueke, Terri Lyne Carrington, David Binney, and many others.  Six years ago, she have birth to a son and began a sabbatical from singing with a few exceptions to record with the trio Tillery (Ms. Stevens and Rebecca Martin), saxophonist Dayna Stephens, vibraphonist Joel Ross, the New West Guitar Group, and drummer Nate Smith.  

Ms. Parlato signed to Edition Records last year and now issued her debut for the label (and fifth as a leader).  "Flor" features original music, several delightful covers, and a reimagining of J.S. Bach's "Cello Suite No. 1: Minuet I/II”.  The album opens with "É Preciso Perdoar", a Brazilian song made famous in 1973 by João Gilberto (composed by Carlos Coqueijo and Alcyvando Luz) –– the track also introduces Ms. Parlato's tremendous trio that features guitarist Marcel Camargo, percussionist Léo Costa, and cellist Artyom Manukyan.  Both the guitar and cello serve as counterpoint to the vocals (in both English and Portuguese). The gentle flow is a mood-changer, stripping away one's burdens.  Gerald Clayton joins the band (on Fender Rhodes) for a sweet version of Anita Baker's "Sweet Love".  Listen to how the pervasive rhythms sweep the vocalist off her feet and she flies delightfully through the piece.

Photo: Lauren Desberg

Several songs speak to the wonders of parenthood.  "What Does a Lion Say" (composed by Chris Morrissey) finds the singer in her son's bedroom near the end of the day, interacting and showing love. Manukyan's cello tone is rich, full-toned, while Camargo's guitar (he also plays what sounds like a bandolim, a mandolin) creates sweet textures.  Husband Mark Guiliana can be heard laying down the dancing beat on "Wonderful", which also features a children's chorus (including their son Marley) plus the leader's overdubbed harmonies.  Ms. Parlato's lyrics serve as a prayer, to teach about love, self-realization, and gratitude.  

Photo: Lauren Desberg

The brilliant arrangement of Bach's "Cello Suite No. 1: Minuet I/II” opens with Ms. Parlato singing solo.  Camargo enters 100 seconds into the piece playing in tandem with the wordless vocal.  There's a short statement from the bandolim, then the cello enters playing in tandem plus the percussion and trap set. Close your eyes and let the music wash over you, its beauty stunning and revivifying.  Airto Moreira joins Ms. Parlato and the trio for "Roy Allen", a tribute to the late trumpeter Roy Hargrove (that he composed for his 1995 album "Family"). The 79-year old Moreira brings a lot of his percussive arsenal as well as his playful voice.  The leader sticks to the melody while Camargo plays several short solos, all the while the percussion creates a wonderland of sound.

"Flor" is a welcome return to the spotlight for Gretchen Parlato. She sounds refreshed, renewed, ready to continue to explore and mine the many veins in the world of music. We are the lucky recipients of her adventures.

For more information, go to gretchenparlato.com.  To hear more of "Flor" and to purchase the delightful album, go to https://gretchenparlato.bandcamp.com/album/flor. 

Give a listen to Ms. Parlato's take of the Anita Baker's song:

Photo: Rafael Piñeros

Vocalist and composer Roxana Amed, a native of Buenos Aires, Argentina, has been on the international music scene for nearly two decades.  I first became aware of her upon her the 2013  album, "La Sombra de Su Sombra", a duo date based on the poetry of Alejandra Pizarnik (1936-72) she recorded with pianist Frank Carlberg (with contributions from Christine Correa).  She 's issued six albums as a leader or co-leader since 2004.  Since moving to the United States in 2013, Ms. Amed has worked with Guillermo Klein, Emilio Solla, vocalist Sofia Rei, and pianist Andre Mehmari.  

Her new album, "Ontology" (Sony Music/ Latin), should open the eyes and ears fo many people. Ms. Amed produced the album, as well as having composed or co-composed 12 of the 14 tracks.  She sings in both Spanish and English, plays tribute to Wayne Shorter ("wrote the lyrics for his "Virgo") and Miles Davis (re-arranging the trumpeter's "Blue and Green" with Cassandra Wilson's evocative lyrics).  She adds lyrics to Argentinean composer Alberto Ginastera's " Danza de la Moza Donosa", creating a lovely ballad then turns to wordless vocal for his "Danza Del Viejo Bojero".  On the first song, it's just her and pianist Martin Bejerano; on the second, the two add the thunderous drums of Rodolfo Zúñiga and the music flies forward not unlike Dave Brubeck's "Blue Rondo a la Turk."  The playful interactions of the voice, keys, and drums

