{"id":6011,"date":"2021-01-26T12:55:18","date_gmt":"2021-01-26T17:55:18","guid":{"rendered":"https:\/\/nordost.com\/blog\/?p=6011"},"modified":"2021-01-26T12:55:21","modified_gmt":"2021-01-26T17:55:21","slug":"nelson-brill-reviews-music-to-listen-to-in-the-new-year","status":"publish","type":"post","link":"https:\/\/nordost.com\/blog\/nelson-brill-reviews-music-to-listen-to-in-the-new-year\/","title":{"rendered":"Nelson Brill reviews music to listen to in the New Year"},"content":{"rendered":"\n

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, Nelson reviews a\u00a0bevy of albums recorded by\u00a0fantastic artists for you to listen to in the New Year.\u00a0<\/em><\/p>\n\n\n\n

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SAMBA TO BLUEGRASS: A BOUNTY OF MUSIC TO START THE NEW YEAR<\/strong><\/p>\n\n\n\n

By Nelson Brill January 17, 2021<\/p>\n\n\n\n

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\u201cOne good thing about music, when it hits you feel no pain.
So hit me with music, hit me with music now..\u201d
Bob Marley, \u201cTrenchtown Rock\u201d<\/p>\n\n\n\n

Here is a new crop of audiophile quality recording recommendations to \u201chit you with music\u201d \u2013 and enter 2021 with renewed spirit and resiliency:<\/p>\n\n\n\n

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First up is a kinetic CD that transcends borders with its irresistible grooves and soaring melodies. Lagos Pepper Soup<\/em> [Worldwind Recordings; www.whirlwindrecordings.com<\/a>], is a new recording from Michael Olatuja, gifted bassist, composer and arranger, who has gathered a stellar cast to deliver his cinematic creation. Olatuja plays both acoustic and electric bass on Lagos Pepper Soup<\/em> and his bass propels the reveling drama with playful presence, stutter-stepping electricity and soulful plunges (coherent and tactile).<\/p>\n\n\n\n

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allaboutjazz<\/figcaption><\/figure>\n\n\n\n

The musical landscape that Olatuja and his companions inhabit on Lagos Pepper Soup<\/em> is a joy to discover. First, there are dancing R. & B. grooves that blend with soulful melodies on such prancing cuts as \u201cBrighter Day\u201d (with singer Laura Mvula leading the Lagos Pepper Soup String Orchestra<\/em> in an uplift of string colors and vocal passion) and \u201cThe Hero\u2019s Journey\u201d where the effervescent violin of Regina Carter, (gilded with the delicate vocals of Thana Alexa), soars to strike a positive vibe. Roistering blues and Afro-pop are also elemental ingredients in Olatuja\u2019s eclectic Lagos Soup<\/em> where Lionel Loueke\u2019s prickly guitar lines dance amongst the reveling vocals of Angelique Kidjo (on the title cut) and deftly propel the gracious vocals of Dianne Reeves on the leaping \u201cSoki.\u201d<\/p>\n\n\n\n

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Dianne Reeves -SFJAZZ<\/figcaption><\/figure>\n\n\n\n

Olatuja\u2019s compositions convey release and restoration in striking ways. He blends playful jazz in his beautiful \u201cHome True\u201d where Olatuja\u2019s bass melds with vocalist Becca Steven\u2019s lithe wordplay and Robert Mitchell\u2019s sprite piano. On \u201cBola\u2019s Song,\u201d the weightless hues of Gregoire Maret\u2019s harmonica blend spritely with flowing strings, bass and resonant percussion. The mighty Joe Lovano welds his glowing tenor saxophone in Olatuja\u2019s \u201cLeye\u2019s Dance\u201d, a rollicking joy ride propelled by Lovano\u2019s cavorting runs and golden holds.<\/p>\n\n\n\n

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Joe Lovano- npr.org<\/figcaption><\/figure>\n\n\n\n

Olatuja\u2019s uplifting global feast ends on the soulful caress of his composition, \u201cGrace\u201d, with pianist Aaron Parks shimmering in light keyboard banter in the embrace of Terreon Gully\u2019s steady drum grooves, Samir Zarif\u2019s regal sax and Olatuja\u2019s resounding bass in upbeat companionship.<\/p>\n\n\n\n

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seatgeek.com<\/figcaption><\/figure>\n\n\n\n

Speaking of upbeat companionship, there is nothing more joyful than exploring the original melodies concocted by another fresh voice: jazz pianist Joey Alexander, on one of my favorites of his rich discography, his 2018 recording, Eclipse<\/em> [Montema Music; www.motema.com<\/a>]. Eclipse<\/em> finds Alexander partnered with drummer Eric Harland and bassist Reuben Rogers, a most marvelous partnership.<\/p>\n\n\n\n

