Chuck Vecoli - jazzreview.com - Your Jazz Music Connection - jazzreview.com - Your Jazz Music Connection http://jazzreview.com Tue, 23 May 2017 17:29:50 -0500 Joomla! - Open Source Content Management en-gb Radio Silence by Neil Cowley Trio http://jazzreview.com/cd-reviews/straight-ahead-classic-cd-reviews/radio-silence-by-neil-cowley-trio.html http://jazzreview.com/cd-reviews/straight-ahead-classic-cd-reviews/radio-silence-by-neil-cowley-trio.html Neil Cowley Trio -
Radio Silence, the latest CD by the Neil Cowley Trio is an entertaining collection of orginal compositions executed with sensitivity and energy that delivers the listener to another place.The trio of Cowley on piano, Richard Sadler on bass and Evan Jenkins on drums is a is a developed unit with individual and group competence that shines through in all pieces. 

Neil Cowley Trio’s latest recording Radio Silence comes to me as do many of my topics for review, in a pack of CDs provided by a publicist.   This CD lived among my assignments for far too long. I only recently went back to it to give it another listen before writing this review. What I found among the compositions was a sensuality and energy that had been missing from many new jazz recordings of late. There is fullness in these compositions, a story with introductions, character development and climax. I found the title track “Radio Silence” to be full of rhythm and tonal dynamics that conveyed a sense of expression from the composer and the musicians. This band, featuring Cowley on piano, Richard Sadler on bass, and Evan Jenkins on drums is tight. They interplay during improvisations with a confident sense of self and band. They are familiar with each other, the pieces and their sense in time and space.  The last track on the CD, "Portal", is a beautifully lyric composition that provides yet another dimension of the Trio and Cowley as a composer.   This song harkens some of the expansive melodic work of George Winston, and yet the Trio puts so much more energy into the delivery, than a soloist might provide.  The song explodes into a melodic, moving piece and an appropriate climax to this fine work.

Cowley is a London-born musician who started off in classical studies, worked through a solid career in pop music, continuing with such successful work as recording on both of Adele’s popular CDs “19” and “21”.   The trio has been making a name for itself on the London jazz scene and throughout Europe. “Radio Silence” is their third and most developed effort. The song selection covers many bases of mood and theme. All compositions have a uniqueness and fullness. This is a solid effort by the Trio, a listening pleasure.

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morrice.blackwell@gmail.com (Chuck Vecoli) Straight-Ahead - CD Reviews Sun, 06 Nov 2011 18:40:41 -0600
Flowers and Other Stories by Assaf Kehati Quartet http://jazzreview.com/cd-reviews/contemporary-jazz-cd-reviews/flowers-and-other-stories-by-assaf-kehati-quartet.html http://jazzreview.com/cd-reviews/contemporary-jazz-cd-reviews/flowers-and-other-stories-by-assaf-kehati-quartet.html Flowers and Other Stories by Assaf Kehati Quartet
Contemporary jazz guitarist Assaf Kehati and his quartet deliver a fresh new release on "Flowers and Other Stories". This CD features very creative compositions and notable exectutions by all members of the quartet.

Jazz guitarist and composer Assaf Kehati is a new name to many jazz fans but his compositions will all seem strangely familiar.  Since making the scene in New England jazz in 2007 Kehati has been an ever-present force in the jazz scene in and around Boston, New York and even Canada.   What makes the work of this talented young guitarist so refreshing is the ability to draw on many themes and styles.  His compositions are familiar enough to draw interest but unique enough to avoid being trite and repetitious.   His work with his trio featuring legendary drummer Billy Hart has clearly allowed him to develop substantial depth in the genre and a palette of interesting tones and phrases that are intertwined throughout his work.    "Flowers and Other Stories" contains a set of compositions that cover an expressive landscape not limited to one view or perspective.   To Kehati's credit, the sidemen on this CD all express his compositions in a tight and congruous manner, making the pieces even more rich in their delivery.   The CD opens with the track 'Calling Me Home', this is a dark yet playful piece and features a notably expressive sax solo by Alon Faber.   'Mr. Mario' follows and gives a clear insight into Kehati's talent, perhaps his best performance on the CD.  The disc includes five more numbers, each notable for how they highlight different aspects of Kehati's composing skill, and the talent of the quartet individually and as a whole.  The CD is a worthy sequel to Kehati's debut CD " A View From My Window" and further evidence of the growing maturity of this artist as a composer and guitarist.   Joining Kehati on this CD are Alon Faber on Saxophones, Daniel Sapir on bass, and Udi Shlomo on drums.   Assaf Kehati Quartet's "Flowers and Others Stories" is a wonderful listen and I encourage you to check it out.

