La Lucha Nails It

Album cover photo - "Eruption of the Popocatepti Volcano" - John O'Leary

La Lucha - La Lucha

In case you haven't noticed - PC Jazz only reviews albums we like. (Why waste time?) There's a concerted effort made to keep album reviews brief - very hard to do when you are excited about the music, and nearly impossible in this case. If you're looking for the short version, here it is: you must go out and buy this album. You won't want to miss it; and we wouldn't steer you wrong!

The bio: La Lucha is a Tampa-area based piano trio with members from 3 different countries (Columbia, Mexico & United States). Alejandro Arenas - bass, Mark Feinman - drums, John O'Leary - piano. They've many accolades including the Umbria Jazz Festival, a grant from Hampton Arts Management and a commission from American Stage. This is their second release. 

The aesthetics: "to create music that transcends genres and classifications". La Lucha is not the first jazz act to 'jazzify' music by current (or older) pop acts; nor is this their only output (very fine originals and a bright "Stella by Starlight" also grace the cd). The difference being that they are so incredibly successful at doing it; the results are so dang pleasing and often surprising, that one instantly embraces their ideas, and fans are won quickly (the first run of the cd sold out within a few months - rare in jazz!).

The music: John Lennon's "I'm So Tired" opens the album & sums up neatly the aesthetics of the band - simple production, stark emotion, tongue-in-cheek melodrama, bittersweet piano, organic meter changes and a trio very frequently functioning as one. The addition of vocalist Jun Bustamente is nothing short of genius - her broad range; warm, wonderful tone and conviction (with a grand sense of irony) are entirely perfect for this project, and frankly - indispensable. As an instrumental, No Doubt's "Don't Speak" becomes a rhapsodic jazz saga, showcasing O'Leary's subtle style and skill, suddenly breaking down into naked, gritty funk with both bass & piano endowed with fascinating electronic processing. More importantly, these boys can play! Attention to detail in the arranging is also a high mark.

Saxophonist Austin Vickrey joins the trio for both originals and "Stella", his tenor sound is clear with enough bite (a la Brecker); adding a welcome new color, some extra fire and a chance for the arrangements to expand in depth. The latin "La Migra" airs out some refined and modern compositional abilities from Feinman & Arenas, the melodies stand up well next to all the familiar tunes.

Other highlights include the Beach Boys' "Dont Talk (Put Your Head On My Shoulder", an exquisite rendering with Bustamante and trio giving a hear-a-pin-drop, edge-of-your-seat performance. Seriously, you need to hear this.

"Papparazzi" (Lady Gaga) is stunning and dramatic, putty in La Lucha's hands; another must hear (see video below). The groove from Feinman & Arenas is first-rate, and O'Leary responds every step of the way. The bass solo is gorgeous. (ps - this album is well recorded, mixed and produced.)

A jazz version of Britney Spears is laughable. Of course it is! La Lucha have nailed it twice - this time around it's a delightfully re-harmonized "Oops...I Did It Again". Bustamante magnificently laments, moans and croons her social faux pas, almost Shirley Bassey-esque, all flirt; while slinky bass lines & film noir jazz creep and crawl under her. It will change your thoughts about the song, (surely their goal).

A lot of great jazz albums have come our way this year, and labeling one 'the best' can't be done. If you're looking for jazz that's essential; both stimulating and easy on the ears; an album that will satisfy nearly every age group - this might be the best album in decades. - PC Jazz
 
places you can get a copy:
Itunes
CD Baby
Amazon

La Lucha - Paparazzi from La Lucha on Vimeo.

CD Review ~ Out of this Town, Zach Bartholomew Trio

Something for Northern Florida to be proud of.

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"Fresh new spin on jazz" might be a phrase tossed around frequently, as might be "distinctive sound"; when the truth is, this guy is just revamping 70's soul-jazz nicely, that girl is riding the coattails of The Krall, and this quartet sounds like it wrote their new album in 1961, and so on.

