November 5, 2018
By Dee Dee McNeil / Jazz Journalist

This music celebrates our diversities and the gratitude we share as one nation and one world.


This CD opens with the voice of Salvador, a young man labeled Dreamer, who grew up undocumented in America from childhood. He explains his situation as ‘undocumented’ and how he discovered his status just before his teen years. Salvador plays clarinet. He is passionate about his music and his love for America, the only country he’s ever known as home.

The Maestro on a mission is John Daversa, who explains in the liner notes that his own grandparents came to the shores of America from Europe and as proud immigrants. Daversa is a composer, arranger and trumpeter. He’s also an activist and big band leader. For this project, he has gathered a number of talented youth, all representative of their Dreamer status in our country. This music is excitingly arranged and the young people come from all over the United States to play out their passion for music, for freedom, for co-existence, and to exemplify pride in being a part of our country. Their voices sing in unison, “Living in America” spaced strategically in between the jazzy big band arrangements of John Daversa.

As proclaimed by the United States Leader of the House of Representatives:
“The history of music in America is inseparable from the story of immigrants in America. Our brave young Dreamers embody this proud legacy, adding their vision and patriotism to make America more American.” – Nancy Pelosi.

The female voice of Saba comes up on track three to tell us that she was brought to America at age eleven from Pakistan. She plays piano and sings. Saba tells us that she, as a working student, was given DACA (Dreamer) status. When she learned that DACA (Deferred Action for Childhood Arrivals) was ending, it was devastating to her. This is the only country she has known. She is an outstanding student, majoring in biology and is a candidate in mathematical biology at Texas Tech University. She speaks five languages. Saba studied classical piano, but learned to love jazz, the music of freedom. Track four Features an up-tempo arrangement of “Don’t Fence Me In” with a rousing trumpet solo and great horn harmonics.

Caliph is a Dreamer who came to our country at age seven-years-old from Senegal. He earned a university scholarship, but could not attend because of his immigration status. He’s a rapper/poet and activist. He prefaces the “Immigrant Song” with a rap and a short talk about his journey as a Dreamer in America.

“Music has always been tied to the fight for justice. During the Civil Rights Movement, Nina Simone and John Coltrane performed what became anthems for freedom. American Dreamers continue this tradition of using music to send an important message, … affirming their love of the country they call home.” – Senator Kamala D. Harris

This entire album is a well-produced musical tribute to Dreamers and their journey from oppression, in search of a better life by coming to the shores of America to assimilate and add their worthy talents and international energy to our country. Most of them bring love and hope. Unlike the rhetoric, statistics show that from 2012 until present, most of them are not criminals. They come from families that desire a better future for themselves and their children. These talented musicians come from Belize, Bolivia, Brazil, Canada, Chile, Colombia, Honduras, Mexico, Nigeria, Pakistan, Peru, Philippines, Senegal, Singapore, South Korea, Sweden and Venezuela. They all sought out the ‘home of the brave, land of the free’ that the United States represented to them. The political move to rescind DACA is part of an irresponsible strategy to criminalize immigrants. This album is full of honest expressions from the mouths and musical talents of a big band of Dreamers. Dreamers who are good citizens, hard workers and outstanding students. They serenade us with truth and purpose, endeavoring to explain their plight and share their challenges to convince us they are as patriotic and purposeful as any American child born and raised on our soil.

Perhaps Senator Lindsey Graham summed it up best when he said:
“Dream Act Children (Dreamers) have known no country other than America. American Dreamers features a heartfelt expression of patriotism by talented Dreamers performing the songs of our country.” – U.S. Senator Lindsey Graham

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Alberto Pibiri, piano/composer; Paul Gill, bass; Paul Wells, drums; Adrian Cunningham, tenor saxophone/clarinet; Dave Stryker, guitar; Sheila Jordan, Jay Clayton & Miriam Waki, vocals.

This musical production opens with a joyful, upbeat piano by Alberto Pibiri. The tune titled, “For Oscar” brings back memories of silent films with Charlie Chaplin waddling double time across the film screen in black and white. This is very ‘Roaring-twenties’ style jazz.

