A VARIETY OF DISTINCTIVE VOCALS ON DISC

By Dee Dee McNeil

AUG 10, 2020

From the Grammy Award winning vocals of extraordinary Cuban artist AYMÉE NUVIOLA  with the amazing piano virtuosity of GONZALO RUBALCABA to the historically smooth voice of PAULETTE McWILLIAMS, who has worked with iconic artists like Michael Jackson, David Bowie, Quincy Jones and Aretha Franklin, my August tenth column explores a wide variety of vocal jazz, blues and cabaret artists.  JOHN MINNOCK with special guest DAVE LIEBMAN presents an album of original jazz compositions, along with a twist of cabaret music that celebrates the LGBTQ communities.  AL GOLD has produced an album of his original blues music and SISSY CASTROGIOVANNI sings songs in her Sicilian dialect. SUSIE MEISSNER uses some Philadelphia jazz greats to celebrate music from the Great American Song Book and SUSAN TOBOCMAN is a composer, lyricist and vocalist.   Read all about it.   

GONZALO RUBALCABA & AYMÉE NUVIOLA – “VIENTO Y TIEMPO” – A TRIBUTE TO THEIR MOTHERS & THE MUSICAL CITY OF HAVANA – Liueat Blue Note Tokyo – Top Stop Music

Aymée Nuviola, lead vocal; Gonzalo Rubalcaba, piano/synthesizers/percussion; Christobal “El Profe” Verdecia, bass; Reiner Guerra, drums; Neiger “Majito” Aguilera, percussion; Kazuhiko Kondo & Yainer Horta, Soprano & Alto saxophones; Lourdes Nuviola, background & lead vocals; Alfredo Lugo, background vocals.

Aymée Nuviola has a voice like lightening; bright, powerful and fiery.  It strikes across the silence with a bolt of excitement.  It’s as big as her vivid, orange Afro hairstyle that frames her beautiful face like a sunrise.  Pianist Gonzalo Rubalcaba and Aymée Nuviola are both award-winning artists, who have cradled a longtime dream of collaboration.  This project is the fulfilling of that dream. It sounds like a party!  As childhood friends, their paths have moved unilaterally, but on the same musical highway.  Each artist seemed to be racing, in parallel fast lanes, towards honor, success and distinction. 

As a bandleader, Gonzalo Rubalcaba has released nearly three dozen albums, many on the Blue Note label.  His music has won him four Grammy Awards.  In 2002, his album “Nocturne” won Best Latin Jazz Album and his album “Supernova” also won in the Latin Grammy Award category.  In 2005, he won for producer of “Land of the Sun” another Best Latin jazz Album Grammy and in 2006 he won the Latin Grammy Award for his album “Solo.”

In 1985, when Dizzy Gillespie first heard Gonzalo play the piano he exclaimed, “He’s the greatest pianist I’ve heard in the last ten years.” 

Charlie Haden thought Gonzalo was the master of musical structures; a man with a smart heart.  Many have praised Gonzalo Rubalcaba as one of the greatest Afro-Cuban jazz pianists on the planet. 

Born January 8, 1973, Aymée Nuviola is a well-respected Cuban singer, pianist, composer and actress.  She is celebrated for playing Celia Cruz in the Colombian telenovela “Celia.”  She recently won a Grammy for “Best Tropical Latin Album” with her project titled “With A Journey Through Cuban Music.”  This is not her first Grammy Award.  She has collaborated on multiple other Grammy winning albums.  Born and raised in a very musical family, she began to sing professionally at age nine.  Her music is said to be a fusion between jazz, Timba, Son, Guaguanco, Charanga and Guaracha, creatively held together using electronic wire-power.  She is admired for his philanthropy, helping to provide more than 3-tons of food for victims of Hurricane Maria that devastated Puerto Rico and she has supported the “League Against Cancer” for a dozen years in the city of Miami.  Aymée also belongs to the organization “Walk Now for Autism Speaks.”  She has released five albums under her own name, several single records and has recorded over twenty collaborative albums.