I caught ZBT live a few months back, and knew immediately I was privy to something 'new'. I can't always put my finger on it - which, might be a good description for something new. Not to say you wont hear snatches of Bill Evans, Keith Jarrett or Brad Mehldau; but all three members of the group (particularly Bartholomew) have somehow allowed themselves to get right to themselves; and one knows at once upon listening that the experience is original and indeed, fresh.

The album starts strongly - "Stop and Go" efficiently introduces you to each member and is a fine listen - clever on many levels; with a head that will make other musicians go 'wow', a phrase or two reminding me of the great Herbie Nichols. Striking is a confidence in playing that endures for the entire album; an easy-going assurance that your ears are in capable and caring hands. The mid-song tempo change is bold and welcome. Also clever is putting such a track in the lead-off slot where many artists go with "this is what you want me to do"; ZBT instead choosing "This is what we can do, check it out."

"Out of This Town" is an uptempo jazz waltz sporting a certain pleasant liberation in rhythm thanks to drummer Miles Bozeman, Who also takes a dandy solo at the end. The sunny tune could easily be adapted to a throwback r&b hit. "Shades of Blue" relaxes and swings with enjoyable sprawling lines and lush solos; bassist Brandon Robertson hitting a number of nails on the head.

Zach at the recording sessions for "Out of This Town"

A full-bodied, romantic melody permeates the entire track of "Lovers Lament"; carrying it amply from rhapsodic, meterless strumming to mildly-angry driving rock and back again. The plaintiff melody is there even when it's not - making it comparable to the many fine, early RTF compositions.

One could go on. These boys play very well together, and that undefinable something really comes through in both "New Beginnings" and "Road Trip". The former is a jaunty & delightful romp in 5 with prime soloing by Bartholomew and all three enjoying the proceedings; while extended form, a smattering of Monk-like harmonies and modern funk feel make "Road Trip" a most enjoyable ride.

No filler, excellent compositions and even a smart rendering of Coltrane bolster the album. A small distraction is the slightly dull mastering job, hardly noticeable once you're tuned in to all that's going on: both the spirit and accuracy of the performance. Certainly, this is one of the best jazz 'things' to come out of Florida in some time. Don't let it escape you. In one word: "refreshing". - PCJ 

Get your copy of "Out of This Town" at:
Itunes, Amazon or CD Baby.

Lynne Arriale - Solo

Motéma Records ~ MTM-83

Lynne Arriale's adventurous "Solo" has the win/win quality of being both easy to listen to and musically fulfilling. You'll find yourself weaving in and out of relaxed enjoyment, getting kicks and rapt concentration. It's the perfect album for sittin' and ruminatin' in the lazyboy with a piping mug of whatever; or poolside: just you, a frosty glass and the puffy clouds.

The album is reminiscent of Thelonious Monk's finer solo releases (like "Alone in San Fransisco") not simply because Lynne covers two of his works aptly (and imaginatively), but because she's learned a thing or two from both his ability to stimulate the listener rhythmically and harmonically, and his knack for setting a stark emotion with the piano that draws one right in.

Arriale is a fine composer - the opener "La Noche" is a chromatic, brooding mood setter; while "The Dove" is all-out impressionism: here a shade Eastern, there a touch Debussy - just lovely and warranting repeat listens.

Her first Monk cover "Evidence" begins in an inquisitive,  searching manner, gradually building into some of the album's most swinging invention. She manages to bring forth all the tune's mystery, with none of the obligatory aping. 

"Wouldn’t It Be Loverly" floats directly from the "enormous chair": dreamy, romantic, wise and reflective; followed by the pianist's rhapsodic "Will O' The Wisp". Lynne states her independence from the rhythm section with "Yada Yada Yada", a jaunty, angular blues with verve and motion.

Romance skirts on the edge of New Age aesthetics with the lilting "Dance" – one of the real high points of the disc; unforgettable once heard. "Arise" has all the makings of a quality theme for a romance movie, gorgeous and touching if you stick with it.

