Album reviews: Putumayo’s “Cuba Cuba,” Hendrik Meurkens & Roger Davidson’s “Oração Para Amanhã,” MUH Trio’s “Prague After Dark” and Anna Maria Jopek’s “Haiku”

by Ernest Barteldes

a2160469876_16

On this Putumayo release, contemporary and more traditional Cuban music come together to form this comprehensive collection of the music of the country whose music has been a global reference in spite of the controversial political issues that have kept  both countries at odds for so long.

The collection opens with Soneros de Verdad’s “A Buena Vista,” a lively tribute to the success of the collective that has had reached global success, and sets the tone for the rest of the album. We delve in the past a bit with Al Valdes’ “Guajira,” an uptempo instrumental recorded in Peru in the mid-sixties that has since become legendary, showing strains of American jazz and other sounds that would later be explored by  groups like Irakere, which at one time featured Arturo Sandoval, Chucho Valdes and Paquito D’ Rivera (which sadly are not featured on this compilation, in band form or solo). Other highlights include a new rendition of “Chan Chan” – arguably Buena Vista Social Club’s best-known tune, and Jose Conde’s “Puente a Mi Gente,” a 2004 tune that reached out to his people on the island (he was born in Miami), hoping for a better connection between the US and his ancestral land.

roger-davidson-orac3a7c3a3o-para-amanhc3a3

Pianist  Roger Davidson and German-born harmonica player/vibist Hendrik Meurkens both have a close relationship with the music of Brazil, and it’s a thrill to hear them coming together for “Oração Para Amanhã (Soundbrush), a live recording made at New York’s Zinc Bar featuring all-original music by Davidson. Backed by Eduardo Belo (bass) and Adriano Santos (drums), the disc kicks off with “September Samba,” an uptempo tune featuring Muerkens on vibes. Muerkens then goes to his harmonica to lead on “Sonho da Tarde,” a complex tune with a low-key feel .  “Oração Para Amanhã” is definitely a love letter to Brazil, and both musicians treat the music with the respect it deserves, using American jazz tendencies to enhance the sound, but never to take it away from where it belongs.

muh3

“Prague After Dark” (JMood Records) came to me all the way from Italy via Facebook friend and pianist Roberto Magris. Recorded in The Czech Republic with his MUH Trio (Magris, Frantisek Uhlir: bass; Jaromir Helesic: drums), it is a highly enjoyable straight-ahead album featuring mostly original music penned by all three members of the trio. I particularly enjoyed “Nenazvana,” an uptempo tune by Uhlir with a samba feel that features an extended solo from its writer. Also notable are “Iraqi Blues,” which takes a more serious tone in what is mostly an upbeat album, and the inspired cover of “Love in Vain.” Make sure to check it out, it’s rare when music like this reaches the other side of the pond.

r-4514890-1367069237-9894-jpeg

Also hailing from Central Europe is Polish singer Anna Maria Jopek, whose Japanese-inspired “Haiku” (independently released) finally got to my hands. Originally released in 2013 alongside her Luso-inspired “Sobremesa” and her Polish folk song dedicated “Polanna” (it could be purchased as a box set as well, but I have never seen it in stores – and I looked hard during my last visit to Poland), it is a collaboration with pianist Makoto Ozone that delves both in more traditional music and pretty hard jazz.  It closes the trilogy well – it is a well-thought record that explores a lot of nuances between Polish and Japanese music – including the kind of jazz played in both countries these days. On an interview I conducted with her a few years back, she stated that “We recorded the “Haiku” album with a Polish-Japanese band lineup in just four hours, as if we were spirited.” Quite impressive results, I should say.

Music Preview: Bibi Ferreira at Symphony Space, New York City

9ce4c341-2fa8-43d2-b9db-2dd335cf0c15

By Ernest Barteldes

Bibi Ferreira

Tuesday, Sept. 20 & 23

Symphony Space

8 PM

I have known about the legendary Brazilian diva Bibi Ferreira for a very long time – she has a long history as a singer, producer, actress and director going from the 1940s to present. She is still active in spite of being 94 years young – and gives no signs of slowing down anytime soon.

I did two interviews with her for The Brasilians over the past few years and was surprised not only by how articulate she was on the phone and also by her fantastic memory – she can remember details of shows she did generations ago as if she had walked out of stage five minutes ago. I was even more amazed to hear her live at Alice Tully Hall – hard to believe is was her New York debut – and heard her sing an array of hard tunes ranging from Verdi to Chico Buarque and Piaf – as if they were nothing.