This album of excellence was recorded at a sold-out, six-night performance at the prestigious Blue Note Tokyo jazz club in 2019.  The songs are driven by percussive energy and Gonzalo Rubalcaba’s tenacious joy at the piano, along with Aymee’s vocal power.  The harmonic addition of background vocals by Alfredo Lugo and Lourdes Nuviola enhances their production.  On track 3, the familiar song, “El Manisero,” features both Gonzalo and Aymée opening the song to showcase each artist’s magnificent strength.  Accompanied by percussion, the piano is dominant and profoundly creative.  His two hands sound like four racing across the keys.  His technique is awesome.  After his piano solo, Aymée Nuviola adds her scat singing improvisation amidst the background vocal chants.  Yainer Horta’s saxophone dances atop the groove.  Here is a project full of the excitement that ‘live’ music inspires and the brilliance of two great artists, who spark the fire and passion that burns inside their band members.

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PAULETTE McWILLIAMS – “A WOMAN’S STORY” – Blu Jazz

Paulette McWilliams, voice; Hugo Suarez, piano; Trevor Ware, upright bass; Terreon Gully, drums; David Castaneda, percussion; Gregoire Maret, harmonica; Curtis Taylor, trumpet; Alex Budman, alto saxophone; Keith Fiddmont, tenor saxophone; Charean Carmon, Kenya C. Hathaway, Daneen Wilburn & Lynn Davis, background vocals.

Paulette McWilliams has put her magical twist on tunes we know and love, making them uniquely her own with the fresh arrangements of Kamau Kenyatta.  She opens this album with a jazzy rendition of Marvin Gaye’s composition, “Just to Keep You Satisfied” driven by percussive amplification and horn arrangements that embellish the track and sweeten McWilliam’s smooth vocals. Track two, “If You Give Them” is a beautiful song with a challenging melody.  Her voice caresses the notes, sliding over the intervals sweetly and clearly enunciating the lyrics.  McWilliams offers the words like pearls of wisdom.

“But even in the depths, find the things that make you live,” she sings.

It was a pleasant surprise to hear her ‘cover’ the Janis Ian song, “At Seventeen” with an emotional solo by Gregmoire Maret on harmonica.  I thought this arrangement took many liberties with both the melody and the chord changes, but the beauty of the song still shines honest and true.  McWilliams has a range that moves from contralto to soprano with surprising ease and confidence. 

Then comes her take on the Luther Vandross hit record, “So Amazing.” It’s beautifully interpreted and she puts her own spin on it. When the lady sings, “Do it In the Name of Love,” Paulette McWilliams steps strongly into a jazz stride.  Trumpeter, Curtis Taylor, slides flamboyantly into the spotlight and drummer Terreon Gully tenaciously pushes the ensemble to higher heights.

Ms. McWilliams has a magnificent voice and she clearly shows that she can sing anything by her eclectic selection of repertoire.  I would have enjoyed hearing her sing some contemporary and/or fusion-funk jazz and perhaps at least one straight-ahead, up-tempo song.   “Life is the Fountain” is a great song with a tempo that once again lilts along at a moderate pace.  I found, on the whole, although the production is lacking the excitement and vigor that this vocalist stimulates, she remains so powerful and strong in her own talent that you’re captivated by her emotional delivery.  Ms. Williams closes with the Joni Mitchell standard, “Both Sides Now,” as a duet with pianist, Hugo Suarez.  I wish it has been with Herbie Hancock or Billy Childs. 

Ms. McWilliams has worked with some of the icons in the music business, including Marvin Gaye, Luther Vandross, Michael Jackson, David Bowie, Aretha Franklin, Johnny Mathis, Celine Dion and Quincy Jones.  Her voice has tantalized us on familiar name-brand commercials like Folgers coffee, McDonalds, Diet Pepsi (with Britney Spears), for Cadillac and American Express, among others.  Paulette McWilliams was the original lead singer with “Ask Rufus” and introduced the group to Chaka Khan when she decided to explore more solo opportunities.  Paulette McWilliams’ voice, like her credentials, are both historic and a shining testament to “A Woman’s Story,” featuring undeniable talent and tenacity. 

