{"id":1646,"date":"2015-12-03T16:07:14","date_gmt":"2015-12-03T21:07:14","guid":{"rendered":"http:\/\/nordost.com\/blog\/?p=1646"},"modified":"2015-12-03T16:07:14","modified_gmt":"2015-12-03T21:07:14","slug":"nelson-brill-reviews-live-performances-in-boston","status":"publish","type":"post","link":"https:\/\/nordost.com\/blog\/nelson-brill-reviews-live-performances-in-boston\/","title":{"rendered":"Nelson Brill Reviews Live Performances in Boston"},"content":{"rendered":"

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.<\/p>\n

In this article, Nelson\u00a0beautifully 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\u2019s music for years and were very excited that she chose to use Nordost\u2019s new Pro Audio Cables, Ax Angel, on her most recent tour in the US.<\/p>\n

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CONCERT GLIMPSES: MAMBO MEETS SONDHEIM IN WORLDLY EXCHANGES<\/h1>\n
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\u00a0\"wnpr.com\"<\/p>\n

The world came to Boston recently in a series of stellar concerts that swiveled the hips and transfixed the mind.<\/p>\n

\"marquetteneighborhood\"<\/a><\/p>\n

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\u2019s in Somerville, MA., as part of World Music\/CRASHarts music series (www.worldmusic.org<\/a>). 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\u00a0vessel 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 \u201cMofongo\u201d Giraldo on his soaring trumpet, and stinging, lilting guitar work from Huit \u201cWee Kilo\u201d Kilos. Trombonist John Roberts was full of brawn and might, joining Papo Rodriguez in his percussive flights as they both punctuated Lemvo\u2019s 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.<\/p>\n

\"makinaloca.com\"<\/a><\/p>\n

To get a taste of Lemvo and Makina Loca\u2019s glorious creative stew, grab a copy of their 1998 recording entitled\u00a0Mambo Yo Yo\u00a0<\/em>[Putumayo;www.makinaloca.com<\/a>] or their 2004 recording,\u00a0Ay Valeria!\u00a0<\/em>[Mopiato Music] and wallow in the beautiful sway.<\/p>\n

\"Unknown-1\"<\/a><\/p>\n

\"Unknown-2\"<\/a><\/p>\n

As a recording,\u00a0Ay Valeria\u00a0<\/em>has a fuller sound (and a richer tonal palette to its brass and percussion sections) and Lemvo\u2019s radiant voice is better integrated into a larger and deeper soundstage than found on the earlier\u00a0Mambo Yo Yo<\/em>recording, 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.<\/p>\n

\"bbc.uk\"<\/a><\/p>\n

Down the street from the dance party at Johnny D\u2019s lies The Burren, (www.burren.com<\/a>)\u00a0a rollicking little Irish pub with an intimate \u201cBackroom\u201d 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 \u201cborrowed and blue\u201d (the title of one of her originals on her 2008 frisky gem of a recording,\u00a0Love Must Be Tough<\/em>[Diverse Records;\u00a0www.eleanormcevoy.com<\/a>].<\/p>\n

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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, \u201cGod Only Knows\u201d (which McEvoy delivered in spare and lucid vocals sitting at her keyboard). McEvoy\u2019s guitar sound was dynamic, punctual and percussive, and she announced that for this concert she was utilizing a new instrument cable, (called an \u201cAxe Angel\u201d) manufactured by local high end audio cable company, Nordost (www.nordost.com<\/a>) a company that has supported independent artists like McEvoy for many years. That dynamic and searing guitar sound shone best on McEvoy\u2019s rocking and sassy side: particularly galvanizing on McEvoy\u2019s knife-sharp version of P.F. Sloan\u2019s 1965 protest song, \u201cEve of Destruction.\u201d Her encore, (to the delight of the capacity crowd), was Dylan\u2019s \u201cI\u2019ll Be Your Baby Tonight\u201d with McEvoy inhabiting her version with pulsing guitar grooves and her expressive vocal touches, lucid and flowing in crisp and dynamic ways.<\/p>\n

\"wnpr.com\"<\/a><\/p>\n

Speaking of vocal dynamos, the fabulous and venturesome vocalist Cecile McLorin Salvant (whose debut recording,\u00a0WomanChild\u00a0<\/em>[Mack Avenue Records;www.mackavenue.com<\/a>] 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<\/a>)\u00a0in Cambridge, MA. on October 2nd. \u00a0Salvant was joined by her swinging, brilliant compatriots: bassist Paul Sikivie, pianist Aaron Diehl and drummer Lawrence Leathers. The show commenced with Sikivie\u2019s 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 \u201cLonely Town.\u201d<\/p>\n

