Roberto Occhipinti - The Next Step (March 4, 2022 via Modica Music)

Bassist Roberto Occhipinti presents The Next Step due out March 4, 2022 via Modica Music

Modica Music is delighted to announce the release of Roberto Occhipinti’s latest record The Next Step on March 4, 2022. Joining Occhipinti to explore a tightly synthesized collection of influences from his diverse career are two musicians with roots in the Toronto music scene – pianist Adrean Farrugia and two-time GRAMMY winning drummer Larnell Lewis. 

Bassist Occhipinti is an established presence on both the Canadian and International jazz scenes. A five-time Juno Award recipient, Occhipinti is in demand across an astounding range of contexts. The latter part of his career has seen Occhipinti recording with a number of Cuban musicians, on projects with Hilario Duran and Jane Bunnet in particular, but there are few formats Occhipinti hasn’t been involved in, from playing bass in Canada’s top-rate orchestras, to cutting-edge contemporary music, to Latin American performances, and work with top musicians from Africa and Asia. Performing credits span from John Cage and Terry Riley to Stevie Wonder, Tony Allen and Damon Albarn.

The Next Step, Occhipinti’s sixth release as leader, looks to synthesize his diverse collection of musical interests via a classic jazz format. During the pandemic, Occhipinti was fortunate to keep recording (he owns a recording studio, and heads up Modica Music). That precious time was used to consolidate the projects he was involved in, and move into a new creative space of his own – the piano trio: “I decided I would concentrate my own efforts on doing a piano trio project, one my favorite musical combinations.” This is Occhipinti’s first trio project as leader, taking inspiration from a host of the jazz greats. “It’s always been a favorite form of mine, from the time I started playing bass after hearing Ray Brown in the Oscar Peterson Trio, then moving on to the classic Bill Evans trio with Scott LoFaro, and finally in my work with the Hilario Duran Trio.”

It’s an important contribution to the world of bass-led trios, to which Occhipinti adds his own individual colorings. “My other recording projects were for larger ensembles with winds and strings. For The Next Step, I would be the string section, using techniques I learned in my career playing classical and contemporary music.” The result is a thoughtful, thorough synthesis of elements from a diverse and successful career.

The album opens with title track “The Next Step”, written as a memorial to recently departed friends, which introduces Occhipinti’s core sound – expressive bow-work and lightly textured string overdubs. Adrean Farrugia balances the roles of supportive accompanist and thoughtful soloist with ease, and the track breaks out into a loose jazz waltz, packed full of misty extended harmonies.

Every year on August 1st, Occhipinti celebrates “Emancipation Day” in Owen Sound, Ontario at the terminus of the Underground Railroad. Opening with Lewis’s expectant drums, the track has a Tony Allen-esque Afrobeat flavour, another chance to hear the twisting, turning piano trickery of Farrugia. “The Peacocks” is a ballad by Jimmy Rowles, to which Occhipinti adds atmospheric overdubs to his tenderly expressive solo work.

Though the record was partly an opportunity for Occhipinti’s solo delivery to shine, there is equal space for pianist Adrean Farrugia too. Occhipinti wrote Il Muro (The Wall) for him: “In a challenging year, he was always enthusiastic about playing, always wanting to move forward.” There are hints of Mulgrew Miller in the inlaid counterpoint and flowing piano; Lewis too throws himself into his solos in what becomes a sequence of open-hearted contributions. 

“O Cessate Di Piagarmi” sees Occhipinti reach for another of his multitude of influences. The piece was originally written by Alessandro Scarlatti in 1640, and takes shape in a cool ballad featuring singer Ilaria Corciani’s voice, inventively arranged and reharmonized by Occhipinti. 

Where O Cessate began as a film commission, “Three Man Crew” responded to a different brief – Occhipinti was challenged by collaborator Manuel Valera to write a piece in 30 minutes, and threes run through the track – triple time, three bar phrases, and performed, in its refined version, by the trio. It lilts along, Lewis and Farrugia sensitively accompanying Occhipinti’s dynamic touches, before settling on a groove that Lewis tries his level best to break out of.

