By Dee Dee McNeil
June 25, 2024
ANTONIO ADOLFO –“LOVE COLE PORTER” – AAM Records
Antonio Adolfo, piano/arranger/vocals; Lula Galvao, guitars; Jorge Helder, double bass; Rafael Barata, drums/percussion; Dada Costa, percussion; Jesse Sadoc, trumpet/flugelhorn; Danilo Sinna, alto saxophone; Marcelo Martins, tenor & soprano saxophones/flute; Rafael Rocha, trombone.
Cole Porter’s music captured the ears and hearts of Brazilian people, especially in the city of Rio de Janeiro where Antonio Adolfo was born and raised. Since childhood, Antonio Adolfo says the music of Cole Porter has been the soundtrack of his life. He heard the composer’s popular music on the South American radio and played from his parent’s record collection. This album is a tribute to this beloved American composer.
“The music of this genius was immortalized through his unique melodies, lyrics, harmonies, and phrasing,” Adolfo explains in his press package.
He and his all-star group open with “Easy to Love” infused with the Latin rhythms of his Brazilian culture and spotlighting a jazz tenor saxophone solo by Marcelo Martins. They continue with the familiar “Ev’ry Time We Say Goodbye” with Lula Galvao taking an inspired solo on guitar. Antonio Adolfo lays down his piano part as a rich addition to the rhythm section, but also as a soloist who infuses the arrangement with a cha-cha groove. This danceable Latin trend continues on, “I Concentrate on You” that features the trombone of Rafael Rocha. Harmonic horn lines buoy the piece. Adolfo embraces several Brazilian styles of music during his unique arrangements.
“I started out by experimenting with different Cole Porter tunes on the piano, trying out different styles of Brazilian music. It took a while to bring them into my musical world and ideas,” he said.
Listening to his arrangements, you will hear Brazilian music styles like toada, ijexá, frevo, quadrilha, Partido alto, along with the more recognizable sambas and Bossa Novas. I enjoyed listening to the trumpet of Jesse Sadoc playing atop the double bass of Jorge Helder during their arrangement of “I Love You.” Danilo Sinna also plays a noteworthy alto saxophone solo that dances all around the melody in the sweetest way.
Antonio Adolfo’s gorgeous Latin American reharmonizations and arranging talents refresh these tunes we all know and love.
* * * * * * * * * * * * * *
SERGIO PAMIES – “TIME TO SAY” – Newtrad Records
Sergio Pamies, piano; Ricky Rodgriguez, bass; Jimmy Macbride, drums; Samuel Torres, percussion; Marshall Gilkes, trombone; Michael Thomas, alto & soprano saxophones; Alex Norris, trumpet /flugelhorn. GUEST ARTISTS: Dave Liebman, soprano saxophone; Paquito D’Rivera, clarinet.
Sergio Pamies was born in Granada, Spain in 1983 and has released four albums. He is praised for being able to merge jazz language with the Flamenco music of his culture. The title tune of this album reflects Straight-ahead, Latin jazz, and high energy. There is percussive resonance that lifts the arrangement, with a stellar soprano saxophone solo by Michael Thomas.When Sergio Pamies steps into the spotlight to open this tune, he offers a smooth piano introduction. Suddenly, his left hand sets the rhythm alive, like hot sauce on your food. The tune becomes quite spicy. As his solo progresses, so does the energy. Samuel Torres accentuates on percussion, while MacBride’s trap drums help whip the rhythm into place. This is one of six original compositions that Pamies has penned for this project. It grows and blossoms before our eyes, like a rare South American flower.
This album is Sergio’s tribute to the late, great Chick Corea. This particular composition captures the wide spectrum of styles that Chick’s music embraced. You will enjoy the Latin grooves mixed with advanced harmonies. The great Dave Liebman makes a guest appearance on this tune, playing soprano saxophone in a way that lifts the spirits.
