"There has been a wealth of fine Latin Jazz releases this year.
The latest from Mark Levine and the Latin Tinge, Serengeti (Left Coast
Clave), would have to rank among the best. The follow-up to 2000's Hey,
It's Me includes the same quartet: noted educator and author Levine
on piano, Michael Spiro on percussion, Peter Barshay on bass, and drummer
Paul Van Wageningen. The album includes several Jazz standards, among
those, "A Shade of Jade" and "Inner Urge" by Joe
Henderson, with whom Levine was a pianist, Wayne Shorter's "Effendi",
which features a wonderful solo by Barshay, Stanley Turrentine's "Sugar",
and the Wayne Shorter composition "Angola." "Angola"
is a particularly satisfying track, with vocals by José Luiás
Gomez, and the group's signature swinging piano and bass moving smoothly
over irrestible Latin rhythms. Another fine example of this juxtaposition
is "You're My Everything," which again bops over a torrid
rhythmic undercurrent.
Cuba is represented by the opening track "Cha Cha Para Mi Alma,"
and by the fanciful, yet formal "Danzon Rio Sumida." The album
also includes the Brazilian song "Assum Branco," and a bolero.
Levine composed the title track "Serengeti," an uptempo and
flowingly melodic tune that is an improvisational showcase for all members
of the quartet. The recording of Serengeti is impeccable, perfectly
capturing the deep resonance of the congas and big, bold tom-toms, the
warmth of the bass, the subtleties of the hand percussion, and, despite
the multitude of sounds, all of the harmonic nuances of the piano. Serengeti
will not only delight Latin Jazz devotees, but lovers of piano jazz,
too."
- Ed Trefzger, Yellow Dog Jazz Report
"The rhythms of Latin music are some of the most challenging in
jazz. To play this music convincingly, mastery of its syncopation, odd
groupings, accents, grooves and poly-rhythms are absolutely required,
and this is no easy task. On Serengeti Mark Levine and the Latin Tinge
prove not only are they masters of the groove, but tasteful, soulful
and inspired players as well.
"Cha Cha Cha Para Mi Alma", a charmingly simple number, starts
this recording in a relaxed, swinging style. Mark Levine leads the quartet
from the piano, and he leads it well. His economical, melodic solo and
the crisp ensemble play within is a microcosm of the good taste and
compositional approach the band utilizes throughout the date. These
aren't "head tunes" that are vehicles for childish displays
of chops, but rather separate pieces of music - small group arrangements
(with intros, re-harmonizations, soli sections, vamps, and rhythmic
hits) in the genre that feature the strengths of this talented and professional
quartet. "A Shade of Jade", the classic Joe Henderson number,
is four minutes and forty-two seconds of jazz excitement. Michael Spiro
and Paul Van Wageningen get down! Swinging here, Afro-Cuban there and
grooving hard throughout. "Inner Urge", the other Henderson
chart on the session, sounds as if it was written for this group. Peter
Barshay's bass is featured on a neat arrangement of the melody and in
an extended solo, not to mention the intricate vamp section behind the
percussion solos. The recording closes with a red-hot six-eight treatment
of Stanley Turrentine's "Sugar" with fine, pointed solos from
all the members of the ensemble. As is the case with all masterpieces,
you're left wanting more - just a little bit more of this extraordinary
music."
- Jim Josselyn, allaboutjazz.com
"Among the great technical challenges facing the improvising musician
is the task of infusing original and/or standard pieces with one's personal
touch. Arguably, it is this ability to realize new dimensions specific
to musical content that separates the artist from the technician. This
wonderful ensemble lead by the San Francisco Bay Area-based pianist
Mark Levine realizes beautiful, unexplored dimensions in familiar pieces
including "Effendi" , "Angola", "Sugar",
"Shade of Jade", "Inner Urge", and "You're
My Everything". Throughout the session, Levine consistently challenges
us by introducing a stunning variety of rhythmic contrasts within definable
harmonic schemes; the antithesis of the conventional Jazz "blowing"
date. The exposed rhythmic figures in the title track, which is essentially
a blues in C minor, are a case in point. This is another excellent session
by one of the grand masters of Latin Jazz."
- James D. Armstrong, Jr., JazzNow.com
"Good music deserves to be heard, and although this band is relatively
new, "Serengeti" is the second CD for Mark Levine & the
Latin Tinge. Continuing the trend to combine Latin and Afro-Cuban rhythms
in the be-bop genre, Levine and ensemble excel in giving new life to
some standards (Stanley Turrentine's "Sugar" and "A Shade
of Jade," "Inner Urge" by the late Joe Henderson) and
also explore new compositions by Levine himself. The date hits the ground
running with the opener "Cha Cha Cha Para Mi Alma" and doesn't
look back. The veteran cast of players includes Peter Barshay, bass,
Michael Spiro on percussion and Paul Van Wageningen, drums, and their
combined efforts make the ensemble sound twice as large."
