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  Home arrow CD/DVD/Book Reviews arrow Anna Maria Flechero: Within the Fourteenth Hour
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TCJF 2016
 Thursday, 30 July 2015
Anna Maria Flechero: Within the Fourteenth Hour PDF Print
Written by Carmel DeSoto   
Sunday, 29 June 2008

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Within the Fourteenth Hour
 

Vocalist Anna Maria Flechero is the product of a culturally rich heritage and a vibrant musical environment. Born in San Francisco of African American and Filipino ancestry, she learned to play piano by ear as a youngster, writing tunes and lyrics that reflect the influences of the sounds of Motown and the Latin rhythms of her Mission District. Moving to Japan, Flechero honed her skills as a solo artist, accompanying herself on piano, composing and performing original songs and interpreting jazz standards. While in Japan, Anna Maria met legendary pianist Cedar Walton, who provided opportunities for her to perform with his trio. It was the beginning of a long-standing musical friendship.

Now in 2008, after hundreds of performances and years of creating her own personal style, Flechero once again had the opportunity to coordinate with Walton on her self-produced sophomore release, Within the Fourteenth Hour.  This soulful recording features 10 well-placed pop and jazz standards with a bonus track being an original Flechero cut entitled “Pretty Soon.”

The journey begins with the classic standard “Misty,” fashioned into a swinging up-beat track that is personified by Flechero’s distinctive voice and R&B inflections.  This track features the incomparable Cedar Walton, David Williams and Lewis Nash.  Their symbiosis is evident from the first notes, clearly articulating an atmosphere of interaction and chemistry.  The first “A” features Williams and Nash trading rhythmically active phrases, while Walton’ s solo lines dance atop, creating interest and bounce within the spaces of Flechero’s vocals.  This symbiosis allows Flechero to command the cut with playful passages and confident scat lines that clearly punctuate the setting as being a true jazz cut.

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Anna Maria Flechero
“What A Difference a Day Makes” has a Smooth Jazz/Latin overtone, extremely cross-over in nature, that shines a new light on this Grever/Adams classic, transporting you to a sunny beach with cocktails, friends and good times.  Flechero’s breezy vocals and phrasing allude to Jamaican flavors, a playful summery cut that gets you ready for the weekend.  This track features Jeffrey Chin (piano), Ron Smith (guitar), Nelson Braxton (bass), Billy Johnson (drums), Melecio Magdaluyo (sax), and the bus-driver to this track’s instrumental flavor, Karl Perazzo (percussion).  The ensemble provides a relaxed samba feel over which Magdaluyo plays a melodic and thoughtful solo.  Flechero adds nice vocal ornamentations to the last statement of the melody and the vamp out.

The Cedar Walton Trio guests once again on “God Bless the Child,” creating a strong traditional jazz interpretation of this Billy Holiday standard.  This cut gives us the chance to see an intimate, more serious side of Anna Maria’s vocals as she conveys a storyline of honesty and sincerity with each passing phrase.  Walton’s trio creates a metric modulation within the solo section, creating a nice texture change within the cut.  Flechero sells the track to the final low note while Walton, Nash and Williams delicately punctuate the final outro.  
 

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Anna Maria Flechero
Anna Maria’s incomparable voice creates a voyage from start to finish, each song having its own specialty and flavor to truly create a diverse passage from track, to track, but it is in the final cut, “Pretty Soon,” where we get a full view of Anna’s abilities as a lyricist and composer.  Her lyrics convey a story of one who has lived through many facets of life, including the death of a loved one.  It is a song of devotion, strength and endurance.  Musically, Anna Maria has created a beautiful composition that is texturally stunning and harmonically rich.  Within the Fourteenth Hour is a CD worth adding to any music aficionado’s CD collection. Whether your desire is jazz, island, smooth-jazz, Latin, nu-soul, old soul or to heal your soul, this is the CD for you.  Take the journey Within the Fourteenth Hour.



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George and Chico Freeman/Michael Gibbs and the NDR Big Band
Written by Kevin O'Connor   

 July is rapidly becoming a month for the books. Having cleansed myself with a trip to the Rockies, I returned to the usual piles of material on my desk. Here are just a couple I couldn’t wait to devour:

 

George and Chico Freeman:  All in the Family (Southport)

ImageOnce in a while, the toils of a Music Director in a jazz station present a challenge. That is, every so often a recording comes along that simply blows me away but isn’t quite, in the parlance of the industry, a “radio friendly record.” Such is the case with an intimate new tribute album from the venerated first family of jazz in Chicago, the Freemans. The focus of this gem is on revered saxophonist Von “Vonski’  Freeman, who left us in 2012. Von was a true denizen of the City of Big Shoulders, having inspired countless players from Chicago.

 


But his sphere stretched well beyond the Midwest. Generations of players have absorbed his crafty approach to saxophone, sometimes without their knowledge.  He was also difficult to pigeonhole, so it’s only right that a musical postcard should be crafted by two of his closest relatives and sidemen:  Brother George and son Chico. In spite of, or perhaps all the better for, its intimacy, All in the Family is a challenge for the typical radio audience.  With its sweet interludes and seamless themes, this is one better left on “Continue” for your player, should you actually have one. Having said that, you’ll hear select tracks on KBEM for at least a couple of months.


Michael Gibbs and the NDR Big Band  Play a Bill Frisell Set List (Cuneiform)

ImageIt was once said by somebody, sadly not me: “Bill Frisell is a genre unto himself.” Though the guitar-brandishing fret wizard from Seattle chuckles it off, there’s rarely been a more apt description of a musician.  Frisell is a celebrated change-aholic, but not in the conspicuous ways of many of his peers.  With each recording, he explores new and strange visions. He’s never been above resorting to great gadgetry -- tape-loops, turntables, electronics. But he’s also disarmingly organic and as pure a jazz player as it gets, when the mood suits him.


This time, it’s not Frisell at the helm but NDR bandleader Michael Gibbs. Bill does appear on every track of this set list, which as the title betrays, is a live stab at the best and oddest of Bill’s pieces and his known renditions of other composers: “Benny’s Bugle” and “You’ve Got to Hide Your Love Away.”  This hits the airwaves this week.  



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Robert Glasper: “Covered” (2015, Blue Note)
Written by Kevin O'Connor   

ImagePianist Robert Glasper is that all-too rare jazz musician who manages to reel in a respectable and growing crowd of jazz fans. More significantly perhaps, he also resonates with the hip hop and electronica crowd, particularly the ones who like a little substance and grit in their pop. There’s barely anything in the way of new composition on Covered, hence the title. The glaring exception is “Got Over.” Glasper  shares writing credits with no less than Harry Belafonte, who also appears on the track. The other original clocks in at thirteen minutes: “In Case You Forgot.”  It’s an opus unlike any he’s recorded to date. He also joins the ranks of pianists like Brad Mehldau in showing reverence for Radiohead, Joni Mitchell and other pop noteworthies.  



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