Marcos Pinn Factor E Reset Barbanza Freecode 2012

 

Guitarist and composer Marcos Pin's seventh release Barbanza is an incredibly eclectic yet decidedly straight ahead offering with a twist of Spain smoldering just below the surface. In doing some due diligence on this release, I ran across a review on All About Jazz. While I may have looked at their blog less than a half dozen times since leaving as a contributor, I noticed their critic stated this could be readily considered an Iberian project. To stereotype this project simply because all the participants are from Spain would be like saying all musicians from Chicago play the blues. 

Granted the Iberian flavor runs just below the lyrical sense of forward motion this release creates the overall sound of the release is not easily defined which is a beautiful thing. The All About Jazz critic goes on to write the compositions readily reflect the feelings evoked by Pin's current homeland. With no reference to the compositions provided either on the release or in the standard press one sheet this type of conjecture is playing fast and loose with an artists work and subsequent opinion created for critical analysis - something their editor often warned me about.
I bring this up not to make a case against All About Jazz but to instead show that the disingenuous labeling of an artistic voice can be a dangerous if not highly inaccurate presentation for the casual listener.

"Sounds like..." is an inherently unfair artistic comparison and with that being said there is a fluidity in Pin's playing that combines world music with the form and function of the modern jazz performers here in the United States. Marcos Pin is as formidable an arranger as he is a performer and the group dynamic give the release the vibrant feel one might associate with an Iberian connection but on a more contemporary footing. "Bagueera's Dilemma" and the vibraphone work of Ton Risco create a delightful warmth and intimate charm that is indeed as inviting as it is beautiful. The contrasting tune "Escarabote's Blues" is a far more open ended and free form sonic exploratory that while distinctly segmented manages to pull the ensemble cast as well as this critic into a new and challenging world of a large ensemble walking the sonic tightrope between their own culture and the traditions perhaps inspired from some more western influences.  While I felt a slight disconnect with the cover art and the music there is very little to say on a critical basis when discussing this release.

A textured feast that hits both the visceral and cerebral senses hard and leaves one curious as to what may be in store in the future. Marcos Pin is a name to remember!

Track Listing: Bagueera's Dilemma; Moment's Notice; Bico De Mar; San Finx; Where Are They?; Noite De Sereas; Escarabote's Blues.

Personnel: Marcos Pin: guitar; Javier Pereiro “GD Jazz”: trumpet, flugelhorn; José Luis Miranda: trombone, euphonium; Pablo Castanho: alto saxophone, flute; Xosé Lois Miguelez: tenor saxophone; Toño Otero: tenor saxophone, baritone saxophone; Ton Risco: vibes; Manolo Gutiérrez: piano; Juansy Santomé: double bass; Max Gómez: drums.

www.marcospinn.es

Jack Mouse Group Range of Motion Origin 2013

Origin Records is an often over looked label when in reality they have a stable of artists that are as technically proficient and artistically gifted as most any other label one can think of. The Jack Mouse Group is certainly no exception and with a distinguished musical resume including work with such luminaries as Kenny Burrell, Bob Mintzer, and Sheila Jordon it is easy to see this is not Mouse's first rodeo.

Jack Mouse has assembled what is essentially a quintet with two bass titans in Bob Bowman and Kelly Sill splitting time on Range of Motian. The fact that Mouse has a long standing history with all the participants here only strengthens the musical chemistry which translates into an exciting group dynamic reminiscent of the classic Blue Note sound simply brought up to date with unique and challenging arrangements of some original compositions destined to stay around for some time.

While the focus on a distinct ebb and flow may not have been the primary concern in putting this project together the lyrical sense of purpose with which this quintet approaches their craft allows each voice to make their own statement with the end result a delightful synergy of what happens when all the stars are in perfect alignment for a recording date. "Hip Check" has a certain pop of vitality and was fittingly inspired by hockey legend Bobby Orr and his devastating hip check he would lay on opponents as a lovely parting gift for invading his space. "Prairie Dance" is a tune that allows Mouse to go back to the future with inspiration from playing country dances at the community center in Emporia Kansas as a youth. "Loose Weave" is perhaps the most adventurous piece as a free form duet with long time friend and saxophone player Scott Robinson.

A solid presentation of compositional excellence coupled with a musicality that knows no limitations. Origin Records and Jack Mouse bang out another winner!

