By Dee Dee McNeil
March 15, 2024
NIKOS CHATZITSAKOS – “TINY BIG BAND 2” – Independent Label
Nikos Chatzitsakos, double bass/arranger/bandleader; Wilfie Williams, piano; Samuël Bolduc, drums; Gabriel Nekrutman, baritone saxophone; Art Baden, tenor saxophone; Salim Charvet, alto saxophone; Robert Mac Vega Dowda, cornet; Joey Curreri, trumpet/flugelhorn; Armando Vergara, trombone; Alexandria DeWalt & Eleni Ermina Sofou, vocals.
The band hits their stride on track #3, “Fly Little Bird Fly” a Donald Byrd composition. Wilfie Williams takes off in flight on the 88-keys, with fingers on the piano showcasing the fluttering wings of a bird. Salim takes a wild improvisational solo on alto saxophone, followed by Joey Curreri on trumpet. The horns step aside to let drummer Samuel Bolduc soak up the spotlight during a brief but inspired solo.
“Where or When” is sung by Eleni Ermina Sofou. She has a smooth, pleasant delivery, but she doesn’t really ‘swing,’ which is something you must feel in your gut and cannot always be taught. However, the band swings this one with strong determination. I enjoyed the horn section with that baritone saxophone building a strong basement for them to stand upon. I think I would have over-dubbed the very end where the saxophone solo fade could have been stronger.
The other vocalist on this project, Alexandria DeWalt, swings “I Didn’t Know What Time It Was” with her Blossom Dearie voice and style. One of the blessings of being a stylist is that you have a sound easily recognizable and different from the rest of the singers on the set. DeWalt accomplishes this. Joey Curreri takes a trumpet solo egged on by Bolduc’s brisk drumsticks. It was nice to hear Gabriel Nekrutman’s baritone saxophone also take a solo and those background horns were swinging so hard, they put fire to his feet.
The band slows the tempo on the Duke Pearson tune, “You Know I Care” featuring bandleader Nikos Chatzitsakos on his upright bass. During his arrangement, Chatzitsakos applies a ‘slide’ technique with the horn harmonics. Armando Bergara’s trombone solo is quite beautiful. On track #7, the familiar “Windmills of Your Mind” is a perfect tune to showcase the lovely voice of Eleni Ermina Sofou. Art Baden adds his tenor saxophone solo to the mix. I thought the horn harmonies arranged during Sofou’s sweet delivery were a little overbearing. Still, she held her own, strong in presenting the melody and unobstructed by the arrangement that leaned towards the Avant-garde. I didn’t mind that emotional arrangement of dissonance after she sang, but during her solo presentation, I think she deserved the same respect given to other horn soloists who step out front. Perhaps just a nudge in the mix room could have lifted her voice above the fray.
Nikos Chatzitsakos brings us a small group that sounds as plush and well-rounded as a big band. He has creatively arranged these familiar standard songs, with a taste of the Avant-garde and a sprinkle of contemporary jazz to refresh the old standards. His musicians bring zest, youth, and personality to the project.
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RICHARD NELSON & MAKROKOSMOS ORCHESTRA – “DISSOLVE” –
Richard Nelson, conductor/guitar/composer; Rex Benincasa, percussion; Scott Neumann, drums; Rob Garcia, drums on “Float;” Ken Filiano, bass; Matt Pavolka bass on “Float;” Arco Sandoval, keyboards/sound design; Rick Basser, keyboard,“ on Float;” Peter H. Bloom, flutes; Adam Kolker, tenor saxophone/clarinet; Tim O’Dell, alto & soprano saxophones; Alan Brady, bass clarinet; Marshall Sealy, French horn; John Carlson & Jacob Yarmus, trumpet; David Chamberlain, euphonium; Dale Turk, bass trombone.
The Makrokosmos Orchestra is a fifteen-piece ensemble under the direction of Richard Nelson that’s rooted in contemporary creative music. Along with sax man, Tim O’Dell, who is co-leader of this organization, the orchestra performs Nelson’s original music with both modern jazz and contemporary classical music influences. For this project, Nelson has written a three-part suite.
