Saturday, January 24, 2015

Rodrigo Amado, Wire Quartet



by Icrom Bigrad

Filled with romping excitement, Rodrigo Amado and Wire Quartet are positively exhilarating and will not disappoint, supported by a wonderful line up that features members of the Red Trio and the rewarding, Manuel Mota.  Wire Quartet consists of three extended pieces. "Abandon Yourself" which opens the album with slow building introduction where each member moves gently with well place focused notes. The piece moves into its second structure when Amado and Mota both let loose and Faustino and Ferrandini follow making this section of the piece the most chaotic while beautiful at the same time.  The mood settles in the latter stages as each musician has their own moment to rise above. The compositional strength is strong, yet Amado allows the members the freedom to craft the passages within the outlying structure.

On “Surrender” a bluesy artistic vibe, yet still encompassing sense of moving far beyond, with an abundance free movement with Mota's guitar screaming like Branca, Bailey or Thurston Moore rolled into one. Ferrandini’s atmospheric brush-work adds a nice polish to the track. While on the closing number, "To the Music," Amado opens wide with pounding tones and patterns that are reminiscent of Ayler or Braxton. Mota's guitar wails but never overpowers the piece.

Wire Quartet is a significant addition to the jazz rock moniker; it is fierce, searing and rasping like any other Amado record. Similar to Amado's work with Luis Lopes, but with the profusion that a quartet offers to the sound, adding a level of muscularity to Rodrigo Amado's compositions, this is hard to believe, as his brilliance was already in abundance. 

Players:  Rodrigo Amado (sax), Gabriel Ferrandini (drums), HernĂ¢ni Faustino (bass), Manuel Mota (guitar).

Label:  Clean Feed; 2014

Mason Razavi, Quartet Plus

by Jeff Becker



Mason Razavi is a jazz guitarist, composer, educator, and band-leader based in the San Francisco Bay Area.  Razavi started out as a self-taught rock guitarist, but after hearing an Andres Segovia recording at the age of 22, he changed directions dramatically and focused on the classical literature and the nylon-strung guitar.  After several years of immersion in the classical world, Razavi returned to a more balanced diet of classical, jazz and rock, and the electric guitar. Today Razavi views himself as a jazz guitarist/composer with a diverse background. 

Razavi’s experiences range from rock bands, accompanying concert choirs, backing up jazz singers, and even as a solo classical guitarist. Razavi has performed at the Wilshire Ebell Theater, Paradise Rock Club, and on stage at the San Jose Repertory Theater as well as countless gigs as a sideman and leader of his own groups.  He holds a M.A. in Jazz Studies from San Jose State University and a B.M. from Berklee College of Music, where he studied jazz composition and majored in Contemporary Writing and Production.

Razavi’s debut CD/DVD People, Places, and Monsters is an astoundingly creative project that features Razavi’s original music for the solo nylon-strung guitar set to original animation. Razavi’s current project, Quartet Plus, is a collection of Razavi’s originals orchestrated by both a quartet and a nonet.  Razavi’s compositions are rich with the sounds of the jazz tradition, but he also cleverly expands upon the tradition with modern colors, rhythmic setting and innovative textures.  Four of the eight tracks on the album are performed by a quartet with the remaining tracks featuring the quartet plus a 5-horn section.

“Highrise” finds Razavi’s warm steel-strung guitar taking the forefront over a hip straight-eight groove that methodically develops into a flowing singable melody with well-placed hits and chordal movement.  Razavi’s builds his solo just as he does his composed melodies, with thought to thematic development and storytelling.  The groove continues to get hipper and funkier as Razavi builds in energy and register to finish his solo statement.  Roth-Newell takes a fine solo on the keyboard with a Rhodes like sound; again the ensemble builds behind the soloist, making a clear musical statement and an enjoyable listen.


Perhaps Razavi’s strong point on this outing is his ballad writing and soloing, “Prayer for Newtown” has a gorgeously tender melody and is orchestrated beautifully.  The way Razavi’s nylon-strung guitar is paired with the bass clarinet and arco bass during various sections is very affective in creating a haunting soundscape for Ravazi’s tender guitar lines.

