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 Wednesday, 16 May 2012 |
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Multi-Talented Jessy J’s Tequila Moon |
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Written by Joe Montague
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Tuesday, 22 April 2008 |
 Tequila Moon To say that singer, composer and saxophonist Jessy J is a gifted artist almost seems like an insignificant statement, in light of her exquisite debut album, Tequila Moon (Peak Records). She woos you in Spanish as she coos the words to Consuelo Velazquez’s “Besame Mucho” (with an arrangement by Paul Brown and Jessy J), and she seduces you subtly with soft and tender chords from her tenor sax, as she plays the title track, “Tequila Moon.” On this CD, Jessy J also demonstrates her versatility as an artist by playing the flute (“Fiesta Velada”) and the soprano saxophone (“Poetry Man,” and “Running Away”). While Tequila Moon, released on March 4th, possesses a decidedly Spanish flavor, this is not an album featuring rapid-fire percussion beats, nor does it have heavy melody lines. It is instead a lighter fusion between Latin rhythms and melodic pop elements, but all the while retaining a jazz harmonic structure.
Producer Paul Brown and the management of Peak Records surrounded Jessy J with seasoned and talented musicians, such as bassist Roberto Vally (formerly of Spyro Gyra), keyboardist Gregg Karukas, and two-time Grammy winner Brown, who in addition to acting as producer plays guitar on six of the tracks. Brown enjoyed hit songs while recording with Norman Brown (“Up And At ‘Em”), Euge Groove (“Get ‘Em Goin’”) and Peter White (“What Does It Take [To Win Your Love]”). “Besame Mucho,” written by Velasquez in 1940 while still in her mid-teens, has been covered by scores of legendary singers over the years, including José Carreras, Jaő Gilberto, Carmen McRae, Edith Piaf and Nat King Cole. In recent years, the song has been covered by Diane Schuur, Diana Krall and Michael Buble. I am told that the words “Besame Mucho” can be translated as, “kiss me a lot,” or “kiss me much,” and with the lilt of Jessy J’s voice mirroring her physical beauty, it would not be surprising if one were to discover that numerous men at her concerts are singing the words to “Besame Mucho” back to her. Perhaps one of the prettiest love songs ever written, “Besame Mucho” is further enhanced by Jessy J’s eloquent phrasing, Vally’s tender bassline, and Brown’s elegant guitar chording. Listening to the twenty-six year old Jessy J weave magic with her soprano saxophone as she plays the lyrical “Running Away,” which she co-wrote with Brown, and then opting for a tenor-voiced horn on Leon Russell’s “Song For You,” one must ask the question: If she is already this good, how great can she become? Like Mindi Abair, Jessy J is able to serve up evocative phrases that transcend the jazz and pop genres, and in Jessy J’s case, she add some gentle Latin spices.
From the opening track “Tequila Moon,” until the last notes of “Song For You” fade gently into the twilight, Jessy J’s music will charm you and hold you as a willing captive under its enchanting spell.
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New and Notable |
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Written by Andrea Canter, Contributing Editor
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 Upstate New York native Park Evans relocated to Minnesota to study classical guitar, and soon found himself among the Twin Cities’ jazz guitar elite, heading his own bands like Parker Paisley and Firebell, and making his presence heard and felt in many other genre crossing ensembles, including the Enormous Quartet, Charlie Devanna, Fonster, Tickle Fight and more. For his third recording of original music, Satori for a Hungry Ghost, he gathered Parker Paisley cohorts Brandon Wozniak (tenor sax), Adam Wozniak (bass), and Pete Hennig (drums), with Greg Schutte handling recording and mixing, and Matthew Zimmerman mastering it all at Wild Sounds Studio. All 8 tracks were composed by Evans, with the finale “Emmanuel Jackson” based in part on the traditional “Oh Come Ye Emmanuel.”