“Whether in Maine or New York, I’m always looking for players who are both top level improvisers, and creative agents. In my creative work I’ve cultivated a merging of elements and impulses from contemporary classical composition and the jazz heritage, and this group has become a key outlet for cultivating that aesthetic,” Nelson explains in his press package.
Opening with the title tune, “Dissolve” I experience fifteen plus minutes of ethereal music that employs various tempos, instruments and moods that fluidly flow into each other in sometimes surprising ways. Nine minutes in, a bluesy tenor saxophone takes center stage, played by Adam Kolker, while a more contemporary jazz piano plunks away in the background provided by Arco Sandoval. The horns mimic a train whistle blasting into view, inviting us on a journey of unexpected starts and stops, melodic destinations and percussive excitement. 14-minutes into the piece, it takes a turn of direction, growling beneath a busy woodwind dance. That soon gives way to a flute in the distance, completing that journey of sound and harmony.
The second part of the suite, the “Float” composition introduces us to bassist Matt Pavolka and Keyboard player, Rick Basser. The rest of the ensemble remains the same as they sing a rubato song at the introduction, letting a very lovely saxophone solo draw me into the arrangement. Tim O’Dell weaves his soprano saxophone magic at the top of this tune. The tension builds and builds, finally exploding in the arms of Rob Garcia on drums. Unexpectedly, darkness soaks up the light during this arrangement. Then, Richard Nelson appears with his electric guitar to guide us into another brighter dimension.
There seems to be plateaus of music, piled upon one another, with each one opening us up to another level of this ever-expanding arrangement. It’s dramatic. The final piece of this suite is titled, “Cohere.” To Cohere is to be united and to form a whole. Perhaps that title and the project itself finds conclusion and summary in the simplicity of the word ‘Cohere.’ Arco Sandoval is back at the electric keyboard, speaking to us with a black and white key conversation. This is followed by a rhythmic battle of drums and percussion that offer me a moderate groove to tap my toes to. Although these compositions are complex, and in some ways quite brilliant, I do miss the ‘swing’ element. This music leans heavily to the classical side and sometimes I just want to feel jazz deep-down in my bones and not just listen to challenging arrangements played from the carefully written page of dancing notes.
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DOUG MACDONALD – “SEXTET SESSION” – Dmac Music
Doug MacDonald, guitar; Josh Nelson, piano; Mike Gurrola, bass; Charles Ruggiero, drums; Doug Webb, tenor saxophone; Aaron Janik, trumpet.
Guitarist and composer, Doug MacDonald leads an all-star sextet of Southern California based musicians. Although he has headed many types of jazz ensembles, and boasts twenty-six record releases as a bandleader, this is his first project working with a somewhat more modern jazz combo. MacDonald has teamed with tenor saxophone giant, Doug Webb, and the inventive and in-demand pianist, Josh Nelson. During this recording, Doug is playing a spanking, brand-new Fender Telecaster guitar.
MacDonald has composed five of the eight songs on this “Sextet Session” album. They open with his composition called, “Desert Blues.” It swings at a moderate tempo as Doug MacDonald steps center stage and serenades us on guitar. The next musician to step into my listening room is Doug Webb. Webb plays a soulful solo on his tenor sax tinged with the blues. Josh Nelson has a feathery light touch on the piano and offers an inspired solo. Another original tune by MacDonald is the third track, “Gee’s Flat” that offers a catchy melody and invites Mike Gurrola to step forward and take an impressive upright bass solo. On the familiar standard, “You’ve Changed” MacDonald’s guitar solo double-times the ballad and skips over the pretty melody, letting his guitar strings tell the sad story in MacDonald’s own creative way. On the tune “At” MacDonald steps from traditional jazz to a more contemporary path, with the drums of Charles Ruggiero laying down a funk beat. Doug Webb enters on his tenor saxophone, offering an unapologetic Straight-ahead improvised solo over the funky beat. I love it! Aaron Janik brings his trumpet to the party. However, I’m more comfortable when they return to the Straight-ahead groove on “Try Ads.” Once again, Doug Webb is a star on tenor saxophone. I’m also impressed with MacDonald’s composition, “Si Minor” that gives Josh Nelson an opportunity to stretch-out and explore the entire 88-keys on his piano. Nelson is quite inspirational and always creative. This song gave spotlight to Doug Webb and bassist Gurrola. MacDonald’s original song is one of my favorites on this album. They also give Charles Ruggiero time to shine on his trap drums.