The pianist is featured throughout the program while Zúñiga shares the drum duty with Ludwig Afonso (the former on three tracks, the latter on six tracks). Also featured throughout the album is tenor saxophonist Mark Small (eight songs), bassists Edward Perez (three songs), Carlos De Rosa (two songs), and Lowell Ringel (three songs), plus guitarists Tim Jago (two songs) and Aaron Lebos (one song). Ms. Amed mostly keeps her voice front and center; she's quite articulate in both Spanish and English as well as dramatic but she keeps her emotions under control. Nothing seems forced or rushed. The title track features piano, saxophone, and voice with Berejano's solo far-ranging while Small adds bluesy phrases behind the vocalist.  Kendall Moore (who teaches at Sam Houston State University in Texas and plays trombone) composed, "Peaceful", a sweet ballad with Small's tenor in conversation with Jago's electric guitar. Notice how the tenor sax often shadows the voice, adding depth to her long notes.

There is so much music to explore here. Shorter's "Virgo" features strong performances from the leader, Small, and, especially, Berejano (pictured left).  While the tenor sax sounds wrap sensuously around the voice, the piano is, at times, lyrical, introspective, forthright, as it follows the storyline.  The pianist's tune "Chacarera Para La Mano Izquerida" ("folk dance for the left hand") is driven by the exciting work of bassist Perez and drummer Afonso as well as the composer's dancing piano.  Ms. Amed's joins in on the fun, letting her voice stretch for the higher notes. The pianist also contributed the up-tempo "El Regreso" ("The Return") which has traces of Ornette Coleman's "Lonely Woman" –– Berejano sets the pace throughout while Perez and Afonso push the music forward. 

"Ontology" closes with "Winter", an original (sung in English). The words speak of the stillness of the season, of the inevitability of loss, how the cold attacks the body, how we wait for "the winter to tear our eyes/ to break our bones".  Just voice and piano.  Berejano's solo is stunning, emotionally powerful, and Ms. Amed understands how the darker, colder, time of the year turns us inward, to protect ourselves in all ways.  There is a lot of music over the 73 minutes of "Ontology", much to listen to, much to absorb, yet the album does not feel too long.  You want to inhabit these worlds that Roxana Amed and the musicians create, you want to linger a while in these songs and you should.  Find this album – the music shines!

For more information, go to https://roxana-amed.com/. 

Here's a taste:

The Poetry of Musical Pros

Clarinetist/alto saxophonist Paquito D'Rivera is a proud Cuban-American.  Proud of his heritage, D'Rivera has championed music from his native land for nearly 4 decades. North Americans first heard his music when he and pianist Chucho Valdes brought their group Irakere first to festivals in Europe in 1977 and then, in 1980, to the Newport Jazz Festival in New York City. D'Rivera defected to the States the same year and trumpeter Arturo Sandoval came in 1981.

Over the years, D'Rivera has also displayed a deep connection to the music of Brazil, an attraction that started when he would go to the movies and hear the great sounds of the percussion plus the beautiful dancers.  He has recorded numerous CDs with Brazilian music but never one that featured him with all Brazilian musicians.  That is, not until his "regular" pianist, Alex Brown, told him that Trio Corrente was his "go-to" group for contemporary music from the South American country.

In October of 2012, Paquito D'Rivera traveled to Sao Paulo, Brazil, and recorded "Song For Maura" his 3rd release for Paquito Records/Sunnyside Records. Trio Corrente - pianist and arranger Fabio Torres, acoustic bassist Paulo Paulelli and drummer Edu Ribeiro - recorded its debut CD in 2005 and are considered by many writers in and outside of Brazil to be among the best ensembles the country has produced in the past 25 years.  With the help of the pianist, D'Rivera has crafted a program that looks to the past and to the present for its inspiration.  One gets a lovely reading of "Tem Do" composed by Baden Powell and Vinicius De Moraes as well as a hard driving version (the leader on alto sax) of "Ceu E Mar", a classic work of Johnny Alf (1929-2010) plus a bouncy reading of "Um a Zero" (here titled "1 x 0") from the prolific pen of Pixinguinha (1897-1973). Claudio Roditi (born 1946) is represented with his rollicking "Recife Blues" that includes a hyper-active rhythm section and forceful solos from Rivera (alto sax), Torres, a sparkling romp from Paulelli and a hearty yet fun romp from Ribeiro.

