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AAJNY Review Her story reveals the symbiosis between personal pain the standards. At the same time, though, his quintet and early jazz and that story is best told through her still accentuates traditional motifs. recordings. Two reissues from early and middle “Loca Bohemia”, composed by Francisco De Caro portions of her career show both the gradual demise of in the ‘20s, is a nostalgic, romantic piece in which her singing ability and a descent into self-revelation so Aslan shines. His earnest, bluesy bass makes the first painful that all questions of ability are silenced. move, remaining a notable and affecting voice in the God Bless The Child is a 14-cut compilation of the rest of this song and leading Retamoza and Rogantini singer’s studio work for Columbia Records from 1935 in a sentimental tango. The dialogue between the tenor to 1942, when she was 20 to 27. Her voice is bright and sax and the piano is evocative and melodic, an OM/ShalOM smiling and the arrangements (most played by Teddy improvisational discourse that threatens to enter Michael Stephans (Endemik) Wilson and his orchestra) are perky and swinging. postbop jazz territory and leave tango behind. by Laurence Donohue-Greene Even “My Man”, which later became one of her most Perhaps the most successful fusion is found in anguished signature songs, appears at an optimistic “De Puro Guapo”, a composition written by Pedro Some may associate a certain repetitive quality with midtempo. Among the notable sidemen are saxist Laurenz. The quintet’s rendition is a sophisticated Jewish melodies - they’re either upbeat and highly Lester Young (who forged a life-long friendship with gem in which some of the musicians’ best rhythmic, or almost mournful pieces more suitable for Holiday) on “Easy Living”; future bandleaders Benny performances emerge. The bass is languorous and listening than dancing. In some cases they’re both. Goodman on “I Wished On The Moon” and Artie seductive, like a pair of lovers dancing the Argentine Drummer Michael Stephans adds to this two- Shaw on “Billie’s Blues”; and sax player Ben Webster tango; the piano is soft and boundless in the range of dimensional notion on OM/ShalOM, his very personal on several tunes. The performances mark the emotions it evokes; and the percussion brings the tune and well-rounded new self-released project, what auspicious beginning of a formidable jazz talent. to its fiery climax smoothly. The result is a song that is might have been a prime candidate for John Zorn’s By the last of the 28 cuts on Masters of Jazz, the subtle like the steps of tango and imaginative like the “Radical Jewish Culture” series. singer’s physical decline is evident. But these live extemporizations of jazz. Featuring the stellar and diversely talented Dave performances, recorded from 1944 to 1951 in New A native of the Argentinean capital, Aslan’s Liebman (tenor, soprano, piano, wood flute), Bennie York, Los Angeles and Boston, are compelling in their knowledge of and passion for tango pulses through Maupin (tenor, alto, sopranino, bass clarinet, alto emotional intensity; the light-hearted tunes and girlish Buenos Aires Tango Standards. This record represents a flute) and Munyungo Jackson (percussion) - all Miles timbre have disappeared almost completely by the marriage between tango and jazz - and with such a alums - along with bassist Scott Colley, this 1949 shows. Storyville wisely presents the Holiday well-versed ensemble, it is no wonder that the sensational group is an intriguing meeting point of material in chronological order and includes duplicate marriage is such a happy one. Jewish melodies with mid- to late-period Coltrane. versions of some tunes, like “Miss Brown To You” and With a potpourri of group textures at Stephans’ “Lover Man”. For most of the shows Holiday performs For more information, visit www.zohomusic.com. Aslan is fingertips, he ably supplies colorful tempo changes in small groups with players such as Art Tatum at Barrow Street Theater Apr. 3rd with Raul Jaurena and and a percussive approach, supplementing each (piano) and Stan Getz and Coleman Hawkins (tenor Apr. 10th, 17th and 24th as a leader, The Stone Apr. 8th soloist and creating a leaderless ensemble sound. sax); one of the most gut-wrenching moments is and Rose Hall Apr. 13th-14th with the Afro-Latin Jazz Their late February CD release concert displayed this Holiday’s heavy rendition of “Strange Fruit”, voice Orchestra. See calendar. honed concept (minus Jackson) at the Blue Note for and piano only, recorded at the Storyville Club in two sets of some of the most memorable music heard Boston in late 1951. The quality of the recordings is live this year. sometimes poor - “many of the original sources were “Avinu Malkeinu” marks the correlation of what private tapes, acetates transcriptions, or other media Stephans refers to as his epiphany. Avoiding the not in pristine condition,” reads the inside back cover. fusion of Coltrane themes with Jewish melodies or When it comes to Holiday, however, pristine is neither klezmer-ifying Coltrane tunes (as interesting as that expected nor necessary. actually may sound), instead Stephans retains a common thread by utilizing bass lines and the For more information, visit www.legacyrecordings.com and droning, quest-like qualities of Trane’s music. www.storyville-records.com. James Carter celebrates Liebman, who sums up Stephans’ unique project as Holiday at Zankel Hall Apr. 11th. See calendar. “Jewish music with a twist”, plays soprano as if a clarinet, delivering cantor-esque lines (“Play the Balalaika”) and klezmer inflections out of his straight horn. Liebman, however, is most exemplary on the ever-familiar theme of “Hava Nagilah”. With everyone sitting this one out except Stephans, the duo give the building rhythmic melody perhaps its greatest jazz workout; it’s like an unearthed recording of Coltrane and Elvin Jones at a Bar Mitzvah! For more information, visit www.michaelstephans.com. Buenos Aires Tango Standards Stephans is at Jazz Standard Apr. 1st with Bennie Maupin. Pablo Aslan (Zoho) See calendar. by Ivana Ng The bass is usually an accompanying instrument, but in Buenos Aires Tango Standards, bassist and native Argentinian Pablo Aslan presents the instrument prominently to convey the stealth and sensuality of tango music. When Aslan returned to his native Buenos Aires in 2005 after living in the US for 25 years, he found what he calls “a fertile pool of musicians who were professionally and creatively engaged in both [the tango and the jazz] worlds”. Alongside pianist Abel God Bless The Child Masters of Jazz Rogantini, tenor and baritone saxophonist Jorge Billie Holiday Billie Holiday Retamoza, trumpeter Gustavo Bergalli and drummer (Columbia-Legacy) (Storyville) Daniel Piazzolla, Aslan has created a stunningly by Suzanne Lorge inventive record that merges the dynamic relationship Billie Holiday began singing professionally in 1935 and improvisational skills of a virtuosic group with and toured and recorded until her death in 1959. Her the lush compositions of influential tango composers only hiatus from performing came during a 10-month like Eduardo Arolas and Agustin Bardi. Instead of stay at the Federal Woman’s Reformatory in adhering to the precision of tango, however, Aslan lets Alederton, West Virginia for drug possession in 1947. loose, giving his bandmates free reign in interpreting ALLABOUTJAZZ-NEW YORK | April 2007 25.
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