MacDonald cut his guitar teeth working with jazz and blues greats like Ray Charles, Buddy Rich, Jack Sheldon, Lorez Alexandria, the Clayton-Hamilton Jazz Orchestra, and many others. This album showcases his composer and arranging skills. The all-star band he’s contracted infuses his musical ideas with professional excellence and excitement.
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ANDREW KRASILNIKOV – “BLOODY BELLY COMB JELLY” – Rainy Days Records
Andrew Krasilnikov, soprano & C-melody saxophones/composer/arranger; Alexey Bekker, piano/Fender Rhodes/composer; Nikolay Zatolochny, upright bass; Mikhail Fotchenkov, drums; Ilya Dvoretsky, flute/piccolo/also flute; Anton Zaletaev, flute; Roman Sokolov, alto flute; Oleg Gremov & Aleksandr Yasykov, clarinet; Sergey Nankin, bass clarinet/clarinet; Sergey Ponomarev, flugelhorn/trumpet; Salman Abuev, flugelhorn; Sergey Gimazetdinov, trombone; Anton Gimazeldinov, tuba/bass trombone; Lev Slepner, marimba.
After coming to America as a music student and graduating from Berklee College of Music, Andrew Krasilnikov knocked around NYC, working, performing, and gathering knowledge from the music elders. In 2011, he returned to his home in Russia. He took with him a deep love of big band arranging, composing, and a dream to produce an orchestrated band of his talented countrymen. This album is the fruition of that dream. Late last year, this album was released to rave reviews.
The ensemble opens with “Nekotorost,” an original composition by Krasilnikov. The Cambridge Dictionary translates this word to mean bargain, concern, take off and admit. That left me confused, but there is nothing confusing about this beautiful piece of music. Beginning with Alexey Bekker’s tentative electric piano introduction, they add Andrew’s saxophone floating the lovely melody on top. These two are soon joined (a few bars in) by double bassist, Nikolay Zatolochny. The three musicians set the mood and tempo. When the horn ensemble struts in with harmonic power and strength, clearly this song establishes Andrew Krasilnikov as a formidable composer. The melody is haunting and beautiful. This reedman, arranger and composer has a way of changing the moods of these songs by dropping the plush orchestration to a whisper in the background, or completely eliminating the big-band sound to feature various talented bandmates on an individual basis. In this way, he channels his passion for arranging, purposefully leaving room for the personalities of his musicians to be explored during their solos. His musical peers do not disappoint. You hear this on “Ariadna’s Thread” when he features bass man Zatolochny opening Andrew’s original song. Next, they hand the baton to Bekker, who takes a memorable piano solo during this arrangement. The tune “Ricochet” is rooted in the blues and Krasilnikov is masterful on saxophone. On a tune he calls, “Odnako” Krasilnikov entertains me with Straight-ahead bliss. This one was written by pianist, Bekker and spurred ahead by the determined walking bass of Zatolochny, and powerhouse drummer, Mikhail Fochenkov. Mikhail is also featured brightly on Bekker’s contemporary composition “Buratino.”
This album is a testament to the fact that jazz inspires people all over the world. It is music that demands freedom of expression. Andrew Krasilnikov, along with his big band, exemplify creativity, instrument mastery, and excitement on this debut recording.
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MARSHALL GILKES AND THE WDR BIG BAND – “LIFESONGS” – Alternate Side Records
Marshall Gilkes, composer/arranger/trombone/conductor; Hans Dekker, drums; John Goldsby, bass; Billy Test, piano; Sabeth Perez, vocals; Johan Harlen, alto & soprano saxophones/ flute/clarinet; Pascal Bartoszak, alto saxophone/flute/clarinet; Ben Fitzpatrick & Paul Heller, tenor saxophone/clarinet; Jens Neufang, baritone saxophone/bass clarinet; Andy Haderer, trumpet/piccolo trumpet/flugelhorn; Wim Both, Rob Bruynen, & Ruud Breuls, trumpet/ flugelhorn; Ludwig Nuss, Raphael Klemm, Andy Hunter & Peter Hedrich, trombone.
