Jazz and Improvised

Fenyrose non Dimenticar
Mario Romano
Modica Music MM0020 (marioromano.ca)

I’ve got to admit that at first I was somewhat skeptical about reviewing a jazz CD by a big-time Toronto real estate developer who returned to his piano playing roots after almost four decades. But listening to Mario Romano’s Fenyrose Non Dimenticar – his second CD since 2010 – I was quickly disabused of my skepticism. Romano is the real McCoy, to risk punning on the fact that the legendary Mr. Tyner’s influence is apparent in Romano’s keyboard style; there are shades of Chick Corea, too. The man has sophisticated chops!

Of the eight tracks on the CD, five are refreshingly arranged covers, two are Romano originals and one is by guest solo pianist, Nahre Sol. Romano is joined by four distinguished musicians, all but one Toronto-based: Pat Labarbera on sax, William Sperandei on trumpet, bassist Roberto Occhipinti and Toronto born, New York-based drummer Mark McLean.

Throughout, Romano’s playing is elegant and understated, sometimes driving, sometimes effortlessly languid, all in service to his novel arrangements. Cream’s Sunshine of Your Love features Sperandei, and the band just swings! The sax and trumpet work on Non Dimenticar is absolutely lovely, as is Romano’s shimmery and stylish keyboard approach. His Hymn for Padre Pio has a grand, sweeping opening, some tasty drum work and splendid sax and trumpet solos. Estate is given a gorgeous, silky treatment, and Romano’s Encanto de Mi Niña features him on accordion in a tender, slow-tango serenade.

Each track shines on this gem of a CD. Non dimenticare to check it out!

Ethio Jazz Vol.1
Jay Danley Band
Independent (thejaydanleyethiojazzproject.bandcamp.com)

Ethiopian Jazz (Ethio Jazz) began with Mulatu Astatke, the first African student at the Berklee College of Music in the 1960s. He fused jazz with Ethiopian music to create a sub-genre which employs heavy rhythm, horns and several minor sounding scales. On Ethio Jazz Volume One, the Toronto jazz guitarist Jay Danley states Ethio Jazz has shown him “an entirely new way to play guitar, compose and most importantly how to hear” by combining the freedom of jazz with the “discipline of applying the scales, rhythms and ‘feel’ of Ethiopian music.”

The Jay Danley band has a core group of guitar, bass, drums, percussion and two saxophones. This is augmented on several tunes with “special guests” Hilario Durán on piano and Alexander Brown on trumpet. The arrangements are in a straightforward melody, solos and melody format. The rhythm is in the pocket for the whole album, creating a smooth and grooving background. The fat bass, combined with horns using fourths and fifths in their harmonized lines, creates a rich but edgy sound. The melodies and solos use the Ethio-jazz scales, which provide extra tension that contrasts with the funky background. All the musicians are excellent: Danley’s solos are well crafted and Durán’s piano playing is another highlight. Bring on Volume Two!

Sketches from the Road
Keith O’Rourke
Chronograph Records CR054 (chronographrecords.com)

Even if the name of the disc – Sketches from the Road – is a dead giveaway, nothing can really prepare the listener for the vivid nature of the music. In fact, Keith O’Rourke may just as well be a graphic artist for the creation of these memorable works. Moreover, when O’Rourke and the other soloists get underway they become more than just painterly in the manner of their musical sojourns; indeed, they also become creators of the very landscapes that are brought to life – from New Orleans in Port NOLA with its breathtaking second line harmonic and rhythmic features to Sketch in Green, Bayswater and Lost Blues that spread their melodies in all their pastoral glory.

Make no mistake however, with all of its frequent and profound impressionism this is still very much a rollicking, swinging jazzy record. Songs such as Double Black and Early Bright are not going to let us forget that; not when they feature the smoky vibrato and rustic tone of O’Rourke’s tenor saxophone and the hushed whisper of André Wickenheiser’s flugelhorn. And there’s no mistaking the swing when both instruments collide with Jon Day’s sparkling piano, Kodi Hutchinson’s strutting bass and Tyler Hornby’s chattering drums on Sonny’s Tune. As with that material, so too with the rest of the fare on this memorable disc; O’Rourke shines in his ability to write the most interestingly complex and wonderfully arresting music.

RhythmaRON
Ron Davis
Really Records RR 17002 (rondavismusic.com)

Both subtlety and joie de vivre are pervasive qualities that pianist Ron Davis communicates performing on his first solo disc in 40 years. A sincere and persuasive musician, Davis’ playing reveals a long and fond relationship with the 13 works by an array of composers (including Davis himself) on RhythmaRON. Here Give Me the Simple Life, A Child is Born and You Must Believe in Spring are suffused with a distinctive atmosphere. Elsewhere, when the music raises its voice above the proverbial whisper as on Jitterbug Waltz and Rockin’ in Rhythm, the narratives are skillfully crafted to maintain a certain expressive decorum. And everywhere Davis alters harmonies and structural elements with impressive restraint, heading in directions that surprise and captivate the ear.

As in the recreations of familiar pieces, his own compositions unfold in a series of dramatic gestures, with droll stops to swing and dance along the way in a salute to the great pianists – jazz stylists from James P. Johnson and Art Tatum to Thelonious Monk and McCoy Tyner – who have inspired his work over the years. Also like them, his sonic palette is stretched in telling ways on RhythmaRON, Cullibalue and Swing Street through the magic of a layered, double-handed virtuoso performance. In all of the works, Davis performs with consummate artistry, blending superior control and tonal lucidity with a cohesive sense of line and motion. As a result, jazz music could hardly be better served.

Listen to 'RhythmaRON' Now in the Listening Room