 

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morrice.blackwell@gmail.com (Chuck Vecoli) Contemporary Jazz - CD Reviews Sat, 23 Jul 2011 13:32:13 -0500
Something Quiet by Bob Gluck http://jazzreview.com/cd-reviews/free-jazz-avante-garde-cd-reviews/something-quiet-by-bob-gluck.html http://jazzreview.com/cd-reviews/free-jazz-avante-garde-cd-reviews/something-quiet-by-bob-gluck.html Something Quiet is Bob Gluck's second recording following up his 2008 Sideways. This is his first recording as an acoustic jazz player. The trio consists of Gluck, Joe Giardullo on soprano sax, and Christopher Dean Sullivan on bass. On this recording the listener is treated to some intricate compositions, ensemble playing, and improvisation that ranges from the quietest of moments to the cacophony of all out interaction between the musicians. Gluck's compositions are entertaining for their depth

Something Quiet is Bob Gluck's second recording following up his 2008 Sideways. This is his first recording as an acoustic jazz player. The trio consists of Gluck, Joe Giardullo on soprano sax, and Christopher Dean Sullivan on bass. On this recording the listener is treated to some intricate compositions, ensemble playing, and improvisation that ranges from the quietest of moments to the cacophony of all out interaction between the musicians. Gluck's compositions are entertaining for their depth of moods and melodic integrity. They paint complex pictures of scenic and sonic texture, emotion and depth. The opening track "Waterway" is one of Gluck's original compositions first heard on Sideways, but here it is presented in a new light. The opening phrases of piano set a tone for a familiar sound. This may be attributed to the similarity in the piece and the work of Herbie Hancock and Wayne Shorter on the 1+1 album. Gluck is very much into the work of Hancock. But his sources go well beyond Hancock and his compositional style is wide-ranging. On the second track Gluck employs a composition of Hancock's "Dolphin Dance" and gives it a very nice treatment in arrangement and interpretation.

"October Song" another of Gluck's original compositions is a dramatic piece with an essence of deep emotional content. The melody comes from somewhere deep in psyche and is dealt with in a full emotional sense by each of the musicians. Sullivan's bass solo on this piece is a full expression of Gluck's depth of feeling. The song almost naturally sets up the following track in which Giardullo's soft soprano sax work evokes a mode that is expanded on by Gluck.

Beyond the compositions, Bob Gluck is an excellent technician on the piano and I am hard-pressed to nail down his style. There are moments of avant garde, but then I will hear elements of Bill Evans in the way that Gluck moves through pieces with carefully integrated phrases. Clearly there is a certain degree of Keith Jarrett sound to Gluck's work, but even then, it is more developed than one style or another. In track four, "Going Away", Gluck's composition leaves so much room for the interpretation of Giardullo and Sullivan, that the piano comping in the background is almost secondary. But the trio is very tight enabling their interactions to have the effect of being greater than the sum of the parts.

Something Quiet is is a rich tapestry of melodic and dynamic textures with warm emotional nuances that make the recording an overall pleasant and entertaining experience. Gluck's compositions are full of interplay and color. "Still Wayters" for instance is an example of that full dynamic range of the composing style of Gluck. The piece highlights the soprano talent of Giadullo, but is in the strictest sense of the word, a collaborative effort in the presentation. Energy from each of the players is injected to raise Giadullo's performance. The result is a tense piece that is full of emotion, and that delivers a release that is made more rewarding by the extent to which the trio holds you in the grip of its strain. The track "Sideways" is one from the previous work but with a new twist and is the quiet part of the CD. The minimalist approach to the notes in the solos allow for the emotion of the composition to be fully experienced. The blasts of the sax and piano with the backing runs are almost counterpoint to the bass. This further adds to the intricacy of the piece and the listener's experience.

Closing with the track "Lifeline", the trio bring the listener to a quiet place and complete the listening experience. Gluck's piano is prominent to the listener as the final track brings home the message of the strength of Gluck as a composer and player. The overall experience of this CD is positive, pleasurable and fairly rewarding for the developed listener. This is not a CD for smooth jazz listeners, this is rich, complex, and full composition and execution. Well worth a listen by fans of strong piano trios in any tradition.

