Nelson Brill Reviews Charlie Musselwhite and Walter Trout

Real music lovers can find the melody in everything. From the park to the concert hall, our friend Nelson Brill is always on the hunt for great sound.

In this blog, Brill gets a bit bluesy as he recounts the past two concerts he enjoyed at local concert hall, The Narrows, in Fall River, MA.


CHARLIE MUSSELWHITE AND WALTER TROUT: ROCKING THE BLUES THE RIGHTEOUS WAY

By Nelson Brill

APRIL 24, 2016

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The late great B.B. King (no doubt still cradling his beloved guitar Lucille in some heavenly nightclub) would have been mighty proud of two recent concerts by two master slingers of the genre – harmonica and vocalist Charlie Musselwhite and guitarist and vocalist Walter Trout- as each delivered superb shows before sold-out audiences at The Narrows Center For The Arts (the “Narrows”) in Fall River, MA.

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The Narrows is a little gem of a concert venue worth checking out for live music. It boasts consistently great lineups (see www.narrowscenter.org) and a heartfelt community spirit. Its large space (located on the third floor of a former mill building overlooking Mt. Hope Bay) delivers great sound where vocals and instruments are heard with an alive and tactile quality while low bass and drum hits are resonant and full in its cavernous space. The volunteers who have run the Narrows since 1995 are music lovers who clearly adore their audiences. On April 15th, many of them gathered on stage to toast to the glory of the Narrow’s hosting of its 1,500th show (with plastic cups passed around to the audience for a rousing toast of champagne).

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And, speaking of “glory,” it’s a term that also best describes the raw delivery of heat, passion and grit that blues legend Charlie Musslewhite brings to his rollicking blues night after night. For a treat, take a listen to Musselwhite in his earlier performing years, joined by a brash big band on his 1978 recording Times Getting’ Tougher Than Tough [Crystal Clear Records]. This record will demonstrate the magic of vinyl: lighting up your listening room with a capacious and tactile soundstage in which Musselwhite and his cohorts serve up jump blues on a big, bold and soulful platter.

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At his Narrows show held on March 11th, Musslewhite arrived serenely, chatted with audience members and then pulled out his traveling suitcase (covered with Hells Angels and Clarksdale, MS. stickers) containing his assortment of harmonicas. Slowly and deftly, he pulled out the first chosen harmonica and began to wail on it, sounding like a propulsive steam locomotive pulling out of a station. After this first throb of harp, his young band (consisting of Matt Stubbs on guitar, June Core on drums and Steve Froberg on bass) hit the road running with their attack of roadhouse bluster that rambled into the high octane tune, “Long, Lean, Lanky Mama” taken from Musselwhite’s recently released live recording, I Ain’t Lying [CD Baby;charliemusselwhite.com].

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The show highlighted the deft chemistry between the legendary Musselwhite and his gifted young partners. Stubbs displayed swashbuckling guitar energy all night, combining smooth melodic rolls with biting string bends. On the tune “300 Miles”, (also from I Ain’t Lying), he and Musslewhite combined for a duet that stretched out to the horizon with Musslewhite’s cavorting harp calls and Stubbs utilizing a reverb sound on his guitar to create a hollow sound (to his heated holds and blistering runs) that brought the capacity crowd to its feet.

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Another highlight was the band’s brash rendition of the Elmore James number, “Done Somebody Wrong,” in which Musslewhite moved from the lowest registers of his harp to its highest pinched peaks. Stubbs obliged by taking an ardent guitar solo built upon repeated phrases and a rhythm guitar swagger – all ending in a huge crescendo of jagged chords and distortion. All of this great drama was propelled by the dynamic attack of bass and drums as Core and Froberg held down a tenacious boogie foundation underneath.

Musslewhite and his young compatriots not only brought swagger and sway, but they also could bring forth the tender and the breezy as well. These tunes highlighted how Musslewhite’s vocals still possess, (after many years of his performances on the road), an ardent and expressive quality. On the breezy sway and country feel of “Long Legged Woman,” Musselwhite’s vocals went deep and searching in duet with his harp as he brushed his lips softly against its shiny surface and breathed languidly to create a gentle wisp of soaring sounds.

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This same shimmy and breeze continued into a wild ride on “My Kinda Gal” (also taken from I Ain’t Lyin) that had Core furiously plying his wood rims. Against this clamor of wood hits, Musslewhite’s crisp harp dueled with Froberg’s bass in a slippery groove. The crowd stood and urged on this duel of two musicians at play (in the fields of the blues) until the last piquant squeal was sent soaring from Musselwhite’s expressive harp.

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A few weeks later, on April 15th, another master (this time of the Telecaster) took to the stage at the Narrows and (before an ecstatic sold-out audience) delivered a concert of such protean magnitude that there was no doubt that he remains one of the most fiery, expressive and dynamic blues guitarists on the planet today. Walter Trout is a miracle: he has survived near-death from liver disease (he was only saved by an anonymous gift of a liver transplant after waiting seven months in a hospital – he urged everyone at his concert to register as organ donors at www.donatelife.net) and his guitar artistry is as hard-won, genuine and rocking as you will ever hear.

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I believe his tour de force is his 2013 tribute recording to another Master of the Blues, Luther Allison, entitled Luther’s Blues [Provogue Records; www.waltertrout.com]. This is a seminal recording and a masterpiece, from its blazing guitar rifts to its stunning emotional delivery. Trout takes inspiration from Luther Allison’s own genius (heard on such rocking and raw vinyl releases as Allison’s 1969 album, Love Me Mama on the legendary Chicago Delmark label)  and soars into blues and rock heaven on every cut.

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Just take a listen to “When Luther Played The Blues” or “Low Down and Dirty” (with Luther’s brother, Bernard Allison on spidery slide guitar) and you will be transported to a world of pure heartfelt soulfulness where Trout’s guitar and voice meld into one perfectly dignified blues rocker of volcanic power. Luther’s Blues is a recording for the ages and a must have for anyone’s vinyl or CD collection struck with the glorious blues fever.

At his April 15th show at the Narrows, Trout brought all of the volcanic power that he displays on Luther’s Blues to deliver a magnificent molten performance. Accompanied by his ardent trio (Michael Leisure on drums, Johnny Griparic on bass and Sammy Avila on Hammond B-3- aided at times by his two sons on guitar and vocals), Trout ripped into Allison’s “I’m Back” (a great salute to his own recovery) and “Move From The Hood” with a passion that was tenacious. He hit the stage pounding on his guitar, with his MESA/Boogie amplifier turned up to bone-rattling volume, pelting unfurled curls of high notes in blasting fun. There was simply no stopping Trout and the creative kinetically charged heat radiating from his guitar all night long.