- Michael Handler, Jazzwest.com
"Mark Levine will be familiar to many jazz musicians and fans as
author of two widely used textbooks on jazz piano and theory, but the
San Francisco-based pianist is also a fine practitioner of the jazz
art in his own right, with a special leaning toward combining post-bop
jazz and Latin music. His new disc, the second he has produced with
this band, is a sparkling demonstration of his talents in that direction.
His agile, harmonically rich piano rides across and through the intricate
dancing rhythms conjured up by Michael Spiro on percussion, Paul van
Wageningen on drums, and Peter Barshay on bass. They work out on a varied
and well-chosen selection of music, taking in tunes by Joe Henderson,
McCoy Tyner, Stanley Turrentine and Wayne Shorter, alongside Cuban tunes,
the Harry Warren standard "You're My Everything," and the
pianist's own energized title track."
- Kenny Mathieson, Jazzwise.com
"One of the milestones in Bay Area Latin jazz is the Cal Tjader
Grammy-winning album La Onda Va Bien (Concord). It was the perfect combination
of superb tunes with a groove, a melodic quality, and a virtuoso cast
performing them that distinguished this 1980 production. Now pianist-composer
Mark Levine, who was part of the ensemble on that landmark recording,
presents the same qualitative edge on Serengeti, a collection of jazz
standards, Afro-Cuban interpretations and original compositions.
Produced by Bud Spangler, this follow-up to Hey Its Me... captures
the nuance of Levine's harmonic genius and amazing chops. In a largely
quartet setting he glides over a variety of rhythms percolated by the
deep-anchor double bass of Peter Barshay, trap drummer Paul Van Wageningen
and percussionist Michael Spiro. They groove with impeccable swing,
imaginative arrangements and excellent interplay. The music ranges from
interpretations of contemporary Cuban jazz vehicles by Tony Martínez
(Cha Cha Cha Para Mi Alma) and José Luis Cortes' Danzon Rio Sumida,
to the addition of Afro-Cuban folklore, to Wayne Shorter's Angola, where
abakuá chants by José Luis Gómez fortify a Cuban
root with masterful batá tones from Spiro. Two tracks by the
late Joe Henderson, a longtime colleague of Marks, and an ingenious
twist to Stanley Turrentine's Sugar are all delightful overtures.
Cal Tjader was a master of reworking a standard into something unique
and beautiful. Mark Levine & Latin Tinge are in that league. What
Spangler and engineer Jeff Cressman have done on this album is capture
an aura that will glow into the annals of jazz in the same light as
Red Garland's Manteca, Erroll Garner's Mambo with Garner and yes, Tjader's
La Onda Va Bien."
- Chuy Varela, Latin Beat
"I am not sure how it could be possible for the great Mark Levine
to top last year's release of "Hey it's me," but el maestro
has. In this brand new and excellent recording, Mark and the Latin Tinge
have picked up right where they left off. Mark's style and absolutely
gorgeous sound has become his trademark. On this new effort Serengeti
Mark keeps the groove going with some delicious material that will have
you agreeing with me that Mark has created one great swinging style.
This recording features a little from everywhere and is one great mix.
Mark has always been involved with great recordings and the masters
of Latin Jazz and he has now clearly defined his own sound with these
2 solo releases. I have always been an admirer of his work and can't
fully express my enthusiasm over these 2 strong efforts. I mean having
recorded with Luis Gasca, Mongo Santamaria, Cal Tjader and Poncho Sanchez
that is history in itself.
I strongly believe that Serengeti will go down as one of the great
Latin Jazz recordings of the year and will be talked about for many
years to come. Listen to how smooth the session starts off with Mark's
rendition of "Cha Cha Cha para mi Alma," written by Saxophonist,
Tony Martinez. This tune really highlights Mark's smooth style and what
an arrangement! Michael Spiro's congas keep the tune in a nice Latin
groove and both Peter Barshay (bass) and Paul van Wageningen (Drums)
keep the tune tight. Listen to Paul's solo and hear what he has to say.
The McCoy Tyner classic "Effendi" is next and what a delight.
The playing on this great tune is solid and shows why Mark is among
the best in the business. The band next visits a Wayne Shorter's "Angola,"
that features the talents of Jose Luis Gomez on vocals. This is a tasty
number that has such a colorful and rich harmony. Mark next features
one of his original tunes originally recorded with the great Cal Tjader,
"Serengeti." Listen to the catchy opening and hear the percussion
section open up. Mark then comes in with the tunes familiar phrase and
kicks things in gear. Very nice updated version of this already classic
tune.
