George Garzone & Trio Da Paz - Night of My Beloved

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 58:55
Size: 135,3 MB
Art: Front

(7:30)  1. Felicidade
(5:56)  2. Gentle Rain
(4:11)  3. Choro
(5:59)  4. Pra Dizer Adeus
(5:50)  5. Alone
(6:10)  6. A Noite do Meu Bem (Night of My Beloved)
(5:48)  7. Falando de Amor
(6:06)  8. Ballad for Lana
(5:35)  9. The Shadow of Your Smile
(5:50) 10. Fotografia

George Garzone is a marvelous tenor saxophonist who is also known as a highly regarded educator. Some of people he has taught includes Branford Marsalis, Mark Turner, Joshua Redman, and many more. Garzone's debut album arrived fairly late in 1995 with the main influences coming from Stan Getz and John Coltrane. For this exceptional release, Garzone tapped into his love of Getz as he was paired with Trio da Paz, a superlative Brazillian trio led by the prominent guitarist, Romero Lubambo. In addition, piano expert Kenny Werner also joins this outstanding group of musicians. The casual listener might mistake this album as background music but that would be wrong. A sharp listener will pick up and savor the music being played by these masters. Each musician is tuned in to each other and aware of the right moment to play each note. This is an album that rewards deep listening.

Personnel:  George Garzone (tenor sax); Kenny Werner (piano); Romero Lubambo (guitar); Nilson Matta (bass); Duduka Da Fonseca (drums).

Night of My Beloved

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Anne Drummond - Like Water

Bitrate: MP3@320K/s
Time: 32:21
Size: 74.1 MB
Styles: Brazilian jazz
Year: 2009
Art: Front

[4:30] 1. Aquelas Coisas Todas
[4:25] 2. Like Water
[3:30] 3. Frevo
[3:18] 4. Curumim
[4:13] 5. Lazy Afternoon
[3:57] 6. Afoxamba
[4:19] 7. Bossa For Copacabana
[4:06] 8. Spring

Anne Drummond: flute; Klaus Mueller: piano (1-7); Xavier Davis: piano (8); Paul Meyers: guitar (2, 5); Nilson Matta: bass (3, 6, 7, 8); Duduka Da Fonseca: drums (3, 6-8) and percussion (1, 7): Tom Chiu: violin (2, 5, 6, 8); Dave Eggar: cello (1, 2, 5, 6, 8).

Listening to vibraphonist Stefon Harris's outstanding African Tarantella (Blue Note, 2006), flautist Anne Drummond's work can often fly under the radar. Her importance on these recordings, however, can't be overstated: she often provides the textural glue that makes the group gel, and the only reason her fine flute work might not be more obvious is because of the lack of solo space she is given. Like Water, her debut as a leader, emphasizes the gentler side of Brazilian jazz. While plenty of people might feel the need to fill up a CD and play as much as possible to prove themselves on their first album, Drummond is comfortable in her skin and values the group dynamic over the individual on this concise, thirty-two minute recording. Performing with Kenny Barron's Canta Brasil provided the seeds of inspiration for this project, and two key performers from the pianist's group, bassist Nilson Matta and drummer/percussionist Duduka Da Fonseca, are along for the ride here.

Drummond wrote three pieces for the album and co-wrote another ("Spring") with Mark Bordenet. The title track benefits from her warm and unobtrusive string arrangement, with guitarist Paul Meyers adding some beautiful solo work and the flautist graceful and tender throughout. Meyers appears one last time on "Lazy Afternoon," and pianist Klaus Mueller provides a gentle and soothing piano solo. The rhythm section joins in on "Afoxamba," with Da Fonseca and Matta providing an instantly appealing, authentic groove. Drummond's joy and energy is immediately noticeable and her playing is passionate throughout. The blend between the pizzicato string line, at the outset of "Spring," and the rest of the musicians is intoxicating. Pianist Xavier Davis makes his lone appearance here, providing a touching solo.