4 Stars!

Personnel: Scott Robinson: tenor & soprano saxophones, flute; Art Davis: trumpet & flugelhorn; John McLean: guitar; Bob Bowman: bass (3,4,6,7,8); Kelly Sill: bass (1,2,5,9); Jack Mouse: drums.

Tracks: LaPorta; Slow Helen; Winterset; Hip Check; Raucous Caucus; The Breezeling; Mean Streak; Prairie Dance; Manne-rism; Loose Weave.

BWB Human Nature Concord Music Group 2013

Since the passing of Michael Jackson there have been numerous tribute release from a plethora of artists covering just about every genre known to man. Covering pop songs in a jazz setting can be the musical equivalent of tap dancing in a sonic mine field. There are two primary dangers that have plagued artists attempting to do nothing more than pay fitting tribute to a global superstar. The first challenge would be the arrangements which more often than not go karaoke before you can blink. The second challenge is the transformation of the particular work into a new artistic presentation where the performing artist can make it their own if for only a brief moment in time. The emotional connectivity is often missing and there is an inherent feeling of sadness that begins to permeate the recording that some artists can never work past.

BWB and their release Human Nature manages to transcend the inherent dangers of doing a tribute record with lifeless covers to doing an imaginative reharm of Jackson classics that turn into a musical celebration of a life lived and contributions that will continue to inspire the next generation of artists and fans alike. BWB released their first recording titled Groovin' back in 2002 when Rick Braun, Kirk Whalum and Norman Brown were all recording for a different label. Despite having not worked as a cohesive unit for over a decade, there is an undeniable chemistry that allows perhaps the three hottest names in contemporary jazz to explore the possibilities of one of the most famous catalogs of all time. For those thinking "smooth jazz" you may want to actually listen to the entire recording before passing premature judgement. The arrangements lean more to the modern jazz interpretations of popular music i.e. John Coltrane and "My Favorite Things."

The more serious harmonic extensions laid out on some of Jackson's most popular tunes include a modern post-bop approach to "Billie Jean." Kirk Whalum gives a Memphis vibe and an exciting blues twist to "Who's Lovin' You." The classic tune "Beat It" turns into a Rick Braun joint with an addictive reggae-ska riff that takes dance music to a totally different and more organic level then perhaps even Jackson could have imagined. Norman Brown lays down a George Benson groove that is timeless and tasty in flavor and presentation. Complex melodies and sophisticated use of harmonies make for a textured release that far outshine the expected pop music covers one might come to assume would be the logical direction for this project.

Two Grammy winners in Norman Brown and Kirk Whalum reunite with perhaps the most versatile contemporary trumpet player of our time to turn out a vibrant celebration of the musical life and times of the King of Pop. This dynamic trio pulls off the unthinkable as well if not better than any other recording artists to date!

Tracks: Another Part Of Me; Billie Jean; Human Nature; Beat It; Who's Lovin' You; She's Out Of My Life; Shake Your Body; The Way You Make Me Feel; I Can't Help It; I'll Be There; Man In The Mirror.

Norman Brown: guitar; Kirk Whalum: tenor sax; Rick Braun: trumpet

@CriticalJazz / Tragedy In Oklahoma

By now the vast majority of you are aware of the devastation that has rocked Oklahoma due to the unprecedented E-5 tornado outbreak just south of Oklahoma City. The great state of Kansas has suffered significant damage as well. I hope you will join @CriticalJazz is sending out your positive energy and prayers to the people that have been directly impacted by this tragedy.

At last count the death toll was at 51 and climbing. Positive energy and prayer are wondrous things but the reality is these citizens have tangible needs that must be met immediately. Thousands have lost everything. Imagine losing everything you have to an act of God and there was nothing you could do to stop it. The psychological impact of the storms alone is so great that some people never recover.

You can help! Do not think that the Federal Government can simply roll in there with a fistful of checks and problem solved. Please join me in doing what you can no matter how small. One million small donations add up to one massive donation. Challenge the people you work with, your local schools and even your local houses of worship. Contact the American Red Cross or the Salvation Army in your area to find out where your resources can do the most good.

What makes this country the greatest nation on the face of the earth is the willingness and ability to help out a neighbor in need, even those we have never met. The motto of the Commonwealth of Kentucky which is my home state is "United We Stand, Divided We Fall."