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JOHN MINNOCK – “HERRING COVE” – Dot Time Records

John Minnock, vocals; Dave Liebman, saxophone/wood flute/executive producer; Enrique Haneine, piano/Fender Rhodes/musical director; Carlos Mena, bass; Pablo Eluchans, drums; Deborah Lippmann, vocals.

The Cher hit record, “If I Could Turn Back Time,” (penned by award winning songwriter Diane Warren) is reimagined by John Minnock.   As many times as I’ve heard this song, I never listened to the lyrics so intently.  It sounds nothing like the original Cher production, but it is still intriguing and well-arranged in a very jazzy way.  John Minnock’s voice is compelling.  Dave Liebman is magnificently present on his saxophone.  Minnock shows he is unafraid to leap into the world of scatting and to turn his voice into a more diversified instrument.  He’s also unafraid to use his vocal platform as an activist for the LGBTQ community.  He has penned six original compositions that illustrate, like a musical diary, various paths in the LGBTQ community.  This is particularly poignant on his song “Unconditional.”

In the liner notes he explained:

“My hope is to musically express myself with honesty and integrity; something I feel can be done best in a jazz setting.  I hope that this new project offers listeners a greater understanding of the LGBTQ community, and most importantly, that they like what they hear.”

On the bluesy song “It Goes Like It Goes” he shows off his sweet tenor range on the unexpected melodic intervals and the lyrics are once again thought-provoking and rich with double entendre.  This tune was plucked from the Academy Award winning song used in the movie, ‘Norma Rae.’  He sings:

“Ain’t no miracle being born.  People do it every day. Ain’t no miracle growing up.  People just grow that way.  So, it goes like it goes, like the river flows and time rolls right on.”

John Minnock explains why he chose this song in the liner notes. 

“…I’m a David Shire super-fan and have always loved this song. The beautiful lyrics are by one of the best in the business, Norman Gimbel, who penned ‘Bluesette’ and all the English lyrics to Antonio Carlos Jobim songs … and the iconic, ‘Killing Me Softly with His Song’ also,” Minnock proclaims.

Minnock’s vocals move from jazz to cabaret in the wink of an eye.  He is expressive, honest and emotional, whatever the genre.  His original compositions are well-written and he gives himself and his musical ensemble permission to wring the last drops of sincerity from his lyrics.   You hear this on his tune, “A Melody.”  It opens with a beautiful bass introduction by Carlos Mena, using his bow in a tender, sensitive way.  Minnock’s voice leaps and dances between baritone and tenor, as he attempts to perorate his feelings.  I had to play this song twice to soak up both the beauty of the melody and the lyrical meaning.  I felt like Minnock might be a big fan of Stevie Wonder’s composer skills, as I listened to this particular original song.  He talks about his time and effort in creating this composition.

“This was like playing chess-by-mail; make a move, review the board for a long time, move again,” John Minnock.

The musicians he uses on this project are all outstanding.  John invites his friend and vocalist, Deborah Lippmann, to duet with him on one song.  I was particularly impressed with the colorful way drummer, Pablo Eluchans adds creative fills and crescendo energy to enhance each song production.  Pianist, Enrique Haineine, plays brilliantly throughout and NEA Award winning reedman and executive producer of this CD, Dave Liebman, puts the polish on the project. 

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SUSAN  TOBOCMAN – “TOUCH & GO” – Soliterra Records

Susan Tobocman, vocals/composer/lyricist/arranger; Joel Frahm, tenor & soprano saxophone; Dave Eggar, cello; Pete McCann acoustic & electric guitar/producer; Henry hey, piano/Fender Rhodes; Matt Pavolka, acoustic & electric bass; Michael Sarin, drums.