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Trout sang with glee and fervor, his vocals gritty and soulful. His intense high calls on Allison’s “Cherry Red Wine” or the classic “Rock Me Baby” mixed with his resolute treble guitar holds in a full throttle assault that sent the capacity crowd into a frenzy of applause. He also ensnared slow blues in a dazzling display of creativity and soul. On Allison’s “Big City” his slow guitar work was ferocious and poignant. This searing indictment of poverty, racism and police violence took on a huge swath of energy in Trout’s Hendrix-like spread of long held guitar chords and big voluminous holds that spanned everything from violent shrieks to soulful wails. On another slow gem, “Cold, Cold, Ground” (taken from Trout’s latest release Battle Scars[Provogue Records], Trout focused his intoxicating guitar on two piercing repeating notes – one high and one low – seesawing between them to develop a combination of guitar sting and sway that was a consummate synthesis of hot and cold in this slow brewing ramble.

Trout’s companions also picked up on this glorious and ferocious energy and partnered with Trout step by step through the gnash and grit of his wondrous rocking world. Michael Leisure on the drum kit was a powerful presence throughout, marking his time with punctual huge cymbal and snare hits and waiting to erupt on his drum solos (when given the moment’s opportunity) with a locomotive piston-like ferociousness.

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Sammy Avila’s B-3 added beautiful sheets of color with his long held burbling organ chords interwoven with Trout’s riveting solos. On a tune announced by Trout to be simply an “A-minor blues tune” Avila took off on a scampering organ solo hurling out notes at a breakneck speed with big flourishes of pungent organ holds.

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If there was a pinnacle highlight of the night, it had to be Trout and his band’s tribute to B.B. King entitled “Say Goodbye To The King.” Before launching into this piece, Trout recounted how he had met King in a chance encounter at a store in New Jersey where Trout was working as a young man. As a result of this long conversation with King at this early time in his career, Trout was inspired to perfect his craft. In playing this tribute to the King at the Narrows, Trout wore his heart on his (guitar) sleeve. He commenced the piece as a slow brewing ballad with soft caresses in his guitar’s highest registers (next to the shifting lines of Johnny Griparic’s expressive bass). From this epicenter of low dusky vocals and slowly twisting guitar lines, Trout built to a crescendo of mammoth design with scorching high guitar notes and huge major chords held in a fury of positive energy (until the last note and drum whack was punctuated). In the end, Trout’s expression on his face showed that he was clearly overwhelmed with emotion in this final moment as he basked in the glow of his mentor’s inspiration and in the simple joy of being alive playing the blues he loves.

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If you would like to read more reviews like this one, visit Nelson’s blog at www.bostonconcertreviews.com.

Nelson Brill Reviews live Americana

Real music lovers can find the melody in everything. From the park to the concert hall, our friend Nelson Brill is always on the hunt for great sound.

After a trip to India, Brill is searching for some live music steeped in Americana, which he finds at the Regattabar in Cambridge, MA. 


FAR FLUNG AMERICANA: NEW STRING AND VOCAL FLIGHTS OF FANCY

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Returning to this side of the globe from an astonishing trip to India. Music fills the air in India everywhere you go: from the ringing bells announcing the hundreds of worshipers to Hindu Temples in Jaipur every Wednesday to celebrate the Elephant God Ganesh’s birthday; to the chants and drums of Sikhs worshiping at their Golden Temple in Amritsar; to the blasts of horns leading daily processions through the streets of the desert towns of Bikaner, with camels and cows striding forth in their slow gait rhythms.

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Upon return from this glorious adventure, I yearned for a dose of true grit and gusto from some Americana roots music and so landed at the Regattabar (www.regattabarjazz.com) in Cambridge, MA. last week for some swing and sway from a foursome of illustrious Vermonters who pulled into Beantown for this sold-out show: Jamie Masefield on mandolin (he of the Jazz Mandolin Project); virtuoso Doug Perkins on acoustic and electric guitar; Jon Fishman on drums (he of Phish and Jazz Mandolin Project rhythm devil fame) and the puckish young Vermonter Tyler Bolles on upright bass.

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The Regattabar’s intimate confines were packed and the band immediately latched onto the heat and enthusiasm of the adoring crowd and tore into a medley of rambunctious acoustic string action.

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Perkin’s “Hang Glide” ripped through the air with Masefield carousing on his crisp mandolin solo in partnership with Perkin’s soft and fleet guitar swipes. A great rollicking bass solo from Bolles also entered the fray with huge isolated plucks that rattled and shook the walls of the R-Bar (picking up a little tin fuzz from Fishman’s nearby snare as well). Perkins is one gifted guitar player, as well as a bold and adventurous songwriter.

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The band featured several of Perkins’ compositions ranging from a lilting ballad, “Jill’s Waltz” (taken from his 2012 solo album, Music For Flat Top Guitar, [Thunder Road Records] to a happy-go-lucky “Troll Party,” steaming up with Perkins’ loose and free electric guitar work, all expansive and punchy.

From these delectable original creations, the band also swerved into traditional bluegrass territory serving up steaming hot medleys built around slap-happy railroad songs (“Reuben’s Train”); gospel soars (“Working On A Building”) and barn-burning licks (“Cattle In The Cane”). Each number brought its own glittering rewards: Perkins and Masefield trading high velocity solos; Bolles pumping his bass in deep and rich tremors and that little dynamo, Fishman, creating a churning engine of percussive sounds on his drum kit with a pair of light brushes as his vehicle. Those brushes (which Fishman utilized for the entire concert) lit up everything from a soft purring Rumba beat to a headlong boil of snare, tom and bass drum swagger.

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From bluegrass to jazz and the blues, these four consummate musicians spread their wings and even tackled a little-known chestnut from Victor Young (who composed for Hollywood back in the 1930’s) entitled “Golden Earrings.” This number swept the audience off our feet with a version sounding like a sumptuous blend of Django Reinhardt swing combined with a Latin pulse – full of soft passion on Masefield’s opening mandolin solo (in which he took his time to deliberately pluck each note for its harmonic resonance).

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Here was a band in joyous flight: moving like a butterfly lightly from flower to flower with sparkling mandolin and guitar phrases that swooped and combined in unfolding, spontaneous and beautiful ways. This is a band to watch and relish as they evolve further in their infectious, beguiling musical comradeship.

