Travels - Downbeat

Nilson MattaNilson Matta’s BlackOrpheusMotéma 103HHH1/2Reimagining classic works canyield dicey results, because therefurbished version will alwaysbe measured against the original.But Nilson Matta’s wistfultake on the 1959 moviesoundtrack Black Orpheus works to his advantage.Matta benefits from a 50-year distance from the original as well ashis nostalgia for that music. While he keeps the original feel of classicbossa nova intact, the bassist takes discreet liberties with the programmingof the compositions, and even adds some original interludesand tunes. With Klaus Mueller’s lush orchestrations and Matta’s diaphanousarrangements, the disc evokes a cinematic splendor, starting off onthe wide-screen treatment of Antônio Carlos Jobim’s “Overture” to thesauntering “Hugs And Kisses,” one of the fantastic originals. The discalso hits high marks on the gentle “Vasa De Eurídice,” which featuresGretchen Parlato’s lissome soprano mostly in tandem with GuilhermeMonterio’s spidery guitar. The sensual “Manhā De Carnival” places thespotlight on Kenny Barron’s impeccable piano improvisations. The bristlingyet too-brief original “Ascend, My Love” is a percussive workoutthat recalls Matta’s early ’90s work with Don Pullen. —John MurphNilson Matta’s Black Orpheus: Overture; Repinique Interlude; Samba De Orfeu; A Felicidade; CuicaInterlude; O Nosso Amor; Manhā De Carnival; Batucada I; Eu E O Meu Amor/Lamento No Morro; FrevoDe Orfeu; Vasa De Eurídice; Ascend, My Love; Um Nome De Mulher; Batucada II; Se Todos FossemIguais A Vocé; Violão Interlude; Hugs And Kisses. (58:25)Personnel: Nilson Matta, bass; Randy Brecker, trumpet; Kenny Barron, piano; Anne Drummond, flute,Klaus Mueller, piano; Guilherme Monterio, guitar, Alex Kautz, drums; Anat Cohen, clarinet; FernandoSaci, percussion, cuica, pandeiro; Leny Andrade, vocals; Gretchen Parlato, vocals; Erivelton Silva,drums; Alfredo Cardim, piano.Ordering info: motema.comGene Bertoncini/Mike Mainieri/MichaelMoore/Joe CorselloReunionAmbient Records 009HHHIf you visited the tiny Italian restaurantZino’s in New York duringthe 1980s, you no doubt enjoyedthe frequent duet performances ofguitarist Gene Bertoncini and bassist Michael Moore. The pair practicallyran the joint. This was years after Bertoncini made his mark recording withLuis Bonfa, Hubert Laws, Michel Legrand and Paul Desmond. Similarly,Moore is a session mainstay with immaculate credits.Reunion brings the guitarist and bassist together with Mike Mainieriand Joe Corsello. Recorded in super-high-resolution format, the musicalperformances are of a similarly premium quality, Corsello’s drums revealingevery cymbal glance, every brush stroke with pristine distillation.Beyond sonic swoons, the music is classic Bertoncini/Moore: standardsgreeted with sublime relaxation, fingerings delivered with all the assuranceof a master carpenter oiling his wood, or a fine winemaker basking in thesun as the vines ripen. There’s no need to hurry, time will take care of itself;swing, harmony, and rhythm too. Mainieri relives his early days as a warmbloodedvibraphonist here, and as the perfect melodic foil for Bertoncini’sgracefully flowing lines. Reunion doesn’t roll in the fast lane, but it certainlyowns the road. —Ken MicallefReunion: Besame Mucho; Somewhere; Strollin; Soul Eyes; The Lilter; Reunion; Embraceable You;Bertha The Dragoness. (51:41)Personnel: Gene Bertoncini, guitars; Mike Mainieri, vibraphone; Michael Moore, acoustic bass; JoeCorsello, drums.Ordering info: ambientrecords.com68 DOWNBEAT JUNE 2013