The Diva Jazz Orchestra - The Diva Jazz Orchestra Swings Broadway

Styles: Jazz, Big Band
Year: 2022
File: MP3@320K/s
Time: 61:32
Size: 143,1 MB
Art: Front

(7:48) 1. Heart
(6:38) 2. Pure Imagination
(5:44) 3. The Man I Love
(7:12) 4. With Every Breath I Take
(6:06) 5. The Sound of Music
(6:29) 6. Oh, What a Beautiful Morning
(5:17) 7. Seventy-Six Trombones
(7:18) 8. Love Who You Love
(8:55) 9. Get Me to the Church On Time

At the ripe old age of thirty (closer to a hundred in big-band years), the superlative New York-based, all-female DIVA Jazz Orchestra remains as frisky as a newborn colt, swinging up, down and around Broadway with abandon on its thirteenth album, a brisk and colorful tribute to the Great White Way that shines brightly from start to finish.

The album opens and closes in a mid-1950s vein, raising the curtain with Steven Feifke's breezy, well-grooved arrangement of "Heart" from Damn Yankees (1955) and ringing it down with a spirited battle of alto saxophones (Mercedes Beckman, Alexa Tarantino) on Scott Whitfield's full-throttle treatment of Get Me to the Church on Time from Lerner and Loewe's classic My Fair Lady (1956). Drummer and music director Sherrie Maricle has the last word on that flag-waver, taking her only extended solo before brass and reeds append a boisterous exclamation point.

Whitfield, a trombonist himself, deftly arranged "Seventy-Six Trombones" from Meredith Willson's The Music Man as a showcase for DIVA's admirable 'bone section (Jennifer Krupa, Sara Jacovino, bass Leslie Havens), squeezing in a quick "trad" section that summons forth clarinetist Roxy Coss and trumpeter Barbara Laronga before adding a brief line from the venerable "Lassus Trombone" as a coda. Coss delivers a forceful tenor solo on "Heart," as do Krupa and trumpeter Jami Dauber. Bassist Noriko Ueda takes a solo bow on the Gershwin brothers' "The Man I Love," as does Jacovino (who also arranged) on Cy Coleman's seductive ballad, "With Every Breath I Take," from City of Angels.

Coss, Dauber and Maricle share blowing space on baritone saxophonist Leigh Pilzer's buoyant samba version of "Pure Imagination" from Leslie Bricusse/Anthony Newley's delightful score for Charlie and the Chocolate Factory, the first of two splendid charts by Pilzer who spreads a Basie-style canopy over Rodgers and Hammerstein's "The Sound of Music," on which she solos with Ueda and pianist Tomoko Ohno. Ueda arranged a second R&H masterpiece, "Oh, What a Beautiful Mornin,'" from Oklahoma! (sturdy solos courtesy of Ohno, flugel Rachel Therrien and tenor Laura Dreyer), while Scott Silbert uses his impressive orchestral talents to score the enchanting "Love Who You Love" from A Man of No Importance (spotlighting Ohno, Laronga on flugelhorn and Tarantino on soprano sax).

DIVA has a proud history of swinging, on Broadway and everywhere else, and this latest example of its mastery warrants a gold star, blue ribbon, laurel wreath, feather in the cap, or any other commendation a superlative ensemble deserves. To put it another way, Swings Broadway is emphatically recommended.

Personnel: Sherrie Maricle: Music Director, drum set; Tomoko Ohno: piano; Noriko Ueda: bass; Alexa Tarantino: soprano/alto saxophones, flute; Mercedes Beckman: soprano/alto saxophones, flute; Roxy Coss: tenor saxophone, clarinet; Laura Dreyer: soprano/tenor saxophones, clarinet; Leigh Pilzer: baritone saxophone, bass clarinet, clarinet, flute; Liesl Whitaker: lead trumpet, flugelhorn; Jami Dauber: trumpet, flugelhorn; Rachel Therrien: trumpet, flugelhorn; Barbara Laronga: trumpet, flugelhorn; Jennifer Krupa: trombone; Sara Jacovino: trombone; Leslie Havens: bass trombone; Annette Aguilar: guest percussionist on tracks 2 & 6

The Diva Jazz Orchestra Swings Broadway

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Artemis - In Real Time

Styles: Jazz, Post Bop
Year: 2023
File: MP3@320K/s
Time: 50:23
Size: 117,2 MB
Art: Front

(7:05) 1. Slink
(6:17) 2. Bow and Arrow
(6:18) 3. Balance of Time
(4:51) 4. Lights Away from Home
(7:30) 5. Timber
(7:03) 6. Whirlwind
(5:34) 7. Empress Afternoon
(5:42) 8. Penelope

The all-star jazz sextet Artemis further coalesce their sophisticated post-bop sound with their sophomore album, 2023's In Real Time. When the group debuted with 2020's eponymous title, the all-women group brought each of the member's extensive solo experience to bear on their vibrant group sound.