It moves into a more Gene Harris type of modern jazz mid-way through when Alberto Pibiri trades fours with drummer Paul Wells. He brilliantly shows his ability to swing and to dig deeply into the blues. In the liner notes, Pibiri’s original tune “For Oscar” was written as a tribute to the great pianist, Oscar Peterson. Alberto Pibiri has composed every song herein and each has a personality of its own. “My Sunshine” is a lovely ballad full of piano arpeggio’s and gives ample time to feature Paul Wells on bass. On Pibiri’s original composition, “Walkin’” they add a clarinet. The nice, mellow sound, played by Adrian Cunningham, blends well with Pibiri’s tinkling treble notes on the piano. “New Bossa” is a lilting Latin number. “Kiss Kiss” is a slow swing, with Pibiri’s blues roots prominent once again. He branches off into many directions, but all of it showcases his excellence as a piano technician and the fruit of his endeavors are brilliant composition skills that hang like golden apples from his musical tree. On “Be Free,” Jazz vocalist Sheila Jordon is featured. The composition is a beautiful ballad where Alberto Pibiri showcases his talents on grand piano and uses a vocalist to spotlight his lyrical capabilities. Notably, Jordan is an icon in the music business, but like Billy Eckstine in his later years, her vocal vibrato has now taken over her once clear, clean tones. On cut #8 she scats rather than singing lyrics and is more effective with vocalist Jay Clayton, who joins the party. Together, they epitomize a saxophone and trumpet duet, using their voices. Track 9 features Miriam Waki on vocals. This cut adds Dave Stryker on guitar and Adrian Cunningham is back, this time on saxophone. For my taste, these three vocal songs add little to Alberto Pibiri’s project and distract from an otherwise tight ensemble production.
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CHUCHO VALDÉS – “JAZZ BATA 2” Mack Ave Records

Chucho Valdés, piano/composer; Yelsy Heredia, double bass; Dreiser Durruthy Bombalé, batas /vocals; Yaroldy Abreu Robles, percussion. GUEST ARTIST: Regina Carter, violin.

The unusual thing about this production is the lack of trap drums. I would expect that a CD featuring this talented Cuban composer, pianist and bandleader would lend itself to the relentless beat of the trap drums. However, I find myself enthralled with the Valdés command of his grand piano, even in the face of a drum-less production, Chucho Valdés shines brilliantly. He expresses himself spectacularly with this album of all original music. For rhythm, he adds the percussion power of Yaroldy Abreu Robles to spur the energy and support the steady excitement of Yelsy Heredia on double bass. Every now and then Dreiser Durruthy Bombalé lends vocals to texture the layers of this musical fabric. Here is a quilt of many musical influences and colors. The music is warm and wraps around you.

Valdés blends his own Cuban culture with Yorubic religious music and American jazz in a most unique way. His fingers fly across the piano keys like a flock of startled sparrows. He is quick, melodic and always innovative. On track four, titled “Ochun” he adds a taste of gospel during the introduction and surprises the listener with the amazing talents of his guest artist, Regina Carter playing violin. This powerful female violinist always shares a soulful talent, enticing her violin instrument to bend and blend in very unique and beautiful ways. In the Yoruba religion, the female God Ochun (sometimes spelled Oshun) is thought to be a spirit goddess that rules over fresh water, rivers, sexual pleasure and fertility, as well as beauty and love. This particular goddess is also celebrated in Brazil, in Trinidad, Cuba and throughout the Ifá and Yoruba religions.

Taught and inspired by his famous father, Ramon “Bebo” Valdés, ((1918-2013), this CD release celebrates what would have been his father’s 100th birthday. Once again, Regina Carter is featured on the violin during this tribute composition.

Chucho Valdés is an amazing pianist and without trap drums, his genius is prominent. There are some stunning percussive solos, but for the most part, the awesome catalyst for this project is the expert and sensitive piano playing of Valdés. He covers so many styles of music, rooted in his amazing technique, with each original composition becoming a unique musical experience for the listener. Here is an excursion into the classical music of West Africa, explored and epitomized by a master of the piano. Chucho Valdés (born in Havana) along with his long-time friends and fellow musicians, Yaroldy Abreu Robles, Dreiser Durruthy Bombalé, and Yelsy Heredia, who are all from the Guantánamo region display solid Cuban roots, as well as being conservatory-trained. Together, this band of masters create a most memorable and enjoyable product of jazz and world music to inspire our cultural appreciation.
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Annie Chen, vocals/composer/lyricist; Rafal Sarnecki, elec. Guitar/arranger; Tomoko Omura, 5-string violin; David Smith, trumpet/flugelhorn; Alex LoRe, alto saxophone/flute; Glenn Zaleski, piano; Mathew Muntz, bass; Jerad Lippi, drums.

