Bradley Leighton • Groove Yard

Review by Alex Henderson

Brazilian jazz doesn't necessarily have to be soft, lyrical, caressing, or gently melodic. The innovative saxophonist Ivo Perelman, for example, has combined Brazilian rhythms with free jazz and has been greatly influenced by Albert Ayler and post-1965 John Coltrane; at times, Perelman can be downright blistering. But in many cases, Brazilian jazz is, in fact, lyrical and gently melodic -- and those words easily describe what Bradley Leighton does on Groove Yard, his first album as a leader. The West Coast flutist doesn't play Brazilian jazz exclusively on this 2003 release; his interpretation of Wes Montgomery's "Road Song," for example, is more Afro-Cuban than Brazilian. But Brazilian songs dominate the 42-minute CD, and they're songs that inspire Leighton to be especially lyrical -- including Ary Barroso's "Bahia," Duduka Da Fonseca's "Doña Maria," and two Antonio Carlos Jobim compositions: "Fotografia" and "Mojave." Leighton, thankfully, isn't one of those jazz musicians who plays warhorses exclusively. When it comes to Brazilian music, some of the lazier jazz artists refuse to do their homework -- they insist on playing nothing but the most beaten-to-death warhorses and are too lazy to unearth the lesser-known gems of prolific composers like Jobim, Ivan Lins, Dori Caymmi, and Milton Nascimento. But Leighton isn't lazy; "Mojave" is one of Jobim's lesser-known songs -- and while "Fotografia" is better known than "Mojave," it hasn't been totally beaten to death the way that "Corcovado," "The Girl from Ipanema," and "One Note Samba" have been beaten to death. As lyrically as Leighton plays on Groove Yard, he still knows how to be funky; soul-jazz is a major inspiration, especially the soul-jazz of Herbie Mann and Hubert Laws (two of his main influences). Leighton isn't a groundbreaking or terribly original player, but he's talented, warm, and expressive -- and those qualities serve him well on this solid, if derivative, outing.

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Reseña de Alex Henderson

El jazz brasileño no tiene que ser necesariamente suave, lírico, acariciante o suavemente melódico. El innovador saxofonista Ivo Perelman, por ejemplo, ha combinado ritmos brasileños con el free jazz y ha sido muy influenciado por Albert Ayler y John Coltrane después de 1965; a veces, Perelman puede ser francamente impresionante. Pero en muchos casos, el jazz brasileño es, de hecho, lírico y suavemente melódico, y esas palabras describen fácilmente lo que hace Bradley Leighton en Groove Yard, su primer álbum como líder. El flautista de la costa oeste no toca jazz brasileño exclusivamente en este disco de 2003; su interpretación de "Road Song" de Wes Montgomery, por ejemplo, es más afrocubana que brasileña. Pero las canciones brasileñas dominan el CD de 42 minutos, y son canciones que inspiran a Leighton a ser especialmente lírico - incluyendo "Bahia" de Ary Barroso, "Doña Maria" de Duduka Da Fonseca, y dos composiciones de Antonio Carlos Jobim: "Fotografía" y "Mojave". Leighton, afortunadamente, no es uno de esos músicos de jazz que tocan exclusivamente caballos de guerra. Cuando se trata de música brasileña, algunos de los artistas de jazz más perezosos se niegan a hacer su tarea - insisten en tocar sólo los caballos de guerra más golpeados hasta la muerte y son demasiado perezosos para desenterrar las joyas menos conocidas de prolíficos compositores como Jobim, Ivan Lins, Dori Caymmi y Milton Nascimento. Pero Leighton no es perezoso; "Mojave" es una de las canciones menos conocidas de Jobim, y aunque "Fotografia" es más conocida que "Mojave", no ha sido totalmente golpeada hasta la muerte como "Corcovado", "La chica de Ipanema" y "One Note Samba" han sido golpeados hasta la muerte. Tan líricamente como Leighton toca en Groove Yard, todavía sabe cómo ser funky; el soul-jazz es una inspiración importante, especialmente el soul-jazz de Herbie Mann y Hubert Laws (dos de sus principales influencias). Leighton no es un jugador innovador ni terriblemente original, pero es talentoso, cálido y expresivo, y esas cualidades le sirven bien en esta sólida, aunque derivada, salida.

 

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Tracks
01. Mojave
02. Groove Yard
03. Fotografia
04. Dona Maria
05. Bahia
06. Road Song


Bradley Leighton - Flute, Alto Flute
Bob Magnusson - Bass
Duncan Moore - Drums
Allan Phillips - Percussion
Jaime Valle - Guitar
Mike Wolford - Piano


Release:July 15, 2003
Label: Pacific Coast Jazz
Total Time:42:27

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