And then there was Liza Minelli’s hilarious surprise appearance, when they shared the mike for a snippet of “Theme from New York, New York” – a tune made famous by Frank Sinatra but actually introduced by Minelli (go ahead, Google it) in 1972.

On her current show Four Times Bibi, she pays tribute to fado queen Amalia Rodrigues, Piaf, tango legend Carlos Gardel and none other than our own Frank Sinatra – an evening that will bring together various genres together in what promises to be nothing short of amazing – a show that is not to be missed.

Terence Blanchard at Summerstage/Clove Lakes Park – August 5, 2016

DSC_2040

Terence Blanchard at Clove Lakes Park

Article and pictures by Ernest Barteldes

Terence Blanchard & E-Collective

Summerstage at Clove Lakes Park

Staten Island, NY

August 5, 2016

 

 

On an evening dedicated to the memory of Eric Garner, the Staten Island African-American dad killed while in police custody (members of his family were in attendance) in 2014 there were a handful of performers and activists on stage before the headlining artist went on stage – including a young  woman who did a spoken word piece on police violence and the consequences it has on the different communities around the nation and a statement by New York City Councilwoman Debbie Rose.

DSC_2029

Spoken word, beautifully made. 

Shortly after that Terence Blanchard came on stage backed by a quartet (bass, keys, drums, guitar) starting with the complex title piece from his album “Breathless” – entirely recorded in tribute to Garner – that included a four-part harmony on his synth trumpet.  The piece was very contemporary and pretty much centered on his instrument –  he had little connection with the audience and didn’t seem interested on their feedback  – something he seemed to be focused on doing for the entire evening.

DSC_2034

Blanchard and his synth trumpet

The pieces went from contemporary jazz to jazz-rock but with no New Orleans connection – something I had hoped to hear that night considering the bandleader’s roots.  The band was incredibly well-rehearsed and tight but seemed unable to connect except for one moment when the guitarist really rocked out and had the audience applauding.  Blanchard used a lot of effects on his trumpet and sometimes drowned out the band entirely as he experimented with the various extraneous sounds he was able to create with his horn.

This was an evening of hard jazz – probably a bit off for a park on Staten Island, but I guess audiences need to be taken out of their comfort zones at times. I did not expect to hear this kind of music there, but I did enjoy it at times.

Don’t get me wrong. I think that Blanchard is a fantastically talented musician, but from what I have been listening live over the years  he seems to have become one of these jazz cats who play at the peak of their  intellectuality and technique and not seem to care about fans. Then again, being this a concert in memory of a victim of police brutality maybe the tone was appropriate – but most of the audience was not aware of that)

It was not a bad show overall, but it was not what I was expecting to hear. He barely communicated with the crowd, and when he did he seemed a bit uncomfortable doing so. A show clearly aimed at jazz purists or those interested in really out there material – suitable for a club or a jazz festival. Another reviewer focused on the social part of the evening, but I’d rather look at the music on its own.

Krar Collective + Hakim at Celebrate Brooklyn

 

DSC_1850

Krar Collective

Article and photos by Ernest Barteldes

 

Krar Collective + Hakim

Celebrate Brooklyn

Prospect Park Bandshell

Brooklyn, NY

July 15, 2016

On what turned out to be a very warm night in Brooklyn, things kicked off with the England-based Ethyopian trio named after the harp-like instrument played by  bandleader Temesken Zeleke (the trio is rounded out by drummer Grum Begashaw and vocalist Genet Assefa)  playing a selection of uptempo tunes that showcased the band’s talent and also Zeleke’s skills They kept everything very uptempo except for a short period in which the bandleader switched to a more traditional acoustic version of the instrument.

Assefa has great energy and chemistry with the band and audience, dancing and singing the music with great feeling, being the ideal frontwoman for a trio with two musicians who are extremely focused on their instruments.  During the more uptempo moments, she led the crowd to clap and sing along with the chorus even if most couldn’t understand a word.

Though Krar Kollective’s music is deeply rooted into tradition, they clearly have strong pop influences – Tamesken uses a variety of pedals to create a full band effect with an intensely improvisational sound, while Begashaw’s drumming  has a strong, Ringo-like rock vibe.

There was a strong NYPD presence at the show – I spoke to one officer, who told me that they were there following the recent military coup attempt in Turkey  – He said that they didn’t expect any issues, but stated that city officials would rather be safe than sorry. I smiled when he said that, and he thanked me for understanding, considering the anti-cop attitude that has dominated the media in recent times. I shook his hand and went back to hearing the music – there was some great music to be heard.

DSC_1885

Hakim

After a brief intermission, Egypt’s Hakim came on backed by a 12-piece band that included two keyboardists, a  three-piece horn section, several percussionists and electric guitar and bass.