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I last recommended a recording with Harland and Rogers when they appeared in sterling partnership with saxophonist Charles Lloyd and pianist Jason Moran- on the superb and venturesome 2017 live recording, Passin\u2019Thru<\/em> [Blue Note<\/em>; www.bluenote.com<\/a>], particularly glorious in its vinyl edition for its crackling alive presence to these reveling live performances.<\/p>\n\n\n\n

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Alexander\u2019s Eclipse<\/em> is another gem that vividly comes alive and allows one to intimately explore all the sparks of dialogue that flow effortlessly between these three consummate musicians in flight.<\/p>\n\n\n\n

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Joey Alexander -Eric Morgensen photo<\/figcaption><\/figure>\n\n\n\n

Positive vibes abound on Eclipse<\/em>. Take, for instance, the opening \u201cBali\u201d, an original tune that positively gallops on Alexander\u2019s melodic swing and his deft sweetness in the craft of his notes throughout his omnivorous range. Alexander\u2019s \u201cDraw Me Nearer\u201d hits a beautiful gospel stride with Rogers\u2019 deep plucks and plunges, Harland\u2019s sparkling brushwork and Alexander\u2019s soft touches that shimmer and sway. Bold saxophonist Joshua Redman joins the band for a soulful turn on Roy Noble\u2019s \u201cThe Very Thought of You,\u201d set to a dreamy pace in Redman\u2019s breathy holds and soulful runs nestled in Alexander\u2019s blocks of blues chords.<\/p>\n\n\n\n

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Joshua Redman and Reuben Rogers \u2013 JarasumJazz<\/figcaption><\/figure>\n\n\n\n

There\u2019s also plenty of bebop glee on Eclipse<\/em>. One great example is the band\u2019s version of the Coltrane classic, \u201cMoment\u2019s Notice\u201d, in which Rogers glides in quick elastic strides on his elastic bass while Alexander spins the length of his keyboard in swooping pounces. The band digs into Alexander\u2019s \u201cFourteen\u201d with more up-beat chemistry (highlighted by Redman\u2019s bursting sax) and Alexander\u2019s pulsating \u201cSpace\u201d is another gleeful swing fest where each player delights in adding their own twinkling banter.. These romping gems are built from the agile and inventive foundation of Harland at his astonishing drum kit. From the swish of delicate brushes (on the outer rings of his shining cymbals) to his fusillades of shockingly quick, low drum thunder, Harland\u2019s percussive engine is in fine, full throttle form.<\/p>\n\n\n\n

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NYC Radio<\/figcaption><\/figure>\n\n\n\n

A final highlight from this sterling disc is Alexander\u2019s poignant solo performance of Lennon and McCarthy\u2019s tune, \u201cBlackbird\u201d, a beautiful melody for our times. Alexander turns the indelible melody of \u201cBlackbird\u201d on his keyboard like one would a piece of wood on a lathe, re-casting it and carving his own joyful and insightful moments into Lennon and McCarthy\u2019s inviting vessel. I look forward to auditioning Alexander\u2019s new recording, Warna <\/em>[Verve Records], where he is joined by another stellar rhythm section, drummer Kendrick Scott and bassist Larry Grenadier, in new trio explorations rooted in Alexander\u2019s open-hearted lyricism and spirited groove.<\/p>\n\n\n\n

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Ben Rosenblum \u2013 photo Greag Drygala<\/figcaption><\/figure>\n\n\n\n

Ben Rosenblum is another young pianist, accordionist and composer with a forward-thinking, lyrical spirit. Rosenblum has created a uniquely joyful and plucky universe on his new recording with his \u201cNebula Project\u201d, Kites and Strings<\/em> [One Trick Dog Records; www.benrosenblummusic.com<\/a>].<\/p>\n\n\n\n

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Rosenblum\u2019s musical palette is open-eared on this new fascinating recording. His compositions combine the sounds of his sprite and graceful accordion and piano play with a feast of other fresh sounds, including Rafael Rosa\u2019s fuzz ladened electric guitar; Wayne Tucker\u2019s crisp trumpet; Sam Chess\u2019 regal trombone; Jasper Dutz\u2019s frolicking sax and bass clarinet and a sparkling backbone from bassist Marty Jaffe and drummer Ben Zweig \u2013 all primed for adventure.<\/p>\n\n\n\n

