Duda Lucena is reviewed by the Borderland

THE BORDERLAND (musicwatch column)

by:  John M Peters

Latin music has always been one of the most vibrant types of music in the pop diaspora, and it has influenced and it has been a part of the mainstream for decades. One of its constituent parts has been the music from Brazil - more refined than the music of the Caribbean, more laid back than Mexican music, the jazz and pop music of Brazil has a musicality and sheen to it that is more cerebral than visceral. But that was always the sound of the Brazilian New Wave - Tropicalia. And so we come to the music of Brazilian guitarist/vocalist Duda Lucena and his Quartet. His new album, simply titled Live, showcases all that is great with Brazilian jazz - laid back musicality, ice cool vocals, more hidden simmering passion than Dallas on heat, and above all that a refined Latin experience that brings to mind those golden sands, the brooding jungle of the Amazon and those Brazilian women. OK, I made the last bit up, but there is something very wonderful about this album - these four musicians capture the Brazilian experience across seven tracks so brilliantly. Along with Duda Lucena on guitar and vocals, the rest of the quartet are Quentin Baxter - drums, Kevin Hamilton - acoustic bass and Gerald Gregory - piano. The most surprising thing is that these musicians are based in South Carolina, a long way from South America, yet with their Brazilian leader they have captured the sound so well.

The seven track titles are: Lugar Comum, Corcovado, Sina, Sol, Trilhos Urbanos, Drão and Odara. I'm not sure where the live album was recorded but the audience are receptive and very polite - not a Yankee yee-haw in sight... But the album also crackles with energy and Mr Lucena's guitar is at the heart of it at all times. Indeed, the quartet play as one for most of the album, the solos are restrained and mostly short so that you are more aware of the artists as a band of equals. If you enjoy the music of Brazil then you really shouldn't miss this album, it is a classic. Available from Amazon MP3, CD Baby, iTunes and other retailers for download or as a CD.

Troy Roberts is reviewed by Passing Notes

by:  Mark Hayes

A familiar figure in the South Florida music scene, tenor Troy Roberts brings a powerful sound and a more powerful musical imagination to his latest project, Nu-Jive.

Featuring a number of tunes that really allow the group -- Roberts with Silvano Monasterios on keyboards, Eric England on bass, and David Chiverton on drums -- to stretch out.  Electric, eclectic, Roberts delivers music that is full of energy and blends soul, funk, R&B, and Latin -- shot through with the ambitious creativity of jazz players.

Among many monster tracks, the most fearsome is "Oscar and the Shoe Box," which confidently clocks in at over ten minutes and features percussion by Jose Gregorio-Hernandez and notable Roberts collaborator Sammy Figueroa

Audrey Silver is reviewed by Passing Notes

by Mark Hayes

Dream Awhile, from Audrey Silver, is a significant collection from a singer with a polished, effortless voice and a distinctive approach to the American Songbook.

A regular performer in many New York clubs, Silver appears on this album with Joe Barbato on piano, Joe Fitzgerald on bass, Anthony Piccoli on drums, with Chris Bergson playing guitar on a few tracks.

Infusing each song with great intelligence and a remarkably flexible sense of phrasing and swing, Silver is a singer who deserves broader recognition.  Her version of "Day Dream" is a fully mature exploration of the LaTouche/Ellington/Strayhorn composition.

Mace Hibbard Enjoys His 4th Week on the CMJ Jazz Chart

Mace Hibbard Holds Strong on the

CMJ Jazz Chart at #13 This week 
Peaking at #3 for a total of 4 weeks

Grammy award winning saxophonist/composer/educator Mace Hibbard has quickly established himself as one of the most exciting and versatile saxophonists on the scene today. Remarkably void of cliché and licks, Hibbard is daring, yet precise, emerging as an important voice in the jazz saxophone heritage. Journalist John Barron succinctly commented, “Hibbard is an artist who uses his technical mastery,

compositional skills, and informed understanding of the jazz saxophone lineage, to create musical offerings that are truly unique.”