This CD includes a booklet that provides the lyrical content written by Annie Chen in English and in Chinese. Her prose is quite moving and very cultural with poetic reference and comparison to nature. A very Chinese vocal chant bounces against a bass solo to open this production. I have lived in Shanghai, China and I recognized the style of music immediately. Annie Chen, the vocal storyteller, emerges. Her second soprano voice is quite unremarkable, but extremely sincere. Her lyrical message does not rhyme and is not meant to. Her vocal instrument turns into a scat that merges with the clarinet, doubling a line in unison. The melodies are very repetitious. Although that lends space and chordal simplicity for instrumental solos, it does not endear this listener to her compositions. They are very much like some Hip-Hop beats that just keep repeating the same changes over and over again. Even the scat unison repeats the same melody again and again. Consequently, her compositions somehow seem uninspired. To scat, in jazz, is to create something new, fresh and creatively improvisational.

Guitarist, Rafal Sarnecki uses his arrangement talents to wrap the Eastern and Western cultures together like a colorful ball of yarn. The result is somewhat avant-garde.

The title tune, “Secret Treetop” features Alex LoRe on flute. Once again, even the background track is repetitious, as is her scat. The flute flies like a fluttering bird on his solo, as does Glenn Zaleski on piano, who finally brings some real jazz feeling to this production.

This is world music. Annie Chen sings in English and her native language. Some of her translated lyrical poetry grammatically loses its meaning in the translation. On track three, “Au Bao Xiang Hui,” the horn players add zest and color to an otherwise very repetitious work of art. That being said, this is a global creative effort with much Asian influence. Annie Chen has included a Taiwanese Folk Song, “Gan Lan Shu,” that I found very beautiful and was the highlight of this production. It’s a very well-written composition.
Culturally, I think this production will be appreciated on the world stage. It’s very well produced. However, most of Ms. Chen’s sing-song, repetitive, minor-mode compositions miss the mark for me.
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Andy Suzuki, keyboard/woodwinds; Jeff Miley, guitar; Steve Billman, bass; Ralph Humphrey, drums; Billy Hulting, percussion.

This is a blend of fusion, smooth jazz, progressive rock and easy listening. Here is an ensemble production featuring original compositions, with the majority written by Billman and Miley who are the bassist and guitarist of the group. From the beginning, the first three musical compositions sounded somewhat melodically redundant. That is not to say that they sounded similar, but that the melodic lines seemed to repeat over and over again in each song. That being said, the tracks are well produced. However, I kept waiting for something or someone to break-out with a stunning solo. The element of surprise, excitement and the instrumental ‘It-factor’ seems missing. Miley is left to interpret most of the melodies and he offers numerous improvisational solos on guitar. His talent is obvious. This production is a pleasant listen, inclusive of many technical skills and time changes. But neither the songs nor the individual musicians jump out at you as prime soloists or power players. I think some of it could be due to the mix and some may be due to the repertoire. Certainly, these are all competent and talented musicians.

“Presence Unknown” is the first track and the unusual rhythm catches my ear, along with the guitar funk line. In the liner notes the time is explained as 13/8 and that meter is enhanced by Andy Susuki, playing keyboards and woodwinds. Steve Billman is pumping his bass and planting strong roots for this song. Still, these tracks sound like tracks awaiting the soloist to lay down his or her part. On the second track, “Failure to Authenticate” the Odd Dogs group uses more challenging time meters, moving from 11/8 to 15/8 to 4/4/ time. The average listener may not know or understand these hidden time agendas, but are simply listening to the music for the music’s sake. I found this second cut full of spunk and spark, tapping into what sounds like rock music. I note that the liner notes reference the group’s affinity towards the progressive rock era and groups like Pink Floyd.

Cuts #4 and #5, (“Hairpin” and “Title 5”) are more straight ahead jazz and feature pretty exciting reed work by Andy Suzuki, while giving Ralph Humphrey (co-composer of “Title 5”) an opportunity to spotlight his drum tenacity. “Monkish” references the influence Thelonious Monk has had on these musicians and it’s tinged with blues and a melody that inspires horn improvisation. Billman also takes a well-deserved solo on his electric bass. These three songs were not so meter-diversified, but seemed to flow more naturally and showcase the talents of these musicians in a jazzy setting, complimenting the Odd Dogs ensemble. Other compositions like, ”A Simple Word” were very smooth-jazz oriented and melodically repetitious, while tunes like “Enigma” and “The Beast” were produced more ‘rock’ driven.