Pamies is currently Assistant Professor at the College Conservatory of Music at the University of Cincinnati, Ohio. He has worked at numerous universities and colleges worldwide, carrying the message of jazz, arranging, composition, and improvisation close to his chest like a stack of books. He has taught and lectured from Spain to China, from Oklahoma to Tennessee, and from Texas to Ohio.
His composition, “Puerta de Oro” quickly becomes another favorite song of mine from his album, “Time to Say.” It’s a tune based in ‘the blues,’ that gives his flying fingers room to soar across the eighty-eight keys, where he can show off his technical skills and improvisational abilities. His fingers dance on top of an Afro-Cuban 6/8 groove. This group is powerful! The drums are given free-rein towards the end of the tune and gallop their energy across my listening room. Another tune called “Corazonada” races into my space. It showcases both the percussionist and Ricky Rodriguez on bass. Special guest, Paquito D’Rivera is featured on the closing tune, “Nana Para Sergito.” He brings his warm clarinet tones to the arrangement, first doubling the piano melody and after Pamies’ piano solo, venturing out with his own solo brilliance.
Tunes like “Sleep Delirium” are more ethereal, experimental, and lean heavily towards modern jazz. Clearly Sergio Pamies is telling us not to put him in a box. He can play it all. On “Ultimo Rezo” (a Spanish title that translates to “The Last Prayer”) he shows off his softer side. Here is a lovely ballad with bolero-sounding drums propelling the melody forward. Sergio Pamies has such a soulful way of interjecting the blues into his piano playing. His music touches my heart.
* * * * * * * * * * * *
DUN-DUN BAND – “PITA PARKA PT. 1: XAM EGDUB” – Ansible Editions / Canada Council for the Arts
Craig Dunsmuir, single-line electric guitar; Joy Anderson, Roland Handsonic; Josh Cole, electric bass; Jim Duggan, hahahacksaw; Blake Howard, conga/percussion; Kurt Newman, chordal & lead electric guitar; Mike Smith, Fender Rhodes 88/Hammond A105/keyboards; Ted Crosby, bass clarinet/tenor saxophone; Colin Fisher, tenor saxophone; Karen Ng, alto saxophone/clarinet; Brodie West, alto saxophone/clarinet.
A bass line plays a captivating melody beneath electronically creative tones. A percussive flurry sets the tempo. An instrument doubles the bass. The saxophone improvises on top of the rhythm section groove and the first song simply titled “No. 1” begins.
The Dun-Dun Band emerged in early 2016, featuring Craig Dusmuir referred to on Canada’s music scene as “Toronto’s unsung guitar god.” Stylistically, the Dun-Dun Band helped to expand Dunsmuir’s sonic range by blending American minimalism with electronics and elements of jazz, resulting in a package of experimental music. Dunsmuir’s writing and arranging for the band orbits around odd-meter grooves, with spur of the moment arrangements that stem from unexpected improvisations provided by his talented bandmates. This highlights individual creativity and the personalities of his collaborators.
There is a tendency for the players to get hung-up in ‘loops’ of musical phrases that repeat again and again. Some of this I find repetitious to the point of boredom, like ‘the fade’ on the end of their first tune “No. 1.”
The second piece on this recording titled “No. 20 (Once Raw: The Aging G)” begins with ‘loops’ once again, based in beat-work that establishes a meandering rhythm, with horns and guitars whistling the melody to each other. The churning cacophony of these instruments plays like an instrumental chant, growing in a crescendo of repetition and building harmonically on the repeated melody line. The mood changes, like conversations between friends. The guitar takes center stage to speak to the listener with melodic messages played atop a bassline that creates the foundation. Some would call this an arrangement of strobing polyrhythms, complete with sound effects that mimic squeaking doors and wild animals. It’s experimental jazz.
Pita Parka Pt. 1: Xam Egdub is Dun-Dun Band’s first vinyl release. This album of experimental music is comprised of three extended pieces that take us on a rambling journey of chords and musical phrases that chant, repeat, improvise and wander. The musicians depend on electronics, loops, and sound sonics to captivate and entertain the listener. These old-school ears wish to hear less repetition and more musical creativity.
