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| 5.100 Ft
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| 1. | I Should Care
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| 2. | Sweet Memory
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| 3. | Bernie's Tune
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| 4. | Autumn Leaves
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| 5. | Ballad for a Future Day
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| 6. | Brazilian Dream
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| 7. | Pour Me Another
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| 8. | Meet Me in Parin
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| 9. | Water Lillies
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| 10. | Steady Love
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| 11. | Ten to Twelve
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Jazz
Roger Davidson (piano)
David Finck (bass) Dave Ratajczak (drums)
Marco Granados is known for playing some of the most challenging music ever written for the flute, and much of it comes from his native Venezuela. Its wealth of local rhythms - some of them head-spinningly complex caught his fancy, and he's devoted years to developing the skills needed to play them on flute.
Today he stands as one of the foremost ambassadors of Venezuelan music, with a technique so dazzling that the word "virtuoso" comes up in almost any description of him. Marco is renowned for his daredevil agility; he can breeze through difficult polyrhythmic tunes, often at bullet-fire speed and high altitude. A critic from the New York City Tribune remarked that his breath control "must be the envy of every wind player from here to the next world." The late great saxophonist Michael Brecker called him "an incredible flutist and musician."
This newest collection, recorded mostly in Caracas, Venezuela, showcases some of the best contemporary music from Marco's country. Surrounding him are his Un Mundo colleagues - bassist Roberto Koch, Jorge Glem on cuatro (a four-stringed, ukelele-like Venezuelan guitar), and Manuel Rangel or Leonardo Granados (Marco's brother) on maracas - plus various guest players. Together they give an authentic glimpse into a branch of Latin music that gets too little attention in the U.S.
Though he is an accomplished pianist in the classical field, with a rich catalog of choral and symphonic works to this credit, Roger Davidson has been creatively restless these past few years -- and that's been a joyful blessing for fans willing to take the adventurous journey with him. He's done recordings focusing on tango, latin, and Caribbean-spiced children's songs and a memorable South American jaunt called Rodgers in Rio. Working with jazz-steeped bassist David Finck (Dizzy Gillespie, Joe Williams) and classical/jazz drummer Dave Ratajczak (Woody Herman, Gerry Mulligan), Davidson works up a colorful, straight-ahead jazz mix of mostly originals and a few chestnuts. It's not surprising that he touches on a chamber music effect at the start of a staid reading of "Autumn Leaves," but the tune then ventures on a thoughtful, low-key jazz road. Davidson is an expert at mood swings, moving gracefully from the contemplative "Ballad for a Future Day" to the sensuous and mysterious, New Orleans-flavored "Pour Me Another" and the feisty samba "Brazilian Dream." Davidson seems to have the Midas touch on all genres he's touched, and the exuberant spirit he brings to this recording makes it clear that jazz is definitely more than a one-night stand. ~ Jonathan Widran, All Music Guide
Roger Davidson
Active Decade: '00s
Genre: Jazz
A flexible and diverse acoustic pianist who lives on the East Coast, Roger Davidson has a long history of playing both European classical music and straight-ahead bop (on top of being knowledgeable of various styles of Latin music, including Afro-Cuban salsa, Argentinean tango, and Brazilian samba). As a jazz improviser, Davidson has favored a very lyrical and melodic approach. Bill Evans (the pianist, not the saxman) is a major influence, and Davidson's jazz playing also brings to mind pianists like Red Garland, Hank Jones, Wynton Kelly, and Tommy Flanagan; in other words, the more accessible bebop and hard bop pianists of the 1950s and '60s who swung passionately but brought a strong sense of melody and lyricism to the table. Although Davidson's classical training comes through when he is playing straight-ahead jazz, he has no problem swinging or improvising; Davidson is able to compartmentalize, improvising spontaneously in a jazz setting and faithfully sticking to what is written in a Euro-classical setting.
Born in Paris in 1952 to a French mother and an American father, Davidson moved to New York City when he was a baby and has spent most of his life in the northeastern part of the United States. The '70s found the pianist earning a master's degree in composition from Boston University and a master's in choral conducting from Westminster Choir College in Princeton, NJ. After that, Davidson spent some time in Germany (where he studied voice at the Lichtenberger Institute) but returned to the northeastern U.S. and once again lived in Boston (where his activities ranged from directing a chamber orchestra to composing religious choral music). His interest in jazz was strong, however, and one of the people who encouraged that interest was the late producer Helen Keane (who was best-known for managing and producing Davidson's idol, Bill Evans). In the late '80s, Keane produced an album-length jazz demo cassette for Davidson, although she didn't live long enough to produce an official album for him. Nonetheless, Davidson went on to record some jazz albums that were released commercially, including the Latin-influenced Mango Tango. Between 2002 and 2004 Davidson recorded jazz for the independent Soundbrush label; his Soundbrush dates during that period included Ancient Voyage and Rodgers in Rio (an album of Brazilian jazz arrangements of standards by the famous Tin Pan Alley composer Richard Rodgers). Soundbrush was also where, in 2002, Davidson and Argentinean bassist Pablo Aslan (of Avantango fame) teamed up as the Tango Project and produced a tango-minded CD titled Amor por el Tango (Love for the Tango).
---Alex Henderson, All Music Guide |
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