If “satori” refers generally to the Buddhist concept of “enlightenment, ” then Parker Paisley meets expectations for an album that brings to light (and sound) the creative play of both the ensemble and its leader, with each track casting a beam that focuses on one or more aspects of their talent and collaboration. “Annihilation” opens the set on ambient notes, soon moving to the surprise of popping guitar statements that set up Brandon Wozniak’s melodic wanderings. The title track follows with Evans’ own laid-back lyricism and an assertive drum break from Pete Hennig. “Could You Be Deceived?” mines funky guitar antics with a touch of country jig; Hennig and Adam Wozniak keep busy driving the pulse and saxman Brandon teeters on a playful R&B ledge. “Divas of the Tenor” is a mere 28 seconds of slightly trashy bebop funk – perhaps a joking interlude between takes? Let’s have some more of this! Brandon gets a lot more time to stretch on “Jean Grey,” where bop balladry meets his 21st century musings, with guitar and bass providing a gently simmering commentary; Adam’s bouncy solo serves as agitator for the ensuing discussion among guitar and sax, with a final fade out that suggests a more other-wordly conversation. “Third Persona” also features Adam, soloing over some ambient guitar effects that evolve into a more direct exploration via guitar, then sax, then ensemble. “What You Saw Before Drowning” reveals Brandon’s more introspective side, weaving around the outline traced by guitar and bass; just when the track seems to settle into a predictable groove, something –someone—shifts the conversation; here it’s Evans interjecting mellow acoustic suggestions, with Adam providing a majestic summation. The set closes with “Emmanuel Jackson,” Park and Brandon using the traditional melody as a hymnal launching point, Hennig providing a sheer backdrop of cymbals. It’s a very satisfying set, to be celebrated this weekend (Friday, April 13 at 9 pm) at Jazz Central. Jazz Central is located at 407 Central Av NE in Minneapolis, lower level. More about Park Evans and Parker Paisley at www.myspace.com/parkevans |
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Written by Andrea Canter, Contributing Editor
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 Putting a sax in front of an organ trio is nothing new, but what about a bari sax? Honoring the much-neglected Hammond B-3 ace Don Patterson, bari master Gary Smulyan has found a winning combination with Mike LeDonne (organ), Peter Bernstein (guitar), and Kenny Washington (drums) on his new Smul’s Paradise. The eight tracks of swinging grooves include two from Patterson, three originals including Smul’s tribute, “Blues for D.P,” and three covers, including one from frequent cohort George Coleman. The set opens with Bobby Herb’s spinning, joyful “Sunny,” the longest track and a great introduction to the many facets of the bari sax. Patterson’s works include the soulful, Cannonball-esque “Up in Betty’s Room” which features a lightly prancing LeDonne and the limber, tenor-like gymnastics of Smulyan; “Aires” (co-written with Sonny Stitt) initially suggests the balladic Ben Webster or Coleman Hawkins had they moved down to bari, while solos from Bernstein and LeDonne gild the track with bit of homespun blues. The title of Coleman’s “Little Miss Half-Steps” spells out the boppish form that provides a playground for Smulyan’s slippery phrasing, here punctuated by popping insertions from Washington; the drummer also elevates Peewee Ellis’ “Pistaccio,” given it an almost Latin groove beneath Smulyan’s and Bernstein’s ever-elegant maneuvers. Smulyan’s title track showcases Bernstein and LeDonne as much as the composer himself, all swinging hard from the heart and sharing the lead as a formidable team. LeDonne in particular recapitulates the acrobatic lines of the horn as the full ensemble winds its way through “paradise;” Washington drops a series of small bombs in connecting the leading voices. “Blues for D.P.” is the bluest journey of the set, Smulyan digging deep and reaching high, swinging all the way and opening the gate for some very tasteful organ work. The closing “Heavenly Hours” seems closely based on “My Shining Hour,” taking Harold Arlen above mere mortal blowing with a bari-drum workout, one of the album’s highlights. It’s a short distance from “Heavenly Hours” to Paradise a la Gary Smulyan. |
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