* * * * * * * * * * *
SERGIO PEREIRA – “BOSSA +” – Tiger Turn, LLC
Sergio Pereira, voice/guitars/violão/percussion/composer/arranger/producer; Luis Guerra, piano/keyboards; Ariel Ramirez, electric bass; Mauricio Zottarelli, drums/percussion/arranger/co-producer; Chipi Chacon, trumpet/ flugelhorn. SPECIAL GUESTS on “One for Pat”: Romero Lumbambo, violão; Ivan ‘Melon’ Lewis, piano; Ivan Ruiz Machado, bass; Jose San Martin, drums.
Still smiling from his 2024 win of the World Entertainment Award in Hollywood for his previously released “Finesse” album, Pereira was overjoyed when his music was named Best Tropical Album.
This gifted, Brazilian guitarist, Sergio Pereira, rebounds with another album of music to sooth and inspire the soul called, “Bossa+”. It was recorded in Valencia, Spain last November of 2023, and captures elements of jazz, Bossa Nova, samba and pop in a pleasing package of Latin music that reflects Pereira’s life experiences and culture.
On Track #2, Sergio’s pleasant vocals enter to sing his original song called “Sea of Love.” Pereira has composed every song on this album, with one ‘cover’ tune, the familiar “There Will Never Be Another You.” Chip Chacon’s trumpet takes an inspired solo on “Sea of Love,” one of six original tunes on this album.
On a rhythmic tune called “One for Pat” Pereira employs his scat vocals over the rhythm section created by his special guests, Lumbambo, Lewis, Machado and Martin. Sergio Pereira writes very romantic and melodic music. This is easy listening Latin jazz at its best! Ivan Rutz Machado takes a noteworthy bass solo and Sergio’s guitar solo follows with gusto and sincerity. In fact, all of the music this talented man presents is full of honest emotion. He lays his heart on our chest so we can feel the beat. Then, he tells stories that are full of life and love.
The happy-go-lucky tune called “Montgo” will make your feet move. Either you will tap toes or get up and dance. The tune “Desamor” (with lyrics by Murilo Antunes) adds a funk drum to the mix, along with Pereira’s funky rhythm guitar licks. He sings to us in Portuguese, one of the sexiest languages on earth.
The wonderful difference between this recording and the “Finesse” recording is that all players were together in the studio, making this music ‘live.’ This recording captures the spontaneity and vibrant energy his group of musicians create to interpret Sergio Pereira’s wonderful, original compositions. The title of “Bossa+” signifies that this album of music is a step further than traditional Bossa. It gently pushes down the walls of category, to combine jazz into the cultural Brazilian brilliance, along with samba, as well as various Brazilian rhythms. Once combined, this album strives to create a sound that is refreshing and new.
Pereira’s music is a sparkling bridge between the rich legacy of Brazilian Bossa music that emerged in the 1950s as a combination of jazz and samba and todays more contemporary jazz music.
* * * * * * * * * * * * * * *
OBED CALVAIRE – “150 MILLION GOLD FRANCS” – Ropeadope Records
Obed Calvaire, drums; Jonathan MicheL & Addi LaFosse, electric bass; Sullivan Fortner, piano/organ; Dener Ceide, guitar; Harold St. Louis, keyboards; Godwin Louis, alto saxophone.
This album is meant to celebrate the profound richness of land, earth, family, and the culture of Haiti. It is produced and propelled by one of the finest jazz drummers of his generation, Obed Calvaire. This album is an homage to the resilience of Haitian culture.
“People definitely know Haiti has been struggling, but how many people actually know the history behind how that struggle started?” Obed asks us in his press package.
Dating back to between 1825 and 1914, the French King Charles X agreed to formerly recognize Haiti as an independent nation. However, there were strings attached. He wanted Haiti to pay 150 million francs in reparations to France. That would be approximately $21 billion in today’s currency. This Reparation Act included claims over property, including Haitian slaves considered property, that Frenchmen lost during the Haitian revolution for independence from France. It is this horrible and unfair debt hanging over the Haitian government that has severely hampered Haiti’s economic development, year after year after year. Haiti wound up taking large loans from French banks to continuously pay this dept at very high interest rates. It has still not been paid off.