Truer words were never spoken. May God bless those rocked by this terrible tragedy and please take the initiative to do what ever you can to help!

The Death of Liberty Courtesy of Barack Obama.

Let us review...

1.) 12 documented revisions to his talking points on the massacre in Libya that he and Hillary are directly responsible for. Blame shifted to a You Tube Video? Are you serious? Strike One.

2.) The I.R.S was allowed to target people and groups simply based on their disagreement with his Marxist philosophy. Reliable sources said he knew before the election but did not release it till he began having his head handed to him over Libya. Strike Two.

3.) The Obama Administration illegally spied on Associated Press Editors with no probable cause of any kind. Meanwhile...Obama promised the most open and transparent Presidency in history. Swing and a miss!

Impeachment proceeding must begin as soon as possible as it is clear Obama is unfit to carry out the duties of his office.

And...Liberals STILL want to bring up and shift blame to George Bush. Eric Holder found no evidence of any high crimes or misdemeanors concerning Bush or Cheney. Taking poorly founded rumor or opinion and attempting to pass it off as factual evidence of a crime does not fly. Obama voted to fund the war so where were his principles then? Taking the moral high ground as necessary to further your self serving agenda is not the way...Make no mistake, Bush had his problems but nothing on the scale of violating basic rights and freedoms as is the case with Obama.

I guess when Obama care goes into full effect good ol George will take it up the shorts for that pending train wreck. The architect of this bill Tom Harkin is now on the record as stating it is a train wreck waiting to happen. Health care premiums are on the rise while they can get away with it and here is the kicker...The penalty for not having insurance is less than the average monthly premium according to O.M.B. so where is the incentive to purchase the insurance?

When you let political ideology and blame shifting draw your attention away from the facts as presented here then your issues run far deeper then political ideology.

Good luck with that...

Yoron Israel & High Standards / Visions - The Music of Stevie Wonder 2013

The Berklee College of Music is world famous for churning out the best and the brightest artists to hit the jazz scene on a consistent basis. With drummer, composer, and arranger Yoron Israel currently serving as Assistant Chair and Professor of Percussion at Berklee it is of little wonder that the talent hitting the clubs and concert halls on both a local and national level are of such consistently high standards. The new release Visions - The Music of Stevie Wonder is not simply a ten track cover release of the expected greatest hits. Yoron Israel goes deep catalog and while taking some songs that may strike an immediate chord with the hard core Stevie Wonder fan, he digs deep and deconstructs some more eclectic offerings and does a masterful job at recreating the work of an acknowledged master to fit his own unique artistic voice.

In terms of a performance resume you can list such luminaries as guitarist Ed Cherry, organist Kyle Koehler and tenor and soprano saxophonist Billy Pierce. Israel is a dynamic performer seemingly not content with the status quo but highly respectful of the immense body and artistic significance attached to Stevie Wonder's immense discography. Israel has several ensembles with which he performs but here we are treated to his 4tet High Standards. As a leader Yoron Israel lays comfortably in the pocket while the group dynamic fully develops on tunes such as "All In Love Is Fair" and "You Are The Sunshine Of My Life." The inherent groove associated with virtually all of Stevie Wonder's compositions makes for a seamless transition under the skillful pen and hands of Israel. For a great many artists, covering one Stevie Wonder tune is a daunting task but to attempt to reharm ten tunes while never mangling the beautiful melody could very well be the musical equivalent of tap dancing in a mine field. The selection of some lesser known but equally as impressive Wonder tunes sets this collection apart from the vast majority of others that have crashed and burned in the attempt.

A wonderful hybrid of lyrical texture reinforced with both Latin and African influences in a more traditional straight ahead or hard bop setting works incredibly well here. Avant-garde improvisation is readily available and in full effect but never to the point of forcing the listener off the edge of a melodic cliff. Yoron Israel draws from within as well as his exemplary academic career to take on the daunting task of doing his own riff on Stevie Wonder and he slays it.

Incredibly entertaining for the casual listener or studious professional!

4 Stars.

Tracks: Another Star; Bird of Beauty; All In Love Is Fair; Creepin'; Visions; You Are The Sunshine of My Life; Contusion; Passionate Raindrops; Where Were You When I Needed You; Visions Reprise.