Hakim’s very tight band  kicked things off with a funky instrumental piece that preceded the singer’s entrance.  As he entered to thunderous applause wearing a t-shirt with the inscription “Visit Egypt” , the singer immediately engaged with the crowd, greeting them in Arabic and getting to the hits, which most of his fans sang along to.

I had never heard Hakim on a live setting before, and was impressed with his command of the stage. He seemed to look straight into the eyes of audience members and was friendly with the photographers on the pit, stopping to pose for them as he belted out the music.

The band was well rehearsed, but they allowed various spontaneous moments  – one of the guitarists played an extended solo, and an accordionist had many opportunities to  throw in a few improvised riffs.

 

DSC_1866

Hakin does his thing

I was a little disappointed that Hakim didn’t even bother to greet non-Arabic speaking fans in English, but you could see he was inside his comfort zone, with many of his compatriots waving Egyptian flags as they lost themselves into the music.

He kept the energy level up during the entire set, and mostly stayed away from ballads except for one moment when he went into a more traditional direction with a 7/8 tempo tune. Apart from that it was party time as the singer got almost entire crowd to their feet to dance.

It was a very nice evening  – the energy was great and the music was highly inspiring, and it made for a fantastic musical discovery.

Concert Review: Trio da Paz Featuring Joyce Moreno and Dori Caymmi at Birdland

 

triodapaz

By Ernest Barteldes

Trio da Paz

Featuring Joyce Moreno and Dory Caymmi

Birdland

February 25, 2016

New York, NY

 

 

Trio da Paz – the legendary Brazilian jazz trio formed by Duduka Da Fonseca, Nilson Matta and Romero Lubambo – celebrated the release of their 30th Anniversary CD with a residence at New York’s Birdland Jazz Club with special guests Joyce Moreno and Dory Caymmi – the first time all five artists collaborated on a live setting.

The trio started out with “Saudade da Bahia,” a tune by the late Dorival Caymmi with an arrangement built around Lubambo’s lead guitar and improvisations. It was a clear demonstration of their great chemistry, as they responded to the guitarist’s accents with barely a look at each other.  Moreno joined them and paid homage to what she called “their predecessors” with a very personal rendition of “Chega de Saudade”, beginning accompanied by her own guitar and joined by the band after a few measures. She included a few snippets of “Aquarela do Brasil” to the tune as Lubambo riffed around the melody.  She followed by her own “Essa Mulher,” a tune Lubambo mentioned he’d personally selected for the set, including an accomplished bass solo by Matta.   Dori Caymmi joined the group and sang his “Joazinho Boa Pinta” a humorous tune about a good-looking rascal of sorts. The trio left the stage as Caymmi and Moreno played a beautiful duet on Jobim’s “Dindi” with Caymmi on guitar. They followed that with Caetano Veloso’s “Sampa,” a song written as a tribute of Brazil’s largest city.

I like to say that Trio da Paz are “the Rolling Stones” of Brazilian jazz because they have great individual moments as bandleaders in their own right, but there is clearly some magic when they perform and record together.  This perception is renewed every time I hear them live – in spite of all these years, they are symbiotic and work together in a manner  rarely seen with ensembles where the focus is on individuality. This was clear at Birdland, when they took on originals tunes and classics like “Voce Foe a Bahia,” a playful melody on the uniqueness of Caymmi’s native state.

It was a great experience to hear Trio da Paz with their guests – I just wish the set I heard had included Da Fonseca’s “Flying Over Rio” – but I am sure there will be other chances for that soon enough.

 

 

 

Ernest Barteldes’ Annual Christmas Music Wrap-Up is Back!

By Ernest Barteldes

 

For quite a few years I ran an annual wrap-up of the new Christmas music on NewCity over in Chicago, but attentive readers might have noticed that it didn’t happen back in 2014. I got a number of emails about it not only from publicists but also from music fans who looked forward to my annual list of must-haves and albums to ignore.

As I have stated before, the new editor who took over the music site (their publisher used to run it himself, but he seems to have wanted to delegate power to other people) pretty much turned his back on long-time contributors  so a review I had already written ended up unpublished. After confronting both the publisher and the new editor over the article I pretty much gave up on dealing with so-called “visionary” individuals and decided to start – for better or worse – this music blog.