Born and raised in Waco, Texas, early music lessons included piano and voice until settling on the saxophone at age ten. Mace’s firm grasp of the history of jazz and its standard repertoire comes from the gigs he played throughout his teen years with his father (Dave Hibbard, a great trumpet player who was a staple in the Texas jazz scene for years). From there, he attended the University of Texas in Austin, where he earned a Bachelors degree in Musical Performance and a Masters degree in Jazz Studies. While in Austin, Mace developed as a composer and formed Odd Man Out, which released their self-titled debut on Viewpoint Records in 2000.

After 10 years of being one of the most sought after woodwind players in Austin, Mace relocated to Atlanta, Georgia in the summer of 2003 where he is continuing his reputation as a compelling and gifted soloist with the saxophone family, the flute, and the clarinet. In 2008, the Mace Hibbard Quintet was selected to play at the Atlanta Jazz Festival as the winner of the Future of Jazz Competition. In 2009, Mace was asked to perform in the Battle Royale celebration concert at the Savannah Music Festival where he was a featured soloist alongside such jazz luminaries as the Marcus Roberts Trio, The Clayton Brothers, Terrell Stafford, Scotty Barnhart, Jeff Clayton, Wycliffe Gordon and Andre Hayward.

Beginning in 2005, Hibbard began his association with The Derek Trucks Band and Soul Stew Revival with Derek Trucks and Susan Tedeschi. On select tours for the next five years, Mace was a featured soloist and horn arranger for the two bands. This union culminated in Hibbard winning a 2010 Grammy Award for his playing and horn arrangements on Already Free. He is also featured on the critically acclaimed live album, Roadsongs, released in 2010 by The Derek Trucks Band.

In 2007, Hibbard released his debut album as a leader, When Last We Met, featuring all original material and a lineup of Atlanta’s finest musicians. Released to  worldwide airplay, it amassed incredible reviews from countless critics. Canadian broadcaster Jacques Emond declared, “Mace Hibbard’s new CD grabbed me right from the git go. His writing is wonderful and his playing first class, one of the finest young alto players on the scene and he’s just as impressive on soprano and tenor. The rest of the group is also first class. This is already on my list of year’s best.”

With Atlanta, Georgia as his home base, Hibbard’s playing and compositions can be found on recordings by: Melvin Jones, Jennifer Holliday, Yonrico Scott, Ben Tucker, The Joe Gransden Big Band, Trey Wright, Bryant Thompson, and Marlon Patton. He is also a featured saxophonist/ composer on Atlanta Sax Allstars, which will be released in 2011 by Hotshoe Records and will feature four of Atlanta’s finest saxophonists.

In addition to his impressive performance career, his standing as an educator is equally notable. Hibbard has served on the faculty of Georgia State University since 2005, where he is an instructor of jazz saxophone and improvisation. He was also a professor of saxophone and jazz studies at Jacksonville State University from 2003- 2010. Hibbard has served as a clinician and soloist at many Universities in the United States and Canada, with notable engagements at: The University of Texas at Austin, Florida State University, Slippery Rock University, and The University of Lethbridge in Alberta, Canada.

LATEST RELEASE:

Grammy award winning saxophonist, arranger and composer Mace Hibbard, backed by his long time ensemble, is proud to release his latest endeavor, Time Gone By.

Time Gone By is a full throttle voyage firmly respectful of the traditions of jazz, but absolutely cognoscente of modern jazz idioms.

Time Gone By features pianist and composer Louis Heriveaux, bassist Marc Miller, drummer Justin Varnes, trumpeter Melvin Jones and of course the incomparable, Mace Hibbard on saxophone.

Time Gone By is the second contribution by the Mace Hibbard Quintet. His first album, When Last We Met, was released in 2007 to rave reviews and worldwide airplay. Founded in 2005 in Atlanta, having a established, working band is especially important to Hibbard. Says Hibbard, “I’ve always been influenced by the bands of Miles Davis, Cannonball Adderley and in the modern time, Branford Marsalis and Dave Holland, where the contributions of all of the musicians creates a strong ensemble. I feel that the chemistry and interplay that has developed over the years has really given this band a cohesive sound in how it interprets the music. All of the members of the band have great musical instincts and suggestions, and I want the band to be a platform where they feel their contributions have equal merit. On any given concert, you will hear compositions by all of the members of the band which I feel also adds to the band’s distinctive sound.”

