Hannah Burgé

GOING FOR ADDS: OCTOBER 2nd, 2015
FILE: JAZZ LATIN VOX
Hannah Burgé cover art
Hannah Burgé "Green River Sessions"
Music Village Records
Hannah Burgé: vocals;
Robi Botos: acoustic piano, Fender Rhodes, Hammond B3, Nord;
Paco Luviano: electric and acoustic basses, and vocals;
Mark Kelso: drums and percussion;
Hendrik Meurkens: harmonica (2, 7);
Tony Zorzi: guitar (3);
Kelly Jefferson: saxophone (4);
Luisito Obregoso: vocals (1);
Jalidan Ruiz: congas (6)
1. Art of Living 3:24 traditional Yoruba call and response between vocal
and coro, Luisito Obregoso: vocals
2. Be My Love 4:08 infectious samba Hendrik Meurkens: harmonica
(Nicholas Brodsky/Sammy Cahn)
3. Black Velvet 4:14 electronic funk country pop rock; Tony Zorzi: guitar
cover versions of Canadian superstar Allanah Myles’ megahit Black
Velvet (by Christopher Ward and David Tyson).
4. *I’m In 3:53 South Indian Carnatic jazz sax counter point acoustic
piano, Kelly Jefferson: saxophone
5. De Repente 4:57 Spanish vox driving electronic bass, drums, Rhodes
and synthesizer
(Venezuelan, Aldemaro Romero)
6. *Nica’s Dream 4:42 evoking Coltrane’s Giant Steps in its intro,
rollicking Latin-style smoker, richly syncopated and exuberant, burning
rhythm section, scintillating vocalese, incandescent Jalidan Ruiz:
congas (Horace Silver)
7. Sunshine Samba 5:35, driving electric bass Hendrik Meurkens:
harmonica
8. *Serenity 3:42 slow ballad exquisite beauty and delicacy
9. Black Velvet 4:45 radio edit
* Kate’s jazz picks + Latin
Genre classification simply will not pigeonhole the remarkable Canadian
vocalist Hannah Burgé, as clearly demonstrated in her extraordinary debut
album Green River Sessions on Music Village Records. Her Masters Degree in
ethnomusicology is no mere academic qualification as her deep knowledge of
World Music is woven into every track of the album, deeply intertwined with
her personal musical vision. African, Brazilian and Indian vocal traditions are
blended seamlessly into her vocal style, fully immersed in the classic jazz
expression of Annie Ross, Eddie Jefferson, Kurt Elling and Diane Reeves – all
beautifully projected through her lovely, emotive and compelling voice
The music is fully integrated with these traditions, with the core trio – Robi
Botos on acoustic piano, Fender Rhodes, Hammond B3 and Nord synthesizer;
Mark Kelso on drums and percussion and Paco Luviano on acoustic and electric
bass – impeccably mastering every aspect of the music. Far more than a
supporting trio, they possess a consummate synergy that makes the quartet a
band in the most explicit sense of the word, with each member vitally versed in
all of the styles contained within the music. Despite the variety of influences
contained here, this is no potpourri, but rather a vividly realized musical
context, with a totally cohesive structure – all welded together under the
enthralling expressiveness of Hannah Burgé.
The brilliant arrangements are all done by Hannah and Paco, either together or
separately, and the overall concept of the album was forged in their profound
partnership, with Paco serving as the band director and the album’s producer.
His inspired bass playing provides the central nervous system of the music.
Botos handles most of the soloing with exhilarating imagination, thoroughly
within the spirit of the music, and his sensitivity and tastefulness in support are
exemplary. Kelso is stunning, his flawless rhythms and riveting energy make the
music crackle, yet splendidly subtle in his coloration and drive. Guest artists are
also brought into the brew for ingeniously effective contributions, including the
world renowned harmonica master Hendrik Muerkens on two tracks.
The repertoire is outstanding – four Burgé originals, a popular Venezuelan song,
two versions of a megahit pop song, and a pair of fine renditions of a Songbook
standard and a jazz classic.
The four originals – all arranged by Hannah – strikingly showcase her highly
impressive songwriting talents. Forged from the broad scope of her World
Music sensibilities, coupled with the inspiration drawn from the natural setting
of Lake Simcoe and the forests of her hometown of Orillia, Ontario, expressing
the majesty of nature through her music is a key part of her artistic quest.
Performing with Cuban, African and Brazilian bands in Toronto has also
directly influenced her writing.
Inspired by water and the music of Cuba, Art of Living opens the album in a
radiant manner, structured on a traditional Yoruba song grouping with a
dynamic call and response between her vocal and the coro (comprised of herself
and guest artist Luisito Orbegoso). South Indian Carnatic music provides a core
inspiration for I’m In, with shimmering descending and ascending patterns
providing a delectable tension, all dramatically enhanced by glowing tenor sax
coloring from Kelly Jefferson. Serenity, a paean to the forests of her childhood,
is a filigreed ballad of exquisite beauty and delicacy – evocative, mesmerizing
and touching – and sung with an artistry of enormous depth and spirit.
Sunshine Samba b with Hannah’s vocal languorously suspended over the
butterfly dance of the rhythm section, ramping it up into bass-stoked, firebreathing intensity under Meurkens sizzling solo and Hannah’s skat-ish vocal.
Hendrik also lends his prodigious talents to a uniquely conceived take on the
Nicholas Brodsky/Sammy Cahn standard Be My Love, with the Hannah/Paco
arrangement transforming what is usually an operatic interpretation into an
infectious samba. Meurkens lively solo and obbligato caressing Hannah’s
sprightly vocal add to the joy of the piece.
Throughout the album, Paco’s luminous talents and the rich World Music
experience that he has culled from years of playing with so many fine
international artists add a special luster to the music. His arranging skills are
showcased on a pair of pieces. The legendary Spanish born Venezuelan
composer Aldemaro Romero’s De Repente is an exciting, driving piece
spurred by bass and drums and features Botos soloing on Rhodes and
synthesizer. Hannah’s buoyant Spanish-language vocal is a delight. The
Horace Silver classic Nica’s Dream, evoking Coltrane’s Giant Steps in its
intro, is a rollicking Latin-style smoker, richly syncopated and exuberant, with
the burning rhythm section further stoked by the incandescent congas of Jalidan
Ruiz. Hannah handles Horace’s delightful lyrics with a scintillating vocalese
flair that would make Eddie Jefferson holler his approval.
Hannah aptly demonstrates her mastery of pop music with two cover versions
(including a radio edit) of Canadian superstar Allanah Myles’ megahit
Black Velvet (by Christopher Ward and David Tyson). This sensational
arrangement by Hannah and Paco features Tony Zorzi on guitar, whose
scorching, rock-ish solo is a highlight. Over a deeply grooving rhythm section of
funky bass, cascading Rhodes, wah-wah guitar and fractured back-beat drums,
Hannah soars and wails, with tastefully subtle overdubs, in a most captivating
rendition of the popular song.
With a full-bodied and warm voice, Hannah’s sinuous lyricism coils around the
melodies and chord structures, her alluring phrasing and sumptuous musicality
painting intriguing pictures and offering fascinating tales. The delightful Green
River Sessions contains just the first of many to come.
For more information, visit www.hannahburge.ca
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