José James & Jef Neve — For All We Know

José James & Jef Neve — For All We Know (Impulse, 2010)

If you've been following the career of vocalist José James — and you should — you've probably been waiting for him to cut a record like this one — a simple, straight-forward collection of jazz standards.

To date, James has brought his rich baritone to a handful of albums (solo projects and works by Nicola Conte, Timo Lassy, Soil & Pimp Sessions, etc.) where the emphasis has been on new compositions in contemporary styles (r'n'b, soul, hip-hop and jazz). By exploring such material, James has demonstrated impressive range, but it has also begged the question: Can J.J. deliver the goods on a classic material, too?

The short answer is yes-maybe. Working alongside Belgian up-and-comer pianist Jef Neve, who's sensitivity as an accompanist is deeply felt, James brings a relaxed (maybe too relaxed) approach to standards such as Billy Strayhorn’s “Lush Life,” George and Ira Gershwins’ “Embraceable You,” and Duke Ellington’s “Gee Baby, Ain’t I Good To You.” On one hand, the songs and the intimate instrumental setting are well served by James' quiet, romantic style, but on the other hand he can sound a little tentative and self-conscious about phrasing, like he's holding back to avoid making mistakes. Likewise, one senses that Neve is holding back on his keyboard virtuosity to compensate for James' relaxed vocal style.

So, while the album doesn't definitely prove James' capability with Great American Songbook, it suggests enormous potential. It would be exciting to hear him (and Neve) cover similar material with a larger group. Let's hope they do.

Timo Lassy - Round Two (2009)

A bit late out of the gate with this review, so stop me if you've heard this one before: Timo Lassy's got it goin' on. New to you, too? Thank me later. By the time you're finished reading this you'll want to get into Round Two, his second solo effort released last fall on Ricky Tick Records. It'll ring your bell.

You may know Lassy, the smokinist sax player of the red hot Helsinki jazz scene, from his work with Blue Note recording artist U-Street All Stars, the globe-trotting Five Corners Quartet and his solo debut The Soul & Jazz of Timo Lassy, naturally.

It's worth noting that Lassy also brought some heat to Nicola Conte's Rituals album, on which he made the acquaintance of José James, a jazz singer from Minneapolis whose voice lives up to its velvet reputation. James flew to Finland from none other than New York for Round Two's three-day recording session and contributes memorably on the swinging opener "The More I Look At You" and the cooker "Ya Dig."

While James makes his presence known, most of the set belongs to Lassy and his band, which is strictly A-list. Teppo "Teddy Rok" Mäkynen kicks it behind the kit (as well as the mixing board, where he co-produced with Lassy). Jukka Eskola lets his trumpet do the talkin'. Georgios Kontrafouris tickles the ivories. Ari Jokelainen swings on alto sax. Mikko Mustonen lets it rip on trombone. Antti Lotjonen works a fleet-fingered bass groove. And Abdissa "Mamba" Assefa fills the beats in between on percussion.

At the center of it all is Lassy — a persuasive player, a confident composer and an assured arranger. While Lassy seems most at home in the hard-bop and soul jazz idioms, he seamlessly blends them with Latin jazz ("Shifting Winds," "Backyard Puma"), ballads ("Some Love"), tribal spirituals ("Deeper Into") and swing ("Fooling Rosetta," "Buzz Beater Stomp"). Clearly, he knows jazz tradition and, more importantly, knows how to breathe new life into them.

As retro as that might sound, Lassy's band sounds as contemporary as they come (but with a rootsy sensibility that never gets watered down). Moreover, they do it without resorting to trendy gimmicks or self-conscious experimentation. Mostly, I think ya'll dig the man's toe-tappin' tunes and his band's tuneful approach to improvising around them. You guessed right - Round Two is a knock-out.

The Intersection: Nicola Conte

Nicola Conte (guitar)


Nicola Conte, the Italian deejay, jazz guitarist and label impresario (Schema Records), is a thoroughly modern musician who records both traditional sessions of Latin lounge jazz as well as groove-based acid jazz and dance remixes.

Conte first hit the scene in 2000 with Jet Sounds, a Schema release later reissued by Thievery Corporation's label Eighteenth Street Lounge (ESL) as Bossa Per Due, followed by the remix platter Jet Sounds Revisited in 2002.

Both releases are classic examples of Conte's early approach to bossa nova (the title track), samba ("The In Samba"), exotica ("Missione a Bombay") and soundtrack-influenced ("Dossier Omega") acid jazz that blend home grown samples with genuine musicianship. Not only did Conte grab the attention of ESL and lounge revival fans, luxury carmaker Acura used "Bossa Per Due" in a TV commercial.

Two years later, however, Conte returned with Other Directions for Blue Note's European subsidiary, an impressive release that eschews samples altogether in favor of polished live group performance, with and without male and female vocals. Here, Conte, a classically trained musician, demonstrates his gifts for composition and arranging and his love of bossa nova in particular. He's tapped the creme de la creme of the Italian jazz scene who clearly share his sophisticated swinging sensibilities. Stand-out numbers include the title track, "The Dharma Bums," "Kind of Sunshine" and "A Time for Spring," but the whole album is solid. It's a shame Blue Note didn't release it domestically, because Other Directions is very accessible without alienating jazz aficionados.

In 2008, Conte delivered Viagem, the first of two collections of '60s Brazilian bossa nova and samba nuggets (for Far Out Recordings) as well as another platter of original jazz for Schema called Rituals. Again, this ensemble recording demonstrates Conte's composition and arranging skills more so than his guitar playing, which he, as producer, has relegated to a purely supportive role. Five male and female vocals get the spotlight on many of the tracks, and they prove quite capable. The mood throughout is light, breezy and romantic. It's another solid set that deepens Conte's interest in ethnic percussion and exotic moods while offering a pleasingly laid back vibe that will appeal to both jazz lovers and people who normally shy away from it. Among the standout numbers are the title track, "Karma Flower," "Like Leaves in the Wind" and a vocal version of Duke Ellington's classic "Caravan."

In late 2009, however, came the release we've all been waiting for: The Modern Sounds of Nicola Conte: Versions in Jazz-Dub, a winning double CD collection of the various side projects, remixes, singles and EPs that Conte's put out over the past decade. From his Latin cover of Henry Mancini and Johnny Mercer's movie theme "Charade" to his reworking of Antonio Carlos Jobim and Vinicius de Moraes' classic "So Danco Samba" to his Gil Evans' inspired remix of Re:Jazz's vibrant "Quiet Nights" Conte solidifies his vision for a modern jazz sound that appreciates its traditions but doesn't neglect the modern music fan's love of a danceable groove. Just get it already.