Beginning with the very first cut on this production, “Fresh Start” the usually blustering big band sound of the WDR band surprises me. They introduce a smooth jazz sounding production with big band overtones featuring trombonist, Marshall Gilkes. The first taste of traditional jazz came when Billy Test offered us his stellar piano solo on Track #2, “Back in the Groove.” Outstanding!
“My Unanswered Prayer” is a pretty ballad that showcases Marshall Gilkes’ warm tone on the trombone. Gilkes has composed seven songs of the nine offered. One of the songs he did not compose is “All the Pretty Little Horses” that features vocalist Sabeth Perez, who has a voice like a horn. She colors the tune, painting the melody into my brain like a soft, warm brush.
“Sin Filtro” is an original song and arrangement by Gilkes. It has a Spanish flair that reminds me of bull rings in Spain. Those rings seated sixty thousand people and you could feel the excitement and the tension in the arena. Gilkes writes that energy into this composition, using the horns to create the mood, with his trombone solo tonally and technically impressive. This arrangement moves like a suite of music extending over nine minutes long. “This Nearly Was Mine” is quite beautiful and the final composition, “Sugar Rush” returns the WDR Big Band to the sound and texture of their performances that I remember. These arrangements brings fire to the bandstand and feature drummer, Hans Dekker, propelling the band ahead like an engine.
Marshall Gilkes often returns to the city of Cologne. It’s like a second home. The trombonist spent four years in that cultural hub, situated beside the Rhine River. He made his mark playing in the WDR Big Band’s brass section. That changed in December of 2013, when he returned to America. However, this celebrated, world renowned German Big Band still keeps in close musical contact with Gilkes. They recorded their first album together with Gilkes as bandleader. That album was called “Koln” and became Grammy nominated in two categories. It introduced Gilkes as a composer/arranger/conductor and trombone soloist. In 2018, the band and Gilkes reunited to record “Always Forward.” This is their third production, titled “LifeSongs” and it’s Gilkes eighth album as a bandleader.
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8-BIT BIG BAND – “GAME CHANGER” – Teamchuck Records
Charlie Rosen, orchestrator/arranger/bandleader/multi-instrumentalist; Natalie Tenenbaum, Michael Mitchell, Steven Feifke, Jake Silverman, Miki Yamanaka & Jonah Nilsson, piano/keyboard; Adam Neely, Julia Adamy, Charlie Rosen, Bobby Wooten & Michael Olatuja, bass; Liann Cline, harp; Dave Cinquegrana, Nir Felder, & Charlie Rosen, guitar; Jared Schonig & Bryan Carter, drums; CELLI; Susan Mandel, Sasha Ono, Jessica Wang, Camille Dietrich, & Kristine Kruta, VIOLAS: Jarvis Benson, Kenny Wang, Laura Sacks, Matthew Beaugé, Midori Witkoski, Rosalie Samter, Sarah Haines, Tia Allen, Will Marshall & Yumi Oshima; VIOLINS: Alissa Jackman, Audrey Hayes, Camelia Hartman, Caroline Drexler, Daniel Constant, Eli Bishop, Francesca Dardani, Hannah Legrand, Josh Henderson, Justin Smith, Kevin Kuh, Lavinia Pavlish, Lucy Voin, Maria Im, Meitar Forkosh, Taniamesa, Tiffany Weiss & Tomoko Akaboshi, violin; ALTO SAXOPHONES: Andrew Gould, Josh Plotner, Adison Evans & Jordan Pettay; TENOR SAX: Sam Dillon, Zac Zinger, & Paul Jones; BARITONE SAX: Adison Evans, Andrew Gutauskas; Kyra Sims, French horn; FLUTES: Andrew Gould, Josh Plotner, Jordan Pettay; CLARINETS: Sam Dillon, Zac Zinger; Adison Evans & Andrew Gutauskas, bass clarinets; TRUMPETS: Bryan Davis, Jay Webb, John Lake, Chloe Rowlands, Max Boiko, Danny Jonokuchi, Matt Boiko, Marc Langer, Nick Frenay & Matthew Owens. TROMBONES: Jimmy O’Connell, Robert Ewards, Javier Nero, Rebecca Patterson, Ron Wilkens, Mariel Bildsten, Sara Jacovino, & Reginald Chapman III (also on tuba). VOCALS: Joel Waggoner, Clyde & Gracie Lawrence, Alan H. Green, Benny Benack III, Aisha Jackson & Johan Nilsson; BACKGROUND VOCALS: Badia Farha, D’nasya Jordan, Bryan Carter, Kate Steinberg, & Danielle Gimbal.