“Opus Pocus” is Occhipinti’s hat-tip to Jaco Pastorious (“a major influence on my musical aesthetic, not only for the bass playing but also his composing and breadth of musical interests.”) It creeps along with a slinky beat, as a twisting folk melody works its way round the ensemble, moving into a grooving, blues-rock track closer to a Weather Report or Herbie cut. “Steveland” is another dedication – to Stevie Wonder, whom Occhipinti got to work with on his legendary Songs in the Key of Life tour. A tender Stevie-esque melody emerges after a quieter and freer opening, and there are clutches of Wonder-ish harmonic language scattered throughout.

Another foundational piano trio Occhipinti managed to see in the flesh was that of the great McCoy Tyner. “A Tynerish Swing”, the closing track, is a joyous tribute to the Real McCoy, a jaunty end to an album that covers a lot of ground and sees a new trio in sparkling form.

1. The Next Step (8:13)

2. Emancipation Days (6:12)

3. The Peacocks (3:51)

4. Il Muro (6:37)

5. O Cessate Di Piagarmi (4:25)

6. Three Man Crew (7:15)

7. Opus Pocus (4:57)

8. Steveland (7:39)

9. A Tynerish Swing (6:07)

Roberto Occhipinti - Bass

Adrean Farrugia - Piano

Larnell Lewis - Drums

Ilaria Crociante - Vocals on “O Cessate”

PRE-ORDER

Johnny Griffith Quintet - The Lion, Camel & Child (GB RECORDS December 7, 2018)

Wonderful new modern jazz album from Toronto saxophonist Johnny Griffith and his quintet, entitled The Lion, Camel & Child.  It's the second release from  Griffith’s all-star quintet - a band made up of of four of Toronto’s leading jazz lights, along with the legendary New York trumpeter Jeremy Pelt. 

For this release, Griffith drew inspiration from the writings of Friedrich Nietzsche - speci cally his book Three Metamorphoses. As Griffith explains, “Metamorphoses is concerned with what propels each new phase of human growth, so it seemed fitting to frame this as a suite – each track individual unto itself, yet when listened to as a whole representing the arc of the personal struggle to know more and be more.” 

Central to the album is the suite that illustrates these phases and the qualities that define them: The Lion, virtuous and rebelious; The Camel, courageous and dutiful; and The Child, playful and free of spirit.

Johnny Griffith is a multi-Juno Award nominated saxophonist, composer and producer who has played and recorded with numerous artists including Don Thompson, Hawksley Workman, Jeremy Pelt, Charlie Hunter, The Wailers, Alex Dean, Laila Biali, Al Henderson Quintet, Brandi Disterheft and Terra Hazelton to name a few, and is a member of the popular Canadian funk/hip hop group, the Pocket Dwellers. He has toured extensively across Canada, the United States, and Europe performing at all the major Canadian music festivals as well as several international venues including the Montreaux Jazz Festival in Switzerland.  

The Johnny Griffith Quintet is the artist’s first solo venture and launched with “Dance with the Lady” in 2015. Featuring NYC’s Jeremy Pelt on trumpet, the album was the featured release on WBGO Jazz radio New Jersey. Johnny continues with the soon to be released “The Lion, Camel and Child”, again with Pelt, previewing at the TD Toronto Jazz Festival 2018.  

In 2015, Johnny created the non-profit independent jazz label G-B Records and has gone on to produce and engineer Nathan Hiltz’s “Songs Poetic”, Whitney Ross-Barris  “Bright Lunch Trio”, Graeme Stephen’s “Projector Trio”, Adrean Farrugia/Joel Frahm’s “Blued Dharma, and Chris Wallace’s “Many Names”.

Johnny is also an active film and television composer. He has composed the scores for the films Still to Go and The Recipe  - both films have appeared in Toronto Film Festival, the Los Angeles International Short Film Festival, Montreal World Film Festival and the Vancouver International Film Festival. He also is a freelance composer for the Bell/CTV media group.

Johnny Griffith  will be releasing The Lion, Camel & Child on Friday, December 7th, 2018 on GB Records.

