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Cliff Korman: Urban Tracks
by Richard J Salvucci
An avid listener of Brazilian music could go crazy trying to figure out exactly where Cliff Korman comes down musicially. His opening track , “Cheio de Malicia" could almost be taken for some sort of stride-bossa--the same feel pops up on “Canhoto" too--with allusions to Kenny Barron, Vince Guaraldi, McCoy Tyner even. Paired with bassist Harvie S, who seems to top himself on each successive track, Korman's creativity and sheer musicianship is a delight, the “sound of surprise" if there ...
Continue ReadingJerry Bergonzi: Extra Extra
by Alberto Bazzurro
L'italo-americano Jerry Bergonzi è notoriamente uno dei sommi sacerdoti del tenorsassofonismo contemporaneo--vogliamo definirlo post-coltraniano? nel suo caso più che mai--che sta a indicare di fatto l'ultimo mezzo secolo di musica afroamericana, in pratica ciò che è arrivato dopo lo svolgersi delle avanguardie storiche (in quanto tali, appunto, non perché dopo si siano esaurite, per buona sorte), alle quali non ha mai guardato con troppa attenzione. Il fatto che sia nato (a Boston) nel 1947 ci dice come questo ...
Continue ReadingCliff Korman: Urban Tracks
by Katchie Cartwright
As ever, Urban Tracks finds pianist, arranger-composer and scholar Cliff Korman alchemizing, jazzifying choros and Brasilifying jazz tunes to create his own distinctive arrangements. Mood Ingênuo: Pixinguinha Meets Duke Ellington with Paulo Moura (Jazzheads, 1999), Brasilified (Tiger Turn, 2022) and Bossas and Ballads (Tiger Turn, 2024) are among other examples in his discography. He recorded Urban Tracks in his hometown, New York, with Brazilian drummer Rafael Barata and NYC bassist Harvie S, but these days Korman lives in Rio de ...
Continue ReadingThe Paul Carlon Quintet: Blues for Vita The Paul Carlon Quintet
by Nicholas F. Mondello
Blues for Vita provides listeners with an outstanding eight-selection presentation that is a modernized throwback to the days when tenor-trumpet quintets such as Art Blakey and the Jazz Messengers, Lee Morgan's, and Cannonball Adderley's ensembles were the mainstays of jazz labels such as Riverside, Columbia, and Blue Note. The album offers a well-produced mix of straight-ahead, boogaloo, and Latin-flavors from five terrific Paul Carlon originals, two Broadway musical grabs, and a Larry Willis tune made most famous by Woody Shaw ...
Continue ReadingKarrin Allyson: A Kiss for Brazil
by Katchie Cartwright
A Kiss for Brazil is Kansas-bred Grammy-nominated singer Karrin Allyson's third release to feature Brazilian music (From Paris to Rio, Concord, 1999; Imagina, Concord, 2008), and her first to showcase Brazilian musicians: Vitor Gonçalves on piano and accordion, Rafael Barata at the drums, plus the acclaimed singer-guitarist and songwriter Rosa Passos. First-call New York-based guitarist Yotam Silberstein and bassist Harvie S complete the group. The album sprang into being spontaneously, in response to a concert Passos had scheduled in New ...
Continue ReadingPeter Hand: Blue Topaz
by Jack Bowers
Peter Hand has a hand in almost everything on Blue Topaz, playing masterful guitar, writing seven of the album's ten engaging numbers and arranging all of them. He also spliced together a pair of blue-chip ensembles for his first small-group recording after three well-received big-band albums, and invited his longtime friend--and legendary tenor saxophonist--Houston Person to sit in on two tracks. Person had also guested on one of the guitarist's big-band recordings, Out of Hand (2014). Hand's ...
Continue ReadingChris Keefe: Opening
by Geannine Reid
Chris Keefe may be new to the jazz recording scene as a leader, but his debut album, aptly titled Opening (Zugzwangbebop Records, 2023), reflects his lifetime commitment to the intricate art of jazz. With an academic background from the New England Conservatory and Manhattan School of Music and performance credits alongside Joe LaBarbera and Antonio Sanchez, Keefe brings a wealth of experience and education to this seven-track offering. The album begins with Keefe's original composition, “Got a Chick?," ...
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