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WINNING SPINSPIANIST LYNNE ARRIALE’S TRIOaveraged nearly a release per year after shestarted her recording career in 1993. Sosomething had obviously changed when thefollow-up to her 2006 live CD was delayeduntil 2009. In the interim, the Milwaukee-born, Jacksonville-based pianist parted wayswith the very simpatico rhythm section ofbassist Jay Anderson and drummer SteveDavis. But she also came up with changesthat made her new CD/DVD release,Nuance — The Bennett Studio Sessions(Motema), worth the wait. It features thenew rhythm section of veteran bassistGeorge Mraz and young drumming phenomAnthony Pinciotti, plus guest trumpet aceRandy Brecker.

The CD opens with Arriale’s moodyarrangement of Sting’s “Wrapped AroundYour Finger,” a mid-1980s pop hit for ThePolice, before taking a 180° turn throughThelonious Monk’s playful “I Mean You.” Theone-two punch showcases both the pianist’sinterpretive skills and Brecker’s broad rangeas a soloist. Arriale wanted another lead playerin the band and certainly got one in Brecker,who takes the disparate pieces to poignantdepths and energetic heights.

Arriale’s compositional skills then come tothe fore. Her ballad “Longing,” and the sub-sequent, New Orleans-flavored “Crawfish &Gumbo,” spotlight very different aspects of herwriting — not to mention how effortlesslythe rhythm section wraps itself around bothmoods. Mraz’s melodic sensibilities andPinciotti's mallet work provide the perfectshading on the ballad. The rhythm team thenplays a shell game with the meter of“Crawfish & Gumbo,” allowing Arriale andBrecker to flex considerable bop muscles intheir respective solos.

Tommy Wolf’s “Ballad of the Sad YoungMen” makes for another tranquil highlight.Mraz’s sparse bass line and stately solo, andPinciotti’s mallets and cymbal flourishes, setup Brecker’s pleading muted trumpet andallow Arriale to display the harmonicnuances for which her new release was named.

The pianist also composed two of the set’smost energetic numbers. On “La Noche,”Pinciotti’s percolating drumming pushessolos by Brecker and Arriale. The New YorkCity drummer likely had the toughest transi-tion into Arriale's group when he replaced

Davis, whose unique approach and person-able style made him an invaluable part ofArriale’s sound and presentation.

Pinciotti's soloing over the band’s endingvamp puts an exclamation point on “La Noche,”and he starts out the whimsical “Yada YadaYada” on brushes before switching to sticks.His wavelike rolls coax Arriale into a spikedarray of chordal colors that make up her bestsolo of the CD. The piece then ends like itbegan, with a series of stuttered, Monk-liketwo-note phrases.

The live-in-the-studio DVD offers extend-ed versions of all 11 songs, in nearly thesame running order. Like the CD, this disc

By Bill Meredith

LYNNE ARRIALE

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was captured inside Bennett Studios nearNew York City, and the polite crowd certainlydoesn’t incite raucous performances. Rather,the live versions of the songs stay quite trueto their recorded counterparts, albeit withlonger solos.

Brecker takes full advantage of the livesetting, elevating certain pieces beyond theirCD interpretations. His clean, swingingtrumpet lines give Arriale’s “Carry On” anadditional swagger visually, and his articu-late flugelhorn adds extra clarity to thesomber “Longing.” It’s interesting to watcha band — which had never played together asa unit before it recorded — interpret on thefly. So if anything, the one-take concert DVDoffers a unique contrast to the multi-takestudio CD. Bonus interviews with each bandmember, plus producer Suzi Reynolds, illus-trate how many tries Arriale insisted on togive each piece on the CD its final, singularnuance.

South Florida Jazz presents TheLynne Arriale Quartet, featuring RandyBrecker, George Mraz and AnthonyPinciotti, 8PM Saturday, April 11 at theMiniaci Performing Arts Center inDavie. For more information, call 877-311-SHOW or visit Southfloridajazz.org.

