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Marco Figueira: Brazilliance
by Eric J. Iannelli
Marco Figueira’s debut album, Brazilliance , features a guest list that includes saxophonist and flautist Oscar Feldman and renowned composer Eumir Deodato, who is responsible for the string arrangements. A decent collection of originals and popular standards, Brazilliance makes good use of its talented ensemble but it doesn’t quite live up to its bombastic title. There ...
Glauco Sagebin: When Baden Meets Trane
by Eric J. Iannelli
Pianist Glauco Sagebin set out long ago to defy stereotypes—specifically, that Brazilian musicians can only hail from Rio and that they must confine themselves to samba or bossa nova. He cites Mahler and Coltrane as influences, in addition to the music of his native Brazil. Unsurprisingly, at least one of them is evident on the title ...
Bennink/Clark/Glerum: Home Safely
by Eric J. Iannelli
Home Safely is the first release by Favorite Records, a record label formed this year, though the album itself was cut over a decade ago at Amsterdam’s Bimhuis. The trio features Chicago-born pianist Curtis Clark, bandleader for this session and the composer of all twelve tracks found here, as well as two prolific Dutchmen: drummer Han ...
Toucan Play That Jazz Game
by Eric J. Iannelli
Regardless of your specific musical preferences, the birth of a new record label is always a heartening event. It means some brave entrepreneur has decided to go up against the pentalith of Sony, Universal, EMI, BMG and Warner, creating the opportunity for new artists--or even an entire genre--to take root and flourish. The majors have made ...
Benny Golson: Terminal 1
by Eric J. Iannelli
Benny Golson Terminal 1 Concord 2004 Benny Golson is indisputably a fine tenor saxophonist, but at the end of his already long career he will probably be best remembered for the quality and breadth of his songwriting. His compositions have run the gamut, from scores for television and ...
Greg Osby: Public
by Eric J. Iannelli
Greg Osby Public Blue Note 2004 Alto saxophonist Greg Osby has been releasing about one album per year since signing to Blue Note in 1990, some of which have been contrived and shaky forays into rap, spirituality and other commercial gimmickry. (If you want a mix of rap ...
Tonino Montella: All by Myself
by Eric J. Iannelli
Tonino Montella’s All by Myself begins peculiarly (with a recorded broadcast about Medicare) and grows more peculiar as it progresses. The opening acoustic number, “If Someone Would Only Love Me,” changes abruptly and unexpectedly into a loping Bill Evans-like conversation with multiple solo overdubs that include banjo, flange/wah-wah electric guitar, and a violently picked acoustic. Instead ...
Pizzarelli/Moore/Frigo/Alden: Hot Club of 52nd Street
by Eric J. Iannelli
There is no lack of talent or passion on Hot Club of 52nd Street ; for these two reasons alone it would be a noteworthy album. But this is a rare kind of swinging, foot-stomping, finger-tapping live session, as expressive and fiery as it is expertly controlled. Conceived and carried out in the spirit of guitar ...
Stefon Harris & Blackout: Evolution
by Eric J. Iannelli
It takes no time at all to get into Evolution , Stefon Harris’ fifth album for Blue Note, the young vibraphonist’s fourth as leader and his first with his new band. Immediately the music breaks into a sprint. And its appeal is equally as instantaneous. There is no acclimation period, no finger-drumming developmental warm-up, no amusing ...
MPH Trio: Curves
by Eric J. Iannelli
The liner notes to Curves maintain that this trio’s rendition of “Autumn Leaves” “uses a pontillistic octave displacement to present the melody, and the solo section diminishes the harmony to one beat per change.” When language like this comes straight from the musicians themselves, we’re in danger of abstract theory or cold mechanics crowding out all ...
