Music Reviews: Marisa Monte’s Colecao and David Feldman’s Horizonte: Two From Brazil

By Ernest Barteldes

Colecao

Marisa Monte

Universal Music

David Feldman

Horizonte

Self-released

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Marisa Monte is not what you would call a conventional performer – in spite of having a very successful career spanning almost three decades (yes, her debut was released in 1989), she was reportedly not too happy with the idea of releasing a collection of her greatest hits. However, since her contract with Universal Music (which merged with EMI in 2011) called for a compilation, the solution was to put together a selection of lesser-known tunes that either appeared as duets in other performers’ albums or in movie soundtracks – plus a handful that had never seen the light of day until then.

Being the perfectionist that Monte is, this is no hastily thrown-together compilation but a carefully curated tune selection. A couple of those tracks might be well-known to World Music fans, such her duet with David Byrne on the Jobim classic “Waters of March” that appeared on the first Red, Hot and Rio album in 1996 – it is a welcome update on the bossa nova compositions, filled with electronic sounds and the Afro-Brazilian percussion of Carlinhos Brown. Another is the gentle balad “Ilusion,” a bilingual (English/Portuguese duet with Mexican singer Julieta Venegas from the latter’s MTV Unplugged disc.

Among the highlights is “Nu Com a Minha Musica,” a Caetano Veloso composition originally featured on the criminally ignored Red, Hot & Rio 2, a celebration of the Tropicalia Generation led by Veloso, Gilberto Gil, Tom Ze and others. Also great is “Chuva No Mar,” a duet with Portuguese fado singer Carminho.

Because Monte is such a versatile singer, many fans don’t realize how good she is at belting out a traditional samba – in fact, she has done considerable effortsto record voices from samba, and “Volta Meu Amor” and “Dizem Que o Amor” are excellent examples of that – she loses herself in the music with zero pretension and emerges with very enjoyable moments.

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I first encountered the sounds of pianist David Feldman as part of the Brazilian side of Scott Feiner’s “Pandeiro Jazz” project (he recorded his second album of that concept with a band based in Rio). A few years later, he participated in drummer Duduka Da Fonseca’s contemporary-driven trio. In recent years I heard he’d been performing Stateside, but I didn’t have the chance to catch him live.

In spite of his English-sounding name, Feldman was born in Rio and lived in New York for a number of years following his graaduation from the New School of Jazz and Cotemporary Music until he returned to Brazil, where he has a solid career both as a bandleader and a sideman with the likes of Leny Andrade, Maria Rita and Leo Gandeldman, to name a few.

On “Horizonte,” Feldman showcases his bossa nova chops in tunes like “Tetê,” a gentle samba that evokes memories of mid-career Jobim with a touch of Dorival Caymmi, featuring guitarist Toninho Horta on guitar and vocals. “Esqueceram de Mim no Aeroporto,” however, goes into more contemporary direction. Marcio Bahia’s drums have rich polyrythms that complement Feldman’s groove in a perfect manner – bassist Andre Vasconcelos completes the backdrop with gusto with his bassline (plus an accomplished solo halfway through).

Ceu e Mar” follows a similar direction – a modern piece with clear influence from samba jazz, specially via the rhythm section, who keeps the feel in Rio even if Feldman takes the music somewhere else. “Sliding Ways,” on the other hand, sounds like a jazz homage to gafiera samba, the kind played in ballrooms in Brazil. Trombonist Raul de Souza guests, giving the tune a hummable feel rarely found in jazz albums these days.

Music Review: “Fio da Memoria” by Luisa Maita

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By Ernest Barteldes

Six years is a long time to wait between albums for a new artist, but Sao Paulo-born Luisa Maita seemed to have made the right choice in this case.  Since the release of her much acclaimed debut album Lero Lero (Cumbancha), she did a lot of touring (including many stateside appearances), collaborated with various Brazilian musicians and collected various awards in recognition of that first album.

The formula of Lero-Lero was quite simple: a modern take on bossa and samba-inspired tunes with a creative edge.  When I heard that album, she reminded me a bit of Marisa Monte, who does a lot of experimentalism with her music but keeps a firm grip on more traditional beats.  She could have simply stayed the course and done more of that, but she clearly decided to go into a completely different direction with her second album.

Fio da Memoria” is more of a rock-fusion album:  distorted guitars are front and center, but the rhythm is pure Brazil. For instance, “Olé” has a lot of electronics going on, but the percussion is clearly influenced by the sounds of Northeastern Brazil, while “Porão” has a Maracatu feel. The title track is a refreshing electric samba (close to the work of +2 , the leaderless music collective formed by Moreno Veloso, Kassin and Domenico Lanceloti), while “Folia” is pure Bahia samba, with a full percussive group behind Maita’s voice – and little else.