WINNING SPINS

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DAVE HUBBARDFIRE ROCK RESTAURANT, WPB/APRIL 17Tenor saxophonist Dave Hubbard has a discographyof more than 50 albums, and has played with thelikes of Ray Charles, Patti LaBelle, George Bensonand Roy Haynes. Hubbard started playing profes-sionally at age 13 in his native Maryland with theBaltimore Municipal Band, and was subsequentlyhired by R&B star Maxine Brown in 1960. The saxo-phonist later added his soulful sound to sessions byadventurous crossover artists, including keyboardistsLes McCann, Charles Earland and Dr. Lonnie Smith.Hubbard’s own recordings also navigate traditionaljazz, fusion and beyond. Since moving from New YorkCity to South Florida in the mid-1990s, he’s become

a frequent guestperformer at FireRock Restaurantwith its house band,the Susan MerrittTrio. BM

S P O T L I G H TSHELLY BERG with JIGGS WHIGHAM BROWARD CENTER, Ft. LAUDERDALE/APRIL 1With a bright, buoyant sound, jazz pianist Shelly Berginterprets a wide spectrum of popular song. On his2005 trio recording Blackbird, he lyrically improviseson the music of everyone from Billy Strayhorn and PatMetheny to The Beatles and Billy Joel. This Catholicapproach surely serves him well as Dean of the FrostSchool of Music at the University of Miami. Over thepast two years, the veteran educator and performerhas been quite active on the South Florida concertscene, as he raises funds for and awareness of therevered institution. For this Gold Coast Jazz Societyperformance, Berg teams up with Cleveland, Ohio-born trombonist Jiggs Whigham, whose long career

includes stints withthe bands of StanKenton, MaynardFerguson, ThadJones-Mel Lewis andFreddie Hubbard,among numerousothers. Berg andWhigham will bebacked by the ever-swingin’ Gold CoastJazz Society Band,led by saxophonistEric Allison. BW

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Log on to www.bostonsonthebeach.comfor our complete lineup, menus, photos and more!Located on the waterfront in Delray Beach, Boston’s is the ideal place

for casual dining, live music and sports viewing in our first-floor restaurant, The Beach. Or enjoy great cuisine and cocktails

upstairs at our fine dining restaurant, The UpperDeck. And be sure to check out our Back Bay Tiki Bar for a tropical cocktail

while listening to some of the area’s finest musicians on our outdoor stage. Boston’s… something for everyone!

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BRANFORD MARSALIS QUARTETGUSMAN CENTER, MIAMI/APRIL 4The chemistry and camaraderie of the BranfordMarsalis Quartet is unmistakable. On Metamorphosen,the group’s excellent new recording, the bandmateschallenge and complement one another in a variety ofmodern-jazz settings. Each musician contributescompositions to the session, making for a varied programthat reflects the respective personalities of drummerJeff “Tain” Watts, bassist Eric Rivas, pianist JoeyCalderazzo and saxophonist Marsalis. Echoes ofMonk abound, as the foursome digs in on a righteousredo of “Rhythm-a-Ning” and perfectly executes thepush-pull rhythms of “Sphere,” Rivas’ tip of theporkpie hat to the idiosyncratic bop icon. The eldest of

the Marsalis broth-ers, Branford hasflirted with the popworld in high-profilegigs with Sting andThe Tonight ShowBand, but ultimatelyreturned to his firstpassion: straight-ahead jazz. In recentyears, he’s releasedsome of the bestmusic of his careeron his own MarsalisMusic imprint. BW

S P O T L I G H TJUAN DE MARCOS AFRO-CUBAN ALL STARSSUNRISE THEATRE, Ft. PIERCE/APRIL 7KRAVIS CENTER, WPB/APRIL 8TAMPA BAY PAC, TAMPA/APRIL 9ARSHT CENTER, MIAMI/APRIL 11Crisp brass articulation and sizzling, irresistible Latingrooves are hallmarks of the Afro-Cuban All Stars,an exciting multigenerational group led by veterandrummer Juan De Marcos Gonzalez. The unit firstrecorded in 1997, as part of the Buena Vista SocialClub sessions, showcasing the talents of group mem-bers ranging from teens to octogenarians. TheHavana-born Gonzalez, who had co-founded theinfluential Sierra Maestra band in the mid-’70s,recruited heroes such as pianist Ruben Gonzalez and

vocalist Pio Leyva,as well as the creamof the crop of youngCuban players forthe recording, AToda Cuba LeGusta, whichbrought themworldwide acclaim.The popularity oftraditional Cubanmusic soared on theisland as well, as listeners rediscoveredtheir roots. BW