Kites and String<\/em>s delivers its fresh colors and playful flow on a recording that has a wide and layered soundstage, natural image dimensionality and an up-front presence where instrumental colors project with crisp outlines and zestful timbres. The opening track, \u201cCedar Place\u201d is a great example of Rosenblum\u2019s delectable verve. It dances on Rosenblum\u2019s spangled accordion, (breathily delicate in its spins and runs), tumbling in the company of Tucker\u2019s shining trumpet and Dutz\u2019s frisky tenor saxophone.<\/p>\n\n\n\n

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Dutz\u2019s bass clarinet play in particularly vibrant on a number of Rosenblum\u2019s originals. These include the gorgeous \u201cHalfway To Wonderland\u201d in which Dutz\u2019s bass clarinet dips and flutters next to Rosenblum\u2019s sprite piano runs and deep bluesy chords (reminding of the great Dave Brubeck\u2019s keyboard twinkle) and on Rosenblum\u2019s \u201cLaughing On The Inside\u201d where Dutz\u2019s bass clarinet joins Rosa\u2019s expansive guitar to churn a frolicking Zweig drum solo.<\/p>\n\n\n\n

The band also digs its creative toes into inventive, glowing balladry on Kites and Strings<\/em>. These include Rosenblum\u2019s soft accordion\/piano flow on his \u201cMotif From Brahms\u201d and on his lilting version of Leonard Bernstein\u2019s \u201cSomewhere\u201d in which trumpet, bass clarinet and accordion entwine in Bernstein\u2019s sweet melody. Neil Young\u2019s \u201cPhiladelphia\u201d is also given fresh treatment: the tune is a sweet, slow swagger (ignited on Sam Chess\u2019 warm trombone dips) where everyone takes a turn to shape Young\u2019s elegiac melody in their fresh rapport.<\/p>\n\n\n\n

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Diego Urcola \u2013 Music Industry<\/figcaption><\/figure>\n\n\n\n

Listening to Wayne Tucker\u2019s clarion and crisp trumpet light up the inventive landscape of Rosenblum\u2019s Kites and Strings <\/em>inspires a listen to another dynamic trumpeter, Diego Urcola, and his new exciting recording.<\/p>\n\n\n\n

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On El Duelo<\/em> [Sunnyside Records], Urcola joins forces with the singular woodwind maestro, Paquito D\u2019Rivera, and the dynamic rhythm section of bassist Hamish Smith and drummer Eric Doob, to deliver a blowing session that is jubilant, bold and soulful.<\/p>\n\n\n\n

El Duelo<\/em> delivers a rich collection of classic and original tunes perfectly suited to focused and sharp improvisations from this tight-knit band. The great dynamic shifts, brazen colors and tactile details on this superb recording allow us to hear deeply into each performer\u2019s technique and playful group magnetism.<\/p>\n\n\n\n

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nj.com<\/figcaption><\/figure>\n\n\n\n

It\u2019s a special treat to hear every rustling, breathy run of D\u2019Rivera\u2019s clarinet and alto sax. Each instrument in his hands is a vessel of dancing, tumbling wonder. D\u2019Rivera\u2019s clarinet flows with an irresistible dancing pulse on such highlights as Gerry Mulligan\u2019s \u201cI Know, Don\u2019t Know How\u201d (blending with the slow bluesy walk of Smith\u2019s pungent bass) or caresses in slippery plunges and woody leaps (alongside Urcola\u2019s shining trumpet) on the title cut. D\u2019Rivera is clearly inspired by his young compatriots on this special outing as he exchanges musical dialogue with these young lions with consummate ardor, invention and playful charisma.<\/p>\n\n\n\n

Urcola\u2019s bold trumpet is a perfect foil for D\u2019Rivera\u2019s inspired presence. Urcola attacks Ornette Coleman\u2019s \u201cUna Muy Bonita\u201d and the Pugliese\/Tizol\u2019s classic tune, \u201cLa Yumba\/Caravan\u201d (arranged by Ethan Iverson), with spirited verve. The recording allows us to hear not only his highest reaches without glare (a rare feat) but also how Urcola loves to punctuate his arching upward climbs with an initial burst of a crisp accentuated note, illuminating his pathway upward.<\/p>\n\n\n\n

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Argentjazz<\/figcaption><\/figure>\n\n\n\n

In contrast to his crisp trumpet, Urcola\u2019s flugelhorn is a warm embracing vessel, velvety and radiant, on such dusted beauties as Piazzolla\u2019s \u201cLibertango\u201d and Urcola\u2019s original, \u201cTango Azul\u201d. We can hear deeply into his technique as how he squeezes his lips tight around his flugelhorn\u2019s mouthpiece, (to form a warm, light trill) then relaxes into a slurring, fluttering descent in stately form.<\/p>\n\n\n\n

