Hugo Carvalhais...WOW!

Hugo Carvalhais (double bass, electronics; b. 1978)
Nebulosa (Clean Feed Records, 2010)
Gabriel Pinto (piano)
Mario Costa (drums)
Tim Berne (sax)


You know those situations where you are about two songs in and you know this album is going to be amazing before the second song is even finished playing? Well, I've been having that moment every since I put Nebulosa (Clean Feed) into the CD player. Hugo Carvalhais' debut as leader is really phenomenal. The compositions have a depth and electricity that captures your attention immediately. All this from a musician who is self taught on double bass.


The use of electronics are integral to the compositions but are delicate and never overwhelming to the structure of the tunes. The electronic element gives the album an atmospheric nature built inside of acoustic improvisation that the group delivers, especially on "Nebulosa I." "Nebulosa I" has some wonderful moments presented by Pinto on synths sounding like Herbie Hancock circa Headhunters, and some excellent exploratory phrasing by guest member, Tim Berne. Carvalhais adds subtle touches in background like a young Miroslav Vitous or Eberhard Weber. Carvalhais and Costa increase the pressure as the group hits a beautiful piece of cacophony towards the end.


On "Impala" Pinto and Carvalhais share some interplay and utilize space to maximize effect. The overall impact is emotional but its masked wonderfully in an appropriate amount of lyricism on Carvalhais' part. And while there is a lot of experimentation going on throughout Nebulosa, there is a definitely a large dose of structure as well. This is crystallized on "Nebulosa III" and "Cobalto", where the group stay in traditional format and pace with the exception of one member crafting designs along the edges. Costa stretches broadly on "Cobalto" while Berne has well a constructed explosion of sound after what is essential a Pinto solo piano piece on "Nebulosa III."


The beauty of the closing number "Redemption" while short, is probably the perfect ending to an enlightening journey. A melodic piece that for me has shades of David Sylvian's instrumental work. The trio is measured but glorious in its directness. A really transcendent piece.


Hugo Carvalhais wrote all the material and surrounded himself with a supremely talented pair of musicians in Pinto and Costa. Berne's addition only adds an extra dose of excellence. Nebulosa is a masterful debut from a trio that I hope is around for long time. I'm still trying to figure out why I didn't pick up this record last year. It would have easily been in my top ten albums of the year. But anyway, it's on constant play now. Hope you have a chance to pick it up too.

The Return Of Denys Baptiste

Denys Baptiste (sax; b. 1969)

Identity By Subtraction (Dune Records)

I have been waiting for this record for a long while. It's been seven years since his third album, the epic Let Freedom Ring (Dune Records), based around the legendary speech by Martin Luther King Jr. But it doesn't matter, Denys Baptiste is back with Identity By Subtraction (Dune Records). A more intimate affair than it's predecessor, Identity By Subtraction explores just that--looking back at his history, heritage and the search for self understanding.

The intimacy of Identity By Subtraction is conveyed in Baptiste's choice of just a quartet setting unlike his previous albums which have included a large ensemble of players and vocalists. Baptiste has kept is core players with him--the increasingly important Andrew McCormack (piano), Rod Youngs (drums) and Greg Crosby (bass). On "Special Times" the quartet creates a beautiful sculpture of melodies that left me weeping and looking introspectively at my own life. "Special Times" was dedicated to his family, for which the album is essentially about. Baptiste's family has shaped his career and personal outlook in recent years and this album maybe his strongest as a result of that experience.

While Baptiste has stated Courtney Pine as one influence, I have always seen elements of Sonny Rollins throughout his music over the years. That thought showed up for me again as I listened "Dance Of The Maquiritari" which relates to his Caribbean heritage (his parents are from St. Lucia). It's a wonderfully upbeat number with island vibes moving throughout. One of the standouts for me is "Song Of You", an midtempo ballad which demonstrates Baptiste at his best on sax. His playing is bold and crisp with a sense of colour, shape and romanticism. His interplay with McCormack is superb.