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DAVIS AND DOW QUINTETfeaturing FEDERICO BRITOSHOLLYWOOD BEACH THEATER/APRIL 9AMERICAN ORCHID SOCIETY, DELRAY/APRIL16NORTHWOOD VILLAGE, WPB/APRIL 24Davie-based vocalist Julie Davis and guitarist KellyDow usually perform as a jazz duo, but they offer justas much verve and energy with a full band. Expectfireworks when the husband-and-wife team adds therhythm section of bassist Paul Shewchuck and drum-mer Orlando Hernandez — plus Uruguayan violinmaster Federico Britos — for this “Full Moon JazzNight Concert Series” presentation. On the duo’snew CD, Loverly, Davis scats, sings torchy numbersand injects plenty of personality into standards

and originals whilea c c o m p a n i e d by Dow’s nimble,orchestral guitarwork. Britos, who’sat home playingjazz, Latin or classi-cal music, combinesall of those styles asonly he can whileguesting on threetracks. BM

S P O T L I G H TALFREDO TRIFF TRIOCOLONY THEATRE, MIAMI BEACH/APRIL 18On his 2007 recording Boleros Perdidos, Alfredo Triffexplores the musical and psychological terrain ofbeing up late and alone, which takes on additionalpoignancy in the romantic tropical paradise ofMiami. Not that the pleasures of the Magic City arelost on the Havana-born violinist and composer, buthis world-weary take implies that he’s yearning formore than the earthly delights that he’s abundantlysampled. Blending nostalgic Cuban styles such asson, danzon and rumba with an avant-garde sensibil-ity, Triff creates mesmerizing mini musical dramasthat have made him a favorite among critics andaudiences. For this Tigertail Productions performance,

he’ll be joined bytrio mates AlexBerti and DanielPonce, on bass andcongas respectively,as well as Miamispoken-word artistsAdrian Castro andRosie Inguanzo, andrichly emotive Miamisinger RobertoPoveda. BW

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DENA DEROSE TRIOHARRIET THEATRE, WPB/APRIL 28Of all the singing instrumentalists in jazz, DenaDeRose may have taken the most circuitous routetoward such double-duty. She was working solely as apianist in the mid-1980s before encountering a com-bination of carpal tunnel syndrome and arthritis thatrequired surgery — and two years away from thepiano. During that hiatus, when dared by friends tosing a number at a jazz club, DeRose discovered theother side of her talent. By 1991, she was fully recov-ered as a player, excelling as a singer and working asboth. For this Jazz Arts Music Society concert,DeRose’s trio includes bassist Martin Wind anddrummer Matt Wilson. It’s the same lineup featured on

her latest MaxJazzCD, Live at the JazzStandard Vol. 2. BM

S P O T L I G H TCHRIS BOTTIPEABODY, DAYTONA BEACH/APRIL 16VAN WEZEL HALL, SARASOTA/APRIL 23KRAVIS CENTER, WPB/APRIL 25FILLMORE THEATER, MIAMI/APRIL 26RUTH ECKERT HALL, CLEARWATER/APRIL 28Trumpeter Chris Botti may have risen to fame throughworking with pop stars like Paul Simon and Sting, butdon’t dismiss his jazz pedigree. The Oregon native studiedin the renowned Indiana University music program,then received on-the-job training with ex-Miles Davissaxophonist George Coleman and trumpet titanWoody Shaw after moving to New York City. Botti’s popsession work included legends like Bob Dylan and ArethaFranklin, and the trumpeter also has fusion skeletons

in his closet: the1998-’999 CDs UpperExtremities and BlueNights by a quartetwith drummer BillBruford, bassist TonyLevin and guitaristDavid Torn. Bottiactually plays prac-tically every stylebecause he’s one ofthe few musicianswho can, somethinghe proved on Italia,his traditional 2007CD for Columbia. BM

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S P O T L I G H TGROOVE THANGSBOSTON’S ON THE BEACH, DELRAY/APRIL 14ALLIGATOR ALLEY, OAKLAND PARK/APRIL 17“Lazy Strokes,” “Koko,” “Catch You Later.” If thesesong titles slap a goofy grin on your mug, you likelywere among the rabid fans who followed SouthFlorida’s own Groove Thangs in the 1980s and ’90s.Combining soul, funk and more than a touch ofCaribbean jerk spices, Groove Thangs’ music wasirresistible, thanks to the singular vision of the Staceybrothers. The ecstatic soul vocals of “Down Pat” and theincredibly versatile lead guitar of “Bonefish Johnny”made for a potent blend, especially on their genre-mashing original tunes which looked for inspirationto the likes of James Brown, Wayne Cochran and anynumber of garage and beach music bands. While per-sonnel shifted over the years, bassists Carl “Kilmo”Pacillo, drummer Tim Kuchta and saxophonist JeffWatkins often comprised the classic GT lineup. DownPat now lives in New York, but he’ll return for these

r e u n i o nshows thismonth, asthe bandcelebrates25 years ofhut-rockin’s h a c kmusic. BW

For Press Releases, CD Reviews, Advertising Info orListings, contact our Main Office at 561.313.7432 or

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PUBLISHER: Charlie Boyercharlie@JazzBluesFlorida.com

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Jazz Blues Florida is published monthly. All copyrights are the property of Charlie Boyer. Allrights reserved. No material may be reproduced without written permission of the Publisher. Nounsolicited manuscripts will be returned unless sent with a self-addressed stamped envelope.