 

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There’s another guy to keep an eye on in the swirling pot of great Americana roots scene creators, judging by his new full throttled recording. This is the singular new voice of Charlie Parr, ranging and raging through old blues, murder ballads and Spider John Koerner inspired originals in his 2015 release, Stumpjumper [Red House Records-www.redhouserecords.com].

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Here is a string master and songwriter at the height of his powers offering songs that stick in your gut and your head, so much so that you may find yourself rolling over a lyric or two in your daydreaming moments or deep in the night. Joined by Emily Parr on vocals, Phil Cook on guitar and banjo, Ryan Gustafson on electric bass and fiddle and James Wallace on drums, Parr works his expressive music into a pounding, hypnotic brew. From the opening jostle of “Evil Companion” (with its crashing velocity of guitar strums, bass and drum thumps surging next to Parr’s feisty vocals) to the following gospel creaking number, “Empty Out Your Pockets” (with its spare banjo and electric twists), Parr is clearly on to something powerful. His voice is a perfect foil for all of this exuberant, irreverent action: craggy, gnarly, (thin as a reed) and full of raw vitality. The recording quality is not audiophile by any means, with compressed thinness and a small soundstage, but somehow this recording made at a farmhouse in North Carolina seeps into the mind and stays there, like a woodpecker burrowing into an old tree.

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Parr’s artistry ranges from his feisty originals about humans scurrying, hording and celebrating to survive:  the round and round musical feast of “Falcon” (“when I pass by, Lord, please cover up my tracks”) to the title number, (a whirlwind of propulsive congestion, vocal soars and machine gun guitar brilliance). Parr also delivers lovely musings in soft, spinning ballads about family connections, memories and the passage of time. These include the beautiful, unfolding “Over The Red Cedar” (with Emily Parr’s soft harmonies perched next to Parr’s radiant vocal inflections and unflinching, circular guitar patterns) to the lovely “Remember Me If I Forget” with its chirp of light banjo and guitar, (with a pounding foot pedal on wooden floorboards keeping the airy song from launching into the air).

Parr follows with the soulful and spirited push of his “Temperance River Blues” – an original that floats on the virtuosity of Parr’s lyrics and arresting images – all caressed in his surging vocal and guitar wake. The album ends with Parr taking the great murder ballad, “Delia”, (made famous by the master rogue David Bromberg) and spins this tale in his own web of light guitar intrigue and vocal explorations. Parr is the real deal: a rover of Americana with nervy urgency and a virtuoso’s eye for the prickly facets of life.

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If you would like to read more reviews like this one, visit Nelson’s blog at www.bostonconcertreviews.com.

Nelson Brill Reviews Live Performances in Boston

Real music lovers can find the melody in everything. From the park to the concert hall, our friend Nelson Brill is always on the hunt for great sound.

In this article, Nelson beautifully describes several performances around Boston including Richard Lemvo, Cecile McLorin Salvant, Fred Hersch, and Eleanor McEvoy. We are so glad that Nelson was at The Burren to witness McEvoy in action. We have been enjoying Eleanor’s music for years and were very excited that she chose to use Nordost’s new Pro Audio Cables, Ax Angel, on her most recent tour in the US.


CONCERT GLIMPSES: MAMBO MEETS SONDHEIM IN WORLDLY EXCHANGES

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The world came to Boston recently in a series of stellar concerts that swiveled the hips and transfixed the mind.

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First up was the glittering show put on by Ricardo Lemvo and his Makina Loca Band on a mid-September evening at a packed Johnny D’s in Somerville, MA., as part of World Music/CRASHarts music series (www.worldmusic.org). The minute Lemvo and his band hit their first soaring notes, the dance floor was buzzing with crowded bodies swaying to the Angolan, Cuban street party sounds. Lemvo, who was born in the Democratic Republic of the Congo with Angolan family roots, is a vocalist who is unstoppable: his deep vocal delivery possesses a great mixture of ardor, smoothness and prankish fun. His voice is a perfect vessel to bring the kinetic grooves of this music to flight, with everything from salsa swing, Congolese rumba and Cuban son pelting forth in joyous abandon. The musicians joining Lemvo were all sensational, including sterling solos by Stephen “Mofongo” Giraldo on his soaring trumpet, and stinging, lilting guitar work from Huit “Wee Kilo” Kilos. Trombonist John Roberts was full of brawn and might, joining Papo Rodriguez in his percussive flights as they both punctuated Lemvo’s swaying vocals. After more than two hours of whirl and sweat, the band reluctantly left the stage at closing time to the ecstatic ovations from the effusive crowd.

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To get a taste of Lemvo and Makina Loca’s glorious creative stew, grab a copy of their 1998 recording entitled Mambo Yo Yo [Putumayo;www.makinaloca.com] or their 2004 recording, Ay Valeria! [Mopiato Music] and wallow in the beautiful sway.

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As a recording, Ay Valeria has a fuller sound (and a richer tonal palette to its brass and percussion sections) and Lemvo’s radiant voice is better integrated into a larger and deeper soundstage than found on the earlier Mambo Yo Yorecording, which, although rich in its own musical might, sounds a bit thin in the highs and less dynamic overall. Both recordings raise the roof off these life-affirming rhythms and grooves that Lemvo and Makina Loca have impeccably fused into their own dazzling dance party.

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Down the street from the dance party at Johnny D’s lies The Burren, (www.burren.com) a rollicking little Irish pub with an intimate “Backroom” where, on October 10th, another slice of global grooves was taking shape. At this concert, Irish singer/songwriter Eleanor McEvoy brought her impeccable and searching touch to a song mix both “borrowed and blue” (the title of one of her originals on her 2008 frisky gem of a recording, Love Must Be Tough[Diverse Records; www.eleanormcevoy.com].

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McEvoy held the audience at The Burren in the palm of her hand as she combined crisp guitar hooks with smart, sharply attentive vocals. In her eclectic mix, McEvoy addressed child sex abuse perpetrated by the Catholic Church; corruption in Irish politics and the highways and byways of love gained and lost. She effortlessly brought together influences as far afield as the glowing poetry of the Irish writer, Thomas Moore (1779-1852) to the lilting lyrics of the Beach Boys in her version of their classic, “God Only Knows” (which McEvoy delivered in spare and lucid vocals sitting at her keyboard). McEvoy’s guitar sound was dynamic, punctual and percussive, and she announced that for this concert she was utilizing a new instrument cable, (called an “Axe Angel”) manufactured by local high end audio cable company, Nordost (www.nordost.com) a company that has supported independent artists like McEvoy for many years. That dynamic and searing guitar sound shone best on McEvoy’s rocking and sassy side: particularly galvanizing on McEvoy’s knife-sharp version of P.F. Sloan’s 1965 protest song, “Eve of Destruction.” Her encore, (to the delight of the capacity crowd), was Dylan’s “I’ll Be Your Baby Tonight” with McEvoy inhabiting her version with pulsing guitar grooves and her expressive vocal touches, lucid and flowing in crisp and dynamic ways.