Identity By Subtraction keeps a compassionate and interpersonal outlook to its proceedings but the title track and "Evolution From Revolution" both present the quartet in more uptempo scenarios. Each having some wonderful and dominant solo statements by Youngs (on Evolution...) and McCormack (on Identity...). It seems Baptiste purpose throughout Identity By Subtraction is to focus the listener on the performances and emotions of the song and not big large themes. These are quality performances from a group that has played with each other for years.

I have been listening to Identity By Subtraction at least once every other day since it came out last December only for digital (the actually CD is released next week). It's great to have Baptiste back on the scene. Identity By Subtraction is a deep and personal look inside the history of a man and a musician. But is also a statement that Baptiste is becoming one of the most important players on British jazz scene (just like Courtney Pine). No matter how long between records, it was always going to be worth the wait. Highly Recommended.

Yo Miles! More Than Just A Tribute...

Wadada Leo Smith (trumpet) / Henry Kaiser (guitar)

Yo Miles: Lightning (Three Records)

Yo Miles: Shinjuku (Three Records)

Originally released between 1998 - 2003, these two live recordings (a collection of tracks from albums Sky Garden, Upriver and Yo Miles) and were celebrated and derided within the avant garde jazz circle. Yo Miles was a series of three albums dedicated to the music of Miles Davis' 70s electric era material.

The albums might have gotten overlooked due to the plethora of Miles material that came out at the time (official reissues) and the Bill Laswell project Panthelasa (a Miles Davis remix album). I personally wasn't a big fan of the Laswell project although it has grown on me over the years. Yo Miles on the other hand, follows a different path. Smith and Kaiser assembled an all star line up including Zakir Hussain, Rova Sax Quartet, John Medeski, Elliot Sharp, Nels Cline, among many others to construct a dazzling collection of re-imagined versions of that era which breath new life into the already psychedelic, rock and funk monolith that Miles built over three decades ago.

Lighting and Shinjuku were two of the four releases that focused more on original material from both Smith and Kaiser. What's so amazing is, that the songs would easily sound at home on any Miles album from that era--especially Bitches Brew, Agharta, Pangea or Live Evil. "Cozy Pete," "Thunder & Lightning" and "Miles Davis--Great Ancestor" all exhibit that deep exploration for new sounds, rhythms, patterns and a direction that Miles was achieving with his epic albums of the time.

Kaiser and Smith seem like kindred spirits here. They along with the entire ensemble of musicians develop a synergy throughout the session that melds into one unified theme. You do get a spiritual vibe from these songs especially "Muhammad Ali," "Tsapiky Frelimo" and the all out assault of "Shinjuku" which could give Agharta and some of the tracks from On The Corner a real run for their money.

These two editions of the Yo Miles series originally came out on the label Cuneiform and almost as quickly as they were released they label folded. So these two records now go for a slightly hefty price tag if you can find them. Some stores like Downtown Music Gallery in New York City still have physical copies at a very inexpensive price.

Now in our digital age Yo Miles! Lightning and Yo Miles! Shinjuku albums are only available as downloads (you can find them on iTunes) but they are still potent and worth seeking out. Wadada Leo Smith and Henry Kaiser created a series which now after a decade is finally being truly understood (along with Miles' material 3 decades early) and you should investigate these two records fully. It's extraordinary and keeps to the spirit of what Miles had perfected. A beauty tribute that stands solely on its on a separate work altogether. Enjoyable again.

Jonathan Parker

Jonathan Parker Group (self produced)
* Only available as a download: Bandcamp
Jonathan Parker (alto sax)
Sean Higgins (piano and rhodes)
Curtis Ostle (bass)
Alex Ritz (drums)
Theo Croker (trumpet)
Lawrence Ku (guitar)
Andres Boiarsky (tenor sax)
Mindy Ruskovich (trombone)

Sensibility, buoyancy, soulfulness and refreshing. That's what you'll be saying after the first listen to "Clearyism", the opening track from the young talented new saxophonist, Jonathan Parker. It can also sum up the majority of his self released debut, The Jonathan Parker Group.

