Roberto Occhipinti – A Bend in the River – Alma ACD11182, 47:40 ***1/2:
(Roberto Occhipinti – bass, producer; Luis Deniz – alto saxophone; David Virelles – piano; Dafnis Prieto – drums; Tony Allen – drums (track 2); Michael Occhipinti guitar (track 2))
Toronto-based bassist Roberto Occhipinti is equally at home in both classical music and jazz realms, since he has spent time in Canadian orchestras and recorded and performed jazz that employs orchestral elements. In addition, Occhipinti has worked in the Latin jazz and world music arenas. Those ranges are given weight on Occhipinti’s latest release, A Bend in the River.
Occhipinti’s previous outings featured a larger ensemble, but here the composer and producer opted for a quartet, supplemented on key tunes by a guitarist, the Globalis Orchestra, special guest drummer Tony Allen and a string group. The core foursome consists of significant Latin jazz performers from the Toronto and New York scenes: drummer Dafnis Prieto, who has done sideman duties for Eddie Palmieri, Michel Camilo, Spyro Gyra’s Dave Samuels and Arturo O’Farrill; pianist David Virelles, who has teamed up with Jane Bunnett and Juan Pablo Torres; and notable alto saxophonist Luis Deniz.
The record opens with Occhipinti’s “Umbria,” which commences with a string quartet that introduces a moody, Eastern European motif that is then carried forth by flute, clarinet and trumpet. When the four artists step in they all strike up a swift-paced bop overtone embossed by soaring sax, Prieto’s fluid, melodic rhythms and Virelles’ keyboards. The strings remain throughout the abundantly textured arrangement, synthesized into the nearly seven-minute piece. Another fine example of Occhipinti’s application of strings as an integral part of his musical palette is heard during a beautiful rendition of John Coltrane’s “Naima,” the well-known tribute to Coltrane’s first wife. Occhipinti overdubs the Globalis Orchestra to the basic recording, which provides a semi-classical underpinning. Occhipinti retains Coltrane’s melancholy feeling but rearranges the tune for solo bass, although Deniz adds a smooth glow to the gliding melody. Deniz and the orchestra are also featured during the closing number, “Marta,” a tribute to Deniz’s mother. While many cuts have a Latin flavoring, “Marta” has the strongest Latin approach. The 11-minute track encompasses an expansive characteristic that affords room for numerous instances when the quartet interacts extremely effectively: piano with sax, bass with piano, drums and piano, and lots of solo maneuvering.
The centerpiece is the title track, which combines Occhipinti’s varied stylistic influences and attributes. The full orchestra is made use of and Roberto Occhipinti’s brother Michael daubs in lightly layered guitar. But the highlight is the driving beat supplied by the celebrated Tony Allen, who was the drummer and unofficial music director of the late Fela Kuti’s band from the end of the 1960s to the late 1970s, and thus helped shape the sounds of Afro-beat. The piece’s watery subject matter is superbly illustrated by the harmonic currents that are further lifted up by the Globalis Orchestra’s affecting tonal tints.
During the 47-minute program, Occhipinti also proves why he continues to be nominated and to win production awards. The seemingly disparate ingredients – chamber music, Latin jazz, bop, orchestral timbres and a standard quartet – are woven together both musically and compositionally, resulting in a jazz release with spacious depth.
TrackList:
1. Umbria
2. A Bend in the River
3. That’s That
4. Naima
5. Chamacos
6. Garotte
7. Marta
— Doug Simpson
