First point of note I have to say about this new CD is this: It’s the kind of recording that makes me feel like the state Jazz is indeed alive and well.

Here is a group of very well seasoned players who bring everything they’ve ever listened to into the moment.  Throughout the recording the songs, arrangements and harmonies are extremely well thought out.  Much detail has been given to the harmonies used in the main theme of each composition, as well as the comp harmonies used to support the soloist.  There is a unique combination of instrumentation used which creates beautiful textures throughout the CD.

I love the drummer on this project.  Brad Gibson has a wonderful way of communicating with each player in the solo sections – complimenting and supporting them in a very subtle way which is, quite frankly, hard to describe.

The sound of the drums is lovely – a nice “live” sound without being too “roomy” sounding in the mix.  The mix on the recording throughout is very nice.  Again, the harmonies on the main theme of each song are subtle, so my “compliments to the chef” in what may have been a tricky mix.  There is no weak link in the special group of players brought together for this session.

“Four-Color Heroes” is certainly a recording that deserves to be heard by every fan of Jazz.  It’s unique, contemporary and highly original.

Add this one to your collection to be sure.

Reviewed By Steve Barta

Reviews, Steve Barta Four Color Heros, Nickel & Brass Septet

When I listen to instrumental music, I’m often drawn to the title of the piece – then after listening to the piece I ask how close it felt to the given title.  I will admit I’m not sure what the first track titled “150” means, a nice bluesy trio piece, but whether I can match the title with the song, this piece surely works.  “Maybe It’s Better This Way”, is a sweet samba with acoustic guitar falling in & out of the arrangement during the lead melody, which comps the electric lead.  The distorted sound style of Sung-Eun’s lead with the contrast of acoustic guitar comping is nice – the Yin & the Yang if you will – it works for me.

The cd is full of nice originals, and I will admit my favorite is a piece titled, “3 AM”- a lovely guitar intro which develops into a duet between Sung-Eun on Guitar and Anderson on Drums.  Both players are in the moment in a lovely way.

My intuition tells me this recording was pretty much done in a “studio live” way, with very little over-dubbing.  The energy is nice and the project was nicely recorded and mixed.

Reviewed By Steve Barta

Reviews, Steve Barta Moment, SeKim Trio

When a CD comes across my path for a review, I do not like to get into speaking to each track per se, but give my overall impression of the work – maybe speaking to a specific track or two.
 
Urban Gypsies is the vision of Guitarists Gavin Libotte and Gordon Tan, out of Sydney, Australia. To say this is a “Flamingo style” recording would be to put a limit on it that it does not deserve. Certainly that influence is clearly there, and much variety resides in “Beautiful Catastrophe.”
 
The nine tracks on the CD are highly arranged and well thought out, with simple melodies that are well executed with subtle harmonies. These two guys are beautiful, sensitive guitarists who know how to play, write and record together. All the tracks are nicely recorded and mixed. “The Promise” is especially sweet with such a simple melody. Laying out the melody here with a single line acoustic guitar gave this piece a sweet soul. “Espionage” starts off with a funky riff between Libotte & Tan, nicely developing into a really fun groove between these two, with various percussion. The CD is worth getting for the track “String Theory” alone – a very beautiful composition that travels to many different places in its 5:53 time. But hear them all.
 
There is a nice variety of writing on this work, making it interesting to
listen to from beginning to end. This is really a sensitive work and the
musicianship throughout this recording is first rate – everyone involved in this project was well chosen.
 
I highly recommend “Beautiful Catastrophe”

Reviewed By Steve Barta


 

Reviews, Steve Barta Beautiful Catastrophe, Urban Gypsies

After the Katrina event, Steve Hall was inspired to write his impressions of this devastation. Hall states, “Crescent City Rebirth is an instrumental journey through New Orleans.” He clearly went through a period of inspiration from this tragedy, because out of it came thirteen songs. The trumpet and horn work by Hall is soulful and honest on this CD. With songs titled, “Next To The Levee”, “The Day Before” and “The Day After”, you can close your eyes and put the title to the music quite easily.
 