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Speaking of vocal dynamos, the fabulous and venturesome vocalist Cecile McLorin Salvant (whose debut recording, WomanChild [Mack Avenue Records;www.mackavenue.com] has been reviewed here as one of the finest vocal albums of recent memory, [with one of my favorite drummers, Herlin Riley, driving the percussive train]), put on a glorious show at a packed Scullers Jazz Club (www.scullersjazz.com) in Cambridge, MA. on October 2nd.  Salvant was joined by her swinging, brilliant compatriots: bassist Paul Sikivie, pianist Aaron Diehl and drummer Lawrence Leathers. The show commenced with Sikivie’s roving solo bass digging deep and pungent (Sikivie was a coiled marvel on his bass all evening) with Salvant eventually joining him in a careening version of “Lonely Town.”

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From this brisk blast-off, Salvant and Sikivie were joined by Diehl and Leathers in what Salvant announced was her survey of “Infidelity.” This delicious foray into darkness included a delicate (then devastating) version of “Guess Who I Saw Today” (made famous by singer Nancy Wilson) with Salvant commencing the ditty with her beautiful simple talking, (up and down her fluid register) and then ending this tale of subterfuge with a volcanic intensity of deep vocal holds and powerful, glowing growls. Take a listen to Salvant’s fierce “Growlin’ Dan” from her latest album, For One To Love [Mack Avenue Records;www.mackavenue.com) for a taste of this same emotional intensity combining spoken word, leaping vocals and earthy growls to ensnare the emotional core of a song.

“Guess Who I Saw Today” was followed by a totally different artistic flight of fancy: Cole Porter’s “Most Gentlemen Don’t Like Love,” swung with sass and roving action, with Salvant humming along and then hanging on one bladelike high note while Leathers cracked fiercely on his wood rims and Diehl sprayed delicate, light runs on his piano.

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The global reach of Salvant’s artistry extends to singing in French, and at her Scullers show, this included a brewing, intoxicating version of a 1932 song from Josephine Baker entitled, “Si J’Etais Blanche”(“If I Were White”). On this song, Salvant inhabited the shoes of a young black girl coming to understand her own beauty in a white world with an eloquent delicacy to her vocals-playful and coiled- accompanied by Diehl and his fastidious piano touches. Salvant has the uncanny ability to alight perfectly on any level of her vast and fluid vocal range, (like a songbird alighting on branches in the wind) to drive home the emotional power and core of the songs she offers as unfolding gifts.

Towards the end of their performance, Salvant announced that she and the band were “making their way slowly back into the light” (from their dark theme of infidelity). The highlight of this surge back into optimistic territory was their glorious version of Bernstein and Sondheim’s optimistic leap of faith in their “Something’s Coming” (from West Side Story). Here was a locomotive free-for-all, with Salvant and her band in perfect flight. Take a listen to “Something’s Coming” performed on Salvant’s latest and superbly recorded album, For One I Love, and you will hear a slice of the magic that was heard at Scullers this evening.

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Sikivie’s soulful bass commences the action, with Leathers and Diehl prowling along in their own creative ways. Salvant then enters singing deep and soulful and the momentum builds to a crescendo of sounds and colors.  Salvant’s vocal buoyancy and Diehl’s velvet dapper chatter on piano lead the festive outpouring. Salvant’s final long-held high vocal note casts a beautiful spell over the last tumultuous down pouring of drum, piano and bass colors – drenching with its joyful expanse and power. This is a singer and band at the top of their game and there is nothing that is beyond their collective, dazzling reach.

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This recent concert glimpse tour ends at the stages of two of our venerable Boston music schools: Berklee College of Music (“Berklee”) and The New England Conservatory (“NEC).

Berklee is teeming with student recitals that offer the reward of hearing talented young musicians just waiting to be discovered. (Check out the weekly schedule at www.berklee.edu).  At Berklee’s recent “Guitar Night” (held on October 27th  at the Berklee Performance Center), there were a number of young musicians to discover, including freshman Sean Jordan on his searing blues guitar (performing a blistering version of “Crosscut Saw”) and a sprawling, colorful set from Venezuelan composer and Quatro player, Carlos Capacho. The Quatro is an electrified version of a traditional Venezuelan four stringed instrument, resembling a ukulele, and Capacho joined his large ensemble to burst forth with plucky, tensile sounds (including bright soars from Italian trumpeter, Cosimo Boni).

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The highlight of this evening’s excellent performances, however, had to be the short set by young Canadian jazz guitarist Andrew Marzotto and his trio: Jongkuk Kim (from Korea) on drums and Mats Sandahl (from Sweden) on bass. Marzotto displayed a fluid touch on his guitar that was fantastic, and he improvised with a sense of melodic freedom, rhythmic feel and choice of chords and colors that was astonishing. Marzotto is primed for the big time and he is definitely a guitarist to keep an eye on. His band mates were sensational as well: Kim is a young master of creating decaying sheets of sound from his creative cymbal and snare work and the lanky Sandahl knows how to quietly move underneath the flow of his partners to keep the propulsion going.

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For more great jazz guitar work, (reminding me a bit of Marzotto’s inventive blend of jazz, blues and rock inspirations), check out the latest release entitledDuets [Mack Avenue Records] from guitarists Stanley Jordan (on electric guitar and piano) and Kevin Eubanks (on acoustic, bass and electric guitars and piano). From the meditative “Morning Sun” to the twisting beauty of “Vibes” and “Nature Boy” to the rollicking “Old School Jam”, these two masters communicate as One, on a recording with stellar dynamic presence and tactile feel.

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Finally, nothing could be more magical than a night spent at NEC’s magnificent Jordan Hall celebrating the 60th birthday of one of today’s most celebrated and treasured pianists, Fred Hersch, as he sent a valentine our way with a free solo concert performed at his alma mater on October 29th. Here the global reach of music came full circle in the softly expansive and unbounded freedom of Hersch’s creative touches. He started with Brazil: a romp on a Jobim theme that plummeted and grooved with a chug that was irresistible. He then launched into an Americana journey: taking the sweet whisper from his original composition dedicated to his mother entitled “West Virginia Rose” (which can be found on Hersch’s latest glowing release, Floating [Palmetto Records] with his synergetic partners John Hebert on bass and Eric McPherson on drums) and weaving that sweet theme into the light piano boogie propelling another Hersch composition, “Down Home” (dedicated to Bill Frisell and heard on Hersch’s stellar 2011 Alone At The Vanguard release [Palmetto Records].