This is the 8-Bit Big Band’s fourth album release. They are a jazz-pops orchestra that is heavily influenced by rhythm and blues. Featuring a plethora of jazz vocalists and a horn section that recalls the days of Earth Wind & Fire and Tower of Power, they slam down tune after tune that are pulled from video game soundtracks. They are proud to be a Grammy-winning orchestra of between 30 to 65 members and this is a totally unique perspective for an orchestra to feature music from video games.
Their repertoire is unique, made from popular game music like “Super Mario 3D World” (Super Bell Hill) and “Final Fantasy 7” (Tifa’s Theme) plus many others plucked from the popular video game world. The 8-Bit Big Band puts a ’swing’ theme into many songs, with the exception of a few slower tunes included like “Pollyanna” with a funk beat and “Mabe Village” from ‘The Legend of Zelda Links Awakening’ that arranged as a slow swing. “Tifa’s Theme” is a lovely ballad from ‘Final Fantasy 7’ featuring a stellar trumpet solo by Chloe Rowlands. Not being a video gamer myself, I do not recognize these theme songs, but that didn’t dull the shine of a sparkling production full of orchestrated excitement, tight arrangements, and talented vocalists. My only question is, with all those numerous participating master musicians who make up this magnificent orchestra, why is it called an 8-Bit Big Band?
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GARRY DIAL & RICH DeROSA – “KEEP SWINGIN’ the music of CHARLIE BANACOS – Outside in Music
Garry Dial, piano/arranger; Rich DeRosa, drums/arranger/triangle; Joe Hubbard, electric bass; Mike Stern & Wayne Krantz, electric guitar; Gerard D’Angelo, Helio Alves, & Plamen Karadonev. piano; Jeff Berlin, electric bass/piano/arranger; Luther Gray, drums; Mauricio Zottarelli, drums/percussion; Jeff Berlin, electric bass/piano/arranger; Matt Stavrakis, bass; Dick Oatts, alto saxophone; Terell Stafford & Phil Grenadier, trumpet; Paulo Levi, soprano saxophone; Victor Provost, steel pan/piano. The KEEP SWINGING HORN SECTION: Nick Marchione, trumpet/flugelhorn; Andrew Gould, alto sax/flute; Chris Oatts, tenor saxophone; Ryan Keberle, trombone; Gary Smulyan, baritone saxophone. GUEST BANDMEMEBERS: Jay Anderson, bass; David Witham, keyboards; John Riley & Tom Brechtlein, drums; Anne Drummond, alto flute; Paul Meyers, acoustic guitar; Itaiguara Brandão, electric bass; Rich DeRosa, drums; Margaret & Barbara Banacos, piano.
This collaborative project is co-led by renowned pianist and arranger, Garry Dial and arranger, drummer Rich DeRosa. Together, they decided to celebrate the legacy of a jazz educator and composer, Mr. Charlie Banacos. Banacos was a musical visionary and solid jazz enthusiast who minted more than 100 courses of study that concentrated on improvisation and composition. He spent over fifty years teaching, inspiring and molding young talented jazz musicians into exceptional masters of their instruments. These ten tracks featuring the Banacos’ compositions are interpreted by devotees and friends like guitarist, Mike Stern, bassist. Jeff Berlin, tenor sax man, Jerry Bergonzi, electric bassist, Wayne Krantz and more.