“Fio da Memoria” takes a few plays to totally sink in – though most of it is fun to listen to, it is also music that makes you think thanks to its clever arrangements and the way the instruments are played – there are quite a few surprises as the music plays. An example of this is “Volta,” a tune that begins with layered vocals and a curious line –  until the drums come in behind a three-part harmony  that take you into a 70s-influenced slow funk.

In a year filled with so much music that made little sense, “Fio da Memoria” is quite refreshing – the music is both smart and enjoyable, and makes this one of the best World Music releases of 2016.

 

Jon Batiste & Stay Human at Celebrate Brooklyn

Article and photos by Ernest Barteldes

 

Jon Batiste & Stay Human

Celebrate Brooklyn

Prospect Park Bandshell

Friday, July 22nd 2016

 

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Jon Baptiste

After two opening acts that included a brilliant saxophone trio formed by three very young musicians aged from 12 to 16 years of age, bandleader and evening curator Jon Batiste took to the stage on the melodica backed by an 8-piece band of multi-instrumentalists, kicking off the show with a marching band-style take on  the Christmas standard “My Favorite Things”  that was blended with  “Papa Was a Rolling Stone.” He then went to the piano for an instrumental version of blues standard “St. James’ Infirmary” where he showcased his dexterity on the piano.

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Jon Baptiste

Stay Human have great chemistry together, responding to the bandleader’s grooves with expertise, even when he went off with some improvised moment – I guess that tightness comes from performing on a nightly basis on the Late Show with Stephen Colbert on CBS (I compare with the last time I saw the band at The Charlie Parker Jazz Festival two or three years ago).

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Young Sax Trio

Batiste is open to many genres – at one moment, he is playing a boogie take on the “Star Spangled Banner” and the next going into a full rock mode and then drifting into a personal take on “Pour Elise,” which featured a bass solo. The set included covers of The Jackson Five’s “I Want You Back” with the bassline played on the tuba, which preceded included a tuba battle and a full French Quarter-style marching band tune in which the ensemble walked into the audience.

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Stay Human

It was a great opportunity to see Batiste outside of the constraints of a TV studio setting, where he stretched the music and improvised freely – I heard some folks in the audience hoping Colbert would make an appearance (considering his recent vocal performances) but that did not happen – instead, the audience was taken to an amazing musical journey under the direction of an amazingly talented bandleader who we all hope to hear again – on stage – soon.

Outdoor Music: What to hear in July

by Ernest Barteldes

 

Last month I wrote about what to hear in June – since I was away in Poland for half of the month and thanks to the weekend glitches of the MTA, I was only able to hear one, which I recently reviewed for All About Jazz (I was going to run it in these pages, but I felt it would reach more readers there – I am not greedy). But now it’s time to look into July.

Please note that I am only writing about the free shows here – there are some interesting benefit concerts this month, but I chose to shine a light on the ones anyone can attend without shelling out.

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King Sunny Ade

I wouldn’t normally bother about shows during the Independence Day Weekend – everyone’s going to be somewhere else (myself included), but I do have some great recommendations for the next couple of weeks. But please note that the Nigerian legend King Sunny Ade will be at Summerstage on July 3 o what is his first North American tour since 2009  – so in case you will not be sunning yourself, don’t miss that show.

On  Thursday, July 7th,  a performance not to be missed is an evening of Indian-inspired music that begins with DJ Rekha (one of the leading Bangra MCs out there), and two of my personal favorite musicians: Karsh Kale, one of the most inventive songwriters I have ever heard.

About a decade ago, he joined forces with sitarist Anoushka Shankar (the daughter of Ravi Shankar and half sister of Norah Jones) for one of Breathing Under Water, one of the most brilliant World Music albums released in the 21st Century.  Closing the evening is the Sunny Jain-led Red Baraat, dubbed “one of the best party band around.”

I am sure to be there, even if I have an early start on Friday.

The second weekend in  July marks the highly anticipated (as far as I am concerned)  Latin Alternative Music Conference, an event that brings together media, musicians and labels for a smorgasbord of showcases, concerts and industry-related panel discussions – the most interesting for the general public being the free concerts they sponsor both at Summerstage and Celebrate Brooklyn.

On July 8, Rodrigo Amarante,  the co-founder of Brazilian rock band Los Hermanos and Orquestra Imperial (a samba supergroup that also features Moreno Veloso), takes the stage at Rumsey Playfield to showcase music from his debut solo album “Cavalo” (Horse). The evening also features Mexico’s Leon Carregui, one of this year’s breakthrough Latin artists. The next day, head over to Brooklyn to hear local Latin artists Buscabulla and Hurray for the Riff Raff and of course the headlining artist – Mexico’s Carla Morrison.

