Marcel Bonfim: Farewell/Despedida

Although he has spent most of his life in his native Brazil, bassist Marcel Bonfim has resided in Chicago since 2015, when he began pursuing advanced jazz studies at DePaul University. Having been immersed in two distinctive musical environments has lent a wide perspective to his vision, and his debut release, Farewell/Despedida bears that out, with a variety of jazz styles on display, all given their due by Bonfim and his well-chosen colleagues.

The bouncy opener, "Casa Forte/Zanzibar," gets things going with a vivacious flourish, enlivened by the sprightly vocals of Ana Catharina Oliveira, who is also featured on the album's closing track, "Berimbau." Both cuts offer a strong Latin feel, the first built around a medley of two Brazilian songs penned by Edu Lobo, while the finale is another classic by Baden Powell and Vinicius de Moraes. Elsewhere other facets of Bonfim's muse emerge: "Sister (Irmã)" is a post-bop tune constructed around an odd-meter bass ostinato, "Going Home," a lilting waltz, and "When I First Met You," a R&B-inflected pop-jazz track.

In addition to Oliveira, Bonfim's other partners shine as well. Gerald Martinez is a saxophone triple-threat, featured here on tenor, alto and soprano. His frenetic bursts on tenor energize the close of "Casa Forte/Zanzibar," while his assertive lyricism on the alto horn limns the poignant "Sister (Irmã)" and his soft touch on soprano elevates the lovely ballad "Farewell/Despedida." Pianist Casey Dahl and drummer Jonathon Wenzel handle the assorted rhythmic proclivities of Bonfim's music with aplomb, bringing danceable grooves to each track. And Bonfim is no slouch on his instrument either, with lots of strong solo moments on the disc; his tenacious solo on "When I First Met You" adds a hint of frisson to a track that might otherwise become a bit too saccharine.

Chicago seems to have an endless supply of new talent enlivening its jazz scene, and Bonfim is a welcome addition to the crowd. Farewell/Despedida will delight fans of Latin jazz in particular, but its reach should extend beyond that category, as Bonfim shows no inclination of being pigeonholed.