“Another Thing (Outra Coisa)” – Anat Cohen w/Marcello Gonçalves

One of the most acclaimed clarinetists in jazz, Israeli-born Anat Cohen has somehow also managed to become one of the world’s foremost practitioners of Brazilian jazz. If you’d like to expand your appreciation of Brazilian music beyond the usual Bossa Novas, dig this hauntingly beautiful video. Then read my profile of her from the July 2017 DownBeat.

Anat and me
With Anat Cohen, May 2017

 

 

 

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Filed under Anat Cohen, Brazilian music, Marcello Goncalves, Moacir Santos

Marsalis, JLCO Pay Tribute to Jelly Roll Morton

sullivan_fortner_copy

Pianists Sullivan Fortner (above), Aaron Diehl, Dan Nimmer, and two excellent student pianists from Julliard (Micah Thomas and Joel Wenhardt) rocked the “House of Swing” in “The Fantastic Mr. Jelly Lord,” the JLCO season opener at Jazz at Lincoln Center last weekend.  My review in DownBeat.

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Filed under Aaron Diehl, Jazz at Lincoln Center, Jelly Roll Morton, JLCO, Sullivan Fortner, Wynton Marsalis

Coming soon – my profile of Wynton Marsalis

Photographer: Luigi Beverelli

Today I had the privilege of sitting down with Wynton Marsalis in his dressing room at Jazz at Lincoln Center for a DownBeat interview, five years after our first meeting. We talked about his career, his evolution as a musician and a human being, his hopes for the future.  Article coming soon.

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2017 Newport Jazz Festival Highlights Soloists and Teamwork – my review in DownBeat.

Cecile_McLorin_Salvant_Newport

The 2017 Newport Jazz Festival was, as usual, a showcase and a proving ground for great soloists.  Here’s my recap, concentrating on a few of the finest performances I heard, including those of vocalist Cecile McLorin Salvant (above) who performed with the Aaron Diehl Trio; the Maria Schneider Orchestra; the Benny Golson Quartet; and the Christian McBride Big Band.

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Filed under Aaron Diehl, Allen Morrison, Cecile McLorin Salvant, Christian McBride, Maria Schneider, Mike LeDonne, Newport Jazz Festival, Paul Sikivie, Steve Davis

27-year-old NYC jazz singer-songwriter Allegra Levy swings on new album “Cities Between Us”

IMG_0435.JPGIt’s not that Allegra Levy is necessarily an intrepid traveler or impulsive risk-taker. After all, the opening track on the 27-year-old New York jazz vocalist’s first album  was an ode to worry and indecision entitled “Anxiety.” But when an email from a stranger appeared in her inbox one morning, it wasn’t long before she was on a plane to Hong Kong.  She talked about her adventure and her second album with me for a DownBeat “Players” profile in the June issue.

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More of My Talk With Brazilian Pianist/Singer Eliane Elias (DownBeat, June 2017)

Eliane, 098_v3-V4_F-copy“My first great love was jazz,” Eliane Elias told me recently. “At age 10 and 11, I used to spend hours and hours transcribing my mother’s jazz records; [by contrast,] the samba and bossa nova were just part of the DNA of the culture.” Her new album, Dance of Time, celebrates the 100th anniversary of the first samba recording. DownBeat published a short version of the Q&A in its June issue. Below is a longer one.

Eliane Elias Returns to Sao Paulo and the Samba

Samba is in Eliane Elias’ blood, but it was not the Brazilian singer-pianist’s first love. A piano prodigy in her native São Paulo, she was copping Red Garland licks as a jazz-besotted 12-year-old. Jazz always came first.

It still does. “My first great love was jazz,” she said recently. “At age 10 and 11, I used to spend hours and hours transcribing my mother’s jazz records; [by contrast,] the samba and Bossa Nova were just part of the DNA of the culture.”

For most of her career, including more than two dozen albums, her focus was on her spectacular, straight-ahead jazz piano style. In 2015, however, she returned to Brazil to record for the first time since she emigrated to New York in 1981. The result was 2015’s Grammy-winning Made in Brazil. For her latest album, Dance of Time, which commemorates the 100th anniversary of the first samba recording (“Pelo Telefone”), she once again chose to record in Brazil. The album includes a mix of samba classics (“Copacabana,” “O Pato,” “Sambou, Sambou”), original ballads, and standards.