Charts for the songs on this album are available at their website. They invite all of you inquisitive musicians to check them out at:

Perhaps guitarist Jeff Miley summed it up best by explaining:

“Both the writing process and the act of performing these compositions are satisfying for me because they’re rhythmically advanced and harmonically rich. I get to do some rock-type playing while navigating jazz harmonies with people I hold in the highest regard.”
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Bill O’Connell, piano/Fender Rhodes/composer; Lincoln Goines, bass; Bobby Ameen, drums; SPECIAL GUESTS: Randy Brecker, flugelhorn; Craig Handy, alto saxophone; Conrad Herwig, trombone; Andrea Brachfeld, flute; Dan Carillo, guitar.

This album was released earlier this year, but it’s such a gem, I have to suggest you take a listen and consider it as a dynamite stocking-stuffer this Christmas. If you love ‘straight-ahead’ jazz, you will happily embrace this talented ensemble of musicians. Bill O’Connell merges his piano and arranging talents with Lincoln Goines on bass and Bobby Ameen on drums. Their trio is tightly cohesive and becomes a stellar platform where O’Connell’s special guests can appear. The first track features an original composition by O’Connell titled “Obama Samba” that is a tribute to our former U.S. president as Barack Obama danced his way out of the White House after his successful eight-year term. Lincoln Goines gives an admirable solo on electric bass and Bobby Ameen pushes the samba with rhythmic force. O’Connell is exciting on the piano and this song sets the tone for their entire album. Together, this trio swings hard and consistently. You can tell that they have been playing together for some time. In fact, they were rhythm-section camrades in the Dave Valentin Band.

O’Connell’s trio is the main focus of this album, but at all the right points they invite a handful of excellent guest musicians to add color and creativity to their production. Iconic folks like Randy Brecker on flugelhorn and Craig Handy on Alto saxophone pop in. Legendary Conrad Herwig adds his trombone talents and Andrea Brachfeld brings flute to the mix. Dan Carillo is tenacious on guitar.

Every song on this project swings spontaneously and with great tenacity. O’Connell has penned seven of the eleven songs offered here. They also showcase some awesome arrangements of standard songs like, “Just One of Those Things” that is played at a speedy pace with plenty of room for each trio member to improvise and spotlight their skills. O’Connell moves back and forth from grand piano to electric piano with ease and excellence. His band mates are supportive and each is amazing in his own right. This is ear candy!
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LISA HILTON – “OASIS” Ruby Slippers Productions

Lisa Kristine Hilton, piano/composer; Mark Whitfield Jr., drums; Lugues Curtis, bass.

Pianist Lisa Hilton has taken a handful of original compositions and with two-fisted authority, interprets them with gusto on her new trio CD, “Oasis”.

On track two, titled, “Adventure Lands” she shows off her left-handed dexterity, while her right hand improvises brightly. Mark Whitfield Jr., keeps the trap drums strong beneath her up-tempo prowess. Luques Curtis, on bass, locks into the production to bring solid support. Clearly, Ms. Hilton is classically trained and competent on her instrument. She offers us ten original compositions that fall into the realm of ‘easy listening’. On her “Lazy Daisy” tune, I began to sing the old R&B standard, “Heart and Soul, I fell in love with you …,” which the chord changes mimic and some of the melody seems to be based upon. This is a Hoagy Carmichael song quite familiar to me from the 1950s when it was covered by the Cleftones. However, most of her original songs and improvisations become rather redundant. Hilton’s compositions are not necessarily melodic in a way that makes the listener sing-along, unlike the way we cling to Ellington’s ‘Satin Doll’ melody or the more challenging ‘Lush Life’ melody of Billy Strayhorn. Instead, Hilton plays with a lot of arpeggio runs and celebrates technique instead of letting her melody lines take the spotlight. That being said, this is a pleasant, easy-listening experience that includes one Gershwin standard, “Fascinating Rhythm”.
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Sumi Tonooka, piano; David Arend, double bass; Johnathan Blake, drums/percussion; Michael Spearman, trombone; Salim Washington, tenor saxophone/flute/bass clarinet; Erica Lindsay, tenor saxophone; Samantha Boshnack, trumpet/flugelhorn.

Alchemy is the transformation of matter or changing base metals into gold. If you have a taste for blended jazz that stretches the oblong lines of music like a rubber band, this music encircles big band scores, symphonic arrangements, modern jazz and bebop all in the same package. On cut one (the title tune – “Adventures in Time and Space”) you will hear a taste of everything. The studio mix is brilliant. Every nuance of Johnathan Blake on drums and percussion is captured with eclectic clarity. Sumi Tonooka is stellar on piano. Salim Washington’s solo expresses mad, improvisational spirit. On track two, David Arend bows his double bass in such a refreshing and improvisational way that he steals the spotlight from the rich horn harmonies. Arend moves this moderate tempo’d arrangement from modern jazz to a more intimate feeling, like that of a chamber music concert.