Anyway, enough kvetching, it’s time to look at some of the selections for this year:

71cva-wmrkl-_sx425_

Jazz pianist David Benoit is one of the most talented contemporary pianists of his generation, and his third Holiday-themed album “Believe” (Concord Music) is one of the best I have heard in a long time. Sticking strictly to a straight-ahead format, he goes through a number of standards, masterfully bringing together the Charlie Brown TV specials with “Guaraldi Medley,” a beautiful tribute to the pianist who helped introduce a generation of kids to jazz. Vocalist Jane Monheit joins the trio rounded out by drummer Jamey Tate and bass player David Hughes to create the kind of album that is not your usual classic radio stuff, but something you could hear anytime.

cbo_swinginbasiexmas

Thirty years after its bandleader’s passing, The Count Basie Orchestra has continued to make music without any sign of slowing down. Currently under the direction of trumpetist William “Scotty” Barnhart, they have recently collaborated with the likes of Tony Bennett and Ledisi, the latter of whom is a featured performer in “A Very Swingin’ Basie Christmas (Concord), a fabulous piece of music that is sure to be spinning when Renata and I spend our annual Christmas retreat at home away from everyone else that annoys us.

One of the best tracks is “The Christmas Song” fronted by the fabulous Ledisi, who keeps her New Orleans roots on a very traditional arrangement. Things also stay in the Big Easy with “I’ll Be Home For Christmas” led by pianist extraordinaire Ellis Marsalis, the legend who happens to have fathered some of the greatest jazz bandleaders of their generation  say what you will about their individual personalities, but you must admit their talents are unquestionable and undeniable.

1305

I am not one to say much about someone trying to introduce a new Holiday song to the canon, but Rebecca Angel and the band led by her bandleader father Dennis Angel actually pull it off with their single “My Favorite Time of the Year,” a groovy, bossa-inspired tune with a sincere vocal that might just make it into the canon, specially thanks to the smart arrangement and an honest vocal delivery.

carols

One of the most anticipated Holiday albums to me is Broadway Cares’ “Carols for a Cure,” when the casts of several shows in town come together to come up with a mix of classic songs, original and parodies.

 

Unlike recent releases, there are no obvious celebrity voices, which makes for a better n overall an enjoyable experience –  except for the presence of Perez Hilton on “Happy All The Time” with the cast of “Elf” – I mean, what is a goddamn blogger doing on a Broadway album? Makes no sense to me, but since he is being featured for the third time in a row I must be missing something. Among best tracks this time around are “We Three Things” with “At This Performance,” which takes the classic tune to a whole new jazz-tinged direction. The best original is Chicago’s “Christmas in Fishnets,” which chronicles the routine of performers at the Great White Way during these festive days. Also notable is the mostly acoustic “Mary did You Know,”  a poignant folksy tune that asks Jesus’ mom about her expectations on the baby she held in her arms on that first Christmas.

These are all great albums – just check them out, all of them will make for a joyous season.

 

 

Album Review: Badi Assad/Hatched

By Ernest Barteldes

I’ve been following Badi Assad for about fifteen years, from the time she was doing more avant-garde instrumental-oriented music right into her shift into the pop-jazz-fusion material she started putting on her records, going from 2005’s Verde up to Hatched (QuatroVentos),  in which she reinvents pop hits in her own way – the tunes are still recognizable, but her personal imprint combined with her signature acoustic guitar chops – are undeniable.

It was fortunate that I was oblivious of most of the tunes on the disc so I could appreciate the music without any bias, approaching them from a completely fresh point of view. She kicks off with Mumford & Sons’ “Little Lion Man” with a bossa-nova vibe that contrasts to the much faster paced original.  She transforms “The Hanging Tree” (from the Hunger Games soundtrack) into an acoustic funk that showcases her guitar and vocal chops, leaving the original recording as floundered Joe Cocker did to The Beatles on “With a Little Help From My Friends.”

My favorite recreation was her take on Lorde’s “Royals” – Assad plays it double tempo, with Simone Sou’s strong percussion as a backdrop to the Assad’s fluid guitar and Rui Barossi’s upright bass.

I am looking forward to catching this material in a live format. The last time I saw her perform was during the Verde tour, when she played accompanied solely by her guitar – it was great, but I would love to see her stretching it live with a band behind her.

Not that she needs it at all – she is highly engaging on her own.

If you happen to live anywhere near where she’s touring, do not miss the opportunity to hear her live. I have already told my friends in Fortaleza – the only major Brazilian city she is playing in at the time of this writing – to go to the show.

And a note to my readers in Chicago – the publication there that I have contributed there for over a decade has a new music editor who thinks he is the last Coca-Cola in the desert. He is doing the usual house cleaning that commonly comes with change in the masthead, so you will not be seeing my byline there for a while. The solution? Subscribe to my feed, because I have not forgotten you.