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JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Another Eclectically Swinging Album From Saxophonist Alexa Tarantino

“As memorable as all these tunes are, it’s a good bet Tarantino has even more up her sleeve,” this blog enthused about saxophonist Alexa Tarantino‘s debut album as a bandleader, Winds of Change, just over a year ago. It’s always validating to see that kind of prediction come true. Tarantino’s follow-up, Clarity, is just out and streaming at Spotify. The lineup is a little different this time, pianist Christian Sands switched out for Steven Feifke, with Joe Martin and Rudy Royston returning on bass and drums respectively.

Interestingly, Tarantino plays alto flute on the brooding opening number, Through, working variations on a morosely memorable three-chord riff. Feifke signals a break in the clouds, the loose-limbed rhythm section pushing them pretty much out of the picture. What an anthem for our time – let’s hope Tarantino’s ending is an omen.

A Race Against Yourself comes across as something of an even brisker variation – a long, triumphant coda, essentially, Tarantino on alto sax. She gets balmy on the summery clave ballad, Luis Demetrio ‘s La Puerta, followed by A Unified Front, which has a similarly cheery drive, but at a faster pace. Royston getsthe chance to be his usual extrovert self, Feifke indulging in some blues.

The pianist plays spare, echoey upper-register Rhodes on a funky take of Horace Silver’s Gregory Is Here, Tarantino working her way up to some breathtaking, rapidfire volleys. Karma, a Feifke composition, has bright, incisive hooks, bits and pieces of funk and a smoldering Royston rumble at the end.

The lingering Rhodes returns in Who Saelua’s Breaking Cycles, the band edging their way into moody bossa territory: a real piano playing those same spare lines would enhance the song’s underlying disquiet. Thank You For Your Silence is a briskly swinging golden age-style postbop song without words. Like a lot of Tarantino’s work, this tune has an edge: a revenge number, maybe?

She closes the album, returning to alto flute for a slowly swaying, low-key reinvention of Kurt Weill’s My Ship. Martin’s piano voicings on the intro are a cool touch, as is his judiciously dancing solo midway through.

August 22, 2020 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , | Leave a comment

Lyrical Saxophonist Alexa Tarantino Releases Her Debut Album at Jazz at Lincoln Center

Alto saxophonist Alexa Tarantino is highly sought after in the New York jazz scene for her high-voltage, expressive sound. But she’s also found the time to do some writing over the last few years, which is where her debut album Winds Of Change – streaming at Posi-Tone Records– comes in. The lineup on the record is killer: Christian Sands on piano, Nick Finzer on trombone, Joe Martin on bass and Rudy Royston on drums. She’s playing the album release show on May 28 at 7:30 PM at Dizzy’s Club,; cover is steep, $35, but if you can afford it, you’re in for a treat.

Sands’ Debussy-esque poitillisms and a graceful whoosh or three from Royston’s cymbals open the album’s concise first track, Wisp After Wisp. Tarantino play airily and spaciously as she builds to a catchy, allusively bluesy crescendo. Face Value is a briskly shuffling romp, Royston’s firing off his signature, counterintuitive accents, the bandleader jousting playfully with Sands, Finzer adding a coyly jovial solo.

She plays bright, alternately soaring and gritty soprano on Noriko Ueda’s catchy jazz waltz Seesaw, a feature for Tarantino in the all-female Diva Jazz Orchestra. Breeze follows an easygoing, vintage 40s sentimental swing tangent up to a hard-charging, blues-infused Sands solo.

Switching to alto flute, Tarantino’s take of Jobim’s Zingaro begins even breezier before Sands brings in the gravitas, Martin pulsing tersely over Royston’s quasi-bolero groove which they slowly edge into amiably dancing territory. Square One, her first-ever composition, is the album’s most epic track, built around a serisio, latin-tinged riff. Royston’s cleverly flickering shuffle underpins Sands’ steadily rising explorations, Tarantino alternating between serenity and shivery flash

The album’s catchiest track among many, Calm is a wistful song without words, Finzer parsing the melody gingerly, Tarantino taking flight as the group shift toward funk behind her. Undercurrent, centered around a bassline that’s more of a horn line, could be an Eric Dolphy jukebox jazz hit, Sands’ jaunty, New Orleans-tinged solo over Royston’s endless series of unexpected jabs.

The group burn through Ready or Not, Finzer ripsnorting and Tarantino spiraling over a tight but subtly shapeshifting, rapidfire shuffle. Tarantino and Sands open the closing ballad, Without as a duo, tenderly, her spacious, hopeful resonance over wary piano and an expansive groove. As memorable as all these tunes are, it’s a good bet Tarantino has even more up her sleeve.

May 20, 2019 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , | Leave a comment