The metallic sear of Urcola\u2019s trumpet, joyful and leaping, is a nice segue to enjoying a batch of sunny new acoustic string recordings, crisp and toe-tapping.<\/p>\n\n\n\n

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First, there is the balm of bluegrass in the hands of legendary pickers, Doc and Merle Watson, who fire off a bevy of easy-going firecrackers on a new curated recording, Songs Doc Didn\u2019t Sing<\/em> [FLi Records, www.fliartists.com<\/a>], which brings to fresh life tunes recorded by the Watsons for Flying Fish Records<\/em> in the 1980\u2019s.<\/p>\n\n\n\n

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Doc and Merle Watson \u2013 Wikipedia<\/figcaption><\/figure>\n\n\n\n

Songs Doc Didn\u2019t Sing<\/em> captures the Watsons in crisp, stutter-stepping form joined by a stellar band: fiddlers Mark O\u2019Connor, Sam Bush and Byron Berline; clarinetist Tom Scott; drummer Ron Tutt and bassist Michael Coleman. Songs Doc Didn\u2019t Sing<\/em> joyfully documents how the Watsons could spin an intriguing tale (of comic shape-shifting urgency or waltzing beauty) in a few bars of music, supremely assured in their telling. For instance, this new collection gifts us with the sly, romping \u201cSheeps in the Meadow\u201d, \u201cDown Yonder\u201d, \u201cBlack Mountain Rag\u201d and \u201cFisher\u2019s Hornpipe\u201d (where the Watsons are joined in their chivalry by a clacking set of \u201cbones\u201d played by Hank \u201cBones\u201d Kahn in the far-left of the stage). In these rollicking numbers, the Watsons\u2019 guitar wizardry is transfixing: playful ricochets of fingerpicking glee, crackling string bends and frenzied runs. This barnstorming can also shift from pell-mell sunshine to deep pools of waltzing sway, such as on the gentle \u201cWindy and Warm\u201d; the beauty in the churning depth of \u201cBelow Freezing\u201d (with a gorgeous swirl by clarinetist Scott) and the bluesy twang of \u201cJohn Henry\/Worried Blues\u201d. The Watsons can even take an old chestnut like \u201cTake Me Out To The Ballgame\u201d and re-fashion it into a fresh grooving soar. Their sparkling gem, \u201cTalking to Casey\u201d concludes this swanking collection with another sunny pulse, firing away on the Watson\u2019s nylon string hurtles into the slippery uplift of O\u2019Connor\u2019s crisp fiddle.<\/p>\n\n\n\n

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The Watsons\u2019 merry bluegrass inspires a listen to a final selection for this installation of listening joy: the easy-flowing, splendidly crafted music of virtuoso guitarist, Diego Figueiredo. Figueiredo\u2019s new CD, Compilation<\/em>, (released on another favorite audiophile label, Arbors Records<\/em> [www.arborsrecords.com<\/a>], is beautifully recorded and offers a delectable slice of Figueiredo\u2019s mastery that spans continents and styles with glee.<\/p>\n\n\n\n

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Hartford Courant<\/figcaption><\/figure>\n\n\n\n

Figueiredo\u2019s pliant guitar is a fresh voice, full of nimble delights and soulful charm. His solo acoustic version of Chick Corea\u2019s \u201cSpain\u201d is a dazzling invention with feisty string bends and crisp strums. His \u201cSamba In New York\u201d is another burbling feast of string snapping pizzicatos (always in the service of melody), blended with the colors of Gabriel Grossi\u2019s spidery harmonica glow. The weightless sparks of Edu Miranda\u2019s mandolin join Figueiredo\u2019s acoustic guitar on a twinkling \u201cXodozinho\u201d and \u201cTico-Tico No Fuba\u201d and \u201cPaschoa\u201d bring dancing bursts of Brazilian sway and funk where Eduardo Machado\u2019s bass and Fernando Rast\u2019s crackling wood rims ignite around Figueiredo\u2019s boundless string inventions. In contrast to this toe-tapping frolics, Figueiredo\u2019s version of \u201cLinda Flor\u201d is a molten creation as Figueiredo\u2019s solo electric guitar radiates with sumptuous deep colors and unkempt beauty. Compilation<\/em> concludes with the shimmering bloom of Figueiredo\u2019s \u201cPicote,\u201d where Figueiredo and his partners explore a flowing lyrical groove that illuminates both the joyful peppery bite and the soulful wanderlust of Figueiredo\u2019s music \u2013 sustaining our spirits for another day.<\/p>\n\n\n\n

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You can read more of Nelson\u2019s concert reviews at www.bostonconcertreviews.com<\/a>.<\/p>\n\n\n\n

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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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