Jonathan Parker, a Washington D.C. native, spent his development years at Oberlin Conservatory. The experience was he gained in school with such mentor as Gary Bartz, Billy Hart, Marcus Belgrave and others is immense and it shows throughout his debut. But like so many of us it was his formative years that catapulted him to jazz. A chance encounter with an excellent Charlie Parker collection set Parker on the way to establishing his musical vision. After College he moved to Shanghai, not necessarily the first place you think of going when you are budding jazz musician.

But while he was there he spent a great deal of time shaping his craft with fellow Oberlin graduates. This probably turned out to be a blessing in disguise. There was no pressure the jazz meccas of NY, London, Chicago, San Francisco, Tokyo, Oslo etc., Parker could just play and experiment with sound and rhythm. The two year journey was capped off with a return to the U.S. and stronger outlook on his own music. But now the real journey begins as this young talent sets forth with an excellent debut and chance to mix things up across the country.

The beauty and freshness of "Clearyism" shoots out a you with all forms of joy. It's like a late night with Art Blakey's Jazz Messengers or for a more contemporary comparison, One For All. His group are smokin' from the outset. You really can't escape this track and therefore you have to listen onwards. And what you get will surprise you and delight you.

Shifting gears slightly is "CO86" a more romantic and some might say "smooth" R&B filled midtempo piece. But you would be fooled to stay in such a static mode over "CO86", Parker's phrasing is fantastic and shows that he can shift from hard bop to modern romantic in seconds. His band are incredible as well, Sean Higgins, really shines here on keyboards. He adds an element of Roy Ayer's soul that envelopes the piece nicely.

His group again show this soulful side to themselves on "East Lorain" which Ostle and Ritz keep a melodic soulful groove around Parker's bold proclamations on sax. It's a piece that has a late night club atmosphere to it but you immediately hear the delicate compositional structure Parker has created and that's what is enlightening for me. "Jacqui" is an elegant blues based ballad that see the group expressing itself but remaining within the confines of composition. Lawrence Ku adds a Kenny Burrell element that this piece that I think gives it an understated beauty. Parker seems to gain a lot of strength from each musicians as the song moves along.

While I know there are a billion new artists out there and there are hundreds of established artists out there. Our choices as music fans are endless. For those of you looking for something new and refreshing--Jonathan Parker might be it. A great new talent who's got excellent compositional skills and a cool head when it comes to the musicians he's learned from and the one's he has surrounded himself with--The Jonathan Parker Group is a wonderful debut. A beautiful balance of hard bop sensibilities and modern romantic themes.

The Jonathan Parker Group is currently only available as a download from Bandcamp. Probably the best way to get it. And I would recommend most artists if you aren't on a label this is the best way to get your music out there. We loved Jonathan Parker's debut and hope you will too. Highly Recommended from your friends at JazzWrap.

JazzWrap also took time to speak (through email) to Mr. Parker about his journey and many other thoughts. It was a long conversation but I thought it best to bring it to you in its entirety.

The album is a wonderful blend of hard bop and soulful rhythms (particularly "Clearyisms" and "East Lorain"). What artists or albums inspired you when you were first starting out?


Well, I’d have to say the first artist who really piqued my interest in Jazz was Charlie Parker. I was about 14 when my first saxophone teacher moved out of town and she recommended that I take from another teacher close by. His name was Bill Mulligan and he had recently moved to town to play in the United States Navy “Commodores” Jazz Band based in DC. Shortly after I began studying with him he told me to check out a saxophonist named Charlie Parker. Of course at this time in my life I was more interested in listening to pop radio, but for Christmas that year, my mother got me The Essential Charlie Parker on Verve Records. 


