Bassist Alexis Cuadrado (he’s a guy) leads a quintet on this fine all-original session. Kicking off with "Nit," based on "Night In Tunisia" changes, pianist Pete Rende and guitarist Steve Cardenas trade buoyant 8-bar statements over a dancing 6/8 groove, ultimately yielding the floor to an eloquent solo by Cuadrado himself. Cardenas and alto saxophonist Kris Bauman return with a tight shout chorus before the main theme returns. The band segues effortlessly into the mellow, swinging "New and Old," then brings the rhythm to a boil on "One Way Ticket," for which Rende switches to Fender Rhodes. Cardenas waxes Metheny-esque on the ballad "Like Henry" (and Ferber contributes nice percussive flavors); then Cuadrado cops a bit of the "Better Get Hit In Your Soul" feel on "’Round Mingus," a rocking 11/8 vehicle. (The folky cadences also bring Abdullah Ibrahim to mind.) Pete Rende’s haunting pedal steel work resounds throughout "An October’s Cold Night" — apparently it’s overdubbed, since Rende is also heard again on Rhodes. Bauman’s clarinet is another conspicuous departure on this somewhat ghostly track. Rounding out the program are "Ben’s Waltz," dedicated to pianist Ben Waltzer, and "Nana-Blues Grotesque," an off-kilter country tune. Throughout, Cuadrado exhibits maturity and emotional depth as a composer, bandleader and soloist. His music fits the Fresh Sound aesthetic perfectly (some of it sounds a bit like Chris Cheek’s writing); after some six sideman appearances for the Barcelona-based label, his debut is a welcome addition to the catalog.
Track Listing: 1. Nit 2. New and Old 3. One Way Ticket 4. Like Henry 5.
Personnel: Alexis Cuadrado, bass; Kris Bauman, saxophone and clarinet; Steve Cardenas, guitar; Pete Rende, piano, Rhodes, pedal steel; Mark Ferber, drums
I've always loved jazz ...my mother was a classical pianist and my aunt was a blues singer, who was managed by Clarence Williams (Bessie Smith's producer). As a young boy, they introduced me to people like Louis Armstrong, Sarah Vaughan, and Jimmy Smith
I've always loved jazz ...my mother was a classical pianist and my aunt was a blues singer, who was managed by Clarence Williams (Bessie Smith's producer). As a young boy, they introduced me to people like Louis Armstrong, Sarah Vaughan, and Jimmy Smith. We hung out at my Aunt Kate's Soul Food restaurant in Harlem after the matinees at the Apollo where I listened to their stories. I knew I wanted to be a jazz musician from then on. My mother wanted me to play piano, but my Aunt bought me a guitar. I've been playing ever since.
At my mother's early prompting, I first sang Blue Velvet at my Catholic elementary school...and all the nuns came running in and asked me to sing again, so I knew I must have sounded pretty good. I've been singing ever since.
I met Tony Bennett in Miami and he inspired me to return to New York. He was a great mentor.
The best show I ever attended is mpossible to say, I've seen so many great shows. From Tony Bennett to Pat Martino, Return to Forever to Weather Report...I've seen some great performances.
My advice to new listeners is don't let jazz intimidate you, the music has something for every listener and it is our American gift to the world.