Andrea Rinciari: Soho Sessions

The tracks on this album are selected from the repertoire of songs performed during the weekly sessions held by guitarist Andrea Rinciari and his associates in Soho, London. As he explains, "This album is a reflection of the magic that happens when musicians play together regularly. The tracks capture the spirit of our weekly Soho sessions. It's a tribute to the jazz greats who have inspired me and the amazing musicians I'm lucky to play with."

Rinciari, a specialist in mid-20th-century jazz, hails from Italy but is now based in London. Early in his career, he was mentored by Barry Harris. The group's weekly sessions each had a specific point of focus: either the work of a particular musician or exploring the classic jazz repertoire. As a result, they had a cohesive, fully explored body of work for Soho Sessions, which they recorded over five intense hours.

Joining Rinciari are tenor saxophonist Alex Garnett, bassist Lorenzo Morabito, and drummer Mark Taylor (UK). Together they form a straight-ahead quartet with deep bebop roots. This is immediately evident on the album's up-tempo opener, "Bean and the Boys," a Coleman Hawkins tune, arranged by Harris. The track has a vintage feel, providing ample space for Rinciari and Garnett to deliver agile solos, while Taylor adds his voice with a solo of his own.

The swing of "John's Delight" delivers precisely what its title promises: Rinciari's mellow-toned melody weaving together with Garnett's fluent harmony. The groove and interplay hit a high point as the band fly through a vibrant and fun arrangement of "Tea For Two" before slowing right down for a reimagined version of Vernon Duke's "I Can't Get Started." One of the album's highlights, this showcases Garnett at his most eloquent, his distinctive phrasing and tone conjuring up a dimly lit, smoke-filled nightclub from a bygone era.

Elsewhere, Bud Powell's "John's Abbey" has tight saxophone and guitar combinations as Morabito and Taylor build the groove. Rinciari wears his bebop influences proudly throughout the album, particularly as the quartet navigates through lesser-known gems of the genre: Freddie Redd's "Time to Smile" and Elmo Hope and Sonny Rollins' "Carvin' the Rock" before closing with Rinciari playing solo on a tender, introspective interpretation of "Polka Dots and Moonbeams."

Neatly combining standards and some uncelebrated jewels of bebop, the band seem to bring out the best of each other as they combine to bring out the spirit of the music. The project completely succeeds in its aims as a tribute and does so in a charming, elegant and refined way.

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