Ernesto Cervini’s Turboprop - Abundance (ANZIC RECORDS October 5, 2018)

Worldwide Release Date: October 5th, 2018 on Anzic Records

Ernesto Cervini is a Canadian jazz drummer and leader of his own band, Turboprop, in addition to acting as a promoter of other Canadian jazz artists through Orange Grove Publicity. He is, in addition, a nice man and a musicians with “open ears,” as they say, since he promotes a wide range of jazz styles (some of which, and he knows this, I don’t care for), but within his own band there’s a big but imaginary sign hanging up that says, “True Jazz Spoken Here.”

His newest album, due for release on October 5, is a typical example of the high artistic standards he sets for himself and his musicians.

The opener, written by the band’s reed player Tara Davidson, is a wild piece in asymmetric rhythm, with Cervini’s drums churning in the background as the horns play the opening theme statement before moving quickly into a brilliant piano solo by Adrean Farrugia, followed by the composer herself on alto sax. This band not only swings, they’re highly creative soloists who feed into each other with aplomb. Cervini’s own solo is exciting and equally inventive, using cross-rhythms with apparent ease.

I was delighted to see a composition here by Tadd Dameron, the brilliant but self-destructive jazz composer-arranger from the late 1940s/early ‘50s. The original version was by bop legend Theodore “Fats” Navarro in 1949, issued under the title Sid’s Delight (as a tribute to legendary jazz club announcer and DJ “Symphony Sid” Torin). This one really jumps, with tight, excellent solos all round. Two other “old-timers” make an appearance next: Harold Arlen, next to Johnny Mercer the jazziest of jazz-influenced pop tune writers, and Charles Chaplin, who didn’t have a jazz bone in his body.

Turboprop predictably makes a nice soufflé of Arlen’s My Shining Hour, with imaginative rhythmic displacements, embellishments on the original theme, unusual harmonic shifts and quick little solos by Davidson on soprano sax, Carn, Frahm and Farrugia, while Cervini pounds the percussion happily in the background. Chaplin’s Smile (a theme for the Muscular Dystrophy Association’s annual telethons for decades) is played lyrically by Carn on trombone while the reeds provide nice little fills behind him. Carn then gets the bulk of the solo space, doubling the tempo and expanding on Chaplin’s theme.

Dan Loomis’ whimsical Abundance Overture begins with Cervini playing a sort of tap dance on the rims of his snare drum, with the flute, saxophone and trombone entering in a sort of Irish jig tempo. Loomis’ bass then “toughens up” the rhythm with some tight jazz playing in tandem with the leader, and Farrugia’s piano leads us into solo-land. A bit of handclapping backs up a two-part fugue played by the alto and tenor saxes before leading back into the ensemble. What a nifty arrangement!

Although written by pianist Farrugia, The Ten Thousand Things is centered around the bass, which plays the opening chorus and remains a strong presence under the reeds when they perform the theme. When Farrugia does enter, it is after a pause, and the tempo drops down to a slow ballad while he plays a sort of fantasia. The tempo eventually picks back up again and  the whole band plays interesting scored figures, with Frahm on tenor coming out of the ensemble for an excellent solo.

A free-form, wild jam ends it. Cervini’s Gramps, a ballad, opens with some soft brush work by the leader, with the two reeds and arco bass playing the simple theme. Eventually a sort of canon is set up between the tenor sax and trombone behind Davidson on alto. The finale, Song for Cito, is a relaxed 6/8 sort of piece backed by the leader’s enthusiastic drums. Pianist Farrugia is the solo star of this one, however, and he connects the musical material very well. A sort of quick “ta-da!” tag ending closes the piece, and the CD.

This is another fine outing for this talented band, and I highly recommend it to your attention.

© 2018 Lynn René Bayley

Tara Davidson – Alto/Soprano Saxes, Flute

Joel Frahm – Tenor Sax

William Carn – Trombone

Adrean Farrugia – Piano

Dan Loomis – Bass

Ernesto Cervini – Drums

www.ernestocervini.com

Steven Taetz - Drink You In (Flatcar Records // Fontana North September 28th, 2018)

For his sophomore feature-length album, accomplished singer and composer/lyricist Steven Taetz presents a new sound: a cocktail of vintage- pop, jazz, and swing, backed by a sure shot band made up of several of Canada’s top jazz musicians. The album presents six new compositions - sure to become popular with singers everywhere - plus a few re-imagined classics. 