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The crowd in Jordan Hall sat transfixed as Hersch swept us off on a journey through his own childhood musical memories bookended by his renditions of a tune by Lennon and McCartney and Joni Mitchell’s “Both Sides Now.” Everything in these glorious pop tunes lay fresh and open for discovery in Hersch’s hands. Mitchell’s simple melody expanded and contracted on Hersch’s creative left hand bass holds and his leaping high runs. Those velvety high runs were so airy and gorgeous when heard in the expanse and deep silence of Jordan Hall and every now and then, (especially on the meditative tranquility of his selection from his opus, “Leaves of Grass” (performed several years ago with the NEC Jazz Orchestra), Hersch would linger to the very last key up top, to softly caress it and then begin his winding journey again. Hersch’s final gifts to us this evening were a spirited romp to his mentor at NEC, keyboard soloist extraordinaire Jaki Byard (in which Hersch outstretched his arms from one end of his Steinway to the other in funky, stride piano glory) and in his meltingly beautiful encore: his original composition “Valentine,” that wrapped up serenity, peace and a sense of home all in one final soft piano flourish.


If you would like to read more reviews like this one, visit Nelson’s blog at www.bostonconcertreviews.com.

Nelson Brill reviews the AI Jazz Orchestra

Real music lovers can find the melody in everything. From the park to the concert hall, our friend Nelson Brill is always on the hunt for great sound.

In this article, Nelson describes the two most recent performances of the AI Jazz Orchestra at the Lilypad in Cambridge, MA and the David Friend Recital Hall at Berklee College of Music.


CONCERT GLYMPSE: AYN INSERTO JAZZ ORCHESTRA- BIG BAND FROLIC

By Nelson Brill

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Big band jazz is alive and well in Boston. One of its leading creative forces is Ayn Inserto and her Jazz Orchestra (“AI Jazz Orchestra”) who performed two shows before capacity audiences in the intimate confines of the Lilypad in Cambridge, MA. (www.lilypadinman.com) in June and at the David Friend Recital Hall at Berklee College of Music (“Berklee”-www.berklee.edu) on September 14, 2015. Inserto, Associate Professor of Jazz Composition at Berklee, is a composer and bandleader who clearly relishes working with the rhythmic freedom and expansive instrumental textures and colors that come with composing for a large ensemble. Her compositions embody an intense electricity. Music flows in unpredictable dynamic ways where seesawing instrumental lines and colors weave, mesh and interlock, supported by surging grooves and leaping whimsical rhythms. In live performance, her compositions are intricate sound puzzles that are unlocked and mined for their virtuosity (and structural beauty) by the superb musicians of her Jazz Orchestra, many of whom also serve on the faculty of Berklee. The AI Jazz Orchestra can deliver Inserto’s huge crescendos with glee (and volcanic power) or, (in a blink of an eye), can send one of her unpredictable melodic lines soaring on the soft caress of a brush stroke or a trombone’s plunge.

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The AI Jazz Orchestra’s recent performances at the Lilypad and at Berklee were studded with great solo and collective moments- delighting at every twist and turn. One of my favorite Inserto compositions is “Snow Place Like Home” and this piece opened the Berklee recital with cavorting swagger. Inserto talks about being inspired by the 80’s pop she grew up with, and “Snow” captures some of this driving, restless feel. Here is a pell-mell rhythmic feast, with staccato stops and starts and big brass blasts in unpredictable moments. All of this cavorting action showcased the percussive humming engine of drummer Austin McMahon, who impresses with his porous light touch that fills every rhythmic nook and cranny. “Snow” also highlighted the swashbuckling sax work by Allan Chase and Mark Zaleski who challenged each other with a steeplechase frolic up and down their instruments’ registers, fierce and flowing.

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The piece ended in a whoosh of furious brass explosions with lead trumpeter Jeff Claassen (also a composer of intrigue) swashbuckling up high with his other partners. It all sounded like a powerful, unpredictable rainstorm where each droplet of sound hits the ground in irregular patterns, drenching the listener in combinations of fresh sounds and a wash of restless instrumental colors.

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Another highlight from the Inserto treasure chest is her original composition entitled “Ze Teach and Me,” Inserto’s tribute to her mentor, the great trombonist and composer Bob Brookmeyer (who taught at The New England Conservatory before his death in 2011). Inserto presented this piece at both the Lillypad and the Berklee recitals and its two-movement construction is a thing of beauty. The first movement is filled with soaring optimism in the rising holds of trumpets and trombones, with a softly penetrating solo from trombonist Randy Pingrey. The second movement is completely different: a whirligig of frenetic cross currents of sounds and colors across the big ensemble’s sprawling palette.

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At the Berklee show, this second section of “Ze Teach and Me” was highlighted by two trumpeters: guest trumpeter Sean Jones (Chair of the Berklee Brass Department in possession of the most majestic, light and articulate tone on his trumpet you can imagine) and Dan Rosenthal, a trumpeter sporting his own brand of mercurial fierceness on his instrument. These two trumpeters engaged in a funky and galloping duet, trading licks and sassy, high holds. The superb rhythm section of Jason Yeager on piano, Sean Farias on bass, Eric Hofbauer on guitar and Austin McMahon on drums kept the (always shifting and creative Brookmeyer-inspired) grooves and foundation in focus until Inserto brought up both her hands to gesture a final cloud burst of brass and woodwind thunder. After this sudden eruption, a quick dash of piano notes and soft drum roll and the piece was over- another surprising twist in this flight of fancy from Inserto, inspired by her mentor, Bob Brookmeyer.

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A 2008 recording of Inserto with her AI Jazz Orchestra, Muse [Creative Nation Music], offers a great slice of the magic of this group in live performance and features many of the musicians heard strutting forth in glory at the recent Lilypad and Berklee recitals. Although the quality of the recording sometimes compresses the full body of instruments, (such as the piano and some of the most volcanic surges of the orchestra), it still captures nicely the sprawling sounds of this ensemble with good layering and an up-front presence. McMahon’s light drumming is delivered beautifully through out (listen to his cymbal/snare prancing on “Eshel Sketch” or “Dear John”) and the recording delivers the propulsive soprano and tenor sax playing of Boston’s stellar saxophonist, George Garzone, a special guest on this outing.