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morrice.blackwell@gmail.com (Chuck Vecoli) Free Jazz / Avante Garde - CD Reviews Mon, 28 Mar 2011 01:00:00 -0500
Into The Moment by Cinzia Spata http://jazzreview.com/cd-reviews/jazz-vocals-cd-reviews/into-the-moment-by-cinzia-spata.html http://jazzreview.com/cd-reviews/jazz-vocals-cd-reviews/into-the-moment-by-cinzia-spata.html I must confess, I have never heard of Cinzia Spata. While I have been broadening my horizons with respect to international talent lately, and Italy has been a source of some fine musicians, vocalists, jazz vocalists have not been a major find. Until now that is! Cinzia Spata's voice is beyond my writing capability to describe here. On her KOINÃ records release, Into the Moment, I discovered that she is a jazz vocalist extraordinaire. The opening track is a piece by Keith Jarrett entitled "Questa

I must confess, I have never heard of Cinzia Spata. While I have been broadening my horizons with respect to international talent lately, and Italy has been a source of some fine musicians, vocalists, jazz vocalists have not been a major find. Until now that is! Cinzia Spata's voice is beyond my writing capability to describe here. On her KOINÃ records release, Into the Moment, I discovered that she is a jazz vocalist extraordinaire.

The opening track is a piece by Keith Jarrett entitled "Questar" and for a moment, I was wondering what was a vocalist going to do with a Keith Jarrett composition, hopefully not put lyrics to it. Spata instead contributed her masterful voice to the composition as if it were just another instrument, with a part written to harmonize with the other instruments. This is just what she does, takes a lead position and contributes vocalizations that enhance the entire tune.

As the CD tracks spin off, I am finding myself engaging the vocal stylings of Cinzia Spata with the enthusiasm of a gold miner who has stumbled on a sizeable nugget. The subtle phrasing, dynamic range, technical prowess and deep sense of artistry is abundant in this work by Spata. While her rendition of "My Favorite Things" would not be at the top of my list, that track is dwarfed by her command of note and technique in the immensely complex "Carlos". The track starts out with a motif that is joined shortly by Spata's voice and then takes off. Spata is vocalizing with the dynamics of a master trumpet player. But that is just the beginning, she stays in there harmonizing and trading licks with the base player, mimicking the tones of the trumpet, note for note. Then she takes on her solo and I am drawn to listen intently to see just how far she is going to take this. I find out that the sky is the limit. She trills, and shrieks her notes with a control I have never heard come from a vocalist in any genre. Tight runs, with blinding speed and surgical control. It is mesmerizing and fun! If I were seeing this for the first time live, I still wouldn't believe my ears.

Spata is a master of the voice as an instrument. I must admit, after this track, the rest of the CD seemed pedestrian. However, it is not. Cinzia Spata can tackle any jazz melody with ease. The accent that comes through belies English as her second (perhaps even third) language, but in some cases, as in the case of "Tea for Two" and "East of the Sun (West of the Moon)" her voice is almost naive in the way she expresses the melody.

When you discover a treasure like Cinzia Spata, you want to share with everyone. However, not everyone will appreciate the technical excellence of her voice as an instrument as in the cut "Carlos". If you do not, then you will surely appreciate the beauty and sophistication with which Spata executes the other cuts on this very good vocal jazz CD, Into the Moment.

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morrice.blackwell@gmail.com (Chuck Vecoli) Jazz Vocals - CD Reviews Thu, 24 Mar 2011 13:00:00 -0500
Don't Look Back by Jane Stuart http://jazzreview.com/cd-reviews/jazz-vocals-cd-reviews/dont-look-back-by-jane-stuart.html http://jazzreview.com/cd-reviews/jazz-vocals-cd-reviews/dont-look-back-by-jane-stuart.html Jane Stuart, a New Jersey vocalist, has released her second CD Don't Look Back on JSM records. This multi-talented performer has been singing for a long time, since the age of five. The maturity of her instrument is evidenced by her skilled phrasing and overall command of the genre of jazz. Stuart worked with her long-time collaborator Rave Tesar (arranging, keyboards, engineering, mixing, and mastering) to produce this collection of notable tunes from composers such as Cole Porter, the Gershwin

Jane Stuart, a New Jersey vocalist, has released her second CD Don't Look Back on JSM records. This multi-talented performer has been singing for a long time, since the age of five. The maturity of her instrument is evidenced by her skilled phrasing and overall command of the genre of jazz.

