Three Albums from 2024 not to be missed: Renee, Avishai, and Simon

We just wanted to remind you of three albums released last year which we went back to over and over again. All three are out on vinyl too. Pianist and composer Renee Rosnes released “Crossing Paths” on December 6th on Smoke Sessions Records. The nine songs on the album feature Brazilian classics written by Egberto Gismonti, Edu Lobo, Caetano Veloso, Antonio Carlos Jobim, Joyce Moreno, Gilberto Gil, and Milton Nascimento. Renee is accompanied by the legendary Edu Lobo, Joyce Moreno, singer Maucha Adnet, percussionist Rogério Boccato, and guitarist Chico Pinheiro as well as John Patitucci, Chris Potter, and Steve Davis, among others.

The album is off to a lively start with Gismonti’s “Frevo”, which features Shelley Brown on flute and a mean bass by John Patitucci. Edu Lobo, now 81, can be heard on his own “Pra Dizer Adeus”, which he wrote with Torquato Neto and which was recorded by goddess Elis Regina back in 1966. Edu’s voice has aged in style and has this wonderful vulnerability on this beauty. Renee can be heard on vocals in the back. The other Edu composition here, “Casa Forte”, has a thrilling soprano sax solo by Chris. Joyce revisits her own “Essa Mulher” with a lot of grace and sensitivity. Another track which was recorded by Elis Regina. I love the trombone of Steve Davis on this particular track. And Maucha can be heard on the dramatic “Canta, Canta Mais”. Her voice brings yet another dimension to this project. She can paint with her voice like nobody else can. Listen to the album closer “Caminhos Cruzados” and you get the drift. It’s stunning. Elsewhere on the record, Renee turns to the Rhodes and the overall musicianship is extremely exuberant, full of heart and soul and joy.

Bassist Avishai Cohen released his latest LP “Brightlight” on Naïve Records in late October. Declared as one of the 100 Most Influential Bass Players of the 20th Century by Bass Player Magazine, Avishai shines throughout his mostly self-written tunes, accompanied by fellow Israeli musicians and Swedish trumpeter Lars Nilsson, who also co-produced. His compositions deftly charme both pianists Eden Giat and Guy Moskovich on ebullient pieces like album opener “Courage” or the title track. The horn-led “Hope” is one of my favorite cuts on the record. Its swinging nature and free-flowing rhythm is pretty explosive. Avishai’s bass prowess is probably best described on “The Ever And Ever Evolving Etude” which is brimming with forte and dynamism. I also really like the slightly darker mood on “Drabkin” which is a feature for saxophonist Yuval Drabkin and boasts with a really fledgling melody. And “Roni’s Song”, written with drummer Roni Kaspi in mind, comes across with a lot of propulsive bits and pieces. There are three tunes which are not written by Avishai here: on Gershwin’s “Summertime”, done with an upbeat virtuosity and an almost urgent vocal, Avishai turns this classic into a pummeling speed-driven tune full of inventive twists. The Franz Liszt piece “Liebestraum n°3” shows his more swinging melodicism with a stunning directness in his bass solo. And “Polka Dots And Moonbeams” is another showcase for Yuval and his really imaginative playing.

Vibraphonist Simon Moullier, mentored by Quincy Jones (“Best vibes player I heard”) and Herbie Hancock (“Never heard anyone play vibes like this before”), released his fourth LP “Elements Of Light” on Candid towards the end of September. We already featured the album opener, the very refreshing and loose “808”, in one of Gina’s weekly playlists. Simon’s playing is exceptionally lyrical and can convey this eerily exciting nuances on pieces like “Pyramid Of The Sun”, one example of his own masterful way of composing. Simon is backed by pianist Lex Korten, bassist Rick Rosato, and drummer Jongkuk Kim. He also arranged tracks on Terri Lyne Carrington’s brilliant “New Standards Vol. 1” by the way. But other than really excelling in arranging and composing, his true aesthetic is the way he treats the vibes. He can make them sing and telling a story on “Bird Of Paradise”. It’s a little wonder. And “Primavera”, the slowly unfurling beauty, echoes both classical and the best of Burton/Corea. On the title track, pianist Gerald Clayton joins the cast. It’s a delightful, tour-de-force piece where Simon swirls and staggers over his instrument. Things turn Brazilian on “Jiwa”. With its reverent underscore, it’s another highlight of the album. Full of haunting and compelling moves, this totally elegant piece reminds me of some of the best Brazilian recordings of pianist Kenny Barron. Simon ups the ante on the fast and furious, almost pugnacious “Olympus” and tones down again for “Lotus”, which features some warm trumpet playing by Marquis Hill. And he goes back to some much appreciated storytelling on the album closer “Oriental Folk Song”. As a vinyl freak, there is just one thing I don’t understand: clocking in at around 50 minutes, the nine songs would have easily fit onto an LP without any sacrifices to the sound. And yet, two tracks have been omitted for the vinyl version (“Olympus” and “Oriental Folk Song”).