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Muse delivers a raucous version of “Snow Place Like Home” (with a blazing solo by Garzone, this time tangling with Alan Chase in muscular duet). Inserto also displays her contemplative side on Muse, highlighted by her glowing tribute to another unflinching explorer: composer and saxophonist Steve Lacy, (who also made Boston his home for many years before his death). She calls her tribute “Laced With Love” and at the AI Jazz Orchestra’s Berklee recital, this piece featured Sean Jones soloing with a velvet touch to his highest trumpet notes- at one point squeezing up top for the barest nub of sound (in soft pierces) on his eloquent trumpet. On Muse, “Laced With Love” is equally transfixing with solo work by Garzone on his soprano sax. Muse concludes with “Simple”, a swinging feast of big band full throttle that buoyantly strides out the door with Garzone joyously leading the way.

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For further explorations into the musical genius of Inserto’s mentor, the mold-breaking composer Brookmeyer, grab a copy of OverTime – The Music of Bob Brookmeyer [Planet Arts] performed by The Vanguard Jazz Orchestra (“VJO”).

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Here is an audiophile quality recording of a big band with all of its glorious dynamics and energy fully recreated, on a layered and deep soundstage with great image dimensionality. The VJO was first established by Thad Jones and Mel Lewis (www.vanguardjazzorchestra.com) and became the vehicle for many of Brookmeyer’s later compositional experiments and performances.

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The musicianship displayed by the current members of the VJO is extraordinary on this recording and the music they perform is challenging, prickly and not for the faint of heart. It swerves from the carnival atmosphere of Brookmeyer’s “Big Time” (with pianist Jim McNeely sparkling next to flights of scurrying saxophones and horns) to “At The Corner of Ralph and Gary.” This latter tune highlights Brookmeyer’s great talent for writing Big Swing with many a challenging twist and turn (including a baritone sax solo by Gary Smulyan in which he cavorts with tenor saxophonist Ralph Lalama in a swirling, off-kilter maze of sounds and metric changes).

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So does “Suite For Three” (written for three members of the VJO) in which Brookmeyer explores the rich vocabulary of Dick Oatts on alto saxophone, Scott Wendholt on fugelhorn and Rich Perry on tenor saxophone. In these three separate movements,  Brookmeyer ingeniously weaves instrumental voices both penetrating and softly melodic (Wendholt), with soulful, full-throttle big band locomotion (Oatts and Perry). Brookmeyer’s music, like his protégé Inserto’s, is knotty and elegant, soulful and twitchy. It’s a sprawling challenge for the ears worth taking, and in the hands of the VJO, it sounds quite splendid indeed.

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Next up for Big Jazz Band Reviews: the beautiful world of Maria Schneider and the next installment of Ryan Truesdell’s Gil Evans Project.

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If you would like to read more reviews like this one, visit Nelson’s blog at www.bostonconcertreviews.com.

Nordost Playlist – September 2015

Nordost is lucky to have a wonderful team of representatives and product trainers who travel around the world educating and demonstrating the effects of Nordost’s products. As part of these demonstrations, it is our job to find an interesting and diverse selection of music to showcase our cables, power devices, sort system and accessories. Whether at shows, visiting our dealers and distributors or even in our own listening room in our headquarters in Holliston, we are constantly getting asked what music we are playing (or if our audience is not so bold to ask, we can see their Shazams working overtime). So we thought this would be a perfect opportunity to share our favorite songs of the moment. Some may be classics, some may be brand new, some may not even be to your taste, but one thing is for sure …it’s all great music.

Here are some of the songs that we will have on rotation this September.

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  1. All The Pretty Girls – Kaleo –All The Pretty Girls
  2. Hide and Seek — Imogen Heap —Speak For Yourself
  3. You Had Quit Me — Wild Child Butler — Sho’ ‘Nuf
  4. Don’t—Ed Sheeran—X (Deluxe Edition)
  5. Leave A Trace — CHVRCHES — Every Open Eye
  6. Say Goodbye— Beck — Morning Phase
  7. Satisfied Mind—Ben Harper, The Blind Boys Of Alabama—There Will Be A Light
  8. Isfahan  — Sophisticated Lady — Sophisticated Lady
  9. Ultraviolet — FKA twigs — EP2
  10. Queen Of Peace  — Florence + The Machine — How Big, How Blue, How Beautiful

Meet Nordost Brand Ambassador, Eleanor McEvoy

Meet Nordost Brand Ambassador, Eleanor McEvoy. Eleanor has been an avid user of Nordost cables throughout her career— in her home, in her performances, and in the recording studio.

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“McEvoy has the skills of a first rate songwriter. She gives her songs full fledged melodies, not just a repeated phrase or two”

— New York Times

Eleanor McEvoy achieved star status in Ireland in 1992 when her song “A Woman’s Heart” inspired the title for, and appeared on, the A Woman’s Heart anthology album. A Woman’s Heart has since gone on to become the best-selling album in Irish history. Its 20th anniversary in 2012 saw twelve sold-out “Woman’s Heart” shows at the Olympia Theatre.

Her career as of one of Ireland’s most popular songwriters started at age four when she performed in an Irish music competition as part of her sister’s band. She later took up the violin, and began playing the guitar in her teens. She graduated from Trinity College Dublin with an honors degree in music and was accepted to the National Symphony Orchestra of Ireland as a violinist.  She worked with the symphony orchestra and also as a session musician playing for many acts including U2 and Sinead O’Connor before she finally left that world behind to concentrate on her real passion—songwriting.

She released her eponymous debut on Geffen records followed with tours in the USA, Europe and East Asia. She moved to Columbia Records in New York for her second album “What’s Following Me?”. “Precious Little”, the first single, was a top ten radio hit in the US.

Since then, Eleanor has gone on to become an artist and performer known throughout the world. Her critically acclaimed canon of work spans eleven albums, forty singles, and appearances on numerous compilation albums. She is today recognized as Ireland’s most successful female singer-songwriter, having enjoyed personal chart success and numerous cover versions of her songs by performers Emmylou Harris, Mary Black, Phil Coulter, Mary Coughlan, Bella Hardy, Eliza Carthy and Jack L, among others. Her song “All I Have” was featured in the HBO cult series “Six Feet Under.”

Her latest album “STUFF” described as “a standout” by the Irish Times also received rave reviews around the world. John Shand of The Sydney Morning Herald exclaims, “Sass and vulnerability are a rare combination that Eleanor McEvoy is capable of absolutely nailing”.

