Peter Himmelman, Marcel Bonfim and Ozomatli are part of the latest edition of Five for the Road, an occasional look at music that’s been in my car lately:
MARCEL BONFIM – ‘FAREWELL/DESPEDIDA’ (JAZZ): The song “Case Forte/Zanzibar” kicks off Marcel Bonfim’s new album Farewell/Depedida, challenging the listener with a dazzling combination of rhythms, themes, and cultural nuances. A Brazilian bassist who’s been based out of Chicago for almost a decade, Bonfim provides the listener with challenging grooves and musical gravitas that quickly make one forget that this album is his debut. Farewell/Depedida is primarily a collection of originals, with Bonfim walking his stellar band through nine challenging compositions. The band consists of Gerald Martinez on sax, Jonathan Wendell on percussion and drums, Casey Dahl on electric and acoustic piano, and Brazilian singer Ana Catharina Oliveira on vocals. They move with authority over these challenging compositions.
“Sister (Irma)” finds Dahl in particularly great form with a passionate piano passage, matching the intensity of Martinez’ alto sax work. Bonfim’s acoustic bass sings in 7/4 time, too, as it interweaves a dynamic story with Wenzel’s drums. “Farewell (Despedida),” the title track, contrasts beautifully. The bass and piano-driven ballad is reflective and moving. Martinez’s approach to what sounds like an alto sax is genuinely touching. His emotional rawness is matched by Bonfim’s riveting bass solo and Wenzel’s brushwork. Recorded in Transient Sound Studio in Chicago by Vijay Tellis-Nayak and produced by trumpeter Chad McCullough, Farewell/Despedida is moving, enjoyable, and captivating. The album, out now on Shifting Paradigm Records, should not go unnoticed.
PETER HIMMELMAN – ‘FLOWN THIS ACID WORLD’ (FOLK ROCK): Peter Himmelman’s 1992 release Flown This Acid World is captivating, showing the immense talent of all the musicians involved. With guitarist Greg Herenach’s intricate and soulful playing, pianist Jeff Victor’s melodic and emotive touches, bassist Al Wolovitch’s solid and groovy foundation, drummer Andy Kamman’s precise and dynamic rhythms, and vocalist Kristin Mooney’s powerful and expressive voice, this album delivers a truly immersive musical experience. The title track sets the tone for this album with its haunting melodies and thought-provoking lyrics. Himmelman’s songwriting shines through as he explores themes of self-discovery and personal growth. The combination of Mooney’s raw vocals and the band’s tight instrumentation creates an atmosphere that is both reflective and exhilarating.
“Beneath the Damage and the Dust” takes the listener on a journey through layers of emotions. The interplay between Herenach’s guitar and Victor’s piano adds depth and complexity to the song. Wolovitch and Kamman provide a solid backbone, driving the rhythm forward with precision and energy. Mooney’s heartfelt delivery captures the essence of the lyrics, leaving a lasting impact on the listener. “You Know Me Better Than I Do” is a standout track that showcases the band’s ability to create catchy and memorable hooks. The blend of Herenach’s tasteful guitar licks, Victor’s melodic piano lines, and Mooney’s soulful vocals make this song an instant favorite. Wolovitch and Kamman’s tight groove adds a layer of groove and sophistication to the overall sound.
The album also features the mesmerizing track “Untitled,” highlighting the band’s ability to create atmospheric and introspective music. Peter Himmelman’s poetic lyrics, combined with Mooney’s haunting vocals, create a sense of vulnerability and introspection. The musicianship throughout this song is exceptional, with each band member adding a unique touch to the overall sound. Overall, Peter Himmelman’s Flown This Acid World is a must-listen album for fans of thought-provoking music. With incredible musicianship from Greg Herenach, Jeff Victor, Al Wolovitch, Andy Kamman, and the captivating vocals of Kristin Mooney, this album offers a captivating musical journey. From the title track to the emotional depth of “Beneath the Damage and the Dust,” the infectious hooks of “You Know Me Better Than I Do,” and the atmospheric beauty of “Untitled,” this album showcases the versatility and talent of all involved.
