CD Review: Fern Lindzon: Moments Like These

Originally published in CODA magazine, May 2008.

Veteran Toronto singer and pianist Fern Lindzon has taken an interesting approach to her debut recording Moments Like These. Completely made up of duets with noted musicians Don Thompson (here on vibraphone), bassist George Koller and guitarist Reg Schwager, Lindzon achieves a sense of intimacy on this recording that is pleasing and rare.

Lindzon’s vocals are rich, elegant and, thanks in part to her many years of stage experience, delivered with a sense of confidence and ease. Her piano playing is very much in the jazz tradition (she has a great swing feel), but is also contemporary in tone. The temptation when playing duet might be to play more, if only to fill empty spaces, but Lindzon maintains a judicious style.

Vocally, Lindzon is most effective on standards like Irving Berlin’s Let Yourself Go, where she performs a clever rendition of the rarely heard verse. Of the duets that are strictly instrumental, standouts include a spirited conversation between Schwager’s delicate guitar and Lindzon’s piano on You Really Shouldn’t, But… and the opening track Like Someone In Love, where Thompson’s mile a minute vibes provide an effective counterpart to Lindzon’s clean piano lines.

CD Review: Adrean Farrugia: V1.0 Live at the Senator

Originally published in the March / April 2007 issue of CODA Magazine.

CD Review: Adrean Farrugia: V1.0 Live at the Senator

Recorded live during a week long engagement at Toronto's now defunct Top O' The Senator, Farrugia's debut effort as a leader features a stellar line up of some of Canada's finest players; Jim Vivian on bass, Barry Romberg on drums and most notably the multi-talented Phil Dwyer on tenor sax. Brad Goode, the hard blowing trumpeter, is from Chicago.

Six of the eight tracks on the disc are Farrugia originals. The set opens with a funky blues "Woebegone," which gives the leader a chance to show his chops with an expansive, rollicking solo. The ensemble pieces "Lightchaser (Part I)" and "(Part II)" give everyone on the bandstand a chance to stretch. Dwyer in particular stands out with a blistering solo in the first part that is evocative and textured.

Farrugia's arrangement of Wayne Shorter's "Speak No Evil" is in 7/4 time and features a funky, modern groove. The leader's solo starts off pensive and searching and ends with an impressive run of notes. Farrugia's take on the Joni Mitchell ballad "Both Sides Now" starts gently - it dances around the melody at first and eventually lands in a Bruce Hornsby kind of place, with Romberg and Vivian providing support throughout. Vivian's melodic solo here is a highlight.

"The Ten Thousand Things," which closes the set, starts off loose, sounding as if we may have joined the tune in progress and continues in that relaxed vein. Farrugia has been well known on the Toronto scene for some time as a first call sideman. V1.0 Live at the Senator shows that he has much to offer as a leader.

CD Review: David Braid Sextet: Zhen

Originally published in the March / April 2007 issue of CODA Magazine.

CD Review: David Braid Sextet: Zhen

Zhen is the third recording from the David Braid Sextet, which formed in 2001. The chemistry that has developed in those years is apparent in everything from the way Braid writes for his band mates to the comfort exhibited in all of their inventive solos.

From the bluesy first track, "Fishers of Men," which opens with a bass solo from the always-solid Steve Wallace, to the hauntingly beautiful saxophone of Mike Murley on "Lydian Sky", there is a musical cohesiveness found in the exotic colouration and the sheer size of the sound.

"Temptress" gives Terry Clarke the opportunity to mix it up with some great cymbal work and a reoccurring and intense back-beat figure. This arrangement is unpredictable in the most delightful way and will appeal to fans of the unexpected. John McLeod's work on flugel horn here is superb as well, with a sound that is anything but delicate.

More rhythmic surprises are found on "Dance of the Zinfadels." This tune features the trombone of Gene Smith who growls his way through a melodic and noteworthy solo.

Braid's influences come from far and wide geographically (a great deal of this music has the flavour of the East) but you get the impression that his strongest influence comes from within. This sounds like very personal music; it is pensive and evocative stuff.