The Alberta-born, Toronto-based Taetz was raised on Ella Fitzgerald, Frank Sinatra, and classic standards. He was trained classically, and at an early age he travelled throughout North America with ensemble Into the Light from Burman University performing Adult Contemporary, jazz, and classical material at festivals and venues such as Disneyland, Honolulu Cathedral, Toronto’s Rogers Centre, and Carnegie Hall. 

Upon relocating to Toronto, Taetz had early international success with compositions in the dance and electronica realm on leading labels Armada (Netherlands), Perfecto (UK), and Majestic (Russia). After attracting the attention of Big Management (NYC), he secured a publishing deal with Universal (Europe) and Shapiro Bernstein (USA), co-writing material with/for artists from Nettwerk, SONY, and Universal Canada, which charted for radio play and sales.

Steven Taetz’s first feature-length self-titled album of roots-AC music was created with JUNO-winning artists from each province, including Leela Gilday, Wild Strawberries, The Once, Peter Katz, and Tara MacLean. 

Steven Taetz Drink You in contains material co-written with award-winning artists including JUNO-winner Sonia Johnson (Vocal Album of the Year), JUNO-nominee Barbra Lica, Tia Brazda, and producer Drew Jurecka. Along with duets featuring Johnson and Brazda, it includes performances by noted artists such as Kevin Turcotte, John Macleod, Ernesto Cervini, Nathan Hiltz, and many others. The album is distributed by Flatcar Records/Fontana North. 

Steven Taetz performs regularly at top venues in Toronto including Jazz Bistro, where he has enjoyed ongoing residencies. Upcoming tour dates in support of DRINK YOU IN include Fall-Winter performances across Ontario and Quebec, and spring tour dates in Western Canada. 

Steven is proud to follow in the tradition of legendary LGBT leaders in jazz, including Billie Strayhorn, Ma Rainey, Fred Hersch, and Gary Burton. 

Drink You In will be released worldwide on Friday, September 28th, 2018 and distributed by Flatcar Records // Fontana North.  The release will be celebrated with a performance on Sunday, September 20th, 2018 at the Jazz Bistro in Toronto.  A Canadian CD Release tour will follow.

Steven Taetz - Vocals

Sonia Johnson - Guest Vocalist (2)

Tia Brazda - Guest Vocalist (6)

Drew Jurecka - Alto Saxophone(1,4,7)

Clarinet (1,9) Strings (2,3,4,8,9) and Bandoneon (2)

Pat LaBarbera - Tenor Saxophone (4,7)

Bob DeAngelis - Baritone Saxophone (4,7)

Kevin Turcotte - Trumpet (1,5,11)

John Macleod - Trumpet (4,7)

Steve McDade - Trumpet (4,7)

Rob Somerville - Trombone (4,7)

Ewen Farncombe - Piano (1,2,4,5,7,8,11)

Adrean Farrugia - Piano (3,6,9,10), Celeste (9)

Carissa Neufeld - Vibraphone (5,6)

Nathan Hiltz - Guitar (1,2,5,7,8)

Søren Nissen - Bass

Ernesto Cervini - Drums (1-10)

Andrew Miller - Drums (11

1. Drink You In  2:51

2. Meet In Montreal (Feat. Sonia Johnson)  3:28

3. Lately  3:01

4. The Little Things You Do Together  3:24

5. Other Side of the World  3:58

6. Forgotten How to Say Goodbye (Feat. Tia Brazda)  3:40

7. Everybody Knows  3:33

8. Oom-Pah-Pah  3:33

9. We Never Kissed Goodbye  4:56

10. Orange Colored Sky  3:31

11. So This Is Love 4:33 (CD Bonus)

www.steventaetz.com

Johnny Griffith Quintet - The Lion, Camel & Child (GBRECORDS 2018)

Johnny’s second quintet album is coming soon.