In São Paulo, Elias had help from an enormously talented rhythm section including guitarist Marcus Teixeira, electric bassist Marcelo Mariano, and drummer Edu Ribeiro. Also on hand were some distinguished collaborators: two of her mentors, the Brazilian singer-songwriter-guitarist Toquinho and pianist Amilton Godoy, a founding member of the Zimbo Trio; singer/guitarist João Bosco; Mark Kibble of Take 6, who contributes lush vocal harmonies on three tracks; vibes player Mike Mainieri; and Randy Brecker (Elias’ ex-husband), who plays flugelhorn on a reharmonized version of “Speak Low.”  Her current husband and regular acoustic bassist, Marc Johnson, co-produced the set.

Do you think of yourself these days as a pianist who happens to sing, or do you give both equal weight?

Eliane Elias: I feel I am a pianist first, although I’ve been singing for a long time, and it’s an integral part of what I do.  But the piano – that’s my instrument. It’s like the continuation of my body, my soul.

How do you balance singing and playing?  

Maybe 15 years ago I wasn’t as comfortable doing it as now. But I have gotten to a place where I love singing and playing. In fact, when I’m playing Brazilian things and doing all the syncopation, just the piano alone – with lots of offbeats in the left hand and improvising with the right – already that’s like two people. And then you add the voice, and it’s like, wow, OK!” [laughs].

It does sometimes seem like there are three of you when you’re singing and playing.

[Laughs] I shouldn’t say so, but you’re not too far off.

Why did you decide to record Dance of Time in Brazil?

I wanted to celebrate the samba, but I also wanted to celebrate these great Brazilian musicians who were so important in my life.

Is the rhythm section one that you couldn’t duplicate outside of Brazil?

Frankly, yes.

The current album dispenses with the strings you used on your last album. Why?

Traditionally, I haven’t recorded with strings. This time, the harmonies and the tempos were different. As I was writing the arrangements, I felt we had to focus on the samba rhythms of my left hand – they had to be front and center.  There were a few ballads where strings might have been nice, though. On [the ballad] “Little Paradise,” I thought about having Johnny Mandel write the strings. He wanted to work with me, and I was so honored. It didn’t happen, unfortunately, for logistical reasons. But when I recorded the song, there’s a moment that I sing, “A melody comes back to me / that we heard before,” and, at that moment, I quote a melody that was written by Johnny. But let’s not say which one it is – let people figure it out!

The final song on the album, “Not to Cry (Pra Nao Chorar),” a duet with Toquinho, is especially touching.

When Toquinho was in the studio with me, I reminded him that he had started a song back in 1978. I played a little of it, and he said, “Oh my, I forgot!” At the time he had called the song “Eliane,” but it was unfinished. The lyrics [in Portuguese] are all about our story – how he and I used to tour together in the 1970s with [the great Brazilian poet, lyricist and entertainer] Vinicius de Moraes, and how now he looks at photographs of that time and tries not to cry. So we finished it together. The lyrics he wrote are so beautiful they made me cry.

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Filed under Brazilian music, Eliane Elias

Coming up: more jazz history lectures on the Queen Mary 2 and at L.I. libraries

QM2 voyage to Norway - Flaam

I’m excited to announce that I’ll be presenting about jazz history aboard Cunard’s Queen Mary 2 again this summer and fall.  First up will be a voyage from Southampton, England to the fjords of Norway, July 13-21, including the tiny village of Flaam, pictured above.  Please consider joining me if you can!  The beautiful Queen Mary 2 is one of the greatest cruising experiences in the world.  For more information on this trip, visit Cunard’s website. (Feel free to email me if you have questions.)  And on November 5-12, I’ll be a guest speaker on a transatlantic crossing, Southampton-New York.

Much closer to home, I’ll be speaking at the Freeport Memorial Library (on Merrick Road in Freeport) again on Sunday, May 21 at 2:30 p.m. My subject will be “A Brief History of Modern Jazz Piano: From Bud Powell to Herbie Hancock and Beyond,” complete with rare film clips and audio. Admission is free.  I’ll announce the event on Facebook soon.

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Filed under Jazz History, Lectures, Queen Mary 2