Obed Calvaire, drummer, composer, activist, is of Haitian parentage raised in Miami, Florida. When he began to look into why his beautiful island country was suffering so severely, he uncovered the deplorable facts that were passed down through the colonization by the French government.
The first song on this album is Calvaire’s mother singing an old church tune he heard as a child. It sets the tone for this album and the ensemble follows his mother’s sweet hymn melody, expanding the arrangement. This is followed by a beautiful rendition of “Just Friends.”
The percussion talents of Obed Calvaire introduce us to the tune called, “Haiti’s Journey” with just Calvaire establishing the groove and Godwin Louis dancing atop the drums on alto saxophone.
Obed explained his drum mastery to us in the liner notes. “Most of these rhythms are usually played by multiple percussionists, but I wanted to orchestrate them on drum set without the use of overdubs.”
His song, “Sa Nou Fe Nap Peye,” played beautifully and dramatically by Sullivan Fortner on piano, introduces us to the pain of Haiti’s suppression. Fortner plays solo piano in a soulful and emotional way to begin this song. He completely captures my attention. The bass of Addi LaFosse grounds the music in a quiet way, with Calvaire’s drums always tastily supporting the production. This is an album full of revolutionary messages, in song titles and song deliveries. The song title, “Gaya Ko W” (track 6) and the following and final track titled “Nan Pwen Miray Lanmou Pap Kraze,” translate to “Let’s get our shit together.” Obed Calvaire believes that love can conquer all, even in the face of painful circumstances.
* * * * * * * * * * * * * *
YUKO ITO – “SEDUZIR” – Funny Baby Face Records New York
Yuko Ito, vocals; Helio Alves, piano; Edward Perez, bass; Alexandre Kautz, drums/percussion; Willie Ruiz, percussions/vocals; Romero Lubambo, guitar; Steve Wilson, alto saxophone; Vanessa Falabella, vocals.
Yuko Ito is a Tokyo-born vocalist who has a deep appreciation for Brazilian music and jazz. She is fluent in Portuguese and performs several songs in that language. Ito began singing as a young teen and never looked back. She sang in various groups she formed while in high school and participated in the omnibus albums “Marcy’s Factory” and on the “Kick Off Boys” record. Seeking to broaden her horizons, Yuko moved to New York City in 1994. She earned her B.F.A in Jazz Vocal Performance under the mentorship of the great Sheila Jordan.
I am impressed with her arrangement of “O-0-h Child” that was a huge Pop/R&B hit record back in 1970. She has totally re-arranged this song to fit her style and made it quite jazzy.
I enjoy her Afro-Cuban arrangement of “Besame Mucho” with background voices that chant at the song’s ending.
On the title tune, “Seduzir” she performs with piano only, singing in Portuguese and featuring her sensitive pianist, Helio Alves. Yuko Ito is not afraid to show her vulnerability. Her arrangement is quite different from the official composer’s arrangement (the famous Djavan), but it showcases her style and voice. When she arrives at the fade of her songs, I notice that she likes to groove in a rhythmic and repetitive way. That makes for catchy endings. On songs like “O Ronco Da Cuica” she adds the vocals of Vanessa Falabella, who also is quite captivating on the opening tune titled, “Caxangá.” Yuko loses me on the song called “O Bébado E A Equilibrista” where she sounds off-key at the top of the song and doesn’t seem to be comfortable settling into the rhythm of this song. I have heard and loved Elis Regina’s rendition of this composition and I recognize that it’s a difficult melody to master.