Featuring the same great musician’s as Johnny’s 2015 release Dance With The Lady. Jeremy Pelt – Trumpet, Adrean Farrugia – Piano, Jon Maharaj – Bass, Ethan Ardelli – Drums and Johnny on Tenor Saxophone.

The album is once again all of Johnny’s own original compositions with firm roots in the Hard Bop of the 60’s but with a modern twist.

1 The Lion

2 The Camel

3 Cadenza

4 The Child

5 Narcomedusae

6 Strawberry Qwik

7 Amarone

8 For A Derailed Painter

9 Deliciously Ambiguous

10 The Corridor

11 Last Say

Johnny Griffith • Tenor Sax

Jeremy Pelt • Trumpet

Adrean Farrugia • Piano

Jon Maharaj • Bass

Ethan Ardelli • Drums

Adrean Farrugia & Joel Frahm - Blued Dharma (April 27, 2018)

The relationship between pianist Adrean Farrugia and saxophonist Joel Frahm was fostered during their nine-year association with drummer and bandleader Ernesto Cervini which matured over numerous studio and stage performances. Both musicians have reported been in awe of each other’s abilities and have always sought an opportune moment to come together as a duo. Fortunately for them and those who have listened to the music they have made in the past, that opportune time has come and the album Blued Dharma is that meeting of minds.

Listeners will instantly perceive that very little sunlight separates the pianist and the saxophonist. On the contrary, the rays that illuminate their artistry light a flame that is vivid and – as they have rightfully determined – the music that results from it exists in the bluest part of that proverbial flame. The second word of the album’s title Blued Dharma may be harder to translate into the English language, but its Buddhist connotations of that which results in cosmic order, or indeed the collective meaning arising from an Eastern spiritual realm, is discernable all through the eight works of music contained in the disc – from the two exquisite and radically different versions of Ray Noble’s “Cherokee” to the original work from the pen of Adrean Farrugia.

Blued Dharma is that meeting of minds.

Listeners will instantly perceive that very little sunlight separates the pianist and the saxophonist. On the contrary, the rays that illuminate their artistry light a flame that is vivid and – as they have rightfully determined – the music that results from it exists in the bluest part of that proverbial flame. The second word of the album’s title Blued Dharma may be harder to translate into the English language, but its Buddhist connotations of that which results in cosmic order, or indeed the collective meaning arising from an Eastern spiritual realm, is discernable all through the eight works of music contained in the disc – from the two exquisite and radically different versions of Ray Noble’s “Cherokee” to the original work from the pen of Adrean Farrugia.

Music in various shades of indigo suggest profundity and contemplative musicianship and each musician digs deep not only into his psyche, but also into his respective instrument, surfacing with what certainly gives new meaning to the words “melody” and “rhythm”, and – most significantly – “harmony”. The style of presentation is immediately alluring as the music appears in what one must reluctantly acknowledge as a “conventional” format. But how refreshing, timely and reassuring to find two musicians exploring endless possibilities of improvisation out of the fettered form of the “song”, completely undone thanks to each other’s transcendental ingenuity and deep empathy with each other.

Listening to the way in which Mr. Frahm seductively bends the notes in “Cherokee” (especially in the second version, i.e., track 2), or how Mr. Farrugia sculpts the long, sustained invention of “Half Moon” – to focus on just two of the eight beautifully crafted songs on this disc – it’s eminently clear that there’s not a semiquaver that hasn’t been fastidiously considered. Still the fact that none of this music is rehearsed or pre-planned accounts for why one is particularly awe-struck as the record unfolds from one song to the next. So whether evocative of crepuscular nights or cool rainy days, each track takes us into a special place with two trusting and inspired musical friends. Toronto Music Report

1 Blued Dharma

2 Cherokee II

3 For Murray Gold

4 Gospell

5 Nobody Else But Me

6 Cool Beans

7 Cherokee I

8 Half Moon (for Sophia)

Adrean Farrugia: piano

Joel Frahm: tenor saxophone (2, 3 – 7) and soprano saxophone (1, 8)

CD Release Concerts:

April 27th @ Gallery 345, Toronto ON

April 29th @ The Jazz Room, Waterloo ON

www.adreanfarrugia.com