PHOTO CREDITS THIS ISSUE:Dena DeRose spotlight by Fran KaufmanChris Botti cover and spotlight by Fabrizio FerriAlfredo Triff cover and spotlight by Pedro Portal

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SONNY ROLLINS: SAXOPHONE COLOSSUSby Bob Weinberg

STRIDING THE STAGE OF AN ANCIENTRoman amphitheater, Sonny Rollins seemscompletely at ease. Attired in scarlet slacks, aloose-fitting black shirt and white tennisshoes, his chiseled features framed by sun-glasses and a snowy beard, the iconic saxo-phonist truly appears to be enjoying himself.Prowling the lip of the stage, he unfurls onemighty solo after another to the delight of the7,000 attendees of the 2006 Jazz à Viennefestival in Southern France.

This vigorous performance was documentedon the recently released DVD, Sonny Rollinsin Vienne, providing more evidence that the78-year-old Saxophone Colossus remains avital presence in the jazz world. Refusing toindulge in nostalgia, Rollins forges a freshensemble sound alongside longtime band-mates who pretty much breathe as one. Thatsound — and many of the same players — alsoreceive a stellar showcase on the compilationCD Sonny Rollins, Road Shows, Vol. 1. Thedisc, which topped many jazz critics’ best of2008 lists, consists of previously unreleasedlive performances culled from shows spanning27 years and three continents.

While some insist there are no second actsin show biz, Rollins has proved a gleefulexception. In the late ’40s and early ’50s, hisbrawny, insinuating sound impressed band-leaders such as Charlie Parker, Bud Powell,Miles Davis and Thelonious Monk, all ofwhom employed the young, Harlem-raisedtalent. Before long, Rollins was leading hisown sessions. Recordings such as SaxophoneColossus and Freedom Suite established himas one of the hottest jazz stars of the day.

Then, in 1959, at the height of his fame, hewalked away from it all. During a three-yearsabbatical, Rollins could sometimes be seen,or heard, practicing on the WilliamsburgBridge in Brooklyn. In 1961, Rollins returnedin spectacular fashion with The Bridge, oneof his most-beloved recordings, and continuedto record in a variety of settings for RCA andthen Impulse.

In 1969, Rollins again went into self-imposed exile. When he returned, he signedwith the Milestone label, crafting a newapproach that on the surface seemed theantithesis to his often-cerebral playing of thepast. Sunny, exuberant and full of color,Rollins’ sound embraced funk and R&B, aswell as the bright, bouncy Calypso rhythmshe had grown up with as the son of Caribbeanimmigrants. A Milestone mainstay for morethan 30 years, Rollins crowned his tenure at

the label with the 2005 release Without aSong, which earned him a Grammy Awardfor Best Instrumental Solo.

Subtitled “The 9/11 Concert,” Without aSong was indeed recorded just days after theWorld Trade Center assaults. Rollins and hiswife, Lucille, maintained an apartment justblocks from Ground Zero, and Rollins hap-pened to be staying there on that fateful day.Later that week, he traveled to Boston,where the concert was recorded, the emotionsstill raw and the need for such a cathartic eventlikely acute for both audience and performers.

Although Rollins has undergone somerough times — including Lucille’s death in2004 — his playing remains joyful and life-affirming. The master himself believes thatage has placed some limits on his chops, buthis mind remains agile as he probes whateverarea of a melody entices him, turns it insideout and examines it thoroughly in chorusafter chorus. Add to that a supporting cast ofveteran bassist Bob Cranshaw, guitaristBobby Broom, and trombonist-nephewClifton Anderson, and Rollins continues to beone of the must-see acts in jazz.

Sonny Rollins performs 8PM April 18at the Adrienne Arsht Center for thePerforming Arts in Miami. Call 305-949-6722 or visit Arshtcenter.org.

SONNY ROLLINS