Joe Marcinek Band: The Groove Session (Vintage League Music)
It is difficult to convey in words the sheer energy and exuberance the Joe Marcinek Band brings to this recording, a studio project based on the energy of a live concert. Marcinek seems to thrive on the immediacy of performing live, and very often that sense of being in the moment does not work well within the confines of a studio. There are no such challenges here. For most live performances, Marcinek works with new musicians on new music, so no two performances are the same.
The Groove Session successfully captures that sense of spontaneity and presents eight high-energy compositions from Marcinek in a blistering set that lasts around 45 minutes. In a way it would be unfair to single out particular contributors for praise as the whole unit works so tightly together. However, Greg Spero and Tracy Silverman (keyboards and electric violin respectively) really do put in an excellent shift, offering staggeringly dexterous performances on their instruments.
Shades of progressive rock, blues, funk, Latin and soul are all added to the mix. Manny and Ronnie Sanchez keep everything moving along with solid but swinging work on drums and bass. Marcinek leads from the front on guitar, but this is very much a team effort, and after a couple of tracks wrap up there are whoops and claps of sheer delight from other members of the band. A spirited and wonderfully enjoyable listen that celebrates the magic and power of making music.
Jason Miles: The Lisbon Electric 4Tet & Cosmopolitan (self-release)
Here are two albums released by Grammy-winning composer, producer, arranger, keyboardist and synthesist Jason Miles. Miles is a busy man, releasing new material, a book and looking back on past glories with music from his archive being released as well. The Lisbon Electric 4Tet comes from what he describes as his “future groove”.
On this new material, Miles is joined by Tiago Oliveira (elg), Yami Aloelela (elb) and Vicky Marques (d) for some pleasant if undemanding smooth-sounding jazz. It’s easy on the ear if not a bit bland in places. The synth-washed melody of Mr James is the sort of track you can imagine kicking off the evening disco at a wedding. At 37 minutes, and with a few radio edits and duplicate versions of songs, this does feel a bit light on substance.
Cosmopolitan is perhaps the more interesting of the two releases, hailing from 1979 and never released. Jason discovered the tapes of it in his archive over 45 years later. It features Michael Brecker on tenor sax, Gerry Niewood (alto and soprano sax), Marcus Miller (bass), Ricardo Silveira (guitar) and drummer Jeff Williams – all jazz and fusion artists who went on to become big names over the following years. Miller went on to work closely with Miles Davis (as did Jason Miles himself).
Comparing the two recordings, there is a freshness and sense of adventure on Cosmopolitan that seems missing from the Lisbon set. It is also interesting to hear sounds that anchor music in a particular time. The combination of funky electronic beats layered with saxophone and keyboards on Cosmopolitan makes the album a time portal back to those jazz-funk days in New York City. It holds up well over four decades after it was originally conceived and recorded. Just listening to title track Cosmopolitan – with a haunting, dervish-like theme developing over seven minutes – gives you enough to know that this is going to be a wonderful step back into those times at the close of the 1970s.
Nadav Schneerson: Sheva (Kavana Records)
Nadav Schneerson is a London-based drummer, composer and producer. His music is an exciting, pulsing combination of modern jazz and influences drawn from around the Middle East. Largely self-taught, Schneerson composes straight from the piano and is led by the sound of dramatic melodies and harmonies as his ideas take shape. The respect for jazz and his spiritual Jewish heritage can be heard throughout this recording, which features some fine musicians. There is both a traditional and experimental, youthful feel to the structure and performances.
Shades of bebop plus the out-of-the-box thinking of Davis, Monk and Mingus and other pioneers and risk-takers are all at work in these complex but accessible tracks. British Nigerian vocalist Afronaut Zu provides powerful vocals on Juju Man, which is also underpinned by more Mingus-influenced bass. There is a hypnotic, spiritual quality to many of Schneerson’s compositions that makes for a dizzying listening experience. The album closes with a scorching performance of a track called Stampede. Everything that Sheva represents seems to come together on this finale, with blistering horns, thunderous keyboards and propulsive drumming from Schneerson at the helm.
This young composer in a hurry has gone for quality over quantity. The album runs just over 38 minutes, which only adds to its refreshingly direct, fresh nature. It was recorded over just two days in 2022, the no-messing around feel to recording and production a throwback to the days when classic jazz albums didn’t take ages to come to fruition.