Each song on this album spreads its own colorful wings to take flight. Creativity spins from this disc and invites us along for an enjoyable ride. Like the splash of colors on the CD jacket, this is uninhibited art. It’s progressive music that invites us to sit back, relax and let our imaginations wander. This group of excellent musicians successfully colors outside the lines of style, genre or classification.
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Paul Mehling, lead guitar/group founding member; Julian Smedley, Evan Price, Olivier Manchon, & Deborah Tien-Price, violins; Evan Dain, Clint Baker, Ari Munkres, Joe Kyle, & Sam Rocha, bass; Paul Robinson, Ed Boynton, Jeff Magidson, Joseph Mehling, Sammo Miltich, Josh Workman, Jason Vanderford, Jeff Magidson, Dave Ricketts, Jordan Samuels & Isabelle Fontaine, rhythm guitars; Paul Mehling, solo guitar/lead vocal; Tony Marcus, Sam Rocha, Sylvia Herold, Linn Powell, & Isabelle Fontaine, vocals; Aeros Quintet, woodwinds; Jeffrey Kahane, piano; Clint Baker, trombone. Jeff Sanford, soprano saxophone; Sam Rocha, tuba.

Reminiscent of gypsy music or Django Reinhardt, “Round Midnight” dances onto the scene to open this album. I am familiar with ‘The Hot Club de France’ that transformed French music by incorporating American jazz concepts into their group. As I listen to this interesting band of American musicians, “The Hot Club of San Francisco,” I admire their use of string instruments to emulate musical styles from New Orleans of the 1920s, gypsy jazz, and to tribute Django Reinhardt and Stephane Grappelli.

Notably, this musical style began in Paris with ‘The Hot Club de France’ many years ago. Their cultural blend of music developed in Paris, featuring performance musicians, several listening sessions of rare American jazz discs, small concerts, and in a Parisian club located at 78 rue Cardinet. They even established a record label in 1937 called the Swing Music Label. The Hot Club de France promoted jazz as rooted in ‘swing’ and blues, telling their loyal fans and performers that this strange, new, American music was created and perpetrated by African-American musicians. They blended it with the gypsy music style. It was December of 1934 when that Parisian club (The Ecole Normale de Musique de Paris) was originally popularized by this new music that hosted the Hot Club de France. This group greatly inspired lead guitarist and band leader, Paul Mehling.

This album, featuring The Hot Club of San Francisco, celebrates thirty years of performances by a group of popular Northern California musicians. They only use Argentine Strings and no trap-drummer. The lead guitar is Paul “Pazzo” Mehling, who has affectionately been dubbed the godfather of American gypsy jazz. Born in Denver, he grew up in California’s Silicon Valley. Early on, Mehling was enthralled over his dad’s record collection. He was inspired by Dan Licks & his Hot Licks, and like most teens, he loved the Beatles. He also was steeped in a prevailing interest in Dixieland jazz bands. This guitar specialist has spent time in Paris, playing violin in Metro stations and sitting-in with gypsy musicians whenever possible. He explained:

“When I heard Django’s Hot Club of France: three guitars, bass and violin, they sounded and acted like a rock band. I saw pictures of them and they looked sharp, sophisticated and mysterious.”

Speaking of Paris, Isabelle Fontaine does a swell job of singing the popular standard, “I Love Paris” with a very New Orleans/ragtime arrangement bubbling beneath her voice. Evan Price offers an amazing violin solo on this cut. Isabelle is originally from the French countryside and was inspired by voices like Edith Piaf, Charles Trenet and Yves Montand. She spent two decades playing the snare drum and singing jumping, jive music all over France, Spain and the Swiss Alps. Then, in 2004 she moved to the United States and the Bay Area. That’s when she began working with “The Hot Club of San Francisco.”

