MIKE BOND – “THE HONORABLE ONES” Bounce Castle Records
Mike Bond, piano/composer/arranger; Ben Wolfe, bass; Anwar Marshall, drums; Josh Evans, trumpet; Steve Wilson, alto & soprano saxophones; SPECIAL GUESTS: Gene Shinozaki, beatbox vocals; Claudia Acuna & Maya Holliday, vocals.
Titled, “Chapter 1: On Your Mark …” the first track is Avant Garde and smashes onto the scene for one minute and fifty-one seconds featuring free, unbridled music. Mike Bond credits his friend and fellow pianist, Orrin Evans, for encouraging him to take off his seatbelt and be willing to put himself out there, no matter what happens; to step into the fire and do what he needed to do in order to grow. Orrin Evans is also the artistic producer of this Mike Bond album.
This track is followed by “Verus Vita” that settles this group down in a sweet way. Bond sets up a piano bass line, in unison with Ben Wolfe. Then the horns enter, with harmonic power, and the melody pours from the bell of Josh Evans’ trumpet, warm with emotion. Both songs are compositions by pianist, Mike Bond, who also arranged ten of the dozen songs he offers us on this album.
“It’s a Long Way Back” is straight-ahead jazz and arranged to feature Steve Wilson on saxophone with Ben Wolfe walking his bass decisively beneath the solos of both Wilson’s sax and Bond’s piano. Anwar Marshall steps up masterfully on trap drums to drive the piece and fiercely trade fours with the band. “The More I See You,” is a familiar standard song, presented (as a ballad) in a rather unusual way and featuring Evans on trumpet and Claudia Acuna singing in a very alto register. She soon explodes into her second soprano upper range. Mike Bond does not take a solo and I would have enjoyed hearing his solo piano somewhere in this arrangement. The title tune, “The Honorable Ones,” is moderate tempo’d. With Bond’s description below, I thought it would have been more exciting and flush with energy. It’s more of a march and utilizes Gene Shinozaki on beatbox vocals, that becomes an undertow for a very repetitious melodic line and arrangement.
“The title track represents an analogy of leaving your comfort zone and entering into the battle zone, to grow and learn from uncomfortable places – to take risks,” Mike Bond explains in his liner notes.
“Time Well Spent” (the 11th track) is one of the more up-tempo pieces that gives us a clearer glimpse into Bond’s piano style and technique. This composition plays with timing and spotlights Mike Bond in a trio setting, without the horns to take his shine away.
ROBIN McKELLE – “ALTERATIONS”
Robin McKelle, vocals; Shedrick Mitchell, piano/Rhodes/organ/arranger; Richie Goods, acoustic & electric bass; Charles Haynes, drums/percussion; Nir Felder, guitar; Keith Loftis, tenor saxophone; Marquis Hill, trumpet.
Robin McKelle has picked an eclectic group of celebrated ladies-of-song to tribute on this album, starting with the Amy Winehouse hit record, “Back to Black.” I am intrigued immediately, not only by McKelle’s unique tone and quality of voice, but equally by the creative arrangements of Shedrick Mitchell. When Robin McKelle sings Adele’s platinum record, “Rolling In The Deep,” her group adds their own special uniqueness. I am captivated by McKelle’s way of emotionally rendering these poignant lyrics. Nir Felder’s guitar solo is beautiful. The third track on this stunning album of music was composed by Robin McKelle. She is as talented a songwriter as she is a vocalist. This tune is straight-ahead jazz and intoxicating. Robin McKelle tributes the strength of women with these lyrics and celebrates the power of song and singers. Tenor saxophonist Keith Loftis makes a magnificent solo appearance and her rhythm section swings hard and steady. She is a vocalist that displays style, power and strength. Her delivery is believable. Shedrick Mitchell’s piano line introduces “Don’t Explain” in a fresh way. I think Billie Holiday would have loved and appreciated his arrangement. McKelle adds the traditional folk song, Hush Little Baby into her unusual but lovely delivery of this old jazz standard.
She continues to surprise me with her musicality and creative delivery of songs we know and love.
“Born To Die” features Marquis hill on trumpet and then she sings Dolly Parton’s tune “Jolene” in a very bluesy, yet jazzy way. Ms. McKelle has a way of taking a folk song, an R&B song, or a country/western song and transforming them into jazz using her vocal presentation and her very one-of-kind arrangements. For example, “No Ordinary Love,” made so popular by Sadé, is transformed and taken to another level. The same is true for Joni Mitchell’s “River” composition and for Janis Jopin’s rock and roll standard, “Mercedes Benz.” Even Carole King’s treasured “You’ve Got A Friend” tune sounds refreshed and elevated with just Shedrick Mitchell accompanying Robin on piano. Robin McKelle reinvents each song to suit herself and to open our ears and minds to new dimensions and new appreciations of some old, familiar songs. On this production, she has successfully reconstructed and musically elevated some familiar compositions recorded by some of our favorite, female artists.