It is this unwavering connection of musicality that makes Time Gone By a standout recording in 2011.

“Rude on Purpose” opens the set, with high octane verve; adventurous music that swings with all the muscularity and energy of pioneers like Cannonball Adderley, Monk, and Rollins, but pays tribute to that glorious past by daring to advance the science of collective improvisation into the future.

“December 18th” and “Remembrance of Things Past“ are intensely poignant ballads that feature elongated, melodic lines of beauty tastefully supported by Varnes and Miller and underpinned with tasteful harmonies and textures by Heriveaux. Both selections are breathtaking. “Indecision” is a slow burn that calls to minds the style and passion of McCoy Tyner and John Coltrane. The end of “Indecision” highlights the splendid interplay between Hibbard and Jones as they lead the ensemble to a fevered conclusion. “Hallowed Ground” is an extremely unique composition that combines the rhythmic complexity introduced by John Coltrane and Elvin Jones while incorporating modern compositional techniques. The unapologetic swing of Heriveaux’s composition, “Theme for Dos Lyn,” is reminiscent of the early Wynton Marsalis ensemble.

A well-traversed cut “Always on My Mind”, made famous by Willie Nelson, lends itself to the theme of time and remembrance throughout the disc, a befitting halfway release in this collection of well-conceived originals. “Slip and Slide” is eloquently named, fast paced and perpetually melodic inventions swirl this up-tempo cut to fervor, as each player more than steps up to the plate. A moody cut, “The Rain King,” is a wonderful counterpoint to relax the listener with a cerebral journey of textural colors and nuance. “La Danza Olvidada” offers a good dose of funky Latin rhythms (provided by Varnes) to spice up the track, and presents a wonderful canvas for Hibbard, Jones and Heriveaux to build upon.

Closing out the offering is the peaceful composition, “For the Memories We Share,” a track that releases the listener in a relaxed way, able to reflect upon the musical journey and relish in the passage of Time Gone By, a recording destined to make its mark in jazz.

Aimée Allen enjoys her 6th week on the CMJ Jazz Chart

Aimée Allen holds strong on the #16 slot 

Peaking at #10 for 6 weeks

Aimée Allen’s intimate connection with music began as a child. Her childhood was literally scored with classic jazz, because of her mother’s intense love of the music. The influence of the jazz tradition can be heard in Aimée’s musical style and interpretation choices. But Aimée’s listeners can also hear her individual voice, nuanced and sparkling with soul and sensuality.

Aimée first began singing professionally in college. As a student at Yale University Aimée was an active member and soloist with jazz a cappella groups. After college, Aimée lived in Paris where she performed regularly. The close relationship between the francophone audiences and Brazilian bossa nova, long one of Aimée’s musical loves, led Aimée to form Les Bossa Novices, a Paris-based group dedicated to bossa and jazz. Aimée went on to earn law degrees from Columbia University and the Sorbonne in Paris, all the while continuing to perform and hone her craft as a vocalist.

Incredibly, Aimée has maintained a double identity as a practicing private attorney by day, and a jazz vocalist by night. She continues to perform and record as part of New York’s jazz community, infusing her craft with a personal and intimate style. Standards and bossa are part of her signature repertoire, but now an accomplished composer, she also includes her originals songs, many of which have become audience favorites.

Aimée’s previous CD, l’Inexplicable, was the fruit her transcontinental experiences in music and her talents as a writer. The album is a collection of warm, soulful, jazz-pop originals blending African rhythms, Brazilian bossa, and classic American jazz. With one exception, all the selections on l’Inexplicable were written by Aimée, and each is sung in French. l’Inexplicable was released in Japan in 2008 under the independent label Vivid Sound and under the Schubert Music label in Europe also in 2008.