The four other pieces are, for the most part, bright and bouncy. Toninho Horta's "Aquelas Coisas Todas" opens the album, with Drummond's flute sounding vibrant and fresh as she glides over the rhythm men. Egberto Gismonti's "Frevo" is three-and-a-half minutes of musical magic; Drummond's playing is electric, and her blend and chemistry with Mueller is astounding. Whether he's running through a unison rhythmic line with Drummond, comping behind her or playing his own solo, Mueller is always exhilarating. "Curumin" is a flute and piano duo performance that further highlights the rapport between Drummond and Mueller. Matta's "Bossa for Copacabana" is a subtle, gently gliding piece that benefits greatly from Da Fonseca's touch and feel. Whether interpreting her own works or other compositions, Drummond demonstrates a unified vision and strong melodic sense throughout Like Water. ~Dan Bilawsky

Like Water

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Mark Weinstein - Jazz Brasil

Styles: Flute Jazz
Year: 2010
File: MP3@320K/s
Time: 56:27
Size: 131,8 MB
Art: Front

(4:16)  1. I Mean You
(6:20)  2. Triste
(6:04)  3. Nefertiti
(7:00)  4. Brazil
(5:44)  5. Ruby My Dear
(6:06)  6. Sambosco
(7:34)  7. Dawn's Early Light
(4:37)  8. Memphis Underground
(4:33)  9. If You Never Come To Me
(4:08) 10. Isotope

Mark Weinstein has quietly established himself as one of the most wildly inventive flutists in modern memory. He is also one of the finest virtuoso players in the entire spectrum of 20th and 21st century music. His only rivals may well be the late Eric Dolphy, the Canadians, Jane Bunnett and Bill McBirnie, and, of course, the great James Galway. Weinstein is radically different from Dolphy, who imparted a speech-like quality to his flute, inspiring the mighty John Coltrane in the bargain and radically expanding the vocabulary of that instrument. Weinstein, on the other hand prefers to stay within the confines of the almost classical language of the instrument, but like the others mentioned, makes soaring leaps and swoops from the stratosphere and into the oceanic depths of music, bringing a renewed elasticity to the alto and bass flutes, as well as the concert flute (although his astounding album, Tales from the Earth (Ota Records, 2009), with pianist Omar Sosa, might suggest that he now resides closer to Dolphy in the extremely creative improvisations).

Weinstein has also been steady in his output in recent years, with four albums in as many years, but more than quantity, the consistency of his form has been quite impressive. Jazz Brasil, however, must surely rank as one of his finest albums to date. It is radically different from his album with Omar Sosa; more like the earlier Jazzheads album, Lua e Sol (2008), which also paid tribute to the Brazilian milieu. Jazz Brasil is not as thematically connected as the former Brazilian album, featuring a greater sense of urgency and seeking to unite two great traditions, by melding the jazz swing of delight with the shuffle of samba. His reading Ary Barroso's classic, "Brazil," is a case in point. Rather than play this chart like wave upon wave of thundering rhythm (as Maria Beth once did, for instance), Weinstein drops the song into a trance-like Bossa Nova groove, with master bassist Nilson Matta chugging along with a steady shuffle and swing. Likewise, his interpretations of Antonio Carlos Jobim's "Triste" and "If You Ever Came to Me" are magnificently linear re-imaginings of Brazilian standards, crafted, no doubt, with Matta in tow. The bassist had a leading hand in this album. His joyous playing also raises the level of excitement exponentially. Matta is positively buoyant on his own compositions, employing great leaps, covering multiple octaves on the bass with unbridled technical virtuosity. His double stops on "Brazil" are breathtaking. Pianist Kenny Barron must surely be an inspired choice for this musical journey. The ingenuity of this decision is borne out on the set's two Thelonious Monk charts, "I Mean You" and "Ruby My Dear." While Weinstein skips and pirouettes his way through the songs, Barron plays perfect foil, recreating the charts in singular fashion. Drummer Marcello Pelliteri not only completes the quartet, but leaves an indelible mark on this unforgettable album. ~ Raul d'Gama Rose https://www.allaboutjazz.com/jazz-brasil-mark-weinstein-jazzheads-review-by-raul-dgama-rose.php
 

Personnel: Mark Weinstein: concert flute, alto flute, bass flute; Kenny Barron: piano; Nilson Matta: bass; Marcello Pelliteri: drums, percussion.