There aren’t many living jazz singers who I would say are among the greatest in history, but Diane Reeves (Queensbridge Park, July 27)  is surely among them.  Sex and The City fans will remember her belting out “Is That All There Is” on the season 5 finale, but I have paid attention to her for quite a while. She is incredibly versatile and tackles various genres without losing her signature style.  Opening for her is DJ Greg Caz, arguably the the most musically open-minded DJ in New York City – he not only loves music but has a deep knowledge of it that baffles me at times.

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Gregory Porter

Closing my recommendations for July is Gregory Porter (Celebrate Brooklyn, July 28) – his deep baritone and has you at hello, as I discovered when I first heard about him via the Starbucks app (gone are the days that they gave out music, thanks to their current partnership with Spotify). I heard him last year at Summerstage and was fascinated at his command of the stage and his captivating personality, and am eager to hear his music again in a live format.

Music Preview: What to Hear in June: SummerStage & Celebrate Brooklyn

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McCoy Tyner

By Ernest Barteldes

 

I love listening to music in clubs or arenas, but nothing really compares to heading outside during the summer to enjoy concerts in the outdoors.  Sure, it’s sometimes sticky and horribly crowded, but on the bright side many of the concerts happen to be free or at a very low cost (Celebrate Brooklyn has a long-standing policy of a $3 donation), so it is a great opportunity to get to know artists that you might not have the opportunity to know about otherwise.

Over the years, I have discovered many new artists from all kinds of backgrounds – the first time I heard Colombia’s Aterciopelados, Mali’s Amadou & Mariam and Puerto Rico’s Calle 13 was either at Central Park SummerStage or at Celebrate Brooklyn. I really cannot tell you how many times I have attended shows at both venues, but many were amazing experiences (sure, there were a few duds too, but let’s forget about those for now) that I will not forget anytime soon.

I was going to write a single preview for the entire calendar for this season. However, I found that to be a daunting task, so I decided instead to pick some favorites for the month of June and give readers of this blog a better preview for every month until the concerts come to an end in August-September. The picks below are based on my own preferences and not by what someone might have told me, and I also avoided paid benefit concerts, so you will not find any listings for those shows even though they might be quite interesting.

Things kick off in an extremely interesting way with a salute to legendary jazz pianist McCoy Tyner – who I heard live for the first time at Central Park SummerStage, the same venue that is paying tribute to him this year on June 4th.  And what a band does he have behind him, all gods of music in their own right –  Ron Carter (bass), Wallace Roney (trumpet) and Roy Haynes (drums).  You could not ask for anything better, really – it is like dying and going to jazz heaven for one evening.

Celebrate Brooklyn is not too shabby either – their season opens with none other than Sharon Jones & the Dap-Kings (June 8), who is known for her energetic performance style and overall great voice.  Like many African-American singers of her generation, she started out singing in church in Brooklyn and then gravitated to funk and soul in the 1970s, doing lots of backing session work. She was a late bloomer, and not until the late 1990s did she get her real break – and the rest, as they say, is history.

I have always thought that Yiddish music has not gotten enough attention – especially its more modern incarnations that have incorporated jazz tendencies and garnered more mainstream attention. A chance to catch this new wave of Yiddish music (the first time I heard these new direction was in a documentary about young Jews in Poland a few years back) will happen on June 15, when several stars come together for a mini-festival called Yiddish Soul: A Concert of Cantorial and Chassidic Superstars.

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Baaba Maal

Among the most influential Senegalese musicians around is Baaba Maal, a singer and guitarist who blends various musical influences (Celebrate Brooklyn, June 16). He sings in the unique Pulaar language, blending styles that go from more traditional rhythms to more popular sounds – including salsa. He will be sharing the spotlight with Lakou Mizik, a band formed following the devastating 2010 earthquake in their native Haiti.

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Angie Stone

Angie Stone (SummerStage at Betsy Head Park, June 22) got her first big break as part of the all-female outfit Sequence, when her voice led the hit 1979 “Funk You Up” (not to be confused with the recent hit “Uptown Funk,” which actually seems to borrow a lot from that old track), but it was not until the 90s when she established herself as a bona-fide solo act as one of the leading voices of the so-called “neo-soul” movement (a term many musicians have recently been avoiding). She recently released a new album entitled Dream (Shanachie Entertainment/Conjunction Entertainment/TopNotch Music), which takes her music into a whole new direction.