The fact that this is a live recording (the last done at the now defunct Toronto venue Top O' The Senator) is fortunate as it captures all the energy, excitement and intelligence this outfit brings to the stage.

The one cover on the disc, Braid's reimagining of John Coltrane's "Giant Steps," provides a gently powerful end to the program that is both fascinating from a technical standpoint and incredibly moving from an emotional one.

CD Review: Bob James: Urban Flamingo

Originally published on All About Jazz, May 1, 2006.

CD Review: Bob James: Urban Flamingo

Rating ***

Bob James has never decided whether he's a jazz musician or an R&B musician. He doesn't have to—he can be both, simultaneously, playing funky, infectious tunes that are melodic and groove hard. Urban Flamingo, his most recent effort, could be written off simply as "lifestyle music," or smooth jazz doomed to become background ambience at wine tastings and on weekend boat trips. But pay more attention to James' compositions and soloing and you'll find there is much more at work here. 

Track Listing: Choose Me; Miles A Head; Skidaway; Urban Flamingo; Lay Down With You; Fresh Start; Make It More Blue; Bobary Coast; Endless Time; Wingapo.

Urban Flamingo features James with his Michigan-based quintet of bassist Al Turner, drummer Ron Otis, guitarist Perry Hughes and saxophonist David McMurray. The disc opens with "Choose Me," which has James jamming over the chord changes of a funky blues. While the primarily electric instrumentation and McMurray's often syrupy saxophone playing will undoubtedly turn off mainstream-minded listeners, they will appeal to those who are looking for a pop or R&B-oriented jazz sound. 

Of the many guests present on the disc, highlights include the leader's daughter, Hilary James, who takes a pleasant vocal turn on "Lay Down with You," which she co-wrote; and bassist Nathan East (of James' Fourplay supergroup). 

The hands-down highlight of the disc is "Niles Ahead, which harkens back to James' work from the 1970s. This acoustic tour de force allows James and his rhythm section the chance to really show off their jazz chops. It's a pity there isn't more of the same on Urban Flamingo. This piece leaves me hoping that James will consider an album of acoustic tunes in the near future.

Personnel: Bob James: piano, synth; Al Turner: bass; Billy Kilson: drums; Bridgette Bryant: vocals; David McMurray: flute, alto saxophone, tenor saxophone; Earl Klugh: guitar; Hilary James: keyboards & vocals; Jack Lee: Guitar; James Genus: bass; John Pondel: guitar; Kevin DiSimone: keyboards & Vocals; Louis Pragasm: drums; Nathan East: bass; Perry Hughes: guitar; Ron Otis: drums; Wayne Gerard: guitar.

CD Review: Moncef Genoud: Aqua

Originally published on All About Jazz, May 10, 2006.

CD Review: Moncef Genoud: Aqua

Rating ****

Though not as familiar a name as many of his contemporaries, Moncef Genoud promises to prove himself one of the major jazz pianists of his generation. Aqua, his tenth studio recording and first on the Savoy Jazz label, demonstrates his strengths as both composer and pianist. 

The disc is comprised of seven original compositions and three covers interpreted with the help of such luminaries as Michael Brecker and Bill Stewart. Genoud peppers the covers throughout. The first one, "Summertime, features a funky backbeat courtesy of Stewart and a searching intro from Genoud. Melody is not a chief concern here; the focus of the arrangement seems to be rhythm and each player's sense of exploration within it. It is a daring approach which pays off fully. The next standard is Genoud's rendition of Coltrane's "Moment's Notice, which showcases his ability to play melodically and swiftly. 

The third cover, and the final track on the disc, is Strayhorn's classic "Lush Life. Things start off promisingly enough with a thoughtful intro from Genoud, but guest vocalist Dee Dee Bridgewater gets one of the lyrics wrong right out of the gate. While ..."of the wheels of life instead of ...of the wheel of life may seem like a trivial mistake, it would follow that the next lyric would read ...to get the feels of life. It's a small error that is not repeated, but sadly, it took me out of the song. Bridgewater also uses an affected falsetto throughout which sounds too cutesy and not nearly worldly enough for the content. 

