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Keyboardist Jon Gold continues where he left off with Brazil Confidential (Blujazz Records, 2011) and his love for Brazilian and Latin jazz. He brings back several of the musicians from that date to help essay 12 new compositions which ease into terrain that goes beyond his root calling. He adds to the mood of the music by blending the musicians into the compositions, a shift of balance that adds fire and spit or ushers in the cool air that entice a softer pulse.
Melody and harmony have a strong presence on the orchestral "Ora Bolas," fanned by flute, violin and accordion. The larger context absorbs the gentle intonation of the saxophone, the rattle of percussion and a zesty rhythm, the ensemble in seamless lockstep as it opens the grooves of this lovely tune.
Gold is an impressionable pianist, a trait he shows with great depth on the introspective "Theme For Impermanence." His agile and deliberate improvisations are bridged by bright inflections, and he has just the right cohort in bassist Harvie S, whose sense of development and interaction adds to the charm.
"Caroline Dance" lives up to its name. The groove is irresistible with Jeff Hanley whooping it up on electric bass and providing a sturdy bottom in contrast to the pliant flex of percussionist Ze Mauricio. Gold traipses on the piano and energizes the ambit in tandem with saxophonist Bryan Murray, making this one playful and delightful.
Beauty resides in several of the tracks. Guitarist Scott Anderson plays with open sensitivity on the topnotch "Mineira," his notes clean and pure. Gold complements him, ruminating with a logical approach to the mainstay. Then comes the time to leave the caress of the melody and exult, as the beat jumps up and percussion shimmies in, with Briyana Martin's wordless vocals raising sensuality. Gold transforms the pattern letting instruments course through the blood stream of the music and make it pump.
Gold serves up another winner that augments the Bossa of Possibility with his sense of accomplishment.
Track Listing: Ora Bolas; Bossa of Possibility; Bugalu 2-3-6; Theme For Impermanence; Buster; Caroline Dance; AOC; P’bubu; Mineira; Mainstay; Samba Ballet; Stanley.
Personnel: Jon Gold: keyboards; Harvie S: bass; Dave Liebman: saxophone (5, 12); Howard levy: harmonica (2, 3, 7, 11); Tom “Bones’ Malone: horns; Jon Irabagon: saxophone (1, 2, 8, 9); Zach Brock: violin (1, 8, 10); Jorge Continentino: flutes (1, 3, 6, 8, 9); Scott Anderson: guitars; Mauricio Zottarelli: drums; Adriano Santos: percussion (1, 2, 3, 10); Ze Mauricio: percussion (6, 8, 9, 11); Bryan Murray: saxophone (1, 3, 6, 8, 9); Lauren Riley Rigby: cello (5); Jackie Coleman: horns 92); Jeff hanley: electric bass (3, 6); Rob Curto: accordion (1, 8); Briyana Martin: vocals (9).
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach. I fell in love with it. I wondered around until the owner (Pedro Soto) asked if I needed help. He then introduced me to John Coltrane, Miles Davis, Gerry Mulligan and the rest is history. I walked out of the store with my first jazz recording: Clifford Brown and Max Roach at Basin Street.