For fans of Afro-Latin beats, be sure to catch Ricardo Lemvo & Makina Loka (Celebrate Brooklyn, June 24), a Congolese musician of Angolan roots. I recall hearing one of their earlier albums and was impressed by their sound – they include songs inspired by the Caribbean and also Brazil – once I had to check if I was still listening to the same disc, because they go into so many different directions that it can be a bit overwhelming – but thoroughly satisfying to the ear.

Come back to these pages for reviews of some of these concerts and also previews of what’s to come in the coming months – it should be a very, very interesting season indeed.

 

 

 

 

Single Review: Karar by Duke Guillaume

By Ernest Barteldes

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    “Karar” by Duke Guillaume

For those familiar with saxophonist and bandleader Duke Guillaume’s devotional work both as a solo artist and with The Metropolitan Big Band, this single is quite a departure. “Karar” seems to draw inspiration from the sonic mix more closely identified with South Florida, blending electronics with classic jazz and Latin-esque sensibilities (which probably explains the cover, which pictures the musician embracing the sun and the beach), tending to follow more a dance vibe than trying to sound too improvisational

While the main melody keeps on a straight dance beat, things get quite interesting in the chorus, where a Latin samba-reggae mood kicks in, taking you away from Florida and more into the streets of Bahia, where the Afro-inspired drums play as the crowds follow them through the narrow streets of the Historical District every Tuesday night. I also felt a bit of Puerto Rico’s reggaeton into the mix – a beat that has yet to be explored by jazz musicians.

You can check out the track below:

 

Remembering George Martin

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By Ernest Barteldes

 

Like most Beatles fans, I got to recognize George Martin’s name by looking at the credit printed on the back of every one of the band’s albums except Let It Be (ironically, the first Fab Four album I have ever heard), which was Phil Spector’s one shot at salvaging a train wreck of a record that would probably have tarnished the reputation of one of the greatest groups ever.

As I grew up, though, I realized that Martin was way more than this – over the years, I discovered many fantastic recordings he had been involved with, including Jeff Beck’s “Beck-Ola” and the soundtrack of the infamous Peter Frampton-Bee Gees soundtrack of “Sgt. Pepper’s” movie (the picture sucked but the music was pretty amazing). As I researched music, I realized that Martin was beyond being the “Fifth Beatle” – he was an amazingly special musical personality, and if it were not for him, those four guys might not have gotten far.

The proof goes by listening to the material they recorded before Martin came into the picture. Anyone with half a brain that has heard “The Decca Tapes” realizes that the Beatles were little more than a garage band, and that the guy who rejected them was right – I mean, without someone with a vision behind the controls, they might have turned out to be just another guitar band on the way out.

I will not elaborate much about Martin’s career because every single obituary has said the same. Instead, allow me to bring to light one of the best pieces of music he ever created, the underrated “In My Life,” a record that he created to mark his retirement (that didn’t really happen – he did work on a handful of albums after that), in which he re-created some of the gems he had worked with the Beatles with a plethora of guests that included many of the greatest music and screen stars of the time.

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The idea was to end his illustrious career by inviting some of his favorite artists to do some Beatles music from more of a symphonic point of view – and then some. The tunes he chose were least obvious one – for instance, he avoided big hits like “Yesterday,” opting instead for tunes like “Here, There and Everywhere,” “Come Together” and “I Am the Walrus” instead – hearing these tunes in a new light convinced me his talent was intact.

“A Hard Day’s Night” was performed by actress Goldie Hawn with a big band, using a slower tempo that made it more like a blues, while Robin Williams and Bobby McFerrin took on “Come Together.” McFerrin did the famous bass line with his voice, and also sang co-lead with Williams. Celine Dion took ownership of “Here, There and Everywhere” by delivering what was arguably her best studio performance to date.

Among my personal favorites on that disc is the spoken-word version of “In My Life” with backing of Martin’s piano and the trademark voice of Sean Connery, who speaks the lyrics with the feeling of someone who has experienced much in life (never mind the song was written by a 25-year-old John Lennon).  Also marvelous is Jeff Beck’s instrumental take on “A Day in the Life” with the backing of a full orchestra – the version is so perfect that it was ultimately re-released on the soundtrack of the movie “Across The Universe.”

Although this was planned to be Martin’s final opus, full retirement ultimately (and fortunately for his fans) eluded him.  After the disc was released, he still produced Elton John’s remake of “Candle In the Wind” in tribute to Princess Diana and worked on the Cirque du Soleil’s “Love” mash-up with his son Giles.  He was a force of nature in his own right – who happened to be at the right place at the right time when The Beatles auditioned to him.