Drummer Ribeiro, along with guitarist Chico Pinheiro, composed the sprightly "Cebelo No Frevo" which features a snappy melody line played in unison by the piano and alto sax. The drums sets a frantic pace and, along with the booming low notes of bassist Paulelli plus his strong counterpoint, make this performance irresistible. Pianist Torres contributed 2 pieces, the sensuous mid-tempo "Paquito" in which the clarinet melody is quite handsome; the multi-sectioned composition features a sparkling piano solo plus the final track, "Saidera", that Rivera sits out.   That cut has a multi-national feel, blending Brazilian elements with jazz.  The title track is Rivera's only contribution - it's a lovely ballad with elements of Billy Strayhorn and Carole King (the opening section sounds like the chord progression to Ms. King's "It's Too Late.")  The leader's clarinet work is, at the start, lilting but picks up in intensity for his solo.

Paquito D'Rivera sounds as if he had a blast recording "Song For Maura" - you can hear the joy in his interplay with Trio Corrente.  Only 2 of the tracks exceed 5 minutes yet nothing seems rushed (not even the uptempo romps) and the musicianship is positively top-notch.  The results are "esplêndido", indeed!

Chances are good that even if you do not pay attention to liner notes or discographies, you have heard Steve Gadd. His list of sideman credits ranges from Steely Dan ("Aja") to Paul Simon (who can forget "50 Ways To Leave Your Lover" or "Late in the Evening") to  Eric Clapton to Chuck Mangione to James Taylor to Al Jarreau to...you get the idea.  In the 80s, he lead the Gadd Gang that released several recordings and, in 2011, formed The Gaddabouts with vocalist Edie Brickell, bassist Pino Palladino and guitarist Andy Fairweather-Low. They have released 2 critically acclaimed CDs.  In 2010, he recorded with organist Joey DeFrancesco, baritone saxophonist Ronnie Cuber and guitarist Paul Bollenbeck under the monicker Steve Gadd & Friends.

2013 brings about the Steve Gadd Band, a quintet with Walt Fowler (trumpet, flugelhorn), Larry Goldings (organ, piano), Michael Landau (guitars) and Jimmy Johnson (electric bass). Their debut CD, "Gadditude" (BFM Music), is like your favorite shirt or sneakers, like a glass of mature red wine, a sweet concoction of melodies that feels so good whether you're in the car on the highway or in your backyard.  Goldings and Landau each contributed 2 compositions, there are 2 Keith Jarrett pieces, one each from Abdullah Ibrahim and Radiohead plus a group piece titled "Green Foam."  That track starts out like the blues classic "Good Morning Little School Girl", features a splendid organ solo that quotes "Green Onions", then drops into a "deep blues" groove for a rippling guitar solo and goes a bit "out" near the close for Fowler's solo.  The quintet plays a soulful, bouncy, version of Jarrett's "The Windup" - Johnson plays a most wicked bass groove and Gadd gives the rhythm a Caribbean feel.  Landau's solo has a country feel as does Gadd's snappy snare work while Fowler digs right in.  Goldings, on organ, has a great time riding the groove and the way the group slides back into the theme is quite sweet.  The Radiohead track, "Scatterbrain" (from "Hail to the Thief") is a good vehicle for Fowler's atmospheric flugelhorn - the track also features quiet background vocals from Arnold McCuller and David Lasley. That duo of studio standouts are buried in the mix (if they are there at all) of the other Jarrett tune, "Country" (from his "My Song" Lp of 1978 - interesting that both tunes Gadd covers are from Jarrett's Scandinavian group of Jan Garbarek, Palle Danielson and Jon Christensen). The group's version of Ibrahim's "The Mountain" sounds as like a track by Otis Redding - if you go back to listen to the original (that the South African pianist first performed with is group Ekaya in the 1980s) , it has the same soulful feel.

The originals each have their strong points.  "Africa", Landau's piece that opens the program, has an excellent guitar solo and strong organ accompaniment while his other contribution, "Who Knows Blues" takes the blues to New Orleans and filters it through the grooves of The Meters. Gadd knows just how to push a piece without overplaying. The bubbly organ fills and Johnson's active bass lines are pleasing accompaniment.   Golding's "Ask Me" is an atmospheric ballad with a fine electric piano solo, an emotional flugelhorn solo and strong work from both the drummer and bassist as they float beneath the soloists.  The keyboard player's other original, "Cavaliero", sounds like it could have appeared on Los Lobos "Kiko" recording.  Perhaps it's Gadd's snappy drumming or Landau's crunchy guitar but the piece really catches the ear.

Steve Gadd has developed quite a "Gattitude" and it's one with real sweet grooves and fine playing throughout from all participants.  The music doesn't jump right out at you but sneaks right into your ears. Soulful, bluesy, and fun, the Steve Gadd Band strikes just the right chords.  For more information, go to www.bfmjazz.com.