Stuart worked with her long-time collaborator Rave Tesar (arranging, keyboards, engineering, mixing, and mastering) to produce this collection of notable tunes from composers such as Cole Porter, the Gershwins, Rogers and Hart, and Lennon and McCartney, to name a few. Stuart's arrangements enable her to deliver these songs from her power zone. This zone consists of a smooth and rich voice that wraps around the phrases and accents the melody with tonal and rhythmic fingerprints, making them all Stuart's.

The presence of some really fine musicians on this CD make the whole package a listener's treat. Good song selection, excellent execution and some special arrangements support what could be just another collection of songs and makes it a real hit!

This CD swings. Stuart has a command of her instrument that puts her right smack in the middle of the arrangement. With titles like the Cole Porter tune, "Experiment," Gershwin's "Summertime" and Rogers and Hart's "I Didn't Know What Time It Was," the listener gets their dose of familiar standards. But, what makes this CD stand out is the integration of such classic pop tunes as "Eleanor Rigby" and "I'll Follow the Sun" by Lennon and McCartney, as well as others like "Who Will Buy," that classic from the movie "Oliver."

Jane Stuart was a new name to me, but she's a vocalist with a great deal of experience and talent that shines through in her latest effort Don't Look Back. Stuart delivers.

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morrice.blackwell@gmail.com (Chuck Vecoli) Jazz Vocals - CD Reviews Thu, 24 Mar 2011 01:00:00 -0500
Returning by Bob Gluck Trio http://jazzreview.com/cd-reviews/contemporary-jazz-cd-reviews/returning-by-bob-gluck-trio.html http://jazzreview.com/cd-reviews/contemporary-jazz-cd-reviews/returning-by-bob-gluck-trio.html Returning is the third CD for FMR Records from Bob Gluck. I fully enjoyed his previous effort Something Quiet which came out earlier this year. While the similarities are there, this latest effort in my mind, is a step farther for Gluck. The trio format features Gluck's virtuoso piano work, the tight supportive punctuation of Michael Bisio's bass work and the incredible dynamics of Dean Sharp on drums. This configuration drives the relationships of dynamics and rhythm and the interchange that mu

Returning is the third CD for FMR Records from Bob Gluck. I fully enjoyed his previous effort Something Quiet which came out earlier this year. While the similarities are there, this latest effort in my mind, is a step farther for Gluck. The trio format features Gluck's virtuoso piano work, the tight supportive punctuation of Michael Bisio's bass work and the incredible dynamics of Dean Sharp on drums. This configuration drives the relationships of dynamics and rhythm and the interchange that must be ever-present in the trio format.

Gluck's compositions are expressed with an intensity and sensitivity that is spellbinding. I cannot fully convey the attraction deeply seeded in these pieces that becomes stronger as the composition progresses. Edgy taunts of tone and tension, dynamic and melodic subtleties that weave a fabric of strong colors and deep textures. One thing you hear is the interrelationships between the players. The give and take is palpable and constant. They execute the trio format impeccably. "Returning", the title track is the longest time-wise at 11:25, but the piece moves so smoothly and constantly forward that it seems to be over too soon for the listener. It has such unique components inside each section of the composition. Changes in tempo, rhythm form, percussion and percussive accents are throughout the piece. I find it fascinating to go back and listen again to this track and see the detail to which the trio emphasizes these subtleties.

Other notable tracks are the shorter, but equally epic, "Time" in which Bisio delivers a blistering intro on the base, setting the scene for the remaining two minutes. Sharp is a driving force in the trio, with a notable solo in the later minutes of "That's All You Got". "By A Field" has a compositional simplicity that belies the emotional intensity that is conveyed by it's execution. Even deep within the base solo, you can feel the essence of an underlying tension accented by both accompanist, Gluck and Sharp. "There's No There There" is almost counterpoint to the tension of the previous track and lets the listener take a deep breath and feel some playfulness. That being said, it is a further example of how tight this trio is and how they can convey moods as one voice. "Vertigal" was both different and familiar to me at the same time. Gluck is surprising in the use of melody and rhythm to convey mood. This track is a great example of what Returning is all about, returning to some familiar territory. For me, that is what the Bob Gluck Trio has done with this latest effort, brought me back to some familiar territory of Gluck's composition, but took me there with some new experiences. While the CD ends with a track of a similar name to the last effort "Something Quiet" is again new ground over familiar country. I enjoyed returning to Gluck's music on this latest release.

