All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
Among the plethora of excellent saxophonists active in contemporary jazz today, Brasilian Leo Gandelman gets my vote for "Talent Deserving Wider Recognition." Performing primarily on tenor with occasional soprano, he offers a best-of-both-worlds combination of contemporary and traditional Brasilian rhythms and American contemporary jazz. For this program, he draws from a wealth of Brasilian composers including Milton Nascimento ("Clube da Esquina No. 2"), Djavan ("Faltando um Pedaco"), and Gilberto Gil ("Toda Menina Baiana'), plus some lesser-known but talented sources.
Most of it is upbeat and funky, yet tasteful. "Mr. Funk Samba," which is just that, sizzles and grooves with it's cooking horn section lines. Gandelman is elegant and expressive on Stevie Wonder's ballad "Overjoyed" and Djavan's "Faltando." The next-to-last cut finds Gandelman swinging gently with strings. The album closes with "Perola Negra (Black Pearl)," a jazzy piece performed solely by Gandelman multi-tracked into a saxophone choir, with the baritone sax carrying the bass line, the soprano carrying the lead, and several altos and tenors providing excellent support.
The entire program is consistently enjoyable. Check it out!
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.