Recent Listening, In Brief

Carter.jpgJames Carter, Present Tense (Emarcy). When he burst onto the jazz scene from Detroit in the early ’90s, Carter’s virtuosity on an arsenal of woodwinds sometimes overrode content in his music. After a three-year recording hiatus, he reappears with no loss of dazzle and with the benefits of self-editing. Carter mixes original compositions and classics. Highlights: the rhythmic intensity of his flute work on Dodo Marmarosa’s “Dodo’s Bounce,” his reflective gospel coda to a speedy baritone saxophone romp through Gigi Gryce’s “Hymn of the Orient,” his bass clarinet evocation of Eric Dolphy on “Bro. Dolphy.”

David Braid Sextet, Zhen (DB). The pianist-composer and five other Braid.jpgprominent Canadians 
 stomp with gusto in “Fishers of Men,” create compelling lyricism in “Lydian Sky” and find something new in Coltrane’s “Giant Steps.” Braid’s sidemen include bassist Steve Wallace, drummer Terry Clarke and the remarkable saxophonist Mike Murley. Superior small-band music arranged by Braid with ingenuity and wit.

Ad Parnassum.jpgSwiss Jazz Orchestra and Jim McNeely, Paul Klee (Mons). Swiss Jazz Orchestra leader George Robert asked McNeely to compose an album’s worth of pieces inspired by Klee’s paintings. “I’ve always loved Klee’s work, so I put a lot of research into his life and his methods and his writings,” McNeely told me recently. The result is eight Klee impressions incorporating the vision and resourcefulness of one of the best living writers of music. They include a conceptualization of Ad Parnassum (seen here) that matches its inspiration’s mystery, allusion and whimsy. To learn more about McNeely, go to All About Jazz for a comprehensive verbatim interview.

Passos.jpgRosa Passos, Romance (Telarc). The greatest mistress of Brazilian song since Elis Regina sings a dozen love songs. Accompanied by small groups of superb musicians from her country, she sustains an air of enchantment and saudade, her small, rich voice simultaneously transmitting innocence and world-weariness.

 Ellis Marsalis, An Open Letter to Thelonious (ELM). If you’re not going to be
Marsalis.jpgswallowed by Thelonious Monk’s mystique, recording a program of Thelonious Monk tunes with a rhythm section and a tenor saxophone requires a strong sense of self. Marsalis has that sense. He doesn’t solo on piano like Monk and he doesn’t comp like Monk behind saxophonist Derek Douget, who does not play like Charlie Rouse. Yet, the two of them, drummer Jason Marsalis and bassist Jason Stewart observe the letter of Monk’s music in the ensembles while accommodating it to their own spirits in their improvisation. Once, in his unaccompanied “‘Round Midnight,” Marsalis offers as a direct tribute an oh-by-the-way Monkish interval of a second. “Jackie-ing,” with its off-beat metre between Marsalis and Douget, is pure joy. I’ve been listening to Marsalis for forty years. I’ve never enjoyed him more than in this recording.

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  1. Vicki Overfelt says

    I am trying to find the lyrics for a song called Desilusion, sung by Rosa Passos. As far as I can tell, the lyrics were written by Santiago Auseron, but I’m having difficulty finding the lyrics. Any suggestions??

    • Doug Ramsey says

      The Rifftides staff conducted an extensive web search and failed to come up with the lyrics. Perhaps a knowledgeable reader will supply them.

  2. Rubén González says

    A deep search enabled me to get lyrics of the song of Rosa Passos. It was not so easy and I did not know the CD, but finally found it.
    The lyrics are in Spanish and some words denoting Rosa Portuguese accent.
    Excellent song!

    Rosa Passos (melody) & Santiago Auserón (lyrics)

    En tus ojos vi
    un hechizo pasar
    Entre sombra y luz
    no podía durar
    Utópico era
    confiar en la quimera
    de aquél guión
    Todo el argumento
    se llamaba al fin desilusión
    Demasiadas penas
    sobran las escenas
    entre los dos.
    Guárdate las frases
    de consuelo y de tan solo adiós

    Una vieja historia
    de desilusión
    y nada más
    Entre sombra y luz
    no podía durar

    Repeat [A] [B] [B]


    Entre sombra y luz
    no podía durar.