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morrice.blackwell@gmail.com (Chuck Vecoli) Contemporary Jazz - CD Reviews Wed, 23 Mar 2011 19:00:00 -0500
Colors From A Giant's Kit by Sir Roland Hanna http://jazzreview.com/cd-reviews/straight-ahead-classic-cd-reviews/colors-from-a-giant-s-kit-by-sir-roland-hanna.html http://jazzreview.com/cd-reviews/straight-ahead-classic-cd-reviews/colors-from-a-giant-s-kit-by-sir-roland-hanna.html Sir Roland Hanna (1932 - 2003) was one of the finest jazz pianists to ever grace a bandstand. His legacy of compositions, recordings, and students is a testament to his significant contribution to the jazz world. So many of the community who knew him speak so highly of him. But, it is the spirit of the man in his music that, for me, confirms his royalty. Colors From A Giant's Kit is a release of the late pianists recordings of a variety of compositions of his own and others. Hanna treats the lis

Sir Roland Hanna (1932 - 2003) was one of the finest jazz pianists to ever grace a bandstand. His legacy of compositions, recordings, and students is a testament to his significant contribution to the jazz world. So many of the community who knew him speak so highly of him. But, it is the spirit of the man in his music that, for me, confirms his royalty.

Colors From A Giant's Kit is a release of the late pianists recordings of a variety of compositions of his own and others. Hanna treats the listener to an array of tunes in which his deep sense of rhythm and melody are portrayed in a variety of medium. Hanna's own compositions are rich and luxurious with engaging solos. His arrangements of other's compositions include a powerful rendition of Coltrane's "Moment's Notice" and a moving treatment of Strayhorn's "Lush Life". Colors From A Giant's Kit offers a variety of styles; ballad, blues, rag, and straight ahead jazz numbers.

This CD is a joy to listen to. Mostly for Hanna's brilliant work, but also for the track selection itself. The cuts roll off each other and the overall theme is 'total listen-ability'. It is too late to think of what else Sir Roland Hanna might have left us, but it is not too late to engulf yourself in the work the man has already put forth. IPO released this CD to share the great work of Hanna. You should take advantage of this, the man has gone, but his legacy, his music, his style is with us and this latest release is evidence that there is so much more for the listener to discovery in the work of Sir Roland Hanna.

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morrice.blackwell@gmail.com (Chuck Vecoli) Straight-Ahead - CD Reviews Wed, 23 Mar 2011 13:00:00 -0500
Dream On by Kathleen Kolman http://jazzreview.com/cd-reviews/jazz-vocals-cd-reviews/dream-on-by-kathleen-kolman.html http://jazzreview.com/cd-reviews/jazz-vocals-cd-reviews/dream-on-by-kathleen-kolman.html This CD, Dream On, by New Hampshire-based Kathleen Kolman, was one of those incredible surprises that one stumbles on every now and then. Until you listen, one cannot appreciate the rich, deep tonality of Kolman's voice. Not only am I surprised at the beauty of this unique voice, I am intrigued at the application of this voice to the popular Latin and original tunes."Dream On," the title track, is in fact, that Aerosmith classic by Steven Tyler. In Kolman's hands, this is a soulful and passionat

This CD, Dream On, by New Hampshire-based Kathleen Kolman, was one of those incredible surprises that one stumbles on every now and then. Until you listen, one cannot appreciate the rich, deep tonality of Kolman's voice. Not only am I surprised at the beauty of this unique voice, I am intrigued at the application of this voice to the popular Latin and original tunes.

"Dream On," the title track, is in fact, that Aerosmith classic by Steven Tyler. In Kolman's hands, this is a soulful and passionate, bluesy ballad. Kolman's voice gives this tune a whole new life. While that track is entertaining, it pales in comparison to any track in which Kolman is singing in the Portuguese of Brazilian jazz. Then, I cannot even describe how natural this voice is to listen to.

Melting mocha ice cream with fudge sauce, that is what comes to mind when I listen to Kolman deliver these wonderful tracks. One cut after another I was further convinced that Kolman had transcended genetic and cultural boundaries and was, in fact, saturated with that Latin jazz gene that few others have truly possessed.

