JAZZBO NOTES RECOMMENDED RECORDING
Rating: 
Too often on recordings that attempt to fuse Brazilian rhythms with jazz, one or the other element tends to get shortchanged. Either the rhythms are overly simplistic, or the improvisations substitute scale running for substantive improv. To some extent, that’s the case with Samba Jazz In Black And White.
True, reed player Anat Cohen is playing jazz, not just running scales, but her ideas aren’t that interesting, and her tone is thin and even whiny. Much better is pianist Helio Alves. He has all the advantages of his Latin heritage with none of the potential deficits. His improvisations are rhythmically muscular, but he never sacrifices harmonic complexity. His solos build logically and powerfully — he’s a great musician. Guitarist Guilherme Monteiro isn’t bad either. He has a pleasant tone, and his improvisations flow nicely, even if what he’s saying isn’t that exciting. Unfortunately, Anat Cohen is heavily featured.
Guest Trumpeter Claudio Roditi is convincingly lyrical in his use of the Harmon mute on his featured spot, the near ballad Bye Bye Brazil.
Surprisingly, guest guitarist Vic Juris (who never fails to irritate me in his regular gig with the Dave Liebman Quintet) uses his bop chops to good advantage on Viver de Amor. His intricate phrasing and clean tone work very well in this context.
Leader Duduka Fonseca allows enough variety within his chosen musical genre to keep things from getting dull. As a drummer, he kicks up the complexity of the grooves a notch, while still maintaining their essentially Brazilian character.
Also, kudos to Fonseca for finding singers like Maucha Adnet and Alana Da Fonseca who can actually carry a tune, a recurring problem on many jazz releases.
If I have a criticism of Samba Jazz In Black And White, it’s that it isn’t very exciting. It’s a mellow listen, which isn’t really my thing. But I have to admit, Duduka Fonseca achieves a creditable fusion of jazz and samba.
I only wished he had used another reed player. Anat Cohen just doesn’t do anything for me.
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This entry was posted on Wednesday, June 17th, 2009 at 3:00 pm and is filed under 2000s, Latin Jazz, Post Bop, Recommended, Reviews, Vocals. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
Michael: Your comments about Anat Cohen …seem to go beyond matters of personal taste. Sounds to me like you have some sort of grudge (or worse) against her and you’re just looking to bash her. Too bad for you. She’s a brilliant musician. Just yesterday, as it happens, she received her third consecutive JJA (thousands of jazz journalists voted) Clarinetist of the Year Award..and… received the first ever ASCAP Wall Of Fame Prize for musicianship and composition. To my ears.. it’s your review that’s “thin and whiny” …not her tone. Sheesh.
Actually, I have nothing personal against Anat Cohen.
But you have a point. Everyone knows that awards and prizes always go to the most deserving. Think of the Grammy’s.
Man, it’s tough being so wrong so much of the time.
Maybe I should start reading all of the other jazz critics, just to make sure that I’m not out of step with popular opinion.
Yeah, that’s it. You can’t afford to ignore the wisdom of crowds.
All kidding aside, I’m glad you enjoy Anat Cohen’s playing and I’m happy for her success. Anyone who plays jazz for a living has my admiration.
If I thought my criticisms had an adverse effect on anyone’s career, I’d probably quit writing reviews. I doubt anyone read this article and thought to themselves “Oh, Kydonieus says Anat Cohen is uninteresting. I must go out of my way to avoid hearing her work.” People make up their own minds, which is as it should be.