Showing posts with label Kenny Barron. Show all posts
Showing posts with label Kenny Barron. Show all posts

Monday, September 27, 2010

Stefano di Battista: Parkers Mood (2004)

Italian saxophonist Stefano di Battista's second release for Blue Note finds him paying tribute to legendary jazz alto saxophonist Charlie Parker. Fittingly titled Parker's Mood, the album is a stellar collection of Parker-penned tracks as well as songs the jazz innovator made famous. Altoist and occasional soprano man di Battista showcases a lithe and brisk feel that often tends toward swiftly percussive bop, especially when tackling such '40s standards as "Salt Peanuts" and "Donna Lee." Joining di Battista here are the always capable rhythm section luminaries of pianist Kenny Barron and drummer Herlin Riley, as well as longtime di Battista compadres bassist Rosario Bonaccorso and trumpeter Flavio Boltro. While the album is a straight-ahead affair, tracks such as "Hot House" and "Congo Blues" benefit from Riley's creative Latin cum second line and impeccable swing, respectively. As such, Parker's Mood is a solid, no-nonsense mainstream jazz affair. ~ Matt Collar
Tracklist:
1. Salt Peanuts (D.Gillespie/K.Clarke) 2:49
2. Embraceable You (G.& I.Gershwin ) 9:33
3. Night In Tunisia (D.Gillespie/F.Paparelli) 5:00
4. Parker's Mood (C.Parker) 5:17
5. Confirmation (C.Parker) 5:12
6. Donna Lee (C.Parker) 3:24
7. Laura (D.Raskin/J.Mercer) 6:47
8. Hot House (T.Dameron) 3:58
9. Congo Blues (C.Parker) 2:26
10. Round Midnight (T.Monk) 7:10
Personnel:
Stefano di Battista: alto & soprano saxophone
Kenny Barron: piano (except on track 8)
Rosario Bonaccorso: bass
Herlin Riley: drums
Flavio Boltro: trumpet on tracks 1,3,5,8
Parker's Mood (Edition Standard)
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Tuesday, August 31, 2010

Arturo Sandoval: Time for Love (2010)

Arturo Sandoval is a true maestro: despite his reputation as a bop-based trumpeter who plays jazz inspired by his native Cuban tradition, he has delved deeply into tango, swing, and electric jazz in his long career. He is also a fine pianist and percussionist. That said, the notion of him recording a collection of classical pieces, standards, and ballads with a trio and a string orchestra as backing is more than a bit of a surprise. Nonetheless, that's what A Time for Love basically is. Sandoval claims that this is the realization of a 20-year dream. He wanted it bad enough to make and release the record himself, but fate stepped in. Pianist Shelly Berg heard the demos and brought him to Concord's Greg Field, who in turn brought in Grammy-winning arranger Jorge Calandrelli. They co-produced while Calandrelli arranged eight of the nine string charts -- Berg arranged the other and brought in his trio to back up Sandoval.
The classical readings include Faure's "Aprés Un Reve" and "Pavane," Ravel's "Pavane Pour une Infante Defunte" (with Chris Botti on second trumpet), and Astor Piazzolla's "Oblivion" (with Monica Mancini on vocals). All reveal the emotional depth of Sandoval's playing, not just his technical acumen. While his fiery jazz playing can emote, it is often overshadowed by his expertise. Here, it is softness and tenderness without sentimentality that speak to the listener. The standards such as "I Loves You Porgy," the shimmering swing in "Speak Low," and the deep romance in the Johnny Mandel-Johnny Mercer classic "Emily" seemingly come from the vocal jazz tradition. Yet in them one can readily hear what Sandoval claims are his two greatest inspirations for this album: trumpeter Bobby Hackett's playing with the Jackie Gleason Orchestra, and the album Clifford Brown with Strings. The musical economy of those influences is reflected in the emotional weight and complex lyrical dimension carried in each note by Sandoval; the arrangements serve to heighten that revelation rather than overtake it. There are two very satisfying bonus tracks included as well, "The Windmills of Your Mind," a stellar duet with Berg, and Cole Porter's "Every Time We Say Goodbye," with Kenny Barron guesting on piano. It's tempting to call A Time for Love Sandoval's masterpiece, but that is based on the sharp contrast with virtually everything else in his catalog; only time will reveal whether or not it is. For now, what is certain is that it is one of them. ~ Thom Jurek
Tracklist:
01. Apres Un Reve 5:08
02. Emily 4:26
03. Speak Low 4:36
04. Estate 3:58
05. A Time For Love 5:04
06. Pavane Pour Une Infante Defunte (feat. Chris Botti) 5:12
07. I Loves You Porgy 5:15
08. Oblivion (How To Say Goodbye) 5:24
09. Pavane 4:50
10. Smile 3:59
11. All The Way 4:02
12. Smoke Gets In Your Eyes 4:21
13. Windmills Of Your Mind 5:32
14. Every Time We Say Goodbye 5:54
Personnel:
Arturo Sandoval (vocals, trumpet, flugelhorn);
Monica Mancini (vocals);
Chris Botti (trumpet);
David Ewart, Songa Lee, Robin Olson, Searmi Park, Tiffany Yi Hu, Phillip Levy, Tamara Hatwan, RazdanKuyumijian, Kevin Connolly, Natalie Leggett, Darius Campo, Liane Mautner, Charlie Bisharat (violin);
Darren McCann, Keith Greene, Harry Shirinian, Alma Fernandez (viola);
Trevor Handy, Vanessa Freebairn-Smith, Dennis Karmazin, Christine Ermacoff (cello);
Kenny Barron, Shelly Berg (piano);
Gregg Field (drums, percussion).
Time for Love
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Sunday, November 29, 2009

Cheryl Bentyne: Talk of the Town (2004)


Cheryl Bentyne is justly celebrated for her work as the soprano voice in Manhattan Transfer, but her work outside of that ensemble is just as impressive, if sometimes less flashy. This solo album, in fact, is notable for its lack of pyrotechnical wizardry, and is all the stronger for it. Focusing almost exclusively on standards, Talk of the Town finds Bentyne singing with an almost Ella Fitzgerald-like transparency, imposing little of her own ego on the material and avoiding heavy-handed interpretation. This is not to say that she sings without personality or style — simply that she sings like someone who wants to showcase the songs themselves rather than her own artistry. The result is quietly spectacular: on straightforwardly melodic fare like Cole Porter's "You'd Be So Nice to Come Home To" and the classic ballad "These Foolish Things," the songs are like jewels in simple but lush settings; on more difficult numbers, such as "Little Butterfly" (which consists of lyrics by Jon Hendricks set to the Thelonious Monk composition "Pannonica"), she negotiates the tricky changes with grace and deceptive ease. Bentyne's voice sounds the way a warm shower feels. Very highly recommended.--AMG