She has it! She can swing, bop, groove and melt! The extensive list of musicians backing up Kolman on this CD provide a solid canvas for her to paint a rich picture of a song. Kolman is a solid and sultry songstress and is convincing in all the formats shown on Dream On.

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morrice.blackwell@gmail.com (Chuck Vecoli) Jazz Vocals - CD Reviews Wed, 23 Mar 2011 07:00:00 -0500
Sounds of Brasil by Ark Ovrutski Quartet http://jazzreview.com/cd-reviews/brazilian-jazz-brazilian-pop-jazz-cd-reviews/sounds-of-brasil-by-ark-ovrutski-quartet.html http://jazzreview.com/cd-reviews/brazilian-jazz-brazilian-pop-jazz-cd-reviews/sounds-of-brasil-by-ark-ovrutski-quartet.html Sounds of Brasil by bassist Ark Ovrutski is a collection of interesting original compositions by Ovrutski that touch at the heart of Brasilian jazz and jazz in general. The ensemble is graced with the talents of Duduka Da Fonseca, Helio Alves on piano and the saxophone talents of both Craig Handy and Jorge Constinentino. Together these players bring Ovrutski's compositions to life with a depth that makes these contemporary pieces come across as if they were standards in the genre. Ark delivers a
Sounds of Brasil by bassist Ark Ovrutski is a collection of interesting original compositions by Ovrutski that touch at the heart of Brasilian jazz and jazz in general. The ensemble is graced with the talents of Duduka Da Fonseca, Helio Alves on piano and the saxophone talents of both Craig Handy and Jorge Constinentino. Together these players bring Ovrutski's compositions to life with a depth that makes these contemporary pieces come across as if they were standards in the genre. Ark delivers a most impressive set of music for the listener. While the track Brasilian Carnaval appears as two takes, no other two songs sound the same. For a deeply romantic track, check out "Baby's Vibe" The diversity of the compositions is very entertaining. While Ovrutski hails from a multitude of cities in Russia, the Ukraine and New York City, his music sounds as if he is a native of Brasil. Ovrutski shows a deep understanding of the role of each instrument in these compositions and this gives testament to his classical roots. A powerfully entertaining recording that conveys Ovrutski's talent as a composer and a bassist. A great way to get some new music without leaving some old familiar ground.
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morrice.blackwell@gmail.com (Chuck Vecoli) Brazilian Jazz / Brazilian Pop Jazz - CD Reviews Wed, 23 Mar 2011 01:00:00 -0500
Slipstream by Noah Haidu http://jazzreview.com/cd-reviews/bebop-hard-bop-cd-reviews/slipstream-by-noah-haidu.html http://jazzreview.com/cd-reviews/bebop-hard-bop-cd-reviews/slipstream-by-noah-haidu.html Retrato en Blanco Y Negro is the latest release by the very talented Valeria Proano. This Ecuador-born resident of Miami has put together one of the most listenable collections of Latin, jazz and pop tunes I have listened to in a long while. What especially draws you to this collection is the rich voice of Ms. Proano. She has the technical skills to execute even the most challenging phrasing and the sensitivity to put her own signature on each and every note. I was pleasantly surprised to see th
Retrato en Blanco Y Negro is the latest release by the very talented Valeria Proano. This Ecuador-born resident of Miami has put together one of the most listenable collections of Latin, jazz and pop tunes I have listened to in a long while. What especially draws you to this collection is the rich voice of Ms. Proano. She has the technical skills to execute even the most challenging phrasing and the sensitivity to put her own signature on each and every note. I was pleasantly surprised to see the list of incredible guest musicians on this recording. These included Nestor Torres, one of my favorite flutists, Ray Vega on flugelhorn, Troy Roberts on tenor sax, and Ed Calle on soprano sax. My favorite tracks were the Ecuadorian pasillo "Rosario de Besos" and the beautiful "Soy Pan,Soy Paz,Soy Mas". They are Proano's strength. The arrangements presented Valeria's voice elegantly interspersed with the instruments not so much as the sole vocalist, but as a key element of the ensemble. I know many of these songs well and while I can hear the long list of players who have performed them in the past, Valeria Proano has song them for the first time in her way on this CD and you should hear these songs in her style. A strong, romantic, and passionate performance by a natural voice. Highly recommend...check this one out.
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morrice.blackwell@gmail.com (Chuck Vecoli) BeBop / Hard Bop - CD Reviews Tue, 22 Mar 2011 19:00:00 -0500