While part of the line-up has shifted since then, the group (still led by pianist Renee Rosnes) sounds even more united. Part of this is due to the increased time Rosnes and her rhythm section partners, including bassist Noriko Ueda and drummer Allison Miller, have spent touring and performing together.

Also returning is trumpeter Ingrid Jensen, whose warm tone and lithe, Kenny Wheeler-esque harmonies work as a bold herald to the group's lush interplay. Coming on board this time out are tenor saxophonist Nicole Glover and alto saxophonist/multi-reedist Alexa Tarantino, who both bring their distinctive improvisational styles to the fore. While originality is still at the core of Artemis' sound, there's a feeling that Rosnes and her bandmates are also exploring their influences.

It's a vibe that's evident from the start on their sparkling rendition of longtime Pat Metheny bassist Lyle Mays' "Slink," a song culled from his 1985 self-titled album. Here, Artemis transform the contemporary synths of Mays' original into a more organic-sounding arrangement, one where the contrapuntal bass groove is nicely off-set by colorful flute, sax, and vocal harmonies.

They further underscore the deep influences at play on In Real Time with album's closing take on Wayne Shorter's "Penelope" fleshing out the late sax legend's composition with Jensen's muted, night sky trumpet leads, Rosnes' luminous pianos chords, and spectral saxophone solo from Glover. Equally potent are the group's own originals, including Miller's "Bow and Arrow" (a roiling tune in the '60s hard bop tradition) and Tarantino's atmospheric waltz "Whirlwind" (recalling Miles Davis' '60s recordings).

There's also Jensen's "Timber," her vocal-like trumpet textures framed by a funky '70s-style groove and Rosnes' dewy Fender Rhodes accents. While much of In Real Time evokes the deep well of the post-bop jazz tradition that inspires Artemis, they never fail to inspire on their own terms.By Matt Collar
https://www.allmusic.com/album/in-real-time-mw0003961691

Personnel: Renee Rosnes: piano; Ingrid Jensen: trumpet; Alexa Tarantino: alto and soprano saxophone, flute; Nicole Glover: tenor saxophone; Noriko Ueda: bass; Allison Miller: drums.

In Real Time

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Ulysses Owens Jr. Big Band - Soul Conversations

Styles: Instrumental Jazz
Year: 2021
Time: 72:48
File: MP3 @ 320K/s
Size: 167,5 MB
Art: Front

(8:53) 1. Two Bass Hit
(5:59) 2. London Towne
(8:37) 3. Beardom X
(7:29) 4. Red Chair
(6:32) 5. Giant Steps
(5:51) 6. Language of Flowers
(8:20) 7. Human Nature
(4:46) 8. Girl Talk
(9:44) 9. Harlem Harlem Harlem
(6:33) 10. Soul Conversations

Drummer Ulysses Owens, Jr.'s Big Band comes out swinging on its debut recording, Soul Conversations, thundering through Michael Dease's incendiary arrangement of the Dizzy Gillespie/John Lewis flame-thrower, "Two Bass Hit." For more such heat, however, the listener must move forward to Track 5, John Coltrane's impulsive "Giant Steps," thence to Track 9 for Charles Turner III's earnest homage to "Harlem Harlem Harlem," on which he doubles as vocalist.

That's not to say that everything in between is less than pleasing, only more sedate. That includes a trio of charts by Owens ("Beardom X," "Red Chair," "Soul Conversations"), trumpeter Benny Benack III's sunny "London Towne," bassist Yasushi Nakamura's shapely ballad, "Language of Flowers," John Bettis/Steve Porcaro's multi-layered "Human Nature" (featuring guest vibraphonist Stefon Harris, as does "London Towne") and Neal Hefti's shopworn and patronizing "Girl Talk." Dependable as they are, one senses that the band is capable of more, but as Owens chose the material that must have been his purpose, and the outcome should be weighed on that basis.

Another aspect that must be considered is the circumstance under which the album was recorded: in concert at Dizzy's Club Coca Cola in New York. While that usually poses no problem, in this case the color and balance do the band no favors. The sound isn't for the most part displeasing; on the other hand, as with the choice of material, the over-all impression is that it could have been better. An accent here, a blemish there it all adds up to a sonic cushion that may be tolerable but is at times less than supportive.

