Aleph Aguiar: Sugar On My Blackbeans
Spirit-lifting Venezualian-born and UK-based guitarist Aleph Aguiar doesn’t deal in highfalutin, mildly grotesque concepts heard everywhere these days from corporate office to independent broom closet. Inspired by the music of his youth, Aguiar’s Latin soul jazz is no-nonsense – though not to be confused with frivolous. His band, including the fiery trumpeter Quentin Collins and well-versed organist Liam Dunachie, is expert at various lively rhythms and brings serious solo heat.
Constantly energetic, Aguiar’s third album thrives on slight switches of Latin-tinged rhythm, such as Panspermia (Afro-Venezuelan), Sugar On My Blackbeans (think Pucho & His Latin Brothers) and Mondongo (homage to Mongo Santamaria), not to mention Aguiar’s soulful and fast-fingered style in the vein of George Benson and Pat Martino (with a bit of unsung hero Freddie Robinson thrown in). Shuffle blues Mudwalk makes clear that Aguiar is no stranger to gutsy, American-style swing.
Apart from the overwhelming, sweet-toned Little Daisy, Aguiar’s high-pressure style blends well with the buoyant sounds of Sugar On My Blackbeans, a delicious dish served with palpable enthusiasm.
Discography
Panspermia; Mudwalk; Blue Tourpials; Sugar On My Blackbeans; Little Daisy; One For Sorrow Two For Joy; Monk Lakes; Reflected Three; Mondongo (65.25)
Aguiar (g); Quentin Collins (t); Liam Dunachie (org); Will Fry (b); Shane Forbes (d). Place and date unk.
ECN Music 505
Pat Bianchi: Confluence
Supposedly the title of Pat Bianchi’s tenth album refers to a merging of traditional organ jazz with new sounds: a brave effort from one of America’s premier organists, who furthermore exceeds himself in reimagining classic jazz repertoire, refreshing the Fats Waller warhorse Jitterbug Waltz in 7/4 time and Coltrane’s Wise One in bossa mode.
Bianchi’s variety of sounds may have caused a certain lack of coherence, stretched to the limit with the contrast between the Fender Rhodes-ish jazz funk of Dizzy’s Dilemma and old-timey, orchestral Come Rain Or Come Shine. Still, Bianchi’s experiments eventually pay off, adding sparse layers of synth to the gritty groove of his B3 organ. Neat details like the background harmony of Troy Robert’s electronically enhanced tenor saxophone add to the lustre of Confluence’s modern organ jazz programme.
Bianchi’s is a top-tier trio, completed by drummer Colin Stranahan. I’m particularly taken in by its extravagant version of the ol’ Sinatra-vehicle It Was A Very Good Year. Mutually inspiring, Bianchi and Roberts put the pedal to the metal, equally creative partners in a Hammond combo of note.
Discography
It Was A Very Good Year; Jitterbug Waltz; I Guess I’ll Hang My Tears Out To Dry; The Song Is You; Dizzy’s Dilemma; Come Rain Or Come Shine; Wise One (65.25)
Bianchi (org); Troy Roberts (ts); Colin Stranahan (d). Paramus, New Jersey, 10 June 2025.
21H Records 005
Ray Charles: No One Does It Like… Ray Charles!
Among current reissues by Tangerine, the label that Ray Charles founded in 1962 and that released his own jazz, soul and country repertoire as well as records by Louis Jordan and Percy Mayfield, No One Does It Like… Ray Charles stands out as, in the words of the PR-machine, “the great album that never was” – “never” implying that it is a new compilation of singles and bonus tracks.
In the mid-60s, Ray Charles had hit the big time and though this was reflected by ventures into popular music, the singer and pianist regularly relied on his R&B chops, releasing numerous tracks on Tangerine through the years. This album includes a couple of his best efforts and though My Baby Don’t Dig Me can’t compete with his groundbreaking work on Atlantic from the 50s, it’s a niftily crafted ball of fire, further embellished by the omnipresent vocal group The Realettes. Something’s Wrong is an exquisite ballad, sung with typical intensity and a strong sense of foreboding, certainly one of Charles’s greatest ballad offerings.
No need to blow it up to so-called “classic” proportions, but No One Does It Like… Ray Charles – released on CD and LP – is a treat for fans of his R&B repertoire who, like me, will have several aha-moments but will also be pleasantly surprised by obscure goodies.
Discography
My Baby Don’t Dig Me; Without Love (There Is Nothing); The Brightest Smile In Town; Hide Nor Hair; My Baby (I Love Her, Yes I Do); No One; Don’t Set Me Free; Something’s Wrong; At The Club; Worried Life Blues; Who You Gonna Love; My Heart Cries For You (65.25)
Charles (v, p); Margie Hendrix (v); Gerald Wilson (arr); other unknown personnel. Los Angeles, 1963-66.
Tangerine 22502