Ito is surrounded by stellar musicians who bring the tracks alive with Brazilian Spirit and jazz excellence. This vocalist does not shy away from great music. She sings the famed Bill Evans song “Waltz for Debby” with lyrics by Gene Lees, singing this time in English. Edward Perez plays a lovely bass solo. The band swings, but Yuko sings it straight. It’s such a great lyric about a little girl growing up and leaving childish things behind, like her big purple bear. Helio Alves swings heartily on piano after the Perez solo, and the band is wonderful. I prefer Yuko Ito singing Brazilian songs. She scats on “Voce E Eu” and closes with the familiar standard, “You and the Night and the Music.”
* * * * * * * * * * * *
ITAI KRISS & TELAVANA – “ALL ABOARD – VOL. 1: DEPARTURES: – Avenue K Records
Itai Kriss, flute/vocals; Wayne Tucker, trumpet/flugelhorn; Ahmed Alom-Vega, piano; Tamir Shmerling, acoustic bass/electric bass/vocals; Dan Aran, drums/percussion/vocals; Samuel Torres, congas/percussion. SPECIAL GUEST: Amos Hoffman, oud/elec. Guitar.
This group (Telavana) has a totally unique presentation that blends jazz, Middle Eastern culture, North African music and spicy Latin roots by lacing them into the compositions of flautist, Itai Kriss. They open with “Agadir” that is the name of a major city in Morocco, South of Casablanca. Amos Hoffman is featured on Oud during this arrangement, bringing authenticity from that part of the musical world. This song reminds me of a bustling city, with Itai Kriss’s flute flying over the fray like a happy bird. Trumpeter, Wayne Tucker brings jazz to the table, blowing like a Moroccan wind at sunset. This original tune is full of energy and excitement, with rich percussive drive and voices that chant periodically in the background. “Night Vision” is a little calmer in tone at the beginning, but soon develops into a bright Latin arrangement with a spotlight on pianist Ahmed Alom-Vega. Mid-song, Drummer Dan Aran and percussionist Samuel Torres take the reins and ride this song across open space with boisterous rhythms and excitement. The Kriss compositions embrace Middle Eastern culture on the “Beach Song” with vocals sung in a native language I do not recognize, possibly Arabic. This tune is so melodic that it makes me want to hum along with it. Another favorite of mine is their final song titled, “Seventh Life” that falls into a more Smooth jazz category.
Their song “Dakar” made me want to jump from my seat and dance, with the flute and Tucker’s trumpet speaking playfully to each other over bright rhythms. Although these musicians stick to their roots, blending continents and cultures, the way they improvise gives their music a certain freedom only found in jazz. This project is a wonderful adventure into how jazz can wrap loving arms around other cultures, other languages, and other musical perspectives exposing a fresh and world-music sonic everyone can enjoy.
* * * * * * * * * * * * *
TOMASZ STANKO QUARTET – “SEPTEMBER NIGHT” – ECM Records
Tomasz Stanko, trumpet; Marcin Wasilewski, piano; Slawomir Kurkiewicz, bass; Michal Miskiewicz, drummer.
On a cool September evening in 2004, the Tomasz Stanko Quartet walked onto the Munich, Germany stage. That show was a culmination of an extensive tour of both the US and Europe for popular trumpeter, Stanko. Surrounded by youthful Polish musicians, (who Stanko had mentored), Tomasz brought distinctive and sometimes rough-sounding tones on trumpet, along with drama to the concert spotlight. This work with his mentees would lift Stanko’s popularity to a new level of recognition. Tomasz Stanko was a true master and leader on the European jazz scene.
The quartet’s opening tune is “Hermento’s Mood” where Slawomir Kurkiewiez’s double bass opens as the focal point, setting the mood and tempo for Stanko. His trumpet bounces off the concert venue walls, a trapped bird trying to free itself. Marcin Wasilewski’s piano settles the piece down in a beautiful way, supporting Stanko’s quest for freedom, but always leading the melodic structure with his carefully placed chords. The tone of Tomasz Stanko’s trumpet is lovely and demands my attention. Sometimes the double bass plays with counterpoint, rallying against the trumpet’s free melodies in a wonderful way. He is always supportive, but free.