There is no doubting, however, the band's aptitude or enthusiasm. There's an abundance of musical talent in New York, and Owens has stocked the band with proven heavyweights, a benefit that is readily apparent from the outset. "Two Bass Hit" could have set the tone, with spirited blowing by the ensemble and vigorous solos by tenor Diego Rivera, bass trombonist Wyatt Forhan, trumpeter Walter Cano, trombonist Dease, baritone Andrew Gutauskas and Owens himself, but the leader chose another route, moderating the pace and ardor considerably on "London Towne," "Beardom X" and "Red Chair" before re-engaging the accelerator on "Giant Steps," wherein Rivera and tenor Daniel Dickinson trade sturdy blows before Owens and trumpeter Giveton Gelin add earnest solos.

Alto Alexa Tarantino is showcased on "Language of Flowers," Gelin on "Girl Talk," and there are admirable solos elsewhere by Benack, trombonist Eric Miller, alto Erena Terakubo and trumpeter Summer Camargo (muted on "Harlem"). It's a sometimes choppy maiden voyage but one whose strengths far outnumber its weaknesses. Recommended for the exuberant flag-wavers, first-rate solos and sizeable number of impressive moments on the less-than-emphatic numbers.
https://www.allaboutjazz.com/soul-conversations-ulysses-owens-jr-big-band-outside-in-music

Personnel: Ulysses Owens, Jr.: drums; Walter Cano: trumpet; Benny Benack III: trumpet; Summer Camargo: trumpet; Giveton Gelin: trumpet; Alexa Tarantino: saxophone, alto; Erena Terakubo: saxophone, alto; Diego Rivera: saxophone; Daniel Dickinson: saxophone; Andrew Gutauskas: saxophone, baritone; Michael Dease: trombone; Eric Miller: trombone; Gina Benalcazar: trombone; Wyatt Forhan: trombone, bass; Stefon Harris: vibraphone; Takeshi Ohbayashi: piano; Yasushi Nakamura: bass; Charles Turner III: voice / vocals.

Soul Conversations

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Alexa Tarantino - Clarity

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 46:26
Size: 107,1 MB
Art: Front

(5:13) 1. Through
(4:06) 2. A Race Against Yourself
(4:42) 3. La Puerta
(5:14) 4. A Unified Front
(4:58) 5. Gregory Is Here
(6:06) 6. Karma
(4:44) 7. Breaking Cycles
(5:00) 8. Thank You For Your Silence
(6:20) 9. My Ship

Alto saxophonist Alexa Tarantino is an indefatigable spirit, plain and simple. In the past two years alone she's worked with everybody from trumpeter Wynton Marsalis to vocalist Cecile McLorin Salvant, held down the lead alto chair in The DIVA Jazz Orchestra, co-led the fiery LSAT quintet with baritone saxophonist Lauren Sevian, directed her self-founded Rockport Jazz Workshop, and appeared on more than a half dozen albums, including three collective-minded gatherings on the Posi-Tone imprint and her own debut for the label. Even homebound, in the age of COVID-19, she remains one of the busiest musicians on the scene. In the short span between late March and June of 2020 she launched a themed online concert series with pianist Steven Feifke, a Zoom chat called 'The Well-Rounded Musician" through Jazz at Lincoln Center, the musically-minded Alexa Abroad travel blog, and an online summer camp also in partnership with Feifke called A Step Ahead Jazz.

The aforementioned list is just a partial breakdown of what Tarantino's been up to, so to say she's busy and call her a rising star is a gross understatement. But to what does she owe all of that success and demand? Strong musical skills? Absolutely. A positive attitude toward work and personal improvement? Without a doubt. But it's more than that. If you boil it down to one word, it's clarity. There's clear understanding and meaning behind every artistic endeavor she creates and every job she takes on, and that most certainly includes the mantle of leadership. On Winds of Change (Posi-Tone, 2019) Tarantino demonstrated that by serving up a cross-section of material from different stages of her development, and with this follow-up date she changes gears by focusing on the now. Her originals, which account for about half of the playlist, were all penned within the year prior to this album's release, and the program in its entirety speaks to her strengths as a front figure, collaborator, composer, arranger and multi-instrumentalist.

Leading a well-built quartet that includes Feifke, bassist Joe Martin and drummer Rudy Royston, Tarantino toggles between instruments and moods like nobody's business. The album opens on "Through," a modal vehicle for her flute. Presenting with both cool traces and hard edges, it proves to be an alluring entrance to the set. "A Race Against Yourself," Tarantino's nod to her own internal drive and the difficulties inherent in keeping pace, follows. Providing the expected burn and a marked contrast to the opener, it also offers strong statements from the leader, Feifke and a rumbling Royston. Her two additional originals, spaced out across the album, further the picture of a musician who's both a team player and confident leader. "A Unified Front," which sourced the melody line of its first four bars by having each person in a group of friends provide one note apiece, rides an appealingly swinging line, and "Thank You For Your Silence," a groove-morphing vehicle that serves as a statement of self-trust, charms with its surprises.