Jazz Brasil

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Joe Henderson - Big Band

Bitrate: MP3@320K/s
Time: 59:58
Size: 137.3 MB
Styles: Bop, Saxophone jazz
Year: 1996
Art: Front

[5:23] 1. Without A Song
[5:21] 2. Isotope
[9:00] 3. Inner Urge
[6:52] 4. Black Narcissus
[8:22] 5. A Shade Of Jade
[7:19] 6. Step Lightly
[5:49] 7. Serenity
[4:26] 8. Chelsea Bridge
[7:22] 9. Recorda Me

Alto Saxophone – Bob Porcelli, Pete Yellin, Steve Wilson; Alto Saxophone, Soprano Saxophone – Dick Oatts; Baritone Saxophone – Gary Smulyan, Joe Temperley; Bass – Christian McBride, Nilson Matta; Bass Trombone – Dave Taylor, Douglas Purviance; Drums – Al Foster, Joe Chambers, Lewis Nash, Paulo Braga; Piano – Chick Corea, Helio Alves, Ronnie Mathews; Tenor Saxophone – Charlie Pillow, Craig Handy, Rich Perry, Tim Ries; Trombone – Conrad Herwig, Jimmy Knepper, Keith O'Quinn, Kiane Zawadi, Larry Farrell, Robin Eubanks; Trumpet – Byron Stripling, Earl Gardner, Idrees Sulieman, Jimmy Owens, Marcus Belgrave, Michael Philip Mossman, Ray Vega, Tony Kadleck, Virgil Jones; Trumpet [Lead] – Jon Faddis, Lew Soloff; Trumpet [Soloist] – Freddie Hubbard, Nicholas Payton.

On this 1996 recording, improbably the first to ever feature him leading a big band, the inimitable Joe Henderson assembled nine compositions (seven of which were self-penned) and a topnotch band for a very interesting record. Volumes have been written about Henderson as a soloist but, on Big Band, even the longest-term Henderson fan gets to hear his prodigious skills as a big band arranger for the first time. Influenced by Bill Holman and Bill Russo as much as by classical composers Igor Stravinsky and Bela Bartok, his charts are cool and sophisticated. Of course, Henderson's cause is helped by the absolutely unquestioned majesty of the core material, as well as a fine batch of co-soloists, including Chick Corea, Christian McBride, and Freddie Hubbard. The Slide Hampton-arranged "Isotope" is one of the finest moments on the record, with an almost amusingly dramatic introduction that evokes a film noir score before it accelerates into the famous theme. Corea's solo is absolutely masterful, a headlong rush into nothingness that somehow manages to land on its feet. When laid side by side, his solos often outstrip the leader's in their inventiveness and capability to draw the listener into the song. This is not, however, to downplay the contributions of the leader as a soloist; Henderson's tenor is as lovely as ever. Fantastic solos notwithstanding, it is the wonderful arrangements of these deservedly classic songs that make this album so valuable. Listen to the Robin Eubanks-led trombone section in "A Shade of Jade" for a quick taste of what it sounds like when everything about a big band comes together just so. There is not a lot to dislike about Joe Henderson's first recorded foray into big-band arranging. Recommended. ~Daniel Gioffre

Big Band

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Nilson Matta Brazilian Trio - Forests

Bitrate: MP3@320K/s
Time: 62:20
Size: 142.7 MB
Styles: Latin jazz, Piano jazz
Year: 2008
Art: Front

[6:19] 1. Amor
[7:04] 2. Forests
[6:39] 3. Samba Alegre
[6:22] 4. Montreux
[7:06] 5. Pro Zeca
[5:48] 6. Tarde
[6:24] 7. Ubatuba
[5:54] 8. Paraty
[3:37] 9. Flying Over Rio
[7:03] 10. Vera Cruz

Helio Alves: piano; Nilson Matta: bass; Duduka Da Fonseca: drums, percussion.

This exciting recording is a perfect example of the thorough absorption of the Bossa Nova being integrated with the mainstream jazz piano trio. All three members of Brazilian Trio are, in fact, Brazilians but have lived in New York City for decades,settling in the 1970s, '80s and '90s.

Pianist Helio Alves is the youngest of the three, having worked with Oscar Castro-Neves, Rosa Passos and Paquito D'Rivera. His decidedly modal approach to piano jazz is undoubtedly a credit to the influence of Bill Evans. Like Alves, bassist Nilson Matta hailed from Sao Paulo and has been a prolific musician seemingly appearing on scores of dates over the years. Drummer Duduka Da Fonseca relocated from Rio in 1970 and has been a vital part of the New York jazz scene ever since; at one time he was a part of the Don Pullen Afro-Brazilian Connection. His wife is Brazilian vocalist Maucha Adnet, who has established herself as a primary interpreter of Antonio Carlos Jobim. Da Fonseca and Matta form two-thirds of Trio Da Paz along with guitarist Romero Lubambo.