Master violinist, Evan Price is a native of my hometown, Detroit, Michigan. He studied music at Cleveland Institute of Music, at Berklee College of Music, and is on the faculty of Wellesley College. He’s a ten-year member of the Turtle Island Quartet, recording five CDs with them and receiving a GRAMMY award in 2006 and 2008 in the Classical Crossover Category. The two awarded albums were their interpretation of “A Love Supreme: The Legacy of John Coltrane’ and the other album was titled, “Four +4”. The remaining two, current and outstanding members of this group are Jordan Samuels (noted guitarist in the San Francisco area) and Sam Rocha, a bassist from Fresno, California. Sam is basically self-taught, but has studied privately with the likes of Walter Page, Scott Lafaro, Milt Hinton, Ray Brown and more. He’s known as a rising star on the gypsy swing circuit and also plays jazz tuba, cornet and guitar.

Founder, Paul Mehling launched this group in 1989. Together, his talented ensemble of musicians breathes fresh life into the historic Django legacy with their infectious gypsy jazz music. Here is a limited-edition CD to enjoy, sharing a compilation of songs taken from their fourteen CD releases.
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Flavio Lira, bass/composer and 38 other talented musicians

Electric energy leaps from my CD player on a song called “Stog”. It is the first tune on this Flavio Lira CD and it exhibits his talents as a composer. Lira’s bass line opens the piece, accompanied by percussive excellence. The vibraphone solo heightens the excitement. This is followed by the lovely and sensitive vocals of Nella Rojas. She features a Spanish version of “All the Things You Are”. On other Flavio Lira compositions, titled “Pra Frente” and “Still in Movement,” Nella Rojas sweetly scats. Her voice is intriguing.

The title of this CD is “Coffee Gold Sugar Cane” and celebrates the treasures of South and Central America. These were the treasures that lured European colonization to their shores. Music represents the fruit of a people’s culture and community. Flavio Lira’s album reflects the music of Latin America in all its spicy tradition, rich with Brazilian and West African rhythms and tinged with Columbian and Cuban influences. This is his love letter to the beauty and diversity of Latin America. Favorite tunes are “Stog,” “All the Things You Are,” “Sol No Frio” and “Favela (O Morro Nao Tem Vez)”.

Flavio Lira best explains this production by saying, “In this project, I have brought together thirty-eight artists from different countries. It is the sort of cultural exchange made possible in this modern era of communication; an era in the spirit of mutual artistry and creative respect. Rather than conquest, this is my tribute to these lands of endless musical treasures. May these treasures exist as long as the human spirit flourishes.”
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Gene Ess, guitar/synthesizer/composer; Thana Alexa, vocals; Sebastien Ammann, piano; Yasushi Nakamura, bass; Clarence Penn, drums.

Jazz is an open door for new and refreshing musicality. I am always in search of new doors to enter and new spaces to explore; spaces that stretch creativity to the maximum. Gene Ess uses his fourth album release, along with his quintet ‘Fracial Attraction,’ to celebrate the spirit of humanity; a spirit that rises to crush adversity. With this in mind and propelled by his composer abilities, this guitar wizard incorporates funk, electronics, modern jazz, acoustic jazz and old-school scat to present his music. The title of his album, “Apotheosis” defined as the highest point in the development of something, or the culmination or climax of something.” So, I would expect nothing less from this project, spear-headed by Mr. Ess. He does not disappoint me.

The lovely vocals of Thana Alexa add much to the production of the Gene Ess compositions. She is a free vocal spirit, fluttering among his chord changes like a rare bird from paradise. He allows her to be a relevant instrument in the ensemble, and not just a singer of lyrics. She has co-written one song with Gene Ess titled, “Same Sky” where she has an opportunity to sing these words. In part, they read:

“There is beauty in our differences. In learning from our brothers, only then will we truly know. I choose to live a life including you. If we accept our brothers, only then will we truly grow.”

Pianist Sebastien Ammann woos me with his incredible talent on the grand piano. He’s a dynamic player. Yasushi Nakamura holds the rhythm tightly in place with his bass dexterity. On the fourth cut, “Bluesbird,” Nakamura takes an opportunity to strut his talents across the bass strings during a formidable solo. Clarence Penn, on trap drums, is ever constant and manages to use his busy sticks to accent and color this musical experience. He aptly rises to the occasion by ‘trading eights’ during the performance of “Bluesbird,” a composition more straight-ahead than the tunes I’ve heard thus far. The following song, “Tokyo Red” swoops us back to funk and swagger, invigorated by Gene Ess’s guitar and Clarence Penn’s percussive excellence. The music of Gene Ess is passionate and demanding. He moves from straight ahead to modern jazz, embraces the blues and tenderly caresses folksy ballads like “Same Sky,” all in the blink of a creative eye. His music snatches you by the ear and drags you along willingly. With this project, you will experience nearly an hour-long concert that is bound to invigorate and expand your consciousness.
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