The remaining material points to a variety of inspirations and ideals. Luis Demetrio's "La Puerta," a mellow and melodious vehicle which came to Tarantino through her work with Arturo O'Farrill's Afro-Latin Jazz Orchestra, is capped by a gorgeous alto cadenza. Horace Silver's "Gregory is Here," from In Pursuit of the 27th Man (Blue Note, 1973), finds a light Fender Rhodes glaze supporting a seductive soprano. Feifke's "Karma," with pivoting rhythmic posts guiding (or matching) the melody's direction, and saxophonist Levi Saelua's "Breaking Cycles," drawing from a bright harmonic palette, were both commissioned by Tarantino. And Kurt Weill's "My Ship," a balladic sendoff for the leader's alto flute, floats the album across its finish line. There's a good chance that Tarantino will have moved on to 10 other ideas or projects by the time these words are published, but that likelihood doesn't lessen the impact surrounding what she's accomplished here. Channeling personal resolve, passion and determination into a single statement, Alexa Tarantino provides a direct look at what clarity is all about.~ Dan Bilawsky https://www.allaboutjazz.com/clarity-alexa-tarantino-posi-tone-records

Personnel: Alexa Tarantino: saxophone, alto; Steven Feifke: piano; Joe Martin: bass; Rudy Royston: drums.

Clarity

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Alexa Tarantino - Firefly

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 57:35
Size: 133,7 MB
Art: Front

(5:39) 1. Spider's Dance
(4:44) 2. Mindful Moments
(4:08) 3. Move Of The Spirit
(4:43) 4. Iris
(4:19) 5. Daybreak
(1:37) 6. Surge Fughetta
(4:11) 7. Surge Capacity
(4:34) 8. La Donna Nel Giardino
(6:43) 9. Rootless Ruthlessness
(6:33) 10. Lady Day
(4:24) 11. Violet Sky
(5:56) 12. The Firefly Code

The twenty-first century sees many of us talking to a cloud-based artificial intelligence: "Alexa, play my music." And so she does. The time frame also sees the emergence of a talented human Alexa Alexa Tarantino, who plays her music, on Firefly, the woodwindist's third album release on Posi- Tone Records, an evolutionary leap forward conceptually and compositionally from her debut, Winds of Change (2019), and her second outing, Clarity (2020), both on Posi-Tone Records. Fronting a quintet which includes vibraphonist and label mate Behn Gillece and keyboardist Art Hirahara, Tarantino, plays alto and soprano saxophones, flute and clarinet, making a music which has a feeling of a release of positivity, of pent-up feelings and ideas being given voice with the easing of a post-pandemic isolation.

The disc opens with Hirahara's "Spider's Dance," a luminescent reverie, with the leader sounding particularly inspired, The arrangement the back and forth of piano, vibes and saxophone solos is as close to perfection as can be. Vibraphonist Gillece's "Mindful Moments" finds Tarantino switching to flute, floating over the rhythm section's fluid shuffle, leading into a composition from the group's drummer, Rudy Royston, "Move The Spirit," a high octane, get-up-and-dance type of tune.. With "Iris," a tune written by saxophonist Wayne Shorter which appeared on Miles Davis' ESP (Columbia Records, 1965) the ensemble explores Shorter's classic sound, edgy and luxuriant at the same time in this quintet's rendition.

All great music, but it is with her own "Daybreak" that Tarantino's evolutionary progression begins to show. The tune serves as Part 1 of her original "A Moment In Time" suite. It has a "clean slate, go out and make the day" sound, brimming with energy and optimism," moving into the minute-and-a-half "Surge Fughetta" from bassist Boris Kozlov's pen. The tune has a dreamy, chamber music vibe (flute, vibes and bass), which segues into Tarantino's "Surge Capacity," a scintillating barnburner, with Tarantino's blowing bringing alto saxophonist Jackie McLean to mind. Tarantino and the group re-visit Wayne Shorter with "Lady Day," a lovely, introspective, time-stands-still six and half minutes. This excellent set closes with the highlight, Tarantino's "The Firefly Code," which, on an Alexa mix (the artificial intelligence Alexa, not the saxophonist Alexa) could be mistaken for a Hubert Laws composition intricately and ethereally beautiful, exuding "hope, faith, rest and rejuvenation," as only the best music can.~ Dan McClenaghan https://www.allaboutjazz.com/firefly-alexa-tarantino-posi-tone-records

Personnel: Alexa Tarantino: saxophone, alto; Behn Gillece: vibraphone; Art Hirahara: piano; Boris Koslov: bass; Rudy Royston: drums.

Firefly

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