Eschewing hypothetical startles and unnecessary intricacies, “East 97th”, the encouraging debut album by Portuguese bassist Gonçalo Leonardo, provides agreeable listenings through the aggregation of well-composed textures within clarified structures. The record was recorded in New York, where Leonardo lived for a couple of years, and features an international quartet comprising the also Portuguese André Matos on guitar, Spanish Yago Vazquez on piano and Rhodes, and American Tommy Crane on drums.
A Portuguese song entitled “Ó Calma Que Vai Caindo”, composed by the politically influential folk composer Zeca Afonso, opens the session with uncompromising subtlety and contemporary vein. The breathable movements bestow a monochromatic tone and dream-like feel that are …show more content…
“Ahead” is probably the boldest piece and kicks in with a vamp in which lush piano voicings are thrown against a one-note guitar ostinato. Matos’ melodies are slightly reminiscent of Abercrombie’s “Spring Song” while the rhythmic pulse mutates to support the improvisations of Vazquez and the bandleader.
Advancing with a laid-back beat and influenced by Western music, “Easy Going” is pampered by a pair of inspired improvisations, first from Vasquez, whose bluesy approach flourishes with a few outside escapades and soulful motifs, and then from the adventurous Matos, who boasts an inventive vocabulary while denoting a skilful handling of the guitar-effect unit.
“Anthracite” burns initially with Crane’s exciting drumming before entering into a state of melancholic limbo. It gains a temporary swinging flow for less than half a minute as Vasquez timidly steps forward.
“Train Talk”, serving as a vehicle for the bassist’s free rambles, and “Loken”, designed with bubbling vibes and mysterious tones, are no more and no less than spontaneous collective
A Portuguese song entitled “Ó Calma Que Vai Caindo”, composed by the politically influential folk composer Zeca Afonso, opens the session with uncompromising subtlety and contemporary vein. The breathable movements bestow a monochromatic tone and dream-like feel that are …show more content…
“Ahead” is probably the boldest piece and kicks in with a vamp in which lush piano voicings are thrown against a one-note guitar ostinato. Matos’ melodies are slightly reminiscent of Abercrombie’s “Spring Song” while the rhythmic pulse mutates to support the improvisations of Vazquez and the bandleader.
Advancing with a laid-back beat and influenced by Western music, “Easy Going” is pampered by a pair of inspired improvisations, first from Vasquez, whose bluesy approach flourishes with a few outside escapades and soulful motifs, and then from the adventurous Matos, who boasts an inventive vocabulary while denoting a skilful handling of the guitar-effect unit.
“Anthracite” burns initially with Crane’s exciting drumming before entering into a state of melancholic limbo. It gains a temporary swinging flow for less than half a minute as Vasquez timidly steps forward.
“Train Talk”, serving as a vehicle for the bassist’s free rambles, and “Loken”, designed with bubbling vibes and mysterious tones, are no more and no less than spontaneous collective