Nordost Playlist – August 2015

Nordost is lucky to have a wonderful team of representatives and product trainers who travel around the world educating and demonstrating the effects of Nordost’s products. As part of these demonstrations, it is our job to find an interesting and diverse selection of music to showcase our cables, power devices, sort system and accessories. Whether at shows, visiting our dealers and distributors or even in our own listening room in our headquarters in Holliston, we are constantly getting asked what music we are playing (or if our audience is not so bold to ask, we can see their Shazams working overtime). So we thought this would be a perfect opportunity to share our favorite songs of the moment. Some may be classics, some may be brand new, some may not even be to your taste, but one thing is for sure …it’s all great music.

Here are some of the songs that we will have on rotation this August.

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  1. Both Hands—Ani Difranco—Ani DiFranco
  2. Got It—Marian Hill—Got it
  3. I’m Yours—Vitamin String Quartet—Vitamin String Quartet Performs Jason Mraz
  4. I’ll Be Seeing You—Billie Holiday—Standards (Great Songs/Great Performances)
  5. Deadwater—Wet—Deadwater
  6. Your Drums, Your Love—AlunaGeorge—Body Music (Deluxe)
  7. In The Winelight—Kurt Elling—Man In The Air
  8. Used—Wyvern Lingo—The Widow Knows E.P.
  9. Beautiful Drug—Zac Brown Band—JEKYLL+HYDE
  10. Shaped Like A Gun—Tailor—The Dark Horse

Nordost at RMAF 2015

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The International Rocky Mountain Audio Festival has been a highlight each year for Nordost, and this year is no exception. Nordost will be featuring our new Supreme Reference cable range, Odin 2, as well as introducing a few exciting new products to our line. Join us at the Marriott Denver Tech Center October 2-4 in the Humboldt Peak Room, where Nordost’s product specialists will be performing live demonstrations and cable comparisons for RMAF guests. While you are there, don’t forget to visit our booth in Nordost’s lobby location to take advantage of some exclusive show specials!

Additionally, this year Nordost is proud to announce Unknownour sponsorship of Ireland’s most successful female singer/songwriter, Eleanor McEvoy. Eleanor will be entertaining show attendees with hits spanning her career, from “A Woman’s Heart”, the title track on the best-selling album in Irish history, to her most recent album “Stuff”. During Ms. McEvoy’s concerts, she will be using Nordost’s new Ax Angel pro audio cables, which truly enhance her already stellar live performances.

Nelson Brill Previews Newport Jazz Festival 2015

Real music lovers can find the melody in everything. From the park to the concert hall, our friend Nelson Brill is always on the hunt for great sound.

In this article, Nelson sets the stage for the upcoming Newport Jazz Festival.


THE NEWPORT JAZZ FESTIVAL 2015: INSPIRATION ACROSS BORDERS AND TIME

BY NELSON BRILL     JULY 5, 2015

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In the fall of 1972, the visionary founder of the Newport Jazz Festival, George Wein, (he now 90 years young!), had the idea of trying to convince the great pianist Dave Brubeck to re-unite his legendary quartet (Paul Desmond on alto sax; Gerry Mulligan on baritone sax; Jack Six on bass and Boston’s own Alan Dawson on drums) to take their act on the road one more time.

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It had been five years since Brubeck had performed with his quartet. During that absence, the always inventive Brubeck (along with his wife and musical companion, Iola) had composed and performed a number of original and daring compositions. (One of these was a “classical” cantata which was scored for piano, a rock band, a classical chorus and symphony orchestra- an amazing new sound for that time). Wein had the notion that the world was ready to hear Brubeck in his jazz element once again, and approached him with the idea of taking his quartet on an international tour under the flag of the Newport Jazz Festival.  Brubeck agreed, and as a result we now have the audiophile gem of a live recording from this whirlwind 1972 tour: We’re All Together Again For The First Time [Atlantic Records].

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Here is a masterful live recording, especially when heard on its original vinyl pressing. The recording captures the incredible energy and excitement of these live performances that took place in spacious halls from Berlin, Paris and Rotterdam. The recording has a “you are there” presence, allowing the listener to peer into the hall spaces and hear the dynamic envelopes of air and space surrounding the musicians on these stages.  (When dialed-in carefully, a quality subwoofer [from subwoofer manufacturers such as Fathom or REL] is a key component in a home audio system that allows the listener to capture the very last decibels of energy and acoustic space and air on such great live recordings as this one. With a subwoofer properly configured, We’re All Together Again comes alive with its deep recesses of acoustic space and layered soundstage).

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The opening cut to this delectable recording, Brubeck’s “Truth,” is an intense improvisational workout between Mulligan on baritone sax and Desmond on alto, each coiled and stealthy in their solos. Desmond is exuberant and light in his unfolding lines while Mulligan is muscular in his twisting flights and growls on his bleating baritone. Brubeck adds his own punchy piano solo which is filled with keyboard stomps and quick breaks (with bluesy chords thrown hither and yonder in his signature ambitious reach).

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“Unfinished Woman” finds Mulligan moving breezy and free on his own composition, his baritone sounding fleshy and big- yet also light as a feather. Dawson, (whose passing at a young age was a blow to the entire jazz world-he was caught regularly lighting up the now-defunct Willow Jazz Club in Somerville, MA.), is a marvel throughout this outing.

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On “Unfinished Woman” Dawson propels all of the action with his heady snare and cymbals (with the backbone of Six’s bass) and then, towards the end on Side Two’s extended and frolicking version of “Take Five”, he unleashes a dazzling drum solo that is a clinic in pure locomotion: powerful and fierce in every rapid drum roll and monumental spray of his cymbals. Dawson shows his tender side as well, on Brubeck’s meditative “Koto Song,” where he employs the lightest touch on his cymbals so that Desmond can take flight in his meditative alto solo (upon this cushion of rhythmic serenity). We’re All Together is a great portrait of these four consummate musicians working together as one great vehicle of musical invention and joy. We have Newport Jazz’s George Wein to thank for bringing this group together once again (“for the first time”).

