Duchess: A Marvelous Party. Review by Emma Forestier
In the landscape of contemporary vocal jazz, Duchess occupies a place of its own. Bringing together New York-based singers Amy Cervini, Hilary Gardner and Melissa Stylianou, the trio has reimagined the spirit of the great female vocal groups of the last century. While the benevolent shadow of the Boswell Sisters and the Andrews Sisters hovers over their music, their artistry is never merely nostalgic; rather, it extends that legacy with intelligence, freedom and a deeply infectious sense of joy.
With A Marvelous Party, Duchess offers far more than a new album: it is a celebration – of friendship, of the stage, of voices intertwined and of that singular joy jazz can inspire when it is rooted in deep listening and unwavering musical complicity. In an often fragmented world, the record reminds us of one of music’s essential virtues: its power to bring people together. Conceived as a succession of scenes and atmospheres, A Marvelous Party unfolds like an ideal evening in which each song reveals a different facet. Here, glamour meets mischief; there, nostalgia is softened by tenderness and uplift. The trio moves seamlessly from one mood to another, turning the listening experience into a sensitive and subtly theatrical journey.
Beneath its apparent lightness lies a deeper meditation on time: the time that softens memories, the time that allows songs to travel across generations, and the time that, through years of performances, has shaped the unique vocal chemistry that has become Duchess’s signature.
The inventive arrangements of Grammy-nominated producer and arranger Oded Lev-Ari are central to the album’s success. By combining the trio’s close-knit harmonies with a rhythm section and a five-piece horn ensemble, he creates a spacious and luminous sound inspired by the great jazz orchestras. It is a refined musical setting that highlights not only the singers’ impeccable musicianship but also their sense of playfulness and elegance.
Since its formation in 2013, Duchess has earned international acclaim through the warmth of its performances, its irresistible swing and its rare ability to bridge memory and modernity. With A Marvelous Party, the trio delivers a radiant and generous recording in which the art of vocal jazz becomes both a celebration of the past and a promise of joy in the present.
Discography
This Could Be The Start Of Something Big; Lucky Day, Are You Having Any Fun?; Ain’t That A Kick In The Head; Enjoy Yourself; Hey, Look Me Over; It’s All Right With Me; Champagne; Put On A Happy Face; Is That All There Is?; Danke Schoen (37.00)
Amy Cervini, Hilary Gardner, Melissa Stylianou (v); Michael Cabe (p); Jesse Lewis (g); Matt Aronoff (b); Jared Schonig (d); Erica von Kleist, Jason Rigby, Owen Broder (s); Summer Camargo (t); Nick Finzer (tb); Oded Lev-Ari (p on Danke Schoen)
Anzic Records ANZ0096
Luis Tovar: Colores. Review by Emma Forestier
After Back To My Roots (2024), an introspective album revisiting his Venezuelan heritage through the prism of modern jazz, drummer Luis Tovar continues his exploration of identity with Colores. This new opus stands as the culmination of an artistic path patiently developed over the years: a form of jazz deeply rooted in Venezuelan and Afro-Caribbean traditions, while fully embracing the languages of contemporary jazz.
As its title suggests, Colores (“colours”) reveals an aesthetic grounded in the plurality of sensations and perceptions. For Tovar, colour extends beyond the purely sonic realm: it becomes cultural, emotional and rhythmic, forming the very substance of his musical writing. The album’s structure extends this sense of journey, shaping a music conceived as a space of encounter and sharing. The track titles offer striking glimpses of this vision in Recuerdos, an introspective parenthesis turned toward memory, and in Échale Limón, infused with a festive and popular energy.
Thus, Colores unfolds as a narrative and organic jazz album, in which Luis Tovar turns the language of percussion into a true storytelling tool. Each piece becomes a hue, an emotion, or a fragment of memory, forming a coherent fresco: that of a musical identity in motion, between Venezuela, the Caribbean and contemporary jazz.
Discography
Ironwood Stage Door; Casa No. 40; Discovery; Galaxy Of Rhythms; Colores; Tamborero; Three Reincarnations; Recuerdos: Échale Limón; Ole Ole; La Nueva Esencia – Conversación (43.00)
Stephen William (s); Jon Day (p); Daniel Nava (b); Tovar (d). Guests: Tina Hartt, Emily Tovar, Sofia Orea (v).
Chronograph Records CR-123
Justin Chart: The Nightside. Review by Richard Berg
The opening tracks, like A Polaroid Of You, establish a late-night urban aesthetic where the saxophone doesn’t just play over the rhythm – it breathes with it. Chart’s tone is exceptionally vocal here, maintaining a melodicism that feels like a conversation held in a dimly lit jazz club at 2 am. Brian Charette’s contribution cannot be overstated. His work on the Hammond B3 provides a thick, percussive texture that replaces the need for a traditional bassist, allowing the duo to explore a wider range of harmonic space. On tracks like Minutes Before Impact, Charette oscillates between deep, soulful grooves and ethereal, shimmering swells. This organ-trio vibe gives the album a grounded, gritty soul-jazz feel that harkens back to the classic Blue Note era while remaining firmly rooted in the present.
The brilliance of The Nightside lies in Justin Chart’s unique ability to compose in the moment. Unlike many contemporary players who rely on rehearsed patterns, Chart approaches tracks like As It Isn’t with the mind of an architect, building solos that have a clear, logical progression. Featuring Brian Charette adds a layer of sophisticated grit to these constructions. Charette’s rhythmic drive provides a flexible canvas, allowing Chart’s alto saxophone to soar with a biting, clean energy that is both nostalgic and avant-garde.
One of the standout elements of this release is the rhythmic foundation. Vince Fossett Jr. keeps it tight, letting us know he is the rhythmic heart beat giving us subtle shifts in dynamics. The album maintains an infectious sense of swing throughout, particularly on The Gimme Vibe. The interplay is tight and intuitive, suggesting a deep level of musical trust between Chart and Charette. There is a palpable live energy to the studio recordings, capturing the in-the-moment philosophy that has defined Chart’s recent output. The production is crisp, ensuring that every nuance of the organ’s drawbars and the saxophone’s reed is heard.
The Nightside feels like a noir-inspired journey through a sprawling metropolis. Justin Chart’s alto saxophone acts as the narrator, guiding the listener through a landscape of Summers Ago and Rivers To Cross. His sound is warm, memorable and slightly melancholic, possessing an evocative quality that is rare in today’s tech-heavy scene. The track Glad You Could Attend highlights the duo’s ability to create a vibe instantly. Charette’s percussive approach to the keys adds a rhythmic urgency that pushes Chart to some of his most inspired playing on the record. There is no pretension here – just pure soul and staggering technique. The album moves fluidly from upbeat, jaunty numbers to slow, sultry ballads, baring the musical souls of its creators without inhibition. It captures the electric energy of a city that never sleeps, translated into 10 tracks of high-calibre jazz. Fossett Jr. provides that constant pulse that allows the soloists to explore without losing “the one”.
Ultimately, this collaboration is a testament to the power of organic musical connection. In an era of over-produced digital tracks, The Nightside stands out as a triumph of human intuition. Whether you are a die-hard jazz aficionado or a casual listener looking for something evocative, this album offers a depth of emotion that is hard to find elsewhere.
Discography
A Polaroid of You; Glad You Could Attend; Minutes Before Impact; As It Isn’t; Summers Ago; Justin’s Jam; The Gimme Vibe; Like That One, Man; My Sound is All Around; Rivers To Cross (45.00)
Chart (as); Brian Charette (org); Vince Fosset Jr. (d). LA, c. 2025.
Universal Music Group