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ANDREA BRACHFELD – “BRAZILIAN WHISPERS” Origin Records
Andrea Brachfeld, C flute/alto flute; Bill O’Connell, piano/fender Rhodes; Harvie S., bass; Jason Tiemann, drums; Roni Ben-hur, guitar; Lincoln Goines, elec. bass/surdo; T. Portinho, drums/percussion; Chembo Corniel, percussion/congas.
Andrea Brachfeld is pictured smiling on her CD cover, with her head thrown back, the ocean waves and a tempered blue sky are the backdrop and she’s holding her flute delicately in her left hand. The first track of this album of Brazilian music sounds as happy and relaxed as this picturesque CD cover. It’s a Jobim composition entitled, “Double Rainbow” and it’s new to my ears.
“My main concept was choosing songs that I love and that just felt right to me,” explains Andrea Brachfeld in her liner notes. “Basically, I listened to a lot of Jobim songs and the ones that I really liked are the ones that we recorded. I did a Brazilian-themed concert in Winnipeg, Canada with guitarist Marcus Castillo and the Winnipeg Jazz Orchestra. He brought out “Double Rainbow” and it was really beautiful.”
Although Andrea Brachfeld is no newcomer to recording, this is her first project dedicated to the music of Brazil. Ms. Brachfeld has chosen six Jobim compositions to interpret on her “Brazilian Whispers” CD. She and pianist, Bill O’Connell have produced this album. O’Connell puts the “J” in jazz whenever he solos on piano and the tight rhythm section swings hard. Her flute dances above the walking bass of Harvie S. and the swinging drums of Jason Tiemann as they interpret “Waters of March.” It’s a great arrangement.
However, for the most part this is a pretty tame rendition of Brazilian music. It’s much more easy listening than the exciting and danceable Latin rhythms I expected. The “Samba Medley” is more representative of the rich African influenced, Latin culture and Portuguese music that we Americans have come to love. Her medley incorporates three tunes; “Piano Na Mangueira,” blended with “Olele Olala” and “O Nosso Amor” with the band adding splashes of percussion to the mix.
Andrea Brachfeld picks up her alto flute to interpret the beautiful ballad, “Never Let Me Go.” This is followed by two, out of three songs that She and Bill O’Connell have composed for this album. Of the three, my favorite is “Espaco Aberto” that closes this album out.
“QUITE FRANKLY, INTRODUCING SAM HIRSH” Umadas Music
Sam Hirsh, piano; John Webber, bass; Kevin Kanner, drums; Ralph Moore, tenor saxophone.
Sam Hirsh is a groove master. He opens with his original tune, “Quite Frankly” and it swings hard and strong. His style on the piano brings to mind a combination of the iconic Horace Silver and the legendary Les McCann. Sam Hirsh knows how to find that groove and place it cement solid in your face. He has composed all of the songs on this album except the Jerome Kern tune, “Look For the Silver Lining.” His arrangement on this Kern composition is quite fresh and pleasing to the ears. You are immediately captivated by the double bass line at the top of the tune. John Webber gives the song a face-lift with this catchy bass line. “Pop’s Delight” is the straight-ahead jazz that this reviewer loves. It features Ralph Moore on tenor saxophone, John Webber on bass and Kevin Kanner on drums. This quartet of awesome musicians makes this tune truly swing. Hirsh has got his own style and keyboard charisma that dances off the 88 keys and tells us he is well-rooted in the bebop chops of yesteryear. Still, he brings something fresh and innovative with his piano style and creative arrangements. Kanner takes a spontaneous solo, trading eights on his trap drum set. The tune, “Lil’ Mama Samba,” dances onto the scene in a contemporary jazz way. It’s a bit fast to samba dance, but this rhythm will get your feet to moving and the players lay down a platform for Sam Hirsh to exhibit more of his piano skills. Especially when the tempo doubles and you hear his precision playing rip through the black and white keys. His trio is tenacious and each man is a stellar talent in their own right. This is a dynamic premiere debut by bandleader, Sam Hirsh. “Reminiscing” is a heartfelt ballad that is played with so much passion it pulls at the heartstrings. Sam Hirsh digs deeply into his soul to play music that reflects his friends, family and roots. “No C” (with an exclamation point) is played at an up-tempo that’s bound to get the creative juices flowing. It’s a good set closer with its high energy and repetitive melodic line. “Kyoto Shuffle” is a tribute to where he was born and shines the spotlight on his Japanese roots in a joyful way. This is followed by the composition, “Ways of the Wise.” It could be a tribute to his father or some other wise folks who have passed through his life. Either way, the melody is powerful and sticks to your brain cells like super glue. It’s another moving tribute to the driving jazz of the 1960s. The final song on this album is titled, “Song for Sophie” and it’s a tender ballad, celebrated by the reed work of Ralph Moore on tenor sax and beautifully embellished by Sam Hirsh on piano, still dynamic in the background on this track. Here is a confident and creative debut by a talented, young pianist on the West Coast Jazz Scene who is showing his prowess as a composer, pianist and arranger. We can expect more great things to come from Sam Hirsh. Keep an ear out.
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