A tune that has quickly become a favorite of mine is the pretty and
delicate "Danzon Rio Sumida." written by Jose Luis Cortes
of NG La Banda. Listen to the pretty melody and changes throughout.
This is such a lovely tune and fits right in with the tight sound of
this fine ensemble of players. This is what I like to call Latin Jazz
to think by. For this new disc Mark wanted to include a few tunes from
the book of the late great Joe Henderson. "A Shade of Jade"
and "Inner Urge," 2 gorgeous tunes, are heard here and get
the full Latin Tinge treatment. Mark and the Latin Tinge go a little
Brazillian with their version of "Assum Branco," and this
one is a nice one. Listen to the tasty piano vamp and listen to the
group as they sway along with a cool groove. Another tune that will
give you a great example of the Latin tinge sound is "Mr. Natural,"
written by Erik von Buchau. As its title suggests it is a "natural,"
and features a great melodic feel. There are tunes that will go down
in history as good ones and there are those that are a step above the
rest. A perfect example of this is the Osvaldo Farres, "Tres Palabras,"
done hear as a gorgeous Jazz/Bolero. Mark's soft playing is another
perfect example of his virtuosity. Only Mr. Levine could play this emotional
and sophisticated tune with such an attention to the character of the
tune.
Closing out Serengeti is the flavorful "You're my everything."
The band moves along and helps this swinging tune swing even more. It
sounds like the band is having fun with this one and I agree, what a
piece to Latinize and give new life too. Stanley Turrentine's "Sugar"
is a Jazz Classic that is given a new Latin treatment here. Listen to
the creative percussive intro and you will here this band get down to
it. I like the way the band goes from straight ahead to Afro-Cuban.
It gives this great tune a whole new identity. Listen as the percussion
section close out the tune with a display of power and authenticity.
Well what more can I say except go out and check this real-deal recording
out. Mark Levine and the Latin Tinge boys have once again created a
rhythmic and dynamically correct recording. This is some sweet sounding
Latin Jazz."
- Erik M. Manqueros, Latin Style Magazine
"I've had the last release from Mark Levine & the Latin Tinge
(Hey It's Me, LCC001) in pretty steady rotation on my stereo for nearly
a year now. It's always one of my first recommendations to friends when
they ask me for advice on what music to buy. This in mind, it felt pretty
good watching this new disc sliding into the machine for the first time.
Then of course there's that moment of doubt between when the player
drawer shuts and the music begins: What if I don't like it? What if
it's not as good as the last one? Then it grooves straight into the
first track, Cha Cha Cha Para Mi Alma, and I know: Oh yeah! This is
going to be good… a little more than an hour later and it's still
got me. Here's proof that there are still some things in life that live
up to our expectations. Thank you, guys.
With Serengeti, Mark Levine & The Latin Tinge, all jazz and salsa
veterans, take up where they left off with their last outing, filling
up the spaces where jazz and Latin jazz overlap. Lines between styles
and cultures disappear with Latin arrangements of traditional jazz numbers
and non-traditional arrangements of Latin numbers. The result is really
nice-a small, tight unit playing piano jazz over hot, tropical rhythms…
not "in your face" but sure as hell not laid back.
You don't have to have to have the originals of these songs on hand
for direct comparison to enjoy them. It's fun if you do: Certainly the
highlights of Serengeti, for me were songs I was already familiar with,
Wayne Shorter's Angola and Stanley Turrentine's Sugar. The cover of
McCoy Tyner's Effendi, a song I didn't know, impressed me no less. Similarly,
two Joe Henderson songs had me dancing on my chair and drumming along
on the furniture.
It all made me curious so I did some legwork and went and found most
of the original songs done by the original artists that were covered
on Serengeti. This exercise impressed me even further, as many of these
songs were not written for piano as the lead instrument, and surely
not for Latin percussion. You'd never know that from listening to them
though. It deserves mention also that the title track, the only Levine
original represented, is really hot as well and a standout on the album.
Like Hey It's Me, this is also a great sounding recording, really rich
and natural. So I'll add Serengeti to my short list of personal recommendations.
Again, well done, guys.
- MacGregor Rucker, Planetlatino
"One of the best Jazz piano books I've ever seen. ..very easy
to understand."
- KENNY BARRON
"I really like this book, because it covers all the bases. An
invaluable resource for any keyboard player."