Of the original compositions, all of which are meritorious, standouts include "Moncef's Mood, which allows bassist Scott Colley an opportunity to shine, and "Sliding Shadows. The latter, the most avant-garde of the leader's compositions on this set, opens with Genoud using the piano as a percussion instrument. It's a surprising turn and the results are mesmerizing. 
The title track, "Aqua, has a melody just as fluid as its name would suggest. Brecker and Genoud create a dialogue in the middle of the piece that is rhythmically complex and unexpectedly aggressive after the top of the tune. The musicians work though this conversation, ending with a hint of the serene ideas that were present at the beginning. This is penetrating, thoughtful music of the highest order. 

This all-star group of musicians, with Moncef in the lead, has created a stunningly creative and listenable record.

Track Listing: Out of the Blue; Aqua; Sliding Shadows; Times Square Circle; Summertime; Lovely Vij'; Moment's Notice; Mix of Keys; Moncef's Mood; Lush Life.

Personnel: Moncef Genoud: piano; Michael Brecker: tenor saxophone; Frederic Folmer: bass; Scott Colley: upright bass; Thierry Hochstatter: drums; Bill Stewart: drums; Dee Dee Bridgewater: guest vocals.

CD Review: Marta Hugon: Tender Trap

Originally published on All About Jazz, April 29, 2006.

CD Review: Marta Hugon: Tender Trap
Rating ***

Marta Hugon's affection for the material she covers on Tender Trap is apparent from the start. Hugon is a confident singer with a pleasant tone, exhibiting only the occasional intonation issue and some difficulty sustaining notes in her upper register. While she doesn't scat or improvise on this recording, Hugon's sensibility is deeply rooted in the jazz tradition, and she can swing with the best of them when it's called for. The final bars of  Old Devil Moon, however, give us a glimpse of Hugon's potential as an improviser as she noodles over pianist Felipe Melo's swinging outro.

Track Listing: In Love In Vain; Old Devil Moon; I Concentrate On You; I Feel So Smoochie; I Wish I Knew; Tender Trap; That Old Black Magic; Too Close For Comfort; Too Young To Go Steady.

Melo, a standout on this recording, is solid throughout, providing support and great interplay with Hugon. The trio of inspired soloists who back Hugon manage to pull back and not detract from the vocalist when it's her time to shine. And shine she does, especially on "Falsa Baina, singing in her native Portuguese. She deftly handles the tune's quick rhythms and exhibits an infectious exuberance. Hugon should consider recording an album of Jobim classics and Brazilian bossas. All indications are that it would be spectacular.

Guest guitarists Bruno Santos (on "I Feel So Smoochie ) and Andre Fernandes (on "I Wish I Knew ) both fit in seamlessly with the trio. Fernandes' solo in particular is very engaging and brings to mind the work of Barney Kessel. I get the feeling from listening to this disc that these musicians have been heavily influenced by the greats of Kessel's generation. Shades of Oscar Peterson, Ray Brown and Ed Thigpen are all heard, which is welcome indeed.

The arrangements are all infused with a sense of respect for the material, while managing to not wallow in nostalgia. The title track in particular doesn't owe too much to any of its more familiar recorded versions, opening with elegant brushwork from drummer Andre Sousa Machado and a melodic bass line from Bernardo Moreira.

Hugon and company have carved a nice little niche for themselves with this warm, relaxed session.

Personnel: Marta Hugon: vocals; Filipe Melo: piano; Bernardo Moreira: bass; Andre Sousa Machado: drums; Bruno Santos: guitar (4); Andre Fernandes: guitar (5).

CD Review: Soesja Citroen: Don't Cry Baby

Originally published on All about Jazz, May 9, 2006.

CD Review: Soesja Citroen: Don't Cry Baby

Rating **

Great songwriters are not always great singers. While Soesja Citroen has the ability to create a sense of intimacy with her voice, it is not a great instrument. Her songs however, are captivating.

