Cesar Cardoso is a Portuguese tenor saxophone player from the city of Leiria. He has previously released three albums and written two books on jazz theory. His projects include a quartet and quintet, and he has written arrangements for big bands. Cardoso wanted to do something original and challenge himself to create a record with its own identity. He wanted to approach standards with innovation and freshness. Part of this could be obtained by using an extended formation – hence the octet featured on Dice of Tenors.
This new project is Cardoso’s tribute to some of the world’s most renowned tenor saxophone players, as he celebrates Dexter Gordon, John Coltrane, Hank Mobley, Joe Henderson, Sonny Rollins and Benny Golson. As well as arranging all the numbers for an octet, Cesar Cardoso composed and recorded two original numbers. The octet includes Cesar Cardoso on tenor saxophone, Jason Palmer on trumpet, Miguel Zenon on alto saxophone, Massimo Morganti on trombone, Jeffery Davis on vibraphone, Oscar Marcelino da Graca on piano, Demian Cabaud on double bass and Marcos Cavaleiro on drums.
Benny Golson’s “Along Came Betty” is a rather glorious opening to Dice of Tenors, with deep rhythms, vibraphone melodies and a coming together of the ensemble in harmonic episodes. This is a compelling track full of energy and joy, and an easy listen to begin the album. Demian Cabaud’s bass solo is supported well by the percussive elements, and the flowing alto of Miguel Zenon soars. The third section of the track is interesting for its brass-versus-drum section lines, and there is a sense of energy which constantly builds.
“Remember,” a tribute to Hank Mobley’s recording, is performed with a Latin feel and impressive solos from Palmer and Oscar Graca, whose twinkling piano shines. There is undeniably respect for the original number, yet Cesar Cardoso’s arrangement adds a distinctive twist that is all his own – especially the swinging slowed-down section. The final segment, with its play on the rhythm patterns, is also inventive.
Cardoso’s composition “Rafaela” is a deeply resonating number, partly due to Cabaud, who upholds the opening section and is prevalent throughout. The song develops into a vehicle for both Jason Palmer’s trumpet and to a lesser extent Cardoso’s tenor sax, which rise above and beyond the background support. Dynamic and rather lovely, this is a stellar composition.
“Three O’Clock In the Morning” is a clever and intricately woven mix of motifs, phrases and paraphrases with a good deal of shared run-ins between the horns and a good deal of harmony. All of that is complimented ay a prolonged vibraphone solo from Jeffery Davis – and a chance, duly taken, for Massimo Morganti’s trombone to shine.
John Coltrane’s “Giant Steps” is given a sonic make-over for Dice of Tenors, and it is not clear even on second or third listen if this truly works – but this is Cardoso’s take, and his playing is intense. It is a track where his technical skill and exquisite sense of timing come to the fore, and both are formidable and winning. Even if you begin listening to this with a slightly skeptical ear, there is no doubt of Cesar Cardoso’s prowess by the time the track ends.
Joe Henderson’s “Recorda-Me” is given a new arrangement. It works with respect to the number, yet several sections boast a change in style which indicates an impressive depth of investigative skills in finding the music’s hidden ways. There is even a traditional “big band finish,” cementing “Recorda-Me” was a stand-out track on Dice of Tenors.
Cardoso’s own “Aguiro” is a traditionally arranged number, incorporating heady solos from alto sax, drums and bass.
Sonny Rollins’ “St Thomas” is reworked and re-arranged to include changes of tempo, rhythm and eventually a Samba-infused homage to the original.
In the end, there is a healthy dose of harmonics, tempo, and metric complexity on Dice of Tenors, but Cesar Cardoso’s melodic and musical respect for the originals remains.
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