JUN IIDA – ‘EVERGREEN’ (JAZZ): The first notes of Jun Iida’s “Gooey Butter Cake” create a joyous feeling that permeates his new album, Evergreen. Part of that feel is created by Iida’s expressive and forward-leaning composition style. The trumpeter and producer contributed six of the ten songs on “Evergreen.” Another element that raises the bar is Iida’s role as band leader and producer. Working with co-producer Josh Nelson, LIda incorporated excellent covers such as the Sonny Rollins/Elmo Hope composition “Bellarosa.” The song “Akatombo,” written by Kosaku Yamado, also adds a touch of flair with vocals by band member Audrey Johnson. Iida’s band includes Masami Kuroki on guitar, Xavier LeCoutiuier on drums, Jonathan Richards on bass, and Josh Nelson on electric and acoustic piano. They provide a nuanced sympathy to these songs indicative of their long-standing relationship with their band leader.
Iida is able to bring in elements from his youth, along with touches of classical and even hip-hop rhythms. As a result, songs such as the title track and “Shiki No Uta” are uniquely contemporary yet forward-leaning. Jun Iida’s solos are elegant and engaging, while the band gives moments to shine to make the entire album a treat. “Forgotten Memories,” with its tricky time signatures, tasty guitar breaks, and evocative trumpet parts may be my favorite song on the album. However, “Evergreen,” and the J-Pop gem, “Shiki No Uta” are also standouts. Evergreen by Jun Iida, out now on Origin Records, smokes from beginning to end. It’s a fine way to start 2024.
OZOMATLI – ‘OZOMATLI’ (FUSION ROCK): The 1998 self-titled album by Ozomatli, is a vibrant and eclectic musical journey that seamlessly blends genres such as hip-hop, salsa, reggae, and funk. Ozomatli showcases the band’s impressive musical versatility and ability to create infectious rhythms that compel listeners to move. Band members include Wil-Dog Abers, Ulises Bella, Raul Pacheco, Justin Poree, Asdru Sierra, and Jiro Yamaguchi. They infuse their diverse cultural backgrounds into the music, creating a rich tapestry of sounds. From the energetic brass section to the socially conscious lyrics, each band member contributes their unique style, resulting in a dynamic and engaging listening experience.
Tracks like “Cut Chemist Suite” and “Super Bowl Sundae” exemplify the band’s ability to seamlessly blend various musical influences while maintaining a strong social awareness. The album’s infectious energy and thought-provoking lyrics make it a timeless classic that continues to captivate audiences. Along the way, “Ozomatli” becomes a testament to the band’s creativity and musical prowess, solidifying their reputation as pioneers of the fusion music movement. This album remains a must-listen for anyone seeking a stimulating and culturally rich musical experience.
Check out the band’s entire catalog. You can’t go wrong. If they are in your ‘hood, make a point to see them – but be warned, you will dance.
REGGIE QUINERLY – ‘THE THOUSANDTH SCHOLAR’ (JAZZ): The Thousandth Scholar is a stellar jazz album showcasing not only Reggie Quinerly’s drumming prowess but also his skill as a composer and band leader. His quartet includes Matt Chambers on bass, Samuel Torres on percussion, and Manuel Valeria on piano. They contribute to a dynamic and engaging musical experience. Infused with a Spanish flavor inspired by Ahmad Jamal and Herbie Hancock, the album explores diverse influences. Quinerly’s composition “Children Song #10” shows his artistic depth with its nuanced backbeat and evocative conga rhythms. Collaborative efforts like Valeria’s “Folk Song” and “Invernal” add dimension to the album.
The quartet’s synergy is evident throughout. Additionally, their interplay is captured in a manner that enchants the listener. Produced by Reggie Quinerly with co-production by Valeria, the album reflects a meticulous approach to its sonic landscape. Following the success of “New York Nowhere” in 2022, “The Thousandth Scholar” reaffirms Quinerly’s position as a noteworthy figure in contemporary jazz.
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