It may take a while longer before I get a steady handle on my new approach of covering both singles and albums that are, by and large, the downloaded variety. Forgive me if I come across as a mere fool rushing in. I’ve never claimed to be anything else. So what follows is my latest plunge into the global music pool, the waters of which have changed quite a bit since my initial immersion.
Singles first:
Be sure to check out “Summit Swing,” by James Renna. It’s a furiously jumping jazz instrumental jam with first-rate guitar, keyboard and horn playing. Briefer moments spotlighting the drums and bass lockup are right on as well.
Rodrigo Simoes’ “Add 1 teco” isn’t groundbreaking, since there have been many excellent melds of jazz and Brazilian-rooted melodies. But this tune is a prime example of why such a combination works so well. Simoes is a Brazilian guitarist based in Canada, and the change in climate seems to have served him very well. In addition to Simoes’ superb picking, the other instruments and scat singing here are likewise very fine.
A more rockish approach to Brazilian music is taken by Arthur Vinicius, whose “Anjo Levado” features wailing guitars atop clattering rhythms and vocals that split the difference between mellow and intense. A good mix all around.
A piece called “Beethoven in Havana” is worth a listen for the title alone, and thanks to the skills of American pianist and composer Joachim Horsley, the listen is far more than merely worthwhile. Afro-Cuban rhythms meet full orchestra finesse on a grand scale sure to sweep you up in its many sweet/hot layers. Great video too.
The midway point between Jamaican dub and modern electronics is nailed by Sumo y Los Hermanos Del Alma on “You are My Light (Dub Version)” featuring Wayne Paul. A Cuban/Swiss coproduction, this pulsating haunter sounds nothing like what you’d expect from either locale but goes satisfyingly deep just the same.
I mentioned the Brazilian-coated magnificence of piano man John Finbury in my previous column, and he scores again with “Ondas,” another jewel of bossa-jazz sporting rich vocals by Thalma de Freitas over a swaying groove and lightly insistent melody that grabs and delightfully holds fast. Chico Pinheiro shines bright on guitar.
I can’t translate the title out of its Arabic script, but I can recommend “صرنا كل مين بديرة” by Yousef Shamoun, a Syrian who draws upon several of his country’s musical traditions to create a majestic wall of Middle Eastern sounds. Tarab at its finest.
McKane Davis delivers “Deliverance,” a song with chiming banjo and keyboards, a head-bobbing beat, from-the-heart vocals and lyrics that can be interpreted as an expression of love both earthly and supernatural. Davis is from the U.S. and his folksy sound feels very much like he could appeal to audiences the world over.
Italian guitarist Luca di Luzio has gone “Fishing in Paradise,” and the catch of the day is a cool jazz instrumental track where he trades tasty licks with trumpet master Randy Brecker, among others. The playing is masterful yet never overdone or meandering. This one will have you hooked. (Pun intended.)
Another Italian jazzman, Gianpaolo Gallian, takes us the distance via “Almost There,” a moody, rhythmic instrumental on which he does all the composing, playing, programming and producing. While it’s the great piano work that lights the way, everything about the track is thoroughly enjoyable.
On the reggae front, three new singles give a clue as to how great an upcoming album of Bob Andy covers is going to be. The versatile Andy (who passed away in 2020), could croon a love song or deliver a roots message with equal skill. He was also a songwriter who composed hits for himself and others. Thus, on the advance threesome from We Remember Bob Andy (VP), Tarrus Riley brings the right kind of agonized grace to “Desperate Lover,” “Let Them Say” gets a solid refresh from Bitty McLean and the Lukie D/Alaine duet on “Really Together” sounds just as sweet as when Bob sang it with Marcia Griffiths long ago.
Now, a couple of albums, including one I should have covered in time for the holidays. Forgive my dereliction of duty:
Debashish Bhattacharya is one of India’s most creative musicians, and that’s saying a lot. His desire to bring slide guitar into Hindustani classical music prompted him to invent a few sliders of his own. One such is the chaturangui, which in his hands sounds like multiple stringed instruments throughout The Sound of the Soul (Abstract Logix), Bhattacharya’s tribute album honoring late sarod master Ustad Ali Akbar Khan. At times accompanied by a pair of percussionists and as often navigating sonic landscapes all by its emotive self across four lengthy tracks, the chaturangui is stunningly showcased. A master work by a master player, which is no surprise.
If you like Christmas music but would appreciate a break from the same old, same old, La Notti Triunfanti (self-released) by Sicilian singer/percussionist Michela Musolino is for you. A collection of retooled Italian yuletide songs recorded in Memphis, the album celebrates a wide swath of seasonal subjects, ranging from circumstances surrounding the birth of Christ to some of the specific traditions that resulted. Musolino’s vocal style is boldly operatic at times, warm and intimate at others. The arrangements are impressively varied, reflective of where the tracks were laid down. Swing, blues, folk, chamber music and bits of country twang are bolstered by spacious production values and old-world-meets-new roots to create a uniquely beautiful set of sounds for Christmas time or any time. (www.michelamusolino.com)
Author: Tom Orr
Tom Orr is a California-based writer whose talent and mental stability are of an equally questionable nature. His hobbies include ignoring trends, striking dramatic poses in front of his ever-tolerant wife and watching helplessly as his kids surpass him in all desirable traits.