Quartet Plus is a wonderful project that will appeal to listener, composer and player alike, Razavi has kept the project on the mellow side, but by no means is it a sleep inducer, each selection develops with deep counterpoint and shifting sections and feel.  Overall, it is a very well balanced release in colors, feels and most of all cohesiveness.  Worth the listen, worth adding to your collection.

Track Listing: Moonlit Message; Highrise; From Thoughts To Words; Urban Jungle Blues; Prayer For Newtown; Luck Has Nothing To Do With It; Song For Another Day; Mad Dance.


Personnel: Mason Razavi: electric and nylon string guitars; Bennett Roth-Newell: piano and keyboards; Dan Robbins: bass; Cody Rhodes: drums; Justin Smith: trumpet and flugelhorn; Ben Torres: alto sax, flute, and clarinet; Oscar Pangilinan: tenor sax and clarinet; Kevin Bryson: trombone; Cory Wright: baritone sax, clarinet, and bass clarinet.


Record Label: First Orbit Sounds

Tuesday, December 16, 2014

Mark Meadows, Something Good

by Jeff Becker



Meadows is joined on his sophomore recording Somethin' Good, with Brent Birckhead on alto sax, Eric Kennedy on drums, Eric Wheeler on bass, Paul Bollenback on guitar, Warren Wolf on vibes and guest vocalists Lena Seikaly and Christine Dashiell on a couple of tracks.   In addition to playing piano, Meadows also sings on four of the tracks, with a John Legend easy going vibe to his vocal style.  Meadows has a witty writing style, his compositions are fresh and enjoy a strong foundation in the tradition of jazz coupled with a reach into to contemporary sounds and inspiration. Meadows' lyrics are positive and are every bit as enjoyable as the music and playing, which makes this offering even more appealing. Seikaly and Dashiell's voices are used to sing non-lyric melodies and function as enhancement to the overall ensemble sound.

On four cover tunes Meadows shows his arranging skills, which include Michael Jackson's "Rock With You," Dizzy Gillespie's "Groovin' High," "Come Together" by Lennon-McCartney, and a solo piano rendition of Billy Strayhorn's "Lush Life." All four selections have been well-traversed over the years and many have used them as improvisational vehicles, but Meadows keeps it fresh by adding some truly creative touches without deconstructing the tunes into unrecognizable renditions. 

"Rock With You" is given a 5/4 groove intro that effortlessly segues to 4/4 feel for the verse.  Meadows displays confident singing and well-placed vocal harmonies by the chorus which adds just the right interest.  A return to a 5/4 feel with an interlude before Bollenback's solo, then is layered over a nice 6/8 feel. When reading this concept on paper one might think this will sound distracting, but Meadows seamlessly connects the details into a flawless flow. 

These two examples are only that; examples of the exemplary work and ideas of a composer, arranger and performer who reside in one very talented Mark Meadows.  His arranging skills are inventive, interesting and well beyond his young years.  His vocal style is a modern sound with an almost crossover appeal. The sound of jazz is growing daily, and the younger generation is trumpeting their sound, Meadows is at the forefront of that creative wave, definitely one to watch. 

Track Listing: Come Together; Just Imagine; Rock With You; Somethin’ Good; Once Upon a Purple Night; Less Catchy; Way Up Here; For You; Groovin’ High; Get Lost; Lush Life. 

Personnel: Mark Meadows: piano, voice; Paul Bollenback: guitar; Warren Wolf: vibes; Brent Birckhead: alto sax; Christine Dashiell: vocals (8,9); Lena Seikaly: vocals (2); Eric Kennedy: drums; Eric Wheeler: bass.
Record Label: Self Produced

Wednesday, November 12, 2014

Terry Marshall, Arrival

by Icrom Bigrad



Composer/Pianist Terry Marshall has put together an enjoyable project entitled, Arrival featuring five original compositions and six well and not so well -known standards and arrangements by Marshall. There are four vocal selections featuring Iva Ambush on “Being Cool” and “Upside Down,” Kendra Johnson on “This Bitter Earth” and Johnson is joined by vocalist DeCastro Brown for “Moodies Mood For Love.”

