JAM: April/May 2001 Issue: For the Record

Wendy Fopeano
WHEN THERE'S LOVE
Outside Shore Music
OSM 1002

Personnel: Wendy Fopeano, vocals; Art Lande, piano; Dwight Kilian, bass; Jill Fredericksen, drums

Tracks: Chega de Saudade; Do You Know What It Means To Miss New Orleans?; Beautiful Love; Always and Forever In My Mind; 'Round Midnight; A Crystal; As One; When There's Love; Love Comes and Goes; I Bring Sadness; On a Clear Day; Dreamer's Hiccups

Recorded October 1995 and November 1998, Fanfare Studios, Golden, CO.

A montage of standards, originals, tone poems and mood pieces produced under extraordinary circumstances -- the first four tunes had to be recorded in less than four hours, were engineered by a last minute substitute with whom the group had never worked, the featured artist was invited to experiment with on-the-spot concoctions, afterthoughts, and unrehearsed material -- Wendy Fopeano's debut CD is an uninhibited, in-your-face, impressive and inspiring vocal triumph.

Pianist/accompanist/spaceship captain and genius Art Lande obviously knew that he could challenge the rangy mezzo with "let's try this and you improvise over that" spontaneity, and she rewarded his confidence with an exceptional performance. In fact, the two of them play off of each other with ease, tease and derring-do.

"'Round Midnight" is a first-take rendering, thank-you-very-much, which begins with an anxious, desperate "...I do pretty well 'til after sundown" and dissolves into a frenetic vocal narrative, wild but never unmanageable. Check out the high purity, low passion as Fopeano explores the melodic motif (if you like Sheila Jordan, Jay Clayton, rhiannon, you'