On Dream, Aimée’s debut release, Aimée offered inspired interpretations of jazz standards, familiar bossa nova classics and one original composition. In keeping with her worldly experience, Dream includes vocals in English, French, and Portuguese.

WINTERS & MAYS

Jazz vocalist Aimée Allen’s new albumWinters & Mays is that rare combination of soulful, sensitive, and swinging. An eclectic collection of original jazz compositions and reinterpretations of standards, it seamlessly navigates complex waters between bossa nova, tango, jazz, blues, and swing, with a few detours into pop and poignant ballad.

The warmth of Aimée’s nuanced, velvet timbre and the superb artistry of the accompanying musicians shine through every track. Guitarist Pete McCann, pianist Toru Dodo, bassist Craig Akin, and drummer Jacob Melchior, each turn in masterful performances. Accordion virtuoso Victor Prieto burns as the guest star on three tracks, adding lush layers to already rich arrangements.

Pay special attention to Aimée’s original compositions “Second Time Around,” “Eden Autumn” and “Noah Too” (written for her nieces and nephew), “I’ll Get Along,” and “Stardust Reunited.” Aimée’s brother, composer and guitarist David Allen is the author of the rich, emotive ballad “We Are in Love Again,” and co-author with Aimée of “That Day.” Aimée’s inspired lyric to the Pat Metheny composition “Always and Forever” is also included here, with his permission, as a new title, “Love Aloud.”

Duda Lucena Takes the #17 Slot on the CMJ Jazz Chart

Duda Lucena Debuts on the CMJ Jazz Chart at #17

BIOGRAPHY:

It is easy to find originality in Duda Lucena. His music has truth, combining rhythms and textures to shape a new style of song. With rich melodies and harmonies, he creates an atmosphere of romance and sincerity. At the same time, Lucena reveals his playful and modern style showcasing the best qualities of Brazilian music.

As a child, Duda Lucena spent nearly every afternoon in the back of the Santa Isabel Theatre (Recife, Brazil) listening to the Pernambuco Symphonic Orchestra. These musical experiences helped to inspire Lucena, at the age of twelve, to compose his first songs. By nineteen, he was studying classical guitar and receiving musical training from the distinguished Music Conservatory of Pernambuco. Lucena then began working as a professional musician performing in the best theaters throughout his hometown Recife such the Apolo Theatre, Teatro do Parque and Valdemar de Oliveira Theatre. In 1987, he moved to Rio de Janeiro, seeking more knowledge by studying musical arrangement, composition and harmony at CIGAM, a school based upon the Berklee College of Music. Since this time, Lucena has been influenced by and peformed with musicians from America, England, Cuba and Mexico playing with them throughout Brazil, Mexico and the USA.

Many ideas have matured and certain creative thoughts have developed, but his convictions remain the same. Duda Lucena believes in hard work and good Brazilian music.

LATEST RELEASE:

Duda Lucena Quartet Live offers the listener an unique international sound. With the top jazz players of
Charleston (SC) and Lucena at the helm, the album is a captivating journey through the Brazilian soundscape, transporting you to a place where exotic treasures can be found.

Lucena shares his warm, round and toned voice, charming you with his lovely messages through guitar and vocals. Supported by renowned drummer Quentin Baxter, acoustic bassist Kevin Hamilton and pianist Gerald Gregory, the chemistry is immediately evident from the first notes to the audience’s applause. The live concert of this quartet is certainly that of an inspired experience. Duda Lucena Quartet Live adorns six Latin classics along with a Lucena original “Sol,” a playful cut that is sincere and touching. Everything is truly a pure art form of Brazilian bossa nova, baião and samba, but with sophisticated jazz and blues flavors.

This special intimate offering with stellar musicianship and memorable selections, Duda Lucena Quartet Live, might be the best summer find for 2011. Hurry up; pack your car and head down South where you too can enjoy the Duda Lucena Quartet Live.

