Gretchen Parlato & Lionel Loueke - Lean In

May 15, 2023

Label: Edition Records, 2023

Personnel - Gretchen Parlato: voice, percussion; Lionel Loueke: guitar, voice, percussion // Guests - Mark Guiliana: drums, percussion (#3,6,7,9,11); Travis Burniss: electric bass (#3,6,11); Marley Guiliana: voice (#3,6,12); Lisa Loueke: voice (#3).

With Lean In, American singer Gretchen Parlato and Benin-born guitarist Lionel Loueke celebrate musical cultures in a successful pairing where they complement each other on 12 absorbing cuts. This session, a response to pandemic times, captures the two at the height of their abilities, embracing a world jazz vibe centered on West African grooves and rhythms. On specific pieces (including two wonderful interludes), the duo strategically used guest artists, elevating their instrumentality to another plane; they are drummer Mark Guiliana and bassist Travis Burniss.

Penned by Loueke, the opening number “Akwê” and the fourth track “Okagbe” were retrieved from his creative jazz trio Gilfema's self-titled album (2005). The former piece is sung in Fon (the indigenous language of Benin) - with two voices in perfect consonance - and features brilliant guitar work, which, delineated with expert riffage, provides the contagious rhythm; the latter number, seductively expressed in seven, was shortened into an apt interlude that takes us to “Astronauta”, a melancholic detour into Brazilian bossa with Portuguese lyrics. A touch of Afro-Brazilian color is also spotted in “Muse”, whose tonal relaxation and English lyrics reminded me of Bebel Gilberto. This piece develops in nine with key changes and includes a captivating guitar solo.

Parlato excels on “I Miss You”, an incisively percussive reading of Klymaxx’s 1984 ballad. With the vocal backing of Loueke, her warm-toned voice carries a very pleasing lightness. The Afro-centric “Nonvignon”, a Loueke tune, was previously included in her eponymous debut album from 2005, whereas a new cut, “Painful Joy”, has concurrent wordless vocals tracing a poignant melody that lets emotions flow naturally.

The duo co-wrote the impeccably layered title track with Guiliana, and the order the musicians enter here reflects how this piece came to life. The drummer’s energizing rhythms lock in with Travis’ bracing bass lines on “If I Knew”, a kinetic work powered by a funky groove, crisp afrobeat, electric wah-wah currents, a gorgeous chorus, and an alluring synth effect released by Loueke’s guitar during his burning improvised statements.

With a strong collaborative work that spans 20 years, Parlato and Loueke are both multilingual in a musical sense. They explore the plights and points of their inspirations in duo for the first time, searching for beauty and distinguishing themselves in sound and language.

Favorite Tracks:
02 - I Miss You ► 03 - If I Knew ► 07 - Muse

Lionel Loueke - HH

November 3, 2020

Label: Edition Records, 2020

Personnel - Lionel Loueke: guitars, vocals.

The eclectic work of legendary pianist/keyboardist Herbie Hancock informs and inspires a new album from virtuoso West African guitarist Lionel Loueke, whose idiosyncratic style is not just served with a groove-oriented posture and rhythmically advanced patterns, but also emotional lyricism. He definitely puts his own stamp on fresh interpretations of selected Hancock pieces.

The magnetic jazz-funk of “Hang Up Your Hang Ups” gets a pristine acoustic treatment in Loueke’s hands, being consolidated through ornamental vocal expertise and occasional bright harmonics.

Simultaneously percussive and melodious, the vocals glide over the heady rhythm of “Driftin’”, whose complex aplomb made me think of those blues-based and Afro-bossa grooves of Brazilian Gilberto Gil. João Bosco is another Brazilian composer that came to my mind on the following track, “Tell Me a Bed Time Story”, while “Actual Proof” becomes purely percussive with the use of extended techniques for a peculiar sound.

Rendered with an effortless grooving motion, “Cantaloupe Island”, perhaps Hancock’s biggest hit, is impeccably molded to showcase the guitarist’s depth and virtuosity. Supplementing the relaxed acoustic drive, there’s an adequate wah-wah effect that gives the song an extra boost.

With imagination, Loueke permeates these songs far beneath the surface, and if he applies some wistful, balladic and classical tones to his interpretation of “Dolphin Dance”, then he dresses “Watermelon Man” with a completely renovated outfit. The lush restoration of the groove feels natural, low-key and hypnotic.

The guitarist gets to strut his stuff on “Rock It”, whose wild rhythm requires an impressive control of the bass notes in addition to a layer of dubbed guitar with delay.

Rounding out the album, there are two original compositions, “Voyage Maiden” and “Homage to HH”. Both are harmonically and melodically rich, with reflective thought and persuasive West African influence.

Boasting a firm grasp across styles and idioms, Loueke makes a wonderful homage to Hancock; from a great musician to another great musician. And he closes out the album with a rambunctious reading of “One Finger Snap”, whose original hard-swinging abandonment is discarded in favor of a relentless and hectic electronic vibe. A remarkable solo effort.

Favorite Tracks:
01 - Hang Up Your Hang Ups ► 02 - Driftin’ ► 11 - Rock It

Aziza - Aziza (Holland / Potter / Loueke / Harland)

December 1, 2016

Dave Holland: bass; Chris Potter: tenor and soprano saxophones; Lionel Loueke: guitar; Eric Harland: drums.

Aziza is the name of a brand new jazz supergroup of snappy influence that includes the bassist Dave Holland, the guitarist Lionel Loueke, the saxophonist Chris Potter, and the drummer Eric Harland.
Their self-entitled debut album is a remarkable artistic pearl that exhales both collective creativity and crisp individual improvisations.

It opens with the groundbreaking funk of “Aziza Dance”, a semi-robotic jubilation that features Potter and Loueke in sharp unisons and affirmative solos on top of the groove laid down by the grandiose rhythm section. The inventive guitarist, and author of this piece, whose quirky approach never lets me down, stands out by improvising with aplomb and originality while using a mesmerizing guitar effect.
The predominance of African and exotic rhythms are observable throughout the record. “Summer 15” is emulsified by Potter’s soprano during the initial melody and then tenor for the final theme; “Finding the Light” is peppered by the saxophonist’s in/out concept and Harland’s intelligent rhythm patterns; in “Sleepless Night”, Loueke shows his enormous influence and versatility, singing and opting for guitar distortion to exchange compelling phrases with Potter.

Even if the title suggests a walking bass, don’t expect to find it in “Walkin’ the Walk”, which thrives with an effervescent groove that obeys to a complex meter. Holland, simultaneously leader and team player, clarifies why he is the most desirable bassist on Earth. Potter and Harland channel their energy to provide unflagging verve.
In “Aquila”, the quartet changes the tempo, passing from a 6/8 to a 4/4 in the final section. Most of its flavor comes from Loueke’s aromatic comping.
An alternative approach was used in the rhythmically acrobatic, “Blue Sufi”, which grabs influence from rock music while occasionally scatters eastern innuendos translated by Potter’s steadfast phrasing.

Using the jazz language as an intermediary, Aziza celebrates different cultures through a consummate liaison. The brilliance of these top musicians translates into a rewarding, nimble album. Indubitably, this is one of the year's best.

Favorite Tracks:
01 – Aziza Dance ► 03 – Walkin’ the Walk ► 08 – Sleepless Night