I love the Hammond B-3, and he plays it effectively throughout this work.  The work surely has that feel I might hear strolling the alleyways of New Orleans on a rainy night, hearing the distant sound of a trumpet slightly out of tune – heartfelt.

Reviewed By Steve Barta

Reviews, Steve Barta Crescent City Rebirth, Steve Hall

“No Worries” may be Larry Slezak’s first CD as a leader, but it’s clear that this guy has been playing a long time. 

Slezak’s a purist. 

The interaction between the musicians tells me that this CD was pretty much recorded “studio live”, bringing out the spontaneity and energy that a jazz recording should.  This ensemble is comfortable playing together and it shows.

The horns on title track, “No Worries” are beautifully in tune, and Jose-Miguel Yamal is as comfortable on a B-3 as he is on the grand piano – which is something I don’t hear that often.  In fact, the intonation for all the players throughout the recording is impeccable.

“Maybe By Tomorrow” (Tom Cummings) is relaxed and swings just right – giving Slezak nice room to explore on Soprano, Clayton Dyess playing as smooth as guitar can be, Yamal builds a wonderful solo on the B-3.  Drummer Joe Slezak and Bassist Thomas Helton lay down a subtle and consistent groove, and I would guess this was a “first-take” track.

On Arthur Hamilton’s beautiful ballad, “Cry Me a River”, vocalist Sheri Lavo sings this song like she damn well means it. Further, Bernie Hatch did a wonderful job with the string arrangements throughout the four tracks that are lucky enough to have his touch.

Thomas Helton knows his role as a bassist, and his performance on “Secret Love” (Fain/Webster) makes it so.  Both Joe Slezak (drums) & bassist Thomas Helton lay a consistent groove for this ensemble to swing hard and relaxed throughout their new “No Worries” CD.

I tend not to review every single song on a CD, but highlight what stands out for me overall with a recording.  “No Worries” is very nicely recorded, mixed and executed.

I highly recommend this CD for the music lover who likes a nice mix of vocals, strings and beautifully arranged standards.

Reviewed By Steve Barta

Reviews, Steve Barta Larry Slezak, No Worries

This being my first review for “ReviewYou.com”, I’ll share with you where I sit before I tell you where I stand.  When a CD crosses my path for a review, before I take a listen, I do not read the bio, the liner notes, where they studied, if they are formally trained, or whom he or she has played with.  What matters is what I’m about to listen to, and I take it very seriously because I care very much about the music.

That being said – have you ever listened to a CD or been to a concert, and at the end of it said to yourself; “Wow…this person is doing exactly what they should be doing.”

That’s exactly the feeling I was left with after listening to Alfredo Triff‘s new CD.

Listening I found myself being somewhere in Budapest, or was it Cuba, or was it Eastern Europe – no – it was New York.  It could have been anywhere.  

One of the things I love most about Triff’s latest recorded effort is the simplicity of instrumentation.  This CD is NOT overproduced.  Every composition is beautiful, nicely arranged, well recorded and mixed.  “Caca de cuna” is a duet with maracas and piano that struck me as especially sweet in its simplicity.  “Crimen fatal” is as soulful as it gets – it’s a wonderful trio piece with Misael Valera piano, Roberto Poveda, vocal and Triff on Violin.  Rosie Inguanzo’s vocal on “Conejo crispado” is like the voice on an angel.  Sensitive, heartfelt and again, musically simply stated.

In my judgment, Alfredo is clearly educated – attended the National Conservatory of Music in Havana -  it’s as if he did his homework and then forgot about all that and got in touch with his soul.  Actually, Alfredo strikes me as someone who got in touch with his music long before school – early in his life.  This CD perfectly represents his technique, compositional and arranging skills.

While the compositions and arrangements may be Alfredo’s, and while Alfredo may be the featured artist on the CD, – it’s not just all about Alfredo – it’s clear to me that for Triff, it’s about the MUSIC.  The arrangements let the ensemble breath.  Each performer has their statement – and they ALL say it well.  The musicians selected for the session were perfect. 

There isn’t anything I don’t like about Triff’s latest work and I highly recommend it.

Reviewed By Steve Barta

Reviews, Steve Barta Alfredo Triff