The best display of Arriale's depth and capacity as a jazz pianist comes on an enigmatic spin of Cole Porter's "What is This Thing Called Love"; anything but an old warhorse here: full of surprises, harmonic inventiveness and delightful tension; all with fluidity and poise.

A minor original "Sea and Sand" is a fine addition to the long line and grand history of slow, haunting, danceable Latin piano ballads. "Bye Ya" begins as a playful exposition on both the composition and the more finer points of Monk's improvisation; but soon develops into a marvel of jazz architecture, revealing distillations from several jazz masters and coming out sounding very much Arriale.

"And So It Goes" is the closer as it is on Billy Joel’s "Storm Front" – a pretty investigation of the familiar melody.

All that and no filler make this a necessary addition to the library of jazz piano lovers, particularly those who might have feared the art of making a real good solo piano album was lost a few decades ago. - PCJ

Sample and pick up your copy of "Solo" at these locations:
Motéma Records Website,
Itunes
Lynne Arriale's Website
or wherever jazz music is sold!

CD Review - Jamie Ousley A Sea of Voices

Bassist Jamie Ousley has put out some very high quality material since 2008, but this is definitely his best: a kind of summation, gathering together and improving of all he had to say on his previous 2 excellent releases ("O Sorriso Dela" in 2008, "Back Home" in 2010). His already keen sense for appropriateness and when to do what seems to have reached a new pinnacle; his melodies are sturdier and gripping, and the new line-up seizes every opportunity for unity, flow and brilliant support. In particular, pianist Joe Davidian is perfect for Jamie's refined and sentimental brand of jazz. All three musicians bring just enough fire and virtuosity to give a sense of joy and contentment.

Joe Davidian

Jamie Ousley

Opening samba "Hymn of the Tides" (all songs have a water theme) is a perfect example of all these assets. Davidian states the promptly unforgettable melody, puts Jarrett amounts of thought into his own improv and then backs up Ousley's crystal solo with finesse; the always-present and flowing latin momentum provided by drummer Austin McMahon peaks at the end over a euphoric 2-chord vamp, while piano & bass exchange closing thoughts amid a wash of sizzling ride cymbal (mix & master job on the cd are both superb).

Davidian's intricate, straight-8 re-working of "How Deep is the Ocean" is welcome and refreshing, taking the standard to unforeseen modernity and emotion. The trio captivates and convinces while empathizing for the greater good; reminiscent (as is much of the album) of the Rubalcaba and Jarrett trio's at their most liberated and uplifting periods. A listener will have no trouble stopping everything to take it all in.

Austin McMahon

Along with Jamie's originals ("Steam" - a darkest-corner-of the-club swank-blues; "Loving Beauty" fittingly titled jazz waltz; "With You" - another Ousley samba-special complete with exciting piano crescendo & finish, and what can only be described as a remarkably great melody; "Holy Water" calm soul-gospel 6/8 featuring a brief and very well-recorded Ousley solo of note) are a Coldplay cover and a respectfully antiquated duo rendition of "Alfonsina y el Mar" with guest pianist Gabriel Saientz.

The icing on the cake are two back-to-back slices of eloquent Americana. A plaintive, soothing evocation of "Shenendoah" with vocalist Nanami Morikawa lending her beautiful mezzo-soprano to a verse each in English and Japanese (a proper dose of "World" sensibilities enfuse all of Ousley's releases). The ensuing bowed chorus also adds an Asian feel, and the harmonizing between the two performers is a high point of the disc. The syncopated latin 6 romp through "Rocky Top" will give you a new, happy outlook on life in our USA and you'll move somewhere in your body to the lilting percussion provided by Carlomagno Araya.

Finally, (as if you needed another reason to treat yourself to this marvelous disc); in an unselfish gesture, Jamie has allocated all proceeds of this successful cd (#8 on Jazzweek national radio chart) to Sunshine State Interfaith Power and Light, who are dedicated to mobilizing faith communities in Florida to care for creation. - PCJ

listen to & pick up your copy at:
CD Baby
Itunes