They open with “Keep Swingin’” that sets the mood and tempo for this power-packed album of music. The title tune not only swings, but it’s also rooted in the blues. The arrangement features a soulful solo by Dick Oatts on alto saxophone and a bright, emotional trumpet solo by Terell Stafford. “Great Awakening” is a song reimagined by bassist, Joe Hubbard. Where the first track was full of big band swing, this song is much more contemporary. During his solo, the bass player shines in the spotlight, as well as providing a solid basement for this tune to build upon. On the composition “Bat Cave” drummer John Riley takes a spirited solo. The horn section is dynamite and when Gary Smulyan steps out to solo on his baritone saxophone at a speedy pace, it’s better than butter! I enjoy Garry Dial’s piano solo on “Pine Needles,” as well as the electric guitar of Mike Stern, who happens to be one of Banacos mentees. Another person inspired by Banacos brings his quintet to the party; Jerry Bergonzi on the tune, “Mummy’s Curse” with a wonderful arrangement by Garry Dial.
The Jerry Bergonzi Quintet features Jerry on tenor sax, Phil Grenadier on trumpet, Plamen Karadonev on piano, Matt Stavrakis plucks the double bass and is showcased during a short but impressive solo, as is Luther Gray on drums. This Quintet makes this Banacos tune come alive, pulsate, and dance. The amazing “Keep Swinging Horn Section” is dynamic throughout. The final tune is called “Pelaghia” and features Margaret and Barbara Banacos at the pianos. It’s a very striking and beautiful duet.
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AFRO-PERUVIAN NEW TRENDS ORCHESTRA – “COSMIC SYNCHRONICITIES” – ARTISTIC DIRECTOR: CORINA BARTRA – Blue Spiral Records
This is a packaged blend of Latin music, fusion, Afro-Peruvian, big band, and Straight-ahead jazz. You will experience all of that during this cosmic ride through the space of Corina Bartra’s compositions and creativity. Bartra is the Artistic Director and composer of this project. The music is multi-rhythmic, featuring tunes that encourage dancing to the warm Latin American beats.
The album is plush with horns that create happy harmonies and often venture into the spotlight themselves, offering us individual and unique solos. Many of the tunes celebrate various musical cultures other than Peruvian. For example, “Ecstasy Green” (the opening tune) is Amazon-inspired. “Baila y Goza” reflects not only Afro-Peruvian Festejo but also Cuban Guajira. The “Latino Blues” composition reminds me of a tango. When the band plays the traditional Peruvian tune “Palmere Siguayayay” you are introduced to the orchestra’s roots. On a composition called “Tun Tun Tun – La Herida Oscura,” I am captured by the rhythms of Juan Carlos Polo on drums and Pedro Diaz on percussion. The ensemble begins rubato, with a single horn singing it’s Latina story. Then the beat kicks in, reminding me of a slow trot across an open field. Suddenly the tempo escalates and the horns blare. A saxophone takes a jazzy solo and this composition becomes more like a suite of music than a single song. One of my favorites on this album is called “Far Away” that makes me feel like I’m floating in a starry sky during the intro, then dances me onto a polished floor full of great harmonics and joyful people. It moves from Latin rhythms to Straight-ahead jazz swing, with metronome quickness and ease.
Corina Bartra was the first vocalist to blend Afro Peruvian and criolla music with jazz. She pioneered subtle, but exciting instrumental textures in her compositions and arrangements. Critics have praised her for both her composing skills and her unique arranging for the Afro-Peruvian New Trends Orchestra.
Psychologists describe the word “synchronicity” as meaning unity in diversity. Corina Bartra has another opinion when using this word in the album’s title. It is meant to describe our cosmic consciousness and the realm of outer space that our music and creativity permeates. No matter the color, culture, or religion, when we breathe music into the universe, it is carried on the winds of time and, like love, it embraces our world and the universe with open arms.
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TONY MONACO TRIO – “OVER AND OVER” – Chicken Coup Records
Tony Monaco, Hammond B3 organ/composer; Reggie Jackson, drums; Zakk Jones, guitar.