Vocalist, Susan Tobocman, is also a composer and lyricist.  She has penned five songs of the twelve recorded on this, her fourth album. Two of the five are all instrumental.  Her production on “What’ll I Do?” is fresh and jazzy.  It opens the album in a pleasing way, re-dressing an old standard with a brightly-colored arrangement.  The Jimmy Webb pop tune, “Wichita Lineman” is a surprise, featuring a cello solo.  This song production sounds like a cross between a Country/Western arrangement and a classical concert.  The song, itself, seems strangely out of place; mainly because it’s not arranged with a jazz sensibility.  It has such a great melody and could have easily become a ‘slow walk’ jazz arrangement.  But track 3 redeems the vocalist, when she steps up to the mic and swings hard and strong on “The Man I Love”.  She sings with gusto and at a very bright, fast-moving tempo, with only a walking bass accompaniment.   The band joins in at the end of the 2nd verse.  Ms. Tobocman used her energy to set it up for Joel Frahm on tenor saxophone to fly straight-ahead and furiously over her tight rhythm section.  Henry Hey performs a stand-out piano solo and this song arrangement is all jazz, start to finish. 

Susan Tobocman has composed “Make Believe” and it moves along at a slow swing.  It’s a well-written composition and the kind of tune I would have loved to have heard arranged in a more Brazilian way.   “Touch and Go”, the title tune, is another Tobocman original composition with a strong melody and performed totally as an instrumental.  Her composer skills are evident.  This song gives her excellent musicians an opportunity to stretch out and show their individual talents.  

Susan Tobocman’s voice is sweet and pensive on “Where Is Love?”   She makes you listen to her well-articulated words and thirstily drink up her stories.   She makes me feel as though she’s lived these stories in person and to the fullest.  Guitarist, Pete McCann, is a sensitive and notable accompanist during this arrangement.   He also acts as co-producer on her project.  From a critic’s view, the fact that this artist mixes genres on both Wichita Lineman and her second take on the Beatles “Help!” (which is very much rock and roll) confuses me.  The first version of “Help” she recorded as a waltz and it’s very jazzily performed.  I don’t know why the other arrangement was added to this album, especially since she’s promoting her recording as a jazz CD.  Other than that, well done.

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AL GOLD – “AL GOLD’S PARADISE” – Independent label

Al Gold, vocals/electric & slide guitar/mandolin/composer; Jerry Cordasco, drums/percussion; Mitch Eisenberg, electric/acoustic & baritone guitar; Jared Gold, organ; Eric Heilner, piano/organ; Terry Hemmer, bass guitar; Vd King, bass guitar/guitar; Cassidy Rain, Vocal/acoustic guitar; Baron Raymonde, saxophone; Tom Rice, electric guitar; Johnny Sansone, harmonica; Dave Stryker, guitar; Anthony Tamburro, acoustic guitar.

If ‘blues’ is your thing, this is a very southern-sounding, down-home blues recording.  It’s a surprise when you realize these musicians are based in New Jersey and not Mississippi or Tennessee.  Al Gold has adopted the sound and certain southern inflections in his vocal presentation.  He has a Memphis Slim-kind-of-soulfulness. 

Utilizing his Suburban Rhythm Kings ensemble, a group who has played with him for many years, Al Gold built his recording session band from that familiar rhythm section, adding other stellar, local blues players on a song-by-song call.  There are plenty of shuffle blues productions thrown in for good measure, but mostly solid, Southern-styled blues.  Johnny Sansone’s harmonica work is noteworthy on “Boogie in the Dark,” featuring Cassidy Rain on background vocals.  There are also traces of boogie-woogie blues and 1950s, Chuck Berry-type tunes like “Got A Mind.”  For good measure, Al Gold has also composed some well-written blues ballads like “Won’t Sleep Tonight.”

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SISSY CASTROGIOVANNI – “TERRA” – Manu Records

Sissy Castrogiovanni, voice; Tim Ray, piano; Jesse Williams, upright & elec. bass; Lihi Harum, soprano saxophone; Jamey Haddad, percussion; Jorge Perez-Albela, drums/cajon/djembe. SPECIAL GUESTS: Puccio Castrogiovanni, marranzano/pipes/voice; Claudio Ragazzi, guitar; Fabio Pirozzolo, frame drums; Marcus Santos, percussion. STRINGS: Layth Al-Rubaye, violin; Shaw Pong Liu, violin; Eve Boltax, viola; Catherine Bent & Eugene Friesen, cello. BACKGROUND SINGERS: Paola Munda, Anna Signorini, Agney Mulay, Carlotta Amato, Micaela Cattani, Manfredi Caputo, Claire McFarland & Eleonora Rancati.