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In the footsteps of the Brubeck Quartet’s Paul Desmond (and in light of our recent tribute to the passing of another monumental alto saxophonist and composer, Ornette Coleman), its a nice segue from We’re All Together to report on a recent live performance by another dynamic alto player, Miguel Zenon (who has also graced the stages of the Newport Jazz Festival).  On June 22nd, Zenon took to the stage at Jordan Hall at The New England Conservatory of Music (“NEC”) to perform as part of NEC’s Jazz Lab Week. [Jazz Lab, (www.necmusic.edu/jazz-lab), is a program that brings high school students to NEC for a week of intensive trainings, seminars and improvisation sessions with faculty and guest artists].  At this concert, Zenon was joined by bassist Rick McLaughlin and drummer extraordinaire Joe Hunt. Besides being a drummer for the likes of Stan Getz and Bill Evans, Hunt also worked with Ornette Coleman – another nice historic link to the recently passed alto giant. The crowd on this evening at Jordan Hall was packed in with high school students and it made for a raucous and energetic atmosphere.

Zenon continued his spirited journey into his Puerto Rican musical heritage by focusing at this concert on a celebration of Puerto Rican composers. Two famous compositions written by Juan Tizol, (trombonist in the Duke Ellington Orchestra), were performed: Caravan (1936) and Perdido (1941). On Caravan,Zenon started fastidiously-slow and steady- drifting and building his elongated sax lines into a whirl of notes and trills. McLaughlin and Hunt rode alongside Zenon, offering their own redoubtable grooves. McLaughlin loved taking fragments of the melody and carved them up into big slides and holds on his bass. Hunt pounced on the essence of Caravan’s toe-tapping rhythm and used big hits on his bass drum for added bravado. With a grin on his face, Hunt always anticipated the next danceable moment with his swinging punctuations.

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At his appearance at the Newport Jazz Festival last year, Zenon took his musical explorations of Puerto Rican vibrancy to another dimension. At Newport, he performed with his large “Identities Band” and delivered an eclectic and buoyant performance rooted in his 2014 recording,  Identities Are Changeable [Miel Music; www.miguelzenon.com].

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Like Brubeck in his own ambitious works, Identities Are Changeable is a recording that stretches musical borders. It  delivers a challenging multi-media project that combines voice-overs (in which individual Puerto Ricans discuss their own stories of immigration and what it means to call a place “home”), with Zenon’s imaginative and enveloping music. For instance, on the title cut of the recording, individual young Puerto Ricans in New York City discuss how what they feel about their living in dual cultural heritages with one foot in Puerto Rico and another here. These poignant observations are spoken over simple rolling bass and drum lines until the music gradually takes over into a grand sweep of big band sounds and colors. The music surges and leaps captured beautifully in the wide dynamics and muscular feel of this recording. The individual soloing throughout Identities is superb with bristling sax and brass sparkle, surging collective blasts and a feeling of optimism in its message of youthful exuberance in the face of big social and political questions raised by its narrators.

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You can pick out Zenon’s alto from the surrounding groove, with his style of building intricate strings of sweet and pungent sounds on his alto sax. Zenon’s alto style brings to mind the process of making rock candy: taking an empty string and then passing it through a sugary base and watching how, over time, crystals of rock candy are formed in long intricate and sweet lines. His alto lines start on a blank slate and build similar long, languid lines and phrases (entwining in unpredictable ways with short bursts). The beauty of his playing is not only this combination of sweet and languid, but how Zenon never losing sight of the established rhythmic groove of his rich Puerto Rican heritage (like those rock candy crystals remaining tethered to their string).

Saxophonist Rudesh Mahanthappa and company at Newport, 2014

And, speaking of sweet sounds, this year’s edition of the Newport Jazz Festival, (www.newportjazzfestival.org) is coming to Newport, Rhode Island on Friday-Sunday, July 31st-August 2nd.  The Friday session is always a great opportunity to hear new and exciting talent, like when Miguel Zenon performed last year with his Identities Big Band. This year, a big band under the direction of drummer John Hollenbeck is performing, with many young upstart musicians in its ranks. On Friday, there are also intriguing small ensembles put together by bassist Christian McBride, trumpeter Ambrose Akinmusire and – one of my favorite young drummers – Johnathan Blake. Friday will also offer a chance to hear the legendary drummer Herlin Riley and his Quintet. The rest of the Newport weekend promises many more sonic feasts, including appearances by the Maria Schneider Orchestra (who performed one of the great performances of recent memory at Tanglewood last summer and has a new album just out, The Thompson Fields [on ArtistShare; www.artistshare.com]) and Cecile McLorin Salvant, the singer who brought down the house last year at Newport. (Salvant’s wondrous album, Woman Child [Mack Avenue] remains in heavy rotation here at bostonconcertreviews).

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Several other artists (whose concerts we have reviewed in the past year): Arturo Sandoval; Aaron Diehl; Frank Kimbrough- will also all make appearances at Newport this year. Cassandra Wilson will also be bringing her “Tribute to Billie Holliday” to Newport and from all reports, her recent concert at The Berklee Performance Center with this same lineup was astonishing.

From Brubeck to Jon Batiste, Newport Jazz’s founder George Wein continues to weave his magic in bringing folks together under Newport’s big tent for the love and joy of the music.

For the full Newport Jazz Festival lineup, see www.newportjazzfestival.org.

Jon Batiste and Stay Human at Newport, 2014

Jon Batiste and Stay Human at Newport, 2014


If you would like to read more reviews like this one, visit Nelson’s blog at www.bostonconcertreviews.com.

Nordost Playlist – May 2015

Nordost is lucky to have a wonderful team of representatives and product trainers who travel around the world educating and demonstrating the effects of Nordost’s products. As part of these demonstrations, it is our job to find an interesting and diverse selection of music to showcase our cables, power devices, sort system and accessories. Whether at shows, visiting our dealers and distributors or even in our own listening room in our headquarters in Holliston, we are constantly getting asked what music we are playing (or if our audience is not so bold to ask, we can see their Shazams working overtime). So we thought this would be a perfect opportunity to share our favorite songs of the moment. Some may be classics, some may be brand new, some may not even be to your taste, but one thing is for sure …it’s all great music.

Here are some of the songs that we will have on rotation this May.

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  1. River—Ibeyi—Ibeyi
  2. The Singer Addresses His Audience—The Decemberists—What A Terrible World, What A Beautiful World
  3. The Look—Metronomy—The English Riviera
  4. Anyone Who Had A Heart—Shelby Lynne—Just a Little Lovin’
  5. Explosions—Ellie Goulding—Halcyon Days
  6. Rachmaninoff: Symphonic Dances, Op. 45 – I. Non Allegro—Donald Johanos—Copland, Ives And Rachmaninoff
  7. Truth Begins—Fink—Hard Believer
  8. New World—Björk—Selmasongs: Music From the Motion Picture “Dancer In The Dark”
  9. Albacore—Ani Difranco—Which Side Are You On?
  10. Chandelier—Kina Grannis—Chandelier