- JAMEY AEBERSOLD
"This is one of the finest jazz instruction books on the market,
written by an experienced, professional Jazz player. The book is practical
and unpretentious, with lots of valuable information for the beginning,
intermediate, and advanced improviser. The informality of his style
cannot hide Mark's seriousness, attention to detail, and true love of
Jazz piano."
- RICHIE BEIRACH
"For anyone who is interested in acquiring the basics of contemporary
jazz piano playing, this book is a must!"
- HAL GALPER
"One of the most complete anthologies on Jazz piano in recent
years. The research and attention to detail, the nuances and musical
examples in each chapter are most refreshing, as are the photos. Stylistically
covering artists from Teddy Wilson through Mulgrew Miller, in a way
that has rarely been dealt with in other jazz piano literature."
- JAMES WILLIAMS
"Mark Levine's The Jazz Piano Book is an incredibly thorough and
yet personal look at the vast subject of jazz piano. The scholarly historical
perspective combines with excellent practical examples of different
styles and approaches to the keyboard. This book can be helpful to jazz
musicians at all levels of development. Applause for one of the truly
fine pianists of our time for putting his vast expertise, experience,
and musicality into book form."
- ART LANDE
"This book comes closer than any other book I have yet come across,
to giving the student an insight in the art, and needs, of playing modern
Jazz piano. With the comprehensive exploration of all the basic techniques
in common use that this book offers, along with inclusion of chapters
on such important and often overlooked areas as camping and LatinJazz,
this book deserves a place on every modern Jazz teacher's bookshelf."
- MIKE NOCK
"...this is a great book"
- EDDIE PALMIERI
"...brilliant, comprehensive, exciting, and highly readable jazz
piano method book. The Jazz Piano Book unlocks door after door of contemporary
piano jazz sounds."
- DOWN BEAT MAGAZINE
"Levine writes with passion and intimate knowledge of this vibrant,
tangled musical tradition"
- PIANO AND KEYBOARD MAGAZINE
"THE JAZZ THEORY BOOK is an amazing aid to understanding theory. Mark Levine writes with wonderful clarity and insight; better yet, his love and passion for music shines through."
- ED TEJA - musesmuse.com
"Mark has done it again and the music world is grateful. This
book will help move the understanding of jazz theory and harmony into
the 21st century."
- JAMEY AEBERSOLD
"Just what the doctor ordered." "Insightful and very
well thought out."
- DONALD BROWN
"As is the case with The Jazz Piano Book, Mark has done a completely
thorough job, organizing the material in a very logical and readable
manner -- highly recommended."
- DAVE LIEBMAN
"Mark has done it again. The Jazz Theory Book has the clarity
that most pedagogical books strive for. This book seems to have left
no stone unturned in what one should know about the inner sanctum of
jazz theory. The most fruitful information is generally derived from
the source and that is the essence of this book. This book is connected
to the music of our Jazz Masters. You can't get any better than that.
Even the mature musician will find information here. Truly a magnificent
accomplishment."
- RUFUS REID
"FINALLY, a book on jazz theory and harmony that is very easy
to understand yet still covers in great depth just about all of the
basics anyone would need to know in order to get started or in the case
of the more advanced player, wonderful information on areas such as
playing "outside," reharmonization, keyboard fundamentals,
etc. I wish I'd had this book 40 years ago. I think this is the book
EVERY musician should own."
- BOBBY SHEW
"Mark Levine has done it again, but this time he has created the
most comprehensive and complete theory book I've ever seen. It is really
user-friendly and is written in a clear and comfortable style. It has
excellent musical examples pertinent to the text and is also very inspiring
and gives a lot of practical advice you don't find in most theory books.
Again, a great job! Highly recommended."
- RICHIE BEIRACH
"The Jazz Theory Book" should be in every musician's library
regardless of the level of their ability."
- JAMES MOODY
"Once again Mark Levine has made an invaluable contribution to
the field of jazz textbooks. The Jazz Theory Book covers a wide range
of very useful material. It is quite thorough and complete. Even better,
Mark never loses sight of the fact that you use theory in order to play
and compose music. Simply a great book!"
- JIM McNEELY
"This is the best book on jazz theory I have seen to date. I find
the reference to famous solos in discography form very beneficial to
all players young and old. The conversational tone of all the text gives
the student the feeling of learning from a friend rather than an authoritarian
figure! Great stuff."
- ERNIE WATTS
'This could be the single finest music book of any type I've ever seen.
It's certainly the best explanation of the mechanics of jazz, and the
amazing depth of the content is matched by the care and accuracy of
the presentation. An invaluable resource for all improvising musicians
regardless of instrument."
- Bass Player Magazine
"Levine writes with passion and intimate knowledge of this vibrant,
tangled musical tradition."
- Piano And Keyboard Magazine