\"youtube.com\"<\/a><\/p>\n

From this brisk blast-off, Salvant and Sikivie were joined by Diehl and Leathers in what Salvant announced was her survey of \u201cInfidelity.\u201d This delicious foray into darkness included a delicate (then devastating) version of \u201cGuess Who I Saw Today\u201d (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\u2019s fierce \u201cGrowlin\u2019 Dan\u201d from her latest album,\u00a0For One To Love<\/em>\u00a0[Mack Avenue Records;www.mackavenue.com<\/a>)\u00a0for a taste of this same emotional intensity combining spoken word, leaping vocals and earthy growls to ensnare the emotional core of a song.<\/p>\n

\u201cGuess Who I Saw Today\u201d was followed by a totally different artistic flight of fancy: Cole Porter\u2019s \u201cMost Gentlemen Don\u2019t Like Love,\u201d 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.<\/p>\n

\"youtube.com\"<\/a><\/p>\n

The global reach of Salvant\u2019s 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, \u201cSi J\u2019Etais Blanche\u201d(\u201cIf I Were White\u201d). 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-\u00a0accompanied by Diehl and his\u00a0fastidious 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.<\/p>\n

Towards the end of their performance, Salvant announced that she and the band were \u201cmaking their way slowly back into the light\u201d (from their dark theme of infidelity). The highlight of this surge back into optimistic territory was their glorious version of Bernstein and Sondheim\u2019s optimistic leap of faith in their \u201cSomething\u2019s Coming\u201d (from\u00a0West Side Story<\/em>). Here was a locomotive free-for-all, with Salvant and her band in perfect flight. Take a listen to \u201cSomething\u2019s Coming\u201d performed on Salvant\u2019s latest and superbly recorded album,\u00a0For One I Love<\/em>, and you will hear a slice of the magic that was heard at Scullers this evening.<\/p>\n

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Sikivie\u2019s 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. \u00a0Salvant\u2019s vocal buoyancy and Diehl\u2019s velvet dapper chatter on piano lead the festive outpouring. Salvant\u2019s final long-held high vocal note casts a beautiful spell over the\u00a0last tumultuous down pouring of drum, piano and bass colors \u2013 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.<\/p>\n

\"jazzjournel.uk\"<\/a><\/p>\n

This\u00a0recent concert glimpse tour ends at the stages of two of our venerable Boston music schools: Berklee College of Music (\u201cBerklee\u201d)\u00a0and The New England Conservatory (\u201cNEC).<\/p>\n

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\u00a0www.berklee.edu<\/a>).\u00a0 At Berklee\u2019s recent \u201cGuitar Night\u201d (held on October 27th\u00a0\u00a0at 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 \u201cCrosscut Saw\u201d) 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).<\/p>\n

\"montreuxjazzfestival.com\"<\/a><\/p>\n

The highlight of this evening\u2019s 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\u00a0fluid 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.\u00a0Marzotto 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.<\/p>\n

\"Unknown-7\"<\/a><\/p>\n

For more great jazz guitar work, (reminding me a bit of Marzotto\u2019s inventive blend of jazz, blues and rock inspirations), check out the latest release entitledDuets\u00a0<\/em>[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 \u201cMorning Sun\u201d to the twisting beauty of \u201cVibes\u201d and \u201cNature Boy\u201d to the rollicking \u201cOld School Jam\u201d, these two masters communicate as One, on a recording with stellar dynamic presence and tactile feel.<\/p>\n

\"jazzpodium.nl\"<\/a><\/p>\n

Finally, nothing could be more magical than a night spent at NEC\u2019s magnificent Jordan Hall celebrating the 60th\u00a0birthday of one of today\u2019s 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\u2019s 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\u00a0original composition dedicated to his mother entitled \u201cWest Virginia Rose\u201d (which can be found on Hersch\u2019s latest glowing release,\u00a0Floating\u00a0<\/em>[Palmetto Records] with his synergetic partners John Hebert on bass and Eric McPherson on drums) and weaving that sweet theme into the\u00a0light piano boogie propelling\u00a0another Hersch composition, \u201cDown Home\u201d (dedicated to Bill Frisell and heard on Hersch\u2019s stellar 2011\u00a0Alone At The Vanguard\u00a0<\/em>release\u00a0[Palmetto Records].<\/p>\n

\"images-5\"<\/a><\/p>\n

The crowd in Jordan Hall sat transfixed as Hersch swept us\u00a0off on\u00a0a journey through his own childhood musical memories bookended by his renditions of a tune by Lennon and McCartney and Joni Mitchell\u2019s \u201cBoth Sides Now.\u201d Everything in these glorious pop tunes lay fresh and open for discovery in Hersch\u2019s hands. Mitchell\u2019s simple melody\u00a0expanded and contracted on Hersch\u2019s creative\u00a0left 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, \u201cLeaves of Grass\u201d (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\u2019s 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 \u201cValentine,\u201d that wrapped up serenity, peace and a sense of home all in one\u00a0final soft piano flourish.<\/p>\n

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If you would like to read more reviews like this one, visit Nelson\u2019s blog at\u00a0<\/span>www.bostonconcertreviews.com<\/a>.<\/span><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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. 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