Even then I really give the album a chance, but I think there was one time when I decided to give the CD some play in my Discman. A lot of what I heard I didn’t exactly like too much but there was one song that immediately grabbed me – Confirmation. I honestly had no idea what Bird was playing but just listening to him play gave me goose bumps. Eventually, I just got hooked on that entire album and began to discover all the bebop musicians Bird was associated with. I suppose that was the one album that “opened” my ears, so to speak, to jazz. From that time on, my high school CD collection grew at a voracious pace – and it certainly hasn’t slowed down one bit since then.


You've traveled a lot in the last few years and worked with a number of great musicians. Has the experience of performing with such great talent in both America and China influenced your music or your debut?


I consider myself extremely fortunate to have traveled and performed abroad for the last two years. The whole experience was extremely beneficial for my own playing for two reasons - in Shanghai although the music scene is relatively small, there many extremely talented players who I was able to play alongside and the decent amount of work afforded me the opportunity to really improve my craft and become a stronger all-around player. Shortly after moving to Shanghai in September 2008, I was offered a contract to perform at a jazz club in Beijing from October through the end of January. This was a serious gig – we played 3 or 4 sets a night, 6 nights a week. When you play that much, you’re forced to become a much more consistent player.


As for the musicians residing in Shanghai, they hail from many different countries: Columbia, Brazil, France, Australia, Mauritius, Japan, The United States, and of course China. While I was able to perform alongside most of the players in town, I really kept close to the players I knew from Oberlin Conservatory. There are currently 6 or so Oberlin graduates playing out there and we all had our own little clique. One group that I played with in Shanghai was led by Theo Croker, a trumpet player and Oberlin alum, and we were constantly playing original music. For awhile, we had a weekly Monday night gig at The House of Blues and Jazz and Theo and I would both bring in music we had been writing to play. This was a unique opportunity to test out new material.


Theo has a unique compositional style – one that isn’t too easily categorized. He’ll write a lot of different material in many different styles. It’s hard to say if his writing chops rubbed off on me – our styles are pretty different from one another. But it was nice to be in a group where several people were bringing in original work. It made our band have a much more eclectic sound – the group wasn’t just the voice of one person and the drastically different compositions from Theo and me I think ended up complimenting each other.


One other gig that I played constantly throughout my time in Shanghai was at The Cotton Club. They have a house band that’s been playing there for a long time now (at least 10 years). Led by Utah-born guitarist Greg Smith, the group plays music from the American Blues and R&B songbooks. The singer, Jacqui “Sugar Mama” Stanton, actually just recently left us but she was a musical legend. Having performed in Ike and Tina Turner’s band, among many others, you couldn’t get more authentic than Jacqui. She was an incredible singer and musician and I feel extremely privileged to have play next to her for as long I did. This band was (and still is!) incredibly tight and night after night they delivered great sets and Greg and Mama were just always giving 110% up there on stage. Playing with people on this sort of level night after night really does make you a stronger player. And even though we weren’t playing straight-ahead jazz, I learned plenty from being there - whether it was how to play a short and sweet solo on a Donnie Hathaway tune or really getting my blues chops down cold on a slow blues in Db.


Your band sounds incredibly tight and seems to have a lot of freedom. How long have you worked with them?

Most of my band mates I’ve known for quite some time now. Curtis Ostle, Alex Ritz, and Theo Croker all went to Oberlin while I was there. We all played in different groups with each other throughout our time at Oberlin and had already developed some sort of rapport so when we all ended up in Shanghai, it was only natural for us to link back togethe.


As for the other members, Sean Higgins is originally from Massachusetts and had worked in New York City with Winard Harper’s group for several years before moving to Shanghai. He is a terrific pianist and he’s coming out of a lot of the music that I’m really into, so he was a great fit for the piano chair. Andres Boiarsky is a phenomenal tenor player who only recently ended up in Shanghai. Originally from Buenos Aires, Argentina, Andres spent a long time playing in New York City and he worked a great deal with The Dizzy Gillespie All-Star Big Band. I know he’s also done work separately with Slide Hampton, Claudio Roditi, and Dennis Mackrel – to name a few. I am very honored and thankful for Andres to have played on this record. And finally, Lawrence Ku is originally from Los Angeles and has been living in Shanghai for quite some time now. Aside from being a great guitarist, he’s also very involved in the music education scene in Shanghai and is the principal at the JZ School – an independent music school providing music instruction to Chinese and Expat children alike. I really enjoy Lawrence’s playing and thought he would be a perfect addition to four of the songs on the record.

