Jazz and Improvised

El Tinajon
Luis Deniz; Rafaelo Zaldivar; Roberto Occhipinti; Amhed Mitchel; Jorge Luis Papiosco; Adis Rodriguez Galindo
Modica Music (modicamusic.com)

Since his arrival from Cuba, saxophonist and composer Luis Deniz has placed his distinctive mark on both the Canadian and international jazz scenes. His warm, distinctive and technically skilled sound on alto and soprano saxophones is celebrated here with the release of his new recording – which embraces his emotional journey from a young Cuban émigré to a highly respected jazz stalwart. Deniz’s gifted compadres here include pianist/keyboardist Rafael Zaldivar, bassist Roberto Occhipinti, drummer and vocalist Ahmed Mitchel, vocalist Adis Galindo and percussionist Jose Luis (“Papiosco”) Torres. All nine evocative and powerful compositions on this superb collection were composed by Deniz and deftly produced by noted pianist Teri Parker.  

The title refers to a type of clay pot, brought to Cuba by the Spanish, which eventually became the trademark of the province of Camaguey – Deniz’s culturally rich and soulful place of origin. The opening salvo, Reflexiones is rife with languid, riveting tones from Deniz’s horn that drive the ancient rhythmic modalities with inspired and emotional improvisational sequences channelling the very pulse of Mother Earth herself. This seamlessly segues into La Ceiba de Mayuya, a swinging contemporary jazz exploration featuring a dynamic acoustic bass solo by Occhipinti. 

Of particular note is Rumba para Camaguey/Equality – a sumptuous, lyrical duet performed by Deniz and Zaldivar. Bolero is almost unbearably beautiful, plummeting the depths of sensuality and Gesture adapts the mood by generating pure joy, enhanced by the unison piano/vocal line, masterful piano work and Deniz’s dazzling compositional style. Also of special note is the thoroughly lovely Dutch Flower, dedicated to Deniz’s talented wife. The rousing closer, Conga para Florida is nothing short of magnificent with dynamic soprano work, an indigenous percussive melange and delicious vocals.

First Move
Aaron Seeber; Warren Wolf; Sullivan Fortner; Ugonna Okegwo
Cellar Music CM103121 (cellarlive.com)

Most jazz musicians – no matter what instrument they play – agree that you feel free to go wherever the music takes you when you have a drummer who knows when to fly rhythmically and when he has to “stay in the pocket” so others can fly. It’s clear after the first song on First Move that Aaron Seeber is exactly that kind of drummer.

He shows the elegantly raucous side to his musicianship, with great artistry and flamboyance right from the get go. The pinnacle of the disc comes on the drummer’s First Move, a fast piece that shows not only his ability to play inside the beat and around it but also to run circles and spirals around the burgeoning music, 

This program is also spiced with many classics played in the (so-called) bebop style. During this daring music, Seeber evokes the ghost of Billy Higgins with the melodic chatter of the drums and the incessant hiss of cymbals. Seeber shows uncommon maturity in his playing of Charles Mingus’ classic ballad, Duke Ellington’s Sound of Love, (and later with molten rhythms on Mal Waldron’s Fire Waltz) with slow and quietly balletic drumming that seems to sing. For long sequences in the pocket, listen to Seeber on Charlie Parker’s Klactoveedsedstene.

Being accompanied by altoist Tim Green, pianist Sullivan Fortner, vibraphonist Warren Wolf and bassist Ugonna Okegwo also helps make this a fiery debut disc by a truly fine drummer.

Isabela
Oded Tzur; Nitai Hershkovits; Petros Klampanis; Johnathan Blake
ECM 2739 (odedtzur.com)

On the questing music of his album the eloquent saxophonist Oded Tzur pours out a range of feelings possibly dedicated to his muse  – Isabela – together with a quartet (featuring pianist Nitai Hershkovits, contrabassist Petros Klampanis and drummer Johnathan Blake) which interprets the music’s lyrical profundity. The five songs – or movements, perhaps – on this meditative album brood, sing, dance and soar heavenward.

Throughout this expressive music, Tzur’s lead tenor saxophone voice exquisitely intones his aural emotions glazed with evocative Phrygian modes. The rest of the ensemble follows suit as if they were written into Tzur’s music too. Each of the artists shows immense sensitivity for the composer’s feelings. Thus the repertoire on the album Isabela unfolds with warm and sweeping beauty. 

In Noam and especially in Isabela (the song), for instance, every phrase is vibrantly sculpted and placed within the context of eloquent conversations among piano, bass and drums. Countering the moist tenor of Tzur’s saxophone and the cascades of Hershkovits’ piano is the low rumble of Klampanis’ contrabass and the hiss and sizzle of Blake’s cymbals. This makes for some of the most sensitive performances on the album. 

On Love Song for the Rainy Season Tzur reveals uncommon depth of thought and musical ingenuity as he weaves disparate Middle Eastern and Asian influences into the music. The other musicians remain alert to nuance and dynamic contrasts, providing requisite quotas of passion.

When I Get Low
Tia Brazda
Flatcar Records FCR022 (tiabrazda.com)

Going out on a limb it is not so risqué to proclaim that you won’t find another singer who vocalizes music – including this classic music – quite like Tia Brazda. While Brazda may owe much to both Billie Holiday and Amy Winehouse, she has a fully formed style that is wholly her own. Her wide-open articulation, characterized by the sultry, aspirated “ah” when she uses the first person pronoun “I” is as unique as it is beckoning, and it is something you are not likely to tire of as she glides through these nine songs on her fifth disc When I Get Low. 

Brazda traverses the mezzo-soprano tonal range with ease. But her intonation is uniquely smoky. Moreover, she has a singing style that is made for the pathos of songs such as Lullaby of Leaves, When I Get Low, I Get High and Smile. She can catch both pathos and agitation with tenderly softened tones, made for the graceful love repertoire on this disc (such as the spectacularly evocative I’ll Be Seeing You). 

The members of the ensemble that back Brazda prove themselves to be both subtle and idiomatic interpreters of these songs which they illuminate (as if) with dim gaslight on the darkened alleys off Broadway. Soloists Mike Freedman (guitar), Joel Visentin (piano), Alexis Baro (trumpet) and Drew Jurecka (violin, bandoneón) create an atmospheric setting for Brazda’s gorgeously sullen, long-limbed narratives and floating and spinning lines to unfold with bewitching beauty.