Track Listing: Just Another Man; Out Of The Blue; Don't Cry Baby; Song For You; From The Start; Love Can't Be All Fun; The Samba Calls; Last September; Wise Women Know; Tropic Night; Miles Apart; Good Old Jazz; Daddy's Girl; Long As You Pay; Charming Guy; Fantasies Are Free

Citroen struggles with intonation and pitch. Her shortcomings are most obvious when she stays in her upper register, which is thin and often shrill. Despite her inadequacies as a vocalist, Citroen tells these stories expertly and evocatively. She is, after all, in the unique position of knowing who the characters in her stories really are. The ballads "Love Can't Be All Fun and "Last September are fine examples of Citroen's best storytelling. Tucked among the thoughtful ballads is the cute novelty tune "Song for You, which would be at home in a Blossom Dearie's set at Danny's Skylight Room.

"The Samba Calls affords the opportunity for pianist Berend van den Berg and bassist Ruud Ouwenhand a chance to stretch out a little bit on a rhythmic yet moody interlude. They provide capable, gentle support throughout.

At her best, Citroen is all elegant whimsy, but at her worst her vocals can be aggressively grating. You can hear both Citroens on Don't Cry Baby.

Personnel: Soesja Citroen: vocals; Ruud Ouwehand: bass; Berend van den Berg: piano; Miriam Kroeze: cello.

CD Review: Nils Landgren & Joe Sample: Creole Love Call

Originally published on All About Jazz, April 30, 2006.

CD Review: Nils Landgren & Joe Sample: Creole Love Call 

Rating ****

From the first bars of "Get Out of My Life, Woman, which feature Joe Sample banging out a funky left hand rift, to Nils Landgren's laid-back vocals on "Soul Shadows, one thing is obvious about their new recording: Creole Love Call is all about New Orleans. Landgren and Sample got together to make this record and celebrate the city in May of 2005, a few short months before Hurricane Katrina. It's a testament to the fact that New Orleans is a spiritual home to musicians and music lovers alike, whether or not they've ever been to the Crescent City.

Track Listing: Get Out Of My Life Woman; (Sittin' On The) Dock Of The Bay; Nightlife; Soul Shadows; The Brightest Smile In Town; Don't Take Your Love To Hollywood; One Day I Fly Away; With You In Mind; I Can't Get Enough Of Your Love; Love The One You're With; Same Old Story; Creole Love Call.

For the most part, the tunes are funky and accessible, but in no way dumbed down. "The Brightest Smile in Town suggests a song that could be played over a sad montage in a Nora Ephron film (you can decide if that is a good thing or not). "Sittin' on the Dock of the Bay, with guest vocals from Ray Parker, Jr., is well-executed, but leaves you wondering what the point was. It may be because the song is so familiar from the pop music lexicon, but it seems that the talented personel on this disc could have spent their time on a tune that presented more challenges. Challenges that they are all more than capable of meeting.

They rise to the occasion several times on the disc. Sample's playing is inventive and funky throughout. He displays his usual deft mix of straight-ahead jazz, blues and gospel. Landgren's vocals are warm and relaxed, proving that he is just as much at home singing as he is playing the trombone. His instrumental chops show no sign of fading, though, and his solo on "Soul Shadows is a particular standout. "Same Old Story and "Creole Love Call, the last two tracks on the disc, capture both the looseness and the formality of New Orleans.

Creole Love Call presents a simple, romantic vision of New Orleans, where Jelly Roll wasn't a self aggrandizing character, Satchmo never had to deal with institutionalized racism, and Fats Domino never had to flee his home because of a natural disaster made worse by government ineptitude. Maybe now, more than ever, we need a little of this kind of romance. This funky, upbeat offering from Sample, Landgren and friends is just what the doctor ordered.

Personnel: Nils Landgren: trombone and vocals; Joe Sample: acoustic piano and Fender Rhodes; Ray Parker Jr: guitar and vocals; Chris Severin: acoustic bass; Raymond Weber: drums; Lenny Castro: percussion; Sammie Williams: trombone (11,12); Leon Brown and Andrew Baham: trumpet (11,12); Kirk Joseph: sousaphone (11,12); Charmaine Neville: vocals (8).