by Dee Dee McNeil / Jazz Journalist

September 19, 2020

The journey to jazz travels global paths.  MARIO ROMANO combines his Argentinian and Canadian roots on his path to jazz.  Classically trained vibraphonist and contemporary percussionist, CHIEN CHIEN LU, brings her Asian roots and Brooklyn, New York influences to the studio. BUIKA is a big selling jazz and world music artist based in Spain.  CLIFTON DAVIS, composer of the song “Never Can Say Goodbye,” sings the Great American songbook with the BEEGIE ADAIR TRIOTOMOKO OMURA’S awesome violin takes jazz to another level, blending it with her Japanese culture.   The Duo of JASON FOUREMAN & STEPHEN ANDERSON offer us a pathway to jazz from North Carolina roots. ERIC REVIS, award-winning bassist, calls our attention to “Slipknots Through a Looking Glass” and THROTTLE ELEVATOR MUSIC invites us to their “Emergency Exit.” Read all about it.


Mario Romano, piano/accordion/composer; Roberto Occhipinti, acoustic & elec. bass; Larnell Lewis, Mark Kelso, Mark McLean, & Amhed Mitchell, drums; Maninho Costa & Rosendo Leon, percussion; Roni Eytan, harmonica; Reg Schwager & Elmer Ferrer, guitar; Pat LaBarbera, tenor saxophone.  William Sperandei, trumpet; Jackie Richardson, Magda Giannikou, Kristy Cardinali & Adis Rodriguez, vocals.

After hearing the first song, “And if You Please” (featuring Jackie Richardson on vocals) I am hooked.  This is a beautiful production with orchestrated ‘live’ strings and Mario Romano’s sensitive accompaniment on piano. Track 2 is a Latin Samba with the wonderful harmonica of Roni Eytan taking stage center, along with the soprano vocals of Magda Giannikou dancing happily atop the fluid rhythm section.  This is a compilation album that features nine exceptional songs from Mr. Romano’s previously released albums; seven of them are his own original compositions.  Track 3 is a beautiful ballad that features another talented vocalist.  This time it’s Kristy Cardinali singing “Those Damn I Love Yous.”  On the fourth track we get the opportunity to enjoy Mario Romano’s technical perfection playing accordion.  On “Si Tu Quisieras,” you will experience a very emotional delivery in Spanish by Adis Rodriguez.  It’s both beautiful and compelling.  Elmer Ferrer soars on guitar during this arrangement.  You will enjoy a very Straight-ahead exploration into Romano’s jazz roots on the tune, “Via Romano” where bassist Roberto Occhipinti excels.  Once Mark Kelso and Occhipinti hook arms in a succinct rhythm dance, Mario Romano comes forward on piano.  Then Pat LaBarbera swings hard on tenor saxophone in a very Coltrane-ish way. William Sperandei, on trumpet, reminds us of the ‘All Blues’ days of Miles Davis when he interprets the familiar standard, “You’re My Everything.” Sperandei has a lovely tone on his trumpet and also appears on the instrumental execution of “And If You Please” that closes this production and track 8, “Non Dimenticar.”  Here is an album that has a little something for everyone on it.

Mario Romano is a Canadian composer, pianist and accordion master who was born in Buenos Aires, Argentina (October 5, 1951) as the son of Italian immigrants. At age 13, his family moved to Canada and the young Romano had to learn all about a new culture and a new language.  But the language of music remained one where he could easily communicate.  As a young teenager, he had already mastered the accordion and, before the move, when his dad brought a piano into their Argentinian home, he began to be interested in jazz. That love of jazz and his brilliance on both accordion and piano developed into a life-long love affair.  However, although he was very talented, he took a nine-to-five entrepreneurial path into the Real Estate business and is currently super-successful in the Toronto area as a real estate tycoon.  Lucky for us, Mario Romano has returned to music.  He shares with us this stellar album that features seven of his original compositions and a bevy of beautiful voices from the Canadian jazz pool.  I believe you will enjoy every song on this album, spurred by the dynamic musical prowess of Mario Romano and his exceptionally talented musical comrades.  If I was giving out stars, this album would be a five-star winner.

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CHIEN CHIEN LU – “THE PATH” – Independent Label

Chien Chien Lu, vibraphone/marimba/composer/arranger; Shedrick Mitchell, piano/organ; Quintin Zoto, guitar; Richie Goods, acoustic & electric bass/arranger; Allan Mednard, drums; Ismel Wignall, congas/percussion; Yoojin Park, violin; Phebe Tsai, cello; Jeremy Pelt, trumpet; Lisa Lee, vocal.

Chien Chien Lu is a classically trained vibraphonist and contemporary percussionist.  She has toured and recorded with the Jeremy Pelt Quintet and this album is her debut as a leader.  She opens with the Roy Ayers composition, “We Live in Brooklyn Baby,” with Allan Mednard pumping up the funk rhythm on drums.  This is followed by Richie Goods’ very Latin fused arrangement of “Invitation.” The familiar song is dressed in a brand-new gown; sparkling and energized.  Ismel Wignall’s percussion work is impressive and Jeremy Pelt offers a quality and exciting solo on trumpet.  It’s an impressive arrangement by Lu’s bassist.  When Chien Chien enters on vibraphone she lifts the energy to a new level.  Shedrick Mitchell is competent and pushes the rhythm section’s creativity with his piano excellence.  This ensemble is hot!  Track 3 is an original composition by Chien Chien Lu, who arranges her song for optimum enjoyment, adding rhythmic surprises along the way. She and Richie Goods on bass dance beside each other in the middle of this arrangement, with only percussion to hold their musical steps in place.  It’s a nice way to tickle our attention.  The tune is titled, “Blind Faith” and it showcases this artist’s creative composition skills. In between the songs, Ms. Lu adds something she calls “The Path Interludes” where she speaks to us about her musical journey and life, amidst a musical background.  I think her voice could have been brought up a bit more in the mix. This talented artist, like many in the music business, didn’t have a major record deal for this release.  Instead, she instituted a crowd share project to fund her debut production.  But I can guarantee, she will have no problem getting a major deal for her next one.  Here is a project full of passion and beauty, that showcases the awesome vibraphone talent of Chien Chien Lu, along with her all-star ensemble.

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BUIKA – “LA NOCHE MAS LARGA (THE LONGEST NIGHT) – which was released in June of 2013 on the Warner Music/Spanish label.

Thanks to my friend and jazz vocalist, Shahida Nurullah, I was made aware of this amazing talent known by one name: BUIKA.  I love her sexy, soulful sound.  Her path winds from Guinea to Palma de Mallorca, Spain.  Originally, she planned to be a drummer and bassist; both instruments she plays proficiently.  But in Spain, Buika claims no one wanted to hire a female drummer, so she started singing.  She’s an outstanding poet, producer, composer and vocalist.  Reviewers have compared her stage show artistry to Nina Simone and Amy Winehouse.  I have not seen her in person, but I certainly find myself infatuated by her unique sound and emotional delivery on YouTube.  Check her out.  I think her music crosses and blends genres smoothly, like applying icing to the cake.  It makes the dessert sweeter and enhances the cake’s already lovely appearance.  She has recorded one jazz CD titled, “Mestizuo.”  Her mother was a great jazz lover.  Her work with Latin, Grammy-Award-winning, flamingo guitarist and producer, Javier Lemon, won critical acclaim with their album, “Mi Nina Lola” and reached #11 on the Spanish album charts.  Last I heard, she had relocated to Miami, Florida and continues to record.

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Clifton Davis, vocals; Beegie Adair, piano; Roger Spencer, trio arranger/bass; Chris Brown, drums; Monica Ramey, duet vocal; Jeff Taylor, accordion; Mark Kibble, vocal arrangements/background vocals; Take 6, background vocals; Kevin Toney, synthesizer strings/string arrangements; Charles Mims, string arrangements/synthesizer; Pablo Hopenhayn, string producer/arranger/violins/violas; Pablo Saltzman, string arranger; Cecilia Garcia, violin/viola; Paula Pomeraniec, cello.

Clifton Davis has this reviewer’s utmost respect for the popular song he wrote entitled, “Never Can Say Goodbye.” It’s a great song and the title of his new CD release.  Davis is also an accomplished actor.  This album introduces us to the singing-side of Mr. Davis.  I believe the singing bug bit him when he attended his first New York Broadway show. Shortly after that experience, he quit his job to work in New Jersey stock theater. That led to an audition for the 1968 Broadway musical, “Hello Dolly,” starring Pearl Bailey and Cab Calloway.  Davis was cast as an ensemble singer and given an understudy role. Thus, began his love of not only acting, but singing as part of his performance package.  In 1972, Davis and Melba Moore hosted their own televised, musical, variety series and Clifton was in fine vocal form.

From 1974 to 1975, Davis was busy starring in the popular sitcom, “That’s My Mama” on television.  He also co-starred with Sherman Helmsley for five years on the NBC television sitcom, “Amen.”  Ironically, Clifton Davis played the part of a minister.  I say ironically, because the path of life leads us down many unexpected streets.  There came a time when Clifton Davis took a break from the Hollywood and Broadway scenes to pursue an ecclesiastical education and received his BA in Theology, as well as a Master of Divinity degree from Andrews University.  That made him a bona fide minister.  Impressively he has taken his interdenominational ministry around the world for three decades.

When Clifton Davis teamed with Beegie Adair’s trio, a new path of creativity developed.  This album is the culmination of these two artists (Davis and Adair) meeting in 2015 and beginning a friendly journey towards a recording project.  Although they have chosen a rich repertoire of great songs and enlisted the musical services of dynamic talents like the group Take 6 (renowned a’ Capella singers) and Kevin Tony (Jazz pianist with the Blackbyrd group), Clifton Davis, the vocalist, sounds a bit tenuous and fragile. As a songwriter, had he chosen to showcase his original songwriting, perhaps this album would have made a more substantial impact. He does include a well-written original song, “Swept Away” and one other gospel original titled, “Leaving It Up to You.” 

That being said, this album of songs from the Great American Songbook are well-produced and well-played.  The arrangements are lovely and amply support Clifton’s vocal delivery. The Beegie Adair Trio is admired and respected worldwide and her trio has sold over two-million albums. Together, the trio and Davis present an enjoyable interpretation of songs we love, that introduce us to Clifton Davis, the talented songwriter and cabaret singer.

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TOMOKO OMURA – “BRANCHES – VOL. 1” – Outside in Music

Tomoko Omura, violin/composer/arranger; Jeff miles, guitar; Glenn Zaleski, piano; Pablo Menares, bass; Jay Sawyer, drums.

Imaginative. Surreal. Creative.  Tomoko Omura takes us on a magical, mystical path to violin places we’ve never been before.  Tomoko is a virtuoso violinist and composer, inspired to write this album of music mirroring Japanese folktales.  She has written four of the six compositions and included the familiar standard “Moonlight in Vermont” and a popular Japanese song by Kosaku Yamada. Omura has uniquely arranged each song.  Her mastery of the violin is obvious and she has surrounded her genius with an amazing quartet of musicians.  Glenn Zaleski on piano produces sensitive accompaniment throughout and solos beautifully on the opening song.  Haiku is a Japanese form of poetry, based on five syllables for the first line, seven syllables for the second line and five for the final line.  “Moonlight in Vermont” is a haiku poem.  Tomoko Omura’s violin is poetry in motion.

                “Pennies in a stream.

                Falling leaves, a sycamore

                Moonlight in Vermont.”

The titles of the various compositions represent four folktales.  Track 2 is the story of a boy in search of a witch named Oni-baba who lives in the mountains.  A monk gifts him with “Three Magic Charms” to protect him, but he still gets caught by the witch.  Tomoko Omura’s violin soars and swoops through an intricate melody. Pablo Menares, on bass, lays down a monotone bass line that plays rhythmically against the melody.  The pianist builds the excitement in crescendos while Jay Sawyer taps out the tempo and colors the song on his trap drums.

The tempo picks up on Track 3, “The Revenge of the Rabbit” and the music becomes more Avant Garde.  “Return to the Moon” features a haunting guitar played by Jeff Miles and a poignant bass solo.  This music is dramatic and intoxicating.

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Jason Foureman, bass; Stephen Anderson, piano.

Jason Foureman is an in-demand bassist who lives and teaches in North Carolina.  He was greatly influenced by legends like Nina Simone, Oscar Peterson, Charlie Haden, Rufus Reid and Lester Young.  Jason has been the bassist for the North Carolina Jazz Repertory Orchestra since 2008 and conducts the youth big band at the Durham North Carolina Jazz Workshop.  When he’s not gigging, you will find him comfortably sharing his massive talent with students at UNC – Chapel Hill and North Carolina State University. 

Dr. Stephen Anderson is a respected composer and pianist.  He too is a faculty member and Director of Jazz Studies at the University of North Carolina and is Director of the UNC Summer Jazz Workshop.  As a composer, many of his compositions have been recorded and performed worldwide at a number of festivals and in concerts from South America to Europe. 

Jason Foureman is also a composer and the duo performs two of his original songs including “Through and Through” a song he wrote for his wife and daughters one Christmas, after they had experienced a local carnival. The composition is based on a conversation about flying.  Stephan’s fingers fly across the keys like wild birds and Foureman’s solid bass lines attach themselves to the moment, like the strings on a soaring kite.  It’s a happy tune and the two musicians are each expressive and technically astute throughout. “Ultra Blues” is another original song by Foureman and closes this album out.  Stephen and Jason seem to be talking to each other during the opening introduction of this song.  First the piano lays down a bluesy lick and Foureman answers on his double bass.  After twelve bars of their insightful conversation, they break into a raucous, low-down blues composition.  As they progress with their blues interpretation, Jason walks his bass and Stephen improvises brightly, never once losing the groove.  This song is pure joy from start to finish.  Jason Foureman compliments his musical partner in the liner notes by saying:

“Hey man … in the studio, everything just flowed into place; the music nearly playing itself; us not taking breaks because we so wanted to capture the flow we had.  And then, going home thinking, man, this is how it’s supposed to be!”

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Eric Revis, bass/composer; Kris Davis, piano; Chad Taylor, drums/mbira; Justin Faulkner, drums; Bill McHenry, tenor saxophone; Darius Jones, alto saxophone.

Staccato notes and a groove, provided by the bass of Eric Revis and propelled by Justin Faulkner’s drums, opens this production.  The alto and tenor saxophones punch the notes.  Enter Kris Davis on piano with a spontaneous and improvisational presence.  Track 1 titled, “Baby Renfro” sets the mood of this musical production that features eight out of eleven original compositions written by bassist, Eric Revis.  Track 2 features Chad Taylor on Mbira, an instrument similar to a hand kalimba or thumb piano.  It adds a mystical and African-feel to this arrangement, featuring only the trio; Revis on bass, Chad on Mbira and Kim Davis on piano. The three have composed this song together. 

“The image of “Slipknots Through A Looking Glass” came up and I thought, wow, this is really cool.  … I wanted more emphasis on the energy than on exact notes or notation. … The idea of a journey, although it wasn’t something that I set out to do, it’s a theme that runs through all of this record,” Revis explains.

Eric Revis has been a band leader, composer and award-winning bass player, playing as part of the Branford Marsalis quartet since 1997.  In addition, Revis has worked with iconic jazz folks like Betty Carter, Jason Moran, Kurt Rosenwinkel and Andrew Cyrille.   Revis is an artist fascinated by the surrealist movement and I can tell he enjoys pushing the boundaries and knocking down the walls between what is and what could be.

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Kenny Kotwitz, accordion and celeste; John Chiodini, guitar(s); Nick Mancini, vibraphone; Chuck Berghofer, upright bass; Kendall Kay, drums/percussion.

This album of music is a centennial tribute to the Art Van Damme Quintet.  Art was a trail blazer among jazz accordionists.  He recorded 42 albums as a leader and another 100 as a sideman and boasted a 15-minute, NBC radio program that ran for 139 episodes (The Art Van Damme Show) back in the 1940s. One of Van Damme’s few students is accordionist, Kenny Kotwitz. Consequently, producer Peter Maxymych reached out to Kenny Kotwitz when he discovered him on YouTube.

                “I needed the right accordion player for the project.  I heard Kenny Kotwitz play on YouTube and I knew that his style would be perfect for this.  After contacting him, I found that he had been a close friend of Art Van Damme, so it all made perfect sense,” the producer explained.

Kenny Kotwitz picked the musicians he wanted to be in the LA Jazz Quintet and did all the arranging for this album.  Kenny had fond memories of Art Van Damme.

“When I studied with Art, he would give me an arrangement each week.  I would take it home; hand copy it and analyze what was written for the instrumentation.  Since they were doing a radio show five days a week for NBC, they had a lot of material.  I knew that was the style Peter Maxymych was looking for and I knew that these L.A. master musicians would fit easily into that sound,” Kotwitz shared.

John Chiodini shines on “Estate” (that translates to ‘summer’), laying down a beautiful guitar introduction and amply supporting Kenny Kotwitz during his accordion spotlight.  Nick Mancini adds his tenacious vibraphone work to the mix with Chuck Berghofer on double bass and drummer Kendall Kay locking the Latin rhythm tightly in place.  This album is a testament to Van Damme’s unique, stylized accordion work and graces each listener with a bakers-dozen of familiar jazz standard songs, played in a sweet, moderate-tempo way.  You’ll enjoy these Los Angeles music masters as they interpret “Skylark,” the sultry “Cry Me A River,” and the title tune, “When Lights Are Low,” along with many more you will recognize. 

This is easy-listening music, lovely and relaxing, that features Kenny Kotwitz, a protégé of Van Damme, who became a busy studio musician in Los Angeles in 1966 and has gone on to become a master accordion player, a pianist, an arranger and competent composer.  In 1983, he even recorded an album with his idol titled, “Art Van Damme and Friends.”   With the completion of this project, Kenny Kotwitz imagines Art Van Damme smiling down at this project from heaven and enjoying it, the same way you will. 

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Matt Montgomery, bass/guitar/piano/songwriting; Gregory Howe, guitar/bass/B3 organ/ synthesizer/ songwriter; Erik Jekabson, trumpet/flugelhorn/arranger; Kamasi Washington, tenor saxophone; Mike Hughes & Lumpy, drums; Kasey Knudsen, alto & tenor saxophone; Ross Howe, fender guitar; Mike Blankenship, Farfisa organ/synthesizer.

On Track 6, “Innerspatial Search” this group finally gets my attention.  Until then, the compositions were a little lack-luster for my taste.  They featured too much repetition in the rhythm section, almost like Rock and Roll tracks that are being prepared for some amazing soloist to come in and overdub on top.  Indeed, that is what Kamasi Washington does throughout on tenor saxophone, as well as Erik Jekabson on his triumphant trumpet.  On track 7, “Rattle Thicket” the group is invigorated with rhythm and they sound very much like a rock band jam session.  It’s a brief composition (2-minutes 18-seconds) but its fearless and thunders on the scene with exciting energy. “Art of the Warrior” is more smooth jazz, but as the arrangement unfolds, this song blossoms with increased energy and presence.  This group leans heavily towards rock music with jazz overtones.  Sometimes it’s very Grunge-like.  Montgomery and Howe are the composers of this music, except Kamasi’s composition, that happened to be the song that finally captured my full attention (Innerspatial Search).  The multi-talented Matt Montgomery and Gregory Howe each play numerous instruments, as well as being the songwriters on this project.  The resultant material is comprised of productions that have been sitting on the studio shelf from 2001 through 2014.  They showcase a young, music-hungry Kamasi Washington, striving to express himself and grow his music.  The group seeds of creativity are obvious on this recording, as these musicians plant their feet solidly and express themselves.  They have included the past nine recording years, in both Wide Hive and Fantasy studios, to create this project. Consequently, it becomes a compilation and history of Throttle Elevator Music’s journey into 2020.

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  1. REVIEWS: Chien Chien Lu & Miki Yamanaka on Musicalmemoirs's Blog - LYDIALIEBMAN.COM Says:

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

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