Personnel: Yoron Israel: leader, drums & percussion; Lance Bryant: tenor and soprano saxophone; Lazlo Gardony: piano, keyboards; Ron Mahdi: bass; Thaddeus Hogarth: guitar (2), harmonica (8); Larry Roland: spoken word (5,10).

www.yoronisrael.com

Joe Bonamassa & Beth Hart See Saw J R Adventures 2013

A perfect pair...

Labels  are a fickle mistress which is why the limitless talent of Joe Bonamassa has to drive the vast majority of critics and perhaps the odd label executive crazy at times. Simply put, this cat can play anything as is evidenced with the tunes on Seesaw. From the Ike & Tina Turner review to Melody Gardot, Bonamassa transcends typical limitations thrust upon artists by well meaning critics and label executives alike. Normally when an artist such as Bonamassa can make a stage burn much in the same way as an Eric Clapton his "wheelhouse" seems to be decided for him. Joe Bonamassa's musicality combined with the raw visceral vocals of perhaps the best unknown female vocalist on the planet in Beth Hart make this release something "special" and this may be the classic undersell.

Words like eclectic get a little played out when referring to the collection of tunes here. What we have is great music performed by artists at the top of their game without having their work sanitized for your protection by a producer that struggles to see past the glass in the studio. I have heard some say the blues is dead, I don't think so. Joe Bonamassa is far more than a blues guitarist looking for a quick pay day. The incredibly sophisticated use of harmonics no matter the genre have the Bonamassa sound taking on a life of its own. Some guitarist sound stiff and noticeably uncomfortable when venturing out side of the confines of their musical comfort zone yet Bonamassa seems to relish the challenge.

Beth Hart is a spitfire vocalist molded from that Janis Joplin, Bonnie Raitt school of rock and blues colliding as one. The vocal on "Nutbush City Limits" is simply stupid good. Hart is far from a one trick pony as she dials back the intensity to go a little more cerebral and high light her incredible range with the Melody Gardot tune "I Love You More Than You'll Ever Know" which translates perfectly to a blues number where Bonamassa shines. "Can't Let Go" is a shuffle on steroids with a relentless back beat and an infectious chemistry between all the participants. The stars were in perfect alignment for this recording.

Beth Hart has the all to rare ability to tug at a heart string while setting  your hair on fire at the same time. Joe Bonamassa is the modern day Roy Buchannan (google the PBS Special on the worlds greatest unknown guitarist) who could move from Mozart to Muddy Waters in a set list and never miss a step. The word virtuoso while applicable is a bit tired. If you have never heard the amazing talent of Bonamassa and don't buy into the premise of a higher power, trust me...you will! This record is so good it is all most ridiculous...

Memphis soul meets Muscle Shoals with additional tunes from and associated with Donnie Hathaway, Lucinda Williams and Etta James.
My advise to you? Buy all the Beth Hart and Joe Bonamassa you can afford.
Memphis soul, Chicago blues and a Texas shuffle sprinkled with funk, flair and finesse.
Even the most hypercritical of critics could find nothing wrong here!

Tracks: Them There Eyes; Close To My Fire; Nutbush City Limits; I Love You More Than You'll Ever Know; Can't Let Go; If I Tell You I Love You; Rhymes; A Sunday Kind Of Love; See Saw Strange Fruit.

Personnel: Beth Hart: vocals; Joe Bonamassa: guitar and vocals; Anton Fig; drums and percussion; Carmine Rojas: bass; Blondie Chaplin: rhythm guitar, backing vocals and percussion; Arian Schierbaum: organ and piano; Lee Thornburg: trumpets and trombones; Ron Dziubia: saxes; Lenny Castro: percussion ( "I Love You More Than You'll Ever Know"); Michael Rhodes: bass ( "I Love You More Than You'll Ever Know"); Doug Henthorn: backing vocals (Can't Let Go); Jeff Bova: string arrangements; Lee Thornburg: brass arrangements.

Music Critic Reviews / Social Media falling on deaf ears.

After sitting through a flame war on a drummer's face book page this morning I felt compelled to re post this video from You Tube that sums up my feelings on artists and especially those writing about music in the market place of today. If I could shoot a video, I don't believe I could have expressed myself any better than the cat in the bathrobe. I left the "conversation" on race to this artists politically correct friends to banter about while patting each other on the back to reaffirm the validation that apparently their collective mothers were unable to give them as children.

Enjoy!