For Arrival Marshall has a rotating cast of players, but all speak the same language so the overall effect is still a project that flows and has a consistent musical sound overall.  Marshall’s originals are catchy and fit in nice with the selected standards.  The project has a lot of straight eight selections, but the styles overall are varied and with the four vocal selections mixed in with the instrumentals the listener will always get the feeling of a cohesive project.  

 There is a plethora of groove on this recording, but it is not for a purist of any specific genre, instead it will appeal to a wide audience.  Marshall’s most impressive skill are his ability to do all of the writing and arranging and put a varied cast together that makes everything work; and of course his playing is especially concerned with inviting the listener into the musical moments that is Arrival.

Tracks: Teresa 4:32; Upside Down 4:22; This Bitter Earth 3:37; Being Cool 4:46; Nostalgia 6:24; Questions And Answers 3:57; Moodies Mood For Love 3:27; Speak To My Heart 5:08; Arrival 5:21; April In Paris 3:57; Blues 1:46. 

Personnel: Terry Marshall - Piano (all tracks); Alejandro (Ah-leh-hahn-dro) Lucini - Drums (tr.1,2,4,5,9); Harold Summey - Drums (tr.3,7); Tracey Cutler - Saxophone (tr.2,3,4,5,7); Warren Atiba (Uh-tee-buh)Taylor - Saxophone  (tr. 9); Muneer (Moo-nir) Nasser (Nae-ser) - Trumpet (tr.9); Kevin Williams - Guitar (tr.1); Ben Young - Guitar (tr.1,6,11); D.L. Watson - Guitar (tr.8); Iva Ambush - Vocals (tr.2,4); Kendra Johnson - Vocals (tr.3,7); DeCastro Brown - Vocals (tr.7); Leonardo Lucini - Bass (tr.1,2,4,5,6,9); Dave Marsh - Bass (tr.3,7,8,11); Donnie West - Bass (tr.10).

Wednesday, November 5, 2014

Donna Singer, Destiny, Moment of Jazz

by Icrom Bigrad



Destiny, Moment of Jazz is a fine outing by jazz vocalist Donna Singer with longtime collaborator bassist Doug Richards. Destiny, Moment of Jazz, is a collection of seven standards (one of which is just the Doug Richards trio instrumentally -“I’ll Remember April”) and two originals by Carole Belle and Roy Singer- “This Moment of Now” and “Sweet Destiny.”

Singer has a varied program of styles and there is certainly something for every musical taste.  “This Moment of Now,” “Our Love Is Here To Stay,” and “Where or When” are medium tempo swinging toe tapers,  as well as “What A difference A Day Made” that has a rubato gospel intro that develops into relaxed swing.  “Sweet Destiny” and “Time After Time” are given a Latin treatment and “Yesterday” and “I Believe I Can Fly” are straight eight gospel/pop infused selections.

Singer offers the listener a varied program with old style flair.  Her vocal style employs ample vibrato reminiscent of the 40’s, with updated material underpinning the proceedings, an enjoyable listen that employs the walk down memory lane feeling.

Personnel:  Donna Singer (vocals); Doug Richards (bass); Billy Alfred (piano); Mike Cervone (drums).

Special Guests: Jeff Otis (guitar); Chris Pasen (flugelhorn); Nancy Wegrzyn (viola); Bobby Tee (percussion/drums).

Tracks: This Moment of Now 3:35; Our Love Is Here To Stay 3:53; Sweet Destiny 3:33; Yesterday 4:04;  I’ll Remember April 4;36; Time After Time 3:43; What A Difference A Day Made 3:02; I Believe I Can Fly 3:32; Where or When 2:39.