On “Song for Sarah” you will hear Stanko’s tender side. His pianist opens the piece, with thoughtfully placed chords that invite the solo trumpet to enter. What a sad, but beautiful song they sing together in an emotional duet.
“My greatest teacher was, of course, Tomasz Stanko,” says pianist Marcin Wasilewski.
“We were growing by his side, and he was watching us. Every concert we played with him was important … the most important, almost as if it was the last one. That’s the approach he taught us. When you play music, play it at a thousand percent,” Marcin spoke about his mentor, who passed away in 2018.
Although Stanko led several powerhouse bands concurrently, the Polish quartet ultimately was his longest lasting line-up. They were perhaps his favorite. Their relationship began in 1993 and their final concert was in Warsaw, in 2017.
Track #3 is titled “Euforila” and opens with Slawomir Kurkiewicz providing a stunning double bass solo that captures the imagination. When Michal Miskiewicz joins in on drums, it’s like a signal for their leader to step forward. He brings trumpet brilliance and energy at lightning speed, encouraging the drums to quickly propel the excitement forward. The Miskiewicz impressive, percussive solo shines during this arrangement. Here is tenacious, Straight-ahead jazz that strokes the creativity out of these talented musicians. Every song interpreted here is a sparkling gem encased in a necklace of originality and beauty.
Tomasz Stanko Quartet – JazzBaltica, Salzau, Germany, 2005-07-03 (youtube.com)
The Stanko Quartet’s Muffat Halle concert of September 2004 was presented in the context of a symposium for improvised music, under the banner headline ‘Unforeseen” and co-curated by Munich’s Kulturreferat and the musicology department of the Ludwig Maximillian University. It was a previously unreleased package of beauty, sitting on a shelf somewhere. What a blessing to finally present it for public consumption.
* * * * * * * * * * *
JUAN MEGNA GROUP – “MARIWO” – Independent Label
Juan Megna, drums/percussion/composer/arranger; Shawn Purcell, guitar; Jose Luiz Martins, piano/electric guitar; Leonardo Lucini, electric bass. GUEST ARTISTS: Emmanuel Trifilio, bandoneon; David Sacks, trombone; Allisson Crockett, vocals.
Juan Megna is a drummer and percussionist based in Washington, DC. In 2017, Megna relocated to the District of Columbia and formed the Juan Megna Group. Their repertoire is based on his original songs, propelled by Afro-Brazilian grooves, Argentinian milongas (a ballroom dance that came before the tango), chacareras rhythms and jazz. Juan’s music is rooted in the Candomblé religion. That is an Afro-Brazilian religion adapted from the African Diaspora, plush with various ceremonies. The title of the album and the first tune (Mariwo) translates to a palm-three leave, referring to Ogum (a saint of the Yoruban tradition) who used to dress in the rain forest. The music is a reflection of Ogun’s immense power, for he is labeled the god of war and metals. On this first tune, special guest, David Sacks makes an appearance on trombone.
Each song unfolds like a colorful fan, waving beauty and culture across space to touch our hearts. Tedd Baker is the featured saxophonist on Megna’s composition called “Paô.” Towards the end of the arrangement, Juan Megna is featured on drums, showing his technique and showering excitement into the tune.
Megna was born in Argentina, but lived for some time in Sao Paulo, Brazil. Consequently, Juan’s music blossoms and is influenced by three different countries. Megna works with George Mason University and leads a Latin-American ensemble that has won multiple awards. As an experienced clinician, Juan Megna often shares his knowledge during clinics offering insight into “The Brazilian 16th-note phrasing through Cabula rhythm, Samba, and Bossa Nova.”
You will hear his chant-like, South American, musical inflections wrapped into his arrangements. On their song “Coisa No 2” the powerful voice of Alisson Crockett is an exciting addition to the Juan Megna Group as a special guest. This is the one song that he covers and did not compose himself. It is written by the iconic Brazilian composer, Moacir Santos. All in all, here is an album fused by culture, rhythms and joy. Jazz is the adhesive that crosses borders and embraces Juan Megna’s compositions, arrangements, and tenacious drumming. Together, Megna’s Group creates an album of international interest and music for the world to enjoy.