What are your touring plans for this year?


Well that’s tough question… Unfortunately, moving to New York City meant giving up all the steady work I had in Shanghai and starting anew. I’ve been here about 5 months now and I feel like I’m only now beginning to really figure out how go about getting work. I’ve been fortunate to have linked up with fellow Oberlin alum, Andy Barnett who is currently living in New Haven, CT. and directing his own group – The Theodicy Jazz Collective. The Theodicy is a church group based out of The Episcopal Church of St. Paul and St. James that incorporates elements of jazz and contemporary R&B. We play regularly in New Haven, but this coming spring we’ll have a bunch of dates throughout New York City. I’ve also started to book shows featuring my own group throughout the city – we were just booked at Miles Café on May 3rd. Also since moving to New York, I’ve returned home to Alexandria, VA. several times to play one-offs with various groups around the DC area. I’m hoping sometime this summer to get my group a bunch of shows lined up throughout the greater DC Metropolitan Area. I recently haven’t had quite as much time to focus on touring because I am right now in the process of applying for graduate school. I plan on attending school this coming fall, but I’m not quite sure where I’m going to end up – as I write this, I’m on a train to Rochester, NY. to audition at The Eastman School of Music. But I’m trying to remain as close to NYC as possible for my next two years in school, so that I may still involve myself with the jazz scene here.

How would you describe your writing process?

For me, the piano is the main tool I use when composing although I do keep my saxophone handy as well. I try to always set aside a certain amount of time everyday to composition and general piano practice and whether I’m playing a standard or something more modern, the piano helps me find an idea to start tinkering with. It can be a certain chord progression or just a short melodic line, but once that kernel is discovered, I’ll spend a good deal of time extrapolating material from it. Sometimes the process is pretty fast – I penned Clearyisms within a day or two, but then it can also take quite awhile – Minimum Wage took almost two months to complete. I also try to simultaneously write the melody and chords at the piano. I believe that writing both the harmony and melody together will make a composition more cohesive. If wrote a chord progression first and then placed a melody on top of the chords, I’d be worried that the composition would be disjointed and just not sound natural. Harmony and melody are equally important in my mind and therefore deserve equal amounts of attention.

Have you been listening or reading anything that is pushing your creativity forward?

The great trumpeter Tom Harrell is one composer whose music I really enjoy. His music is at both times accessible and cerebral. If I had to recommend just one album of his, it’d have to be Sail Away - every composition on that record is impressive. I think it’s definitely too early to describe my own personal style when it comes to composition, but he’s a player who is doing something I’d like to try and emulate. In addition, I’ve recently been revisiting the music of Duke Ellington and Billy Strayhorn. These guys were masters at composition and arranging. I was just recently working on Prelude To A Kiss and Isfahan – these two songs are just simply beautiful.


And I suppose I should at least cite one alto player who I’m checking out. David Binney is a player who is probably not that well-known outside of jazz nerd circles, but he’s both a tremendous saxophonist with brilliant technique and a gifted composer who releases new work at a prolific pace. Binney is a guy with really eclectic tastes and influences and it should come as no surprise that his music is just as diverse. A couple of years ago he released an album entitled Cities And Desires, which I couldn’t stop listening to. On that record he collaborates with the tenor saxophonist Mark Turner and the results are a joy to listen to. I know he just released a new album called Graylen Epicenter, which I have heard a bit of and it’s definitely going to be the next CD I purchase. Compositionally, he has a very unique voice and although I feel as though I’m many years behind understanding what he’s doing compositionally, I find myself drawn to his music nonetheless. I hope that I can absorb some of what he’s doing and incorporate it into my own compositional language in the future.