Having lived and worked in Singapore and Japan, guitarist/composer/entrepreneur Greg Chako takes this occasion to provide us with a series of duets with vocalist Andrea Hopkins and pianists Hiroshi Tanaka and Homei Matsumoto. When Chako arrived in Japan in 2004, he found a steady guitar/piano duo gig at the famed Imperial Hotelthe first time he worked without a bassist. Chako dubbed the ensemble "The Imperial Duo." On this recording he adds several vocals provided by the Atlanta-based Andrea Hopkins. Chako met the singer on one of these "bass-less" events and was impressed with her flexibility and stage presence.
Two's Company, Three's A Crowd offers a rewarding experience for afficionados of the piano/guitar duet setting, and listeners should prepare themselves for a lengthy stretch, inasmuch as these sixteen tunes take up some 75 minutes. Both of the pianists acquit themselves quite well, but the guitar is the primary instrument featured on most of these tracks.
The theme of Henry Mancini's opening tune, "The Days of Wine and Roses," is, however, stated by Matsumoto. When Chako steps forward for his solo, he employs the Wes Montgomery octave-style approach in a most facile fashion. I did not hear this technique on Chako's concurrent release, Where We Find Ourselves. Likewise, on the Kosma/Mercer standard "Autumn Leaves," Matsumoto takes the melody line and cleverly emulates the late 1950s Bill Evans trio's arrangement of the tune.
The album consists of a number of romantic and intimate ballads like Bruno Martino's "Estate" and Robinson/Burdge's "Portrait of Jenny," where the guitar weaves the lyrical melody with gently flowing single-line solos. The eight vocal pieces with Andrea Hopkins (named by Chako as the "Smooth As Silk" duo) are a diversion and occupy almost half of the album. It is refreshing to hear Hopkins' take on such tunes as Charles Trenet's "I Wish You Love" or her soulful version of David Gates' rock ballad "If"but, while the singer provides to be more than up to the task, these pieces seem to detract from the guitar/piano chemistry. Half of these vocals could have easily been eliminated.
Track Listing: The Days Of Wine And Roses; I Could Write A Book; Estate; Almost Like Being In Love; Portrait of Jenny; Mean To Me; Some Other Spring; I Wish You Love; Autumn Leaves; In My Solitude; You're My Everything; If; Who Can I Turn To?; So Many Stars; Time After Time; Take The "A" Train.
Personnel: Greg Chako: guitar; Homei Matsumoto (1,5,9,14,16) or Hiroshi Tanaka (3,7,11,13):piano; Andrea Hopkins (2,4,6,8,10,12,15): vocals.
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone. Feet in the dirt, or barefoot on a stage with sequins--it's soul beats in my chest.
I was first exposed to jazz while others listened to surf music in the '50s and '60s, it was Monk, Miles, Satchmo and Ella, Rosemary Clooney and Julie London followed. Margaret Whiting, Les McCann, Willie Bobo, Andy Simpkins, Snooky Young, Bill Basie and Helen Humes. The first time I heard Topsy, Take 2, I about passed out at the age of ten.
I've hung with Les McCann who more than 30 years after our first meeting became my duet partner on my CD, Don't Go To Strangers. Karen Hernandez from the start, Jack Le Compte on drums, Lou Shoch on bass, Steve Rawlins as my arranger and pianist, Grant Geissman - guitar genius, Nolan Shaheed, Richard Simon, and more. The big boys. My Red Hot Papas. The best show I ever attended was...
I met Helen Humes first back in 1981 and helped turn one Playboy Jazz Festival night into her tribute, bring the Basie Band to stage, her joy boys. Before she took the stage for the last time to sing, If I could Be With You One Hour Tonight thousands of copies of the newspaper I wrote for carried her story. It was kismet, her being held by Joe Williams backstage. Soon in my life were the great Linda Hopkins who told me I sang the song she wrote better than her, which floored me of course, the energizing Barbara Morrison and the stellar Marilyn Maye who guided me professionally.
My advice to new listeners... let your backbone slip and feel your body stripping back the barriers that prevent us from being one with the music.
Remember none of us are strangers, we just haven't met yet.