* * * * * * * * * * *
FERNANDO BROX QUINTET – “FROM WITHIN” – Fresh Sound Records
Fernando Brox, flute/composer; Iago Fernandez, drums; Iannis Obiols, piano; Nadav Erlich, double bass; Wilfred Wilde, guitar.
Fernando Brox Quintet @Factory Luzern (youtube.com)
Born in Malaga, Spain, Fernando Brox is a classically trained flautist. This morning, I received a package from Switzerland with his new album tucked inside. This album is an intimate look at his innermost feelings, his hopes and dreams, gleaned from his heart and transferred into these original compositions. He opens with “Kuku” with Nadav Erlich’s double bass setting the tempo and groove. Iannis Obiols joins on piano, Wilfred Wilde on guitar, along with Iago Fernandez, who uses brushes to brightly slap his drums into action. Once the melody is established Fernando Brox enters on flute. I am immediately enamored by his tone and technique on the flute. You can tell he has studied classically, and Brox uses that gift to express himself in a jazzy and fluid way. Wilde’s guitar solo follows and builds the momentum. This first tune arrangement dances on the edge of Smooth Jazz.
Track #2 enters seamlessly. The Fernandez drums are now powered by sticks instead of brushes and the piano solo of Obiols is pensive and engaging. Erlich’s bass walks briskly beneath the group, almost like a double-time bass groove. I find this tune called “The Bagpiper” to be quite creative. Surprisingly, the band takes a break two-and-a-half minutes in, that changes the entire complexion of the tempo and the melody. They go from sudden silence, to a whole different up-tempo groove and melody. It was almost as if the first two minutes belonged to the first song (Kuku)and the second song didn’t begin until midway into “The Bagpiper.” At the fade, they shine the spotlight onto Iago Fernandez and his trap drums become the star.
¡No Hombre! Fernando Brox Quartet – Live at UnderPool – YouTube
“I believe that one of the unique qualities of music is precisely its ability to tell and transmit stories on an emotional level. … I hope that this music brings you joy and allows for dreams and journeys not yet experienced,” Fernando Brox writes in his liner notes.
The Brox project offers songs where tempos and moods collapse into each other, like the folding of a paper fan. Many of the songs sound more like suites than individual compositions because of unusual ‘breaks’ in the grooves and unexpected changes in rhythm. On the song called “Fellowship” Iannis Obiols is brightly featured on a very jazzy piano solo. One of my favorite tunes on this production is the seventh track called, “Si No Fueras Solo Un Sueño” that begins with a thirty-second introduction and then breaks into an up-tempo combination Latin and Straight-ahead jazz piece, featuring Fernando’s fluid flute racing through space like a run-away kite. Obiols’ piano takes over and solos grandly. Then, enters Wilde’s tasty guitar taking center stage. When the double bass of Erlich makes its entrance, we have now featured all the players except Fernandez who consistently makes himself known on drums. Nearly six minutes into the song, there is a ‘break’ silence, and then the entire piece changes to another mood and melody. This is a project full of unexpected changes and unpredictable arrangements that sound as if the mastering engineer didn’t know where one song ends and another begins. This seventh tune moves smoothly into Track 8 (the final track) as if it were part of a puzzle, a piece hidden under the couch that suddenly appears to complete the picture. “Rumba Pa’ Ti” finalizes this album in an ethereal way. Fernando Brox is king on flute throughout his unique production, surrounded by the excellence of his bandmates and showcasing his composer talents.
* * * * * * * * * * * * *
Tags: ANTONIO ADOLFO, CD Reviews, DUN-DUN BAND, FERNANDO BROX, ITAI KRISS, Jazz, jazz cd reviews, JUAN MEGNA, OBED CALVAIRE, SERGIO PAMIES, SERGIO PEREIRA, TOMASZ STANKO, YUKO ITO
Musicalmemoirs's Blog 
Leave a comment