Sung in her Sicilian dialect, Sissy Castrogiovanni has written seven of the ten compositions on this album to celebrate our planet Earth.  Her voice is crystal clear and pleasing as it floats above contemporary jazz harmonies and African and Mediterranean rhythms.  I cannot understand her words, but her emotional delivery is precise and lovely.  On track 2, ‘A Panza, her bassist, Jesse Williams, shows strength and purpose during a brief solo.  He also steps up later on the CD to accompany her solo on track 9, “Stranizza D’Amuri.”  Back to track 2, Jorge Perez-Albela pushes the rhythm with his drums and the addition of melodious, harmonic, background voices cushion the production.  “Magia” is very African-influenced, with the background voices chanting at the song’s introduction.   Although there are glimpses of contemporary jazz in this production, for the most part this is World Music that lyrically is celebrating the process and creation of life.  I know that because the English translation of these songs is printed inside the CD jacket.  Claudio Ragazzi makes a tenacious guitar statement on “Magia” and at the fade, there is a call and response kind of production interacting with Castrogiovanni’s lead vocals.

Sissy Castrogiovanni explains:

“It has been happening on the Earth every single second for billions of years.  Terra, Mother Earth, knows what and how to do things much better than us.  We have lots to learn from her.  This album is about the Earth’s astonishing power, which also lives with us.  Terra is about trusting this power, the magic of life, and the Earth’s millennial wisdom.”

Sissy Castrogiovanni is a strong singer/songwriter.   All of her lyrics are telling stories of love and life; mostly positive and uplifting.  Many implore us to love and respect the planet, the air, the water and especially the earth.  This message works and is meaningful in any language.

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SUSIE MEISSNER – “I WISH I KNEW”  – Lydian Jazz Records

Susie Meissner, vocals; John Shaddy, piano/arranger; Lee Smith, bass; Byron Landham, drums; Paul Meyers, guitars; Larry McKenna, tenor saxophone; Ken Peplowski, clarinet; John Swana, trumpet/EVI/flugelhorn.

This is the fourth album release for Susie Meissner and mirrors her love of the all-American songbook.  She opens with one of my favorite swing tunes, “The Great City” as a tribute to her beloved Philadelphia, the current place she’s chosen as home base for ten-plus years.   Susie Meissner features a group of outstanding Philadelphia-based musicians including drummer Byron Landham, Lee Smith on bass and Larry McKenna on saxophone.  John Shaddy on piano is from outside of Philly, and is a willing and sensitive accompanist who has worked with Meissner in the past.  Philly’s own John Swana brings his trumpet, EVI and flugelhorn to the production with energy and tastefulness.  His solo on “I’ve Grown Accustomed to Her Face” is beautiful and heartfelt. 

Originally from New Jersey and the Buffalo, New York areas, Meissner felt this opening song’s lyric could be talking about any great big city with its pitfalls, challenges and allure.  It’s a great way for Susie Meissner to open her production and her band swings hard!  Meissner has included a dozen familiar standard songs, giving her excellent musicians an opportunity to shine in the turntable spotlight.  You will hear Susie’s take on the title tune, “I Wish I Knew” and other ballads like “Alfie” and “Ev’ry Time We Say Goodbye.” 

Featuring the familiar drum line that made Ahmad Jamal’s composition “Poinciana” so popular, Byron Landham introduces this tune and Meissner’s smooth, second-soprano voice caresses the lyrics.  Paul Meyers’ bright guitar dances on the scene with a happy solo.  On “In A Mellow Tone,” Ken Peplowski’s clarinet bring authenticity to a time and place when Duke Ellington’s big band played in dance halls across the country.  This is a well-produced and excellently arranged production by a band of jazz masters who are backing up a seasoned cabaret singer.

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One Response to “A VARIETY OF DISTINCTIVE VOCALS ON DISC”

  1. REVIEWS: Aymée Nuviola, Sissy Castrogiovanni & John Minnock on Musicalmemoirs's Blog - LYDIALIEBMAN.COM Says:

    […] By Dee Dee McNeil, Musicalmemoirs’s Blog […]

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