The music on Forests, while reflecting the pulse and passion of Brazil, is not really Bossa Nova or Samba. Rather, it represents a synthesis of those forms with the style of the American jazz trio. The tunes are redolent of the forests of Brazil, presented in a manner that moves the music into a new category. Opening with Ivan Lins' lovely "Amor," featuring Alves' lyrical piano, the session moves into Matta's title tune, dedicated to the forests of the Earth and in particular the Amazon Rain Forest, with Da Fonseca offering some tasty brushwork. Milton Nascimento contributes "Tarde," a beautiful melody that is limned again by Alves' Bill Evans-style work. Hermeto Pascoal's "Montreux" is a hard-to-find and rarely recorded title that made its debut at the 1979 Montreux Jazz Festival. The album concludes with Nascimento's popular "Vera Cruz," a full blown jazz samba. One significant observation about Brazilian Trio is that, despite its members' individual recording experiences, this is a fully interactive trio, bringing the distinctive touch of Brazil to a faraway studio. ~Michael P. Gladstone

Forests

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Nilson Matta - East Side Rio Drive

Bitrate: MP3@320K/s
Time: 49:47
Size: 114.0 MB
Styles: Latin jazz
Year: 2015
Art: Front

[6:04] 1. Sertao
[6:22] 2. Boogie Stop Shuffle
[3:50] 3. Mojave
[5:49] 4. E Menina
[6:24] 5. Verde
[4:15] 6. Blue In Green
[0:44] 7. Proemio Do Mingus
[5:16] 8. Lucas De Nadine
[6:45] 9. Angela
[4:13] 10. Mambo Inn

At the center of it all is Nilson Matta, who is both an outstanding bassist and an exceptional maestro, to employ another overused term. As a bandleader, he has an innate sense of orchestration, of flow, of sequence, of musical space and together with New York based producer/arranger Humberto (Howard) Léder (no stranger to mixing musical cultures, e,g. B.B.King with legendary Brazilian percussionist Nana Vasconcelos), they masterfully conceived an idea to make one piece, with specifically-sized ensembles and a unique groove, and to proceed emotionally and logically, how to make a well-known melody seem fresh and exciting, and then, how to contrast it with something not quite so familiar.

East Side Rio Drive

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Nilson Matta's Brazilian Voyage - Copacabana

Bitrate: 320K/s

Time: 50:03

Size: 114.6 MB

Styles: Brazilian jazz

Year: 2010

Art: Front

[7:19] 1. Baden

[5:43] 2. Trenzinho Do Caipira

[5:05] 3. Águas Brasileiras

[4:23] 4. Brazil (Aquarela Do Brasil)

[2:59] 5. Pantanal

[6:27] 6. Copacabana

[4:53] 7. Saci Pererê

[7:18] 8. I Can See Forever

[5:53] 9. Asa Branca Baião

Nilson Matta is one of the most in-demand bassists for record dates encompassing Brazilian music, in addition to being a leader and also a member of the group Trio da Paz. This is only Matta's third CD under his own name, but it is a truly international session, with Americans Harry Allen (tenor sax) and Anne Drummond (flute), German pianist Klaus Mueller, plus fellow Brazilians Murico Zottarelli (drums) and percussionist Ze Mauricio. Matta composed "Baden" as a tribute to the late Brazilian guitarist/composer Baden Powell, a feature for the rhythm section that delves into a Bach-like fugue. 20th century composer Heitor Villa-Lobos penned "Trenzinho do Caipira ("The Little Train of the Caipira") as a part of his "Bachianas Brasileiras" suite, though this famous theme takes on a very different flavor with Matta's jazzy adaptation, which prominently features Allen and Drummond in the mix. The leader showcases his arco playing in his virtuoso solo masterpiece "Pantanal," at times suggesting a country hoedown à la Aaron Copland. Matta doubles on acoustic guitar in his delightful, easygoing bossa nova "Copacabana," with Allen conjuring the spirit of Stan Getz. Allen contributed the original ballad "I Can See Forever," written with the influence of the saudade style and suggesting a gorgeous sunset on a warm, romantic evening. Copacabana is a memorable date that reveals new facets with each hearing.

Copacabana

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