Troy Roberts Adds Week #9 to His Charting at CMJ

Troy Roberts Holds Strong on the CMJ Jazz Chart for his

                    9th Week, Peaking at #20 for 9 weeks

Troy Roberts began playing the saxophone at age 13, and was granted an early entrance into The West  Australian Academy of Performing Arts (WAAPA) just two years later. During this time, he won the PJS Encouragement Award for two consecutive years, performed at the 2000 Olympics, The Manly Jazz Festival, and other shows around Australia with the West Australian Youth Jazz Orchestra. In 2001 he graduated with a Bachelor of Music (Jazz Performance) degree at the young age of 19, winning the acclaimed Bob Wyllie Jazz Scholarship, the Melville Toyota Jazz Scholarship and the James Morrison Jazz Scholarship.

The following year he completed an Honors Degree on a student exchange program at the University of Miami, studying with Ron Miller, Gary Keller, Whit Sidner, James Moody, Dave Leibman and Frank Foster. During this time, he also won 2 Downbeat Awards (“Outstanding Soloist” and “Best Group Performance”) and performed with many great American musicians such as Ernesto Simpson, Kevin Mahogany and Silvano Monasterios. Troy returned to Australia in 2003 to record live at the Sydney Opera House on James Morrison’s album and DVD, “On The Edge”, which was immediately proceeded by 2 European tours with Morrison.

In 2004 Troy performed at the Fremantle Jazz Festival and the Perth International Arts Festival with trumpeter Ingrid Jenson (Canada) and drummer Jon Wikan (New York) before heading back to Europe with James Morrison to headline the Burghausen Jazz Festival in Germany. More notable performances that year include him as a soloist with the West Australian Symphony Orchestra, performances with Simon Stockhausen (Germany), Gary Bartz (NY), and Christoph Spendel (Germany). Troy also sustained a fruitful 3-year residency at the Llama Bar (Perth, West Australia) with his original project, “VOID” (Winner’s of the PJS’s “Best Original Jazz Act Award” for 2005, and the “2007 West Australian Music Industry Award”).

Troy recorded his debut album Soul Garbage (Morrison Records) and VOID’s debut album and DVD before traveling to the U.S.A. in 2005 where he acquired a Masters degree and taught mostly jazz
saxophone at the University of Miami, and was the recipient of the Downbeat “Best Soloist Award” for 2005 and 2006. He commenced 2006 with performances at the I.A.J.E. (International Association of Jazz Educators) Conference in New York with the “Bop Brothers Jazz Sextet”, 3 European tours with Morrison, and VOID’s 1st European tour. Winning yet another 2 Downbeat Music Awards, 2007 was a busy year, with two successful USA tours, including performances and television appearances in Texas, L.A., San Fransisco, Santa Barbara, Miami, the I.A.J.E. Conference, NYC and headlining the Houston International Jazz Festival. VOID was also the proud recipient of the 2007 WAMI Award for Best Original Jazz Act.

Troy received his first Grammy Nomination medal for his performance on Sammy Figueroa’s album, The Magician (nominated for “Best Latin Jazz Album”), and has performed shows with Figueroa around Miami, NYC, and Europe. His freelance schedule over the years have included performances with: Figueroa, Melton Mustafa, Jonathan Joseph, James Morrison, Dave Grusin, Mike Rodrigues, Ludwig Afonso, Robby Ameen, Lew Soloff, Ed Calle, Ronnie Cuber, Marshall Gilkes, Slide Hampton, Dennis Macrell, Patti Austin, Arturo Sandoval, Kevin Mahogany, Obed Calvier, Rashawn Ross, Billy Drummond, Jeff Hamilton, John Clayton, and hip-hop/R&B legend, Lauryn Hill to name a few.

Troy launched his 3rd album, The XenDen Suite – an 8-part suite for jazz quartet and string quartet – in his hometown of Perth, West Australia, and also in the USA whilst in L.A. as the only Australian semi-finalist in the 2008 Thelonious Monk International Jazz Saxophone Competition. Just after winning yet another DownBeat Jazz Soloist Award for 2010, his debut DVD – The XenDen Suite LIVE – was released in the USA and Australia soon after. Troy is currently on Adjunct Faculty at The University of Miami, has just released his new album Nu-Jive (2011) and continues to maintain a busy performance and recording schedule around the globe.