In the mid-western city of Columbus, Ohio, Tony Monaco is a proud and popular citizen known for his amazing jazz organ-playing talents. The world knows about Monaco from his thirteen album releases. Not only does he keep B3 organ jazz in the spotlight, he has composed every song on this album. His abilities and talents match those we celebrate as jazz organ greats like Jack McDuff, Shirley Scott, Jimmy Smith, the great Larry Young, Jimmy McGriff and the late Joey DeFrancesco. In fact, it was Joey DeFrancesco who recognized Monaco’s musical talents and offered to produce his debut album back in 2000. The rest is history. Tony Monaco remains right up there with the best of the best.
Every song on this album is full of fire and melodic phrases that make you want to sing along. One of my favorites is titled, “One for Pat (Martino). It’s a funky blues that swings hard and has a melody that sticks like glue. Monaco played with Pat Martino for three years.
With the rich assistance of drummer Reggie Jackson, who spent eleven years performing with jazz legend Dianne Schuur and a list of legendary names like Frank Foster, Benny Golson, Arturo Sandoval and Eddie Daniels, Jackson pushes the music ahead like a determined snowplow. Zakk Jones brings his own sparkle and mastery to the party with his soulful guitar. Jones has toured the country with various groups from the Columbus Jazz orchestra to soul singers like The Coasters, saxophonist Lou Marini Jr., and trombonist John Fedchock.
Every song featured on Monaco’s jazz organ album is full of joy. The title tune, “Over and Over (I want You)” makes me want to get up and dance. His tune “Ready Set Go” is straight-ahead jazz at its best. It was inspired by Monaco’s mentor, the great Jimmy Smith. This arrangement features Monaco, Jackson and Jones trading eights, (rather than fours) and becomes my second favorite on this spectacular album.
“Sailboat” celebrates Latin jazz with changes very close to “Everything Happens to Me.” They close out with a song that reminds me of the late, great soul singer, James Brown. It’s funky and titled “Uprooted.” Tony Monaco has something for everyone on this album. Enjoy!
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MARLON SIMON AND THE NAGUAL SPIRITS – “ON DIFFERENT PATHS” – Truth Revolution Recording Collective
Marlon Simon, drums/percussion/composer/Musical Director; Edward Simon, piano/Assistant Musical Director; Boris Koslov, bass; Roberto Quintero, congas/percussion; Michael Simon, trumpet; Peter Brainin, tenor & soprano saxophone; Alex Norris, trumpet/flugelhorn; Kevin Newton, French horn; Monica Ellis, bassoon; Rhumer Mora, Bongos.
Marlon Simon brings us an album that combines Latin American rhythms, European classical music, the Latin jazz tradition, and chamber jazz. You might say he treats these compositions like short stories, some with unexpected resolutions. Opening with his composition titled, “Searching” the percussive members of his ensemble take stage center, setting the mood and the tempo. This short tune seems to be a preface or prelude for the title track, “On Different Paths.”
“On Different Paths is probably the most ambition tune on the record,” Simon is quoted in the liner notes.
This song includes rhythmic experimentation, using a ceremonial rhythm pulled from the Afro-Cuban religion and representing an orisha (a deity) by the name of Elegguá. This rhythm is mixed with Roberto Quintero playing Lalubanche figures on his congas. This almost sounds like a mild Samba on the bass drum, but with the feel of a joropo on the snare drum. The horn harmonies soften the groove and add that hint of chamber music to the production. The tune “Walking” (that sounds much more like someone running), follows the title tune. It features Venezuelan rhythms and a merengue groove. Peter Brainin dances atop the rhythm section, slapping a straight-ahead feel into place on his saxophone. Track #5 is one of my favorites on this album. It’s joyful and titled “Straight Ahead” although it is quite Latin and not at all bebop. Boris Koslov’s bass introduces us to “Pa,” a tribute song to the father of the Simon brothers. Another tribute song follows that is meant to honor both their parents, Hadsy Simon and his wife Daisy Morillo titled “Un Canto Llanero.” Perhaps Marlon Simon summed this project up the best.
“Music has been an unconditional companion throughout my entire life. It has been there in the happiest and saddest time. It’s been there to let me know where I am and where I need to be in my evolution as a human being. It was time to take a different path, explore, and do something I hadn’t done before. So, for this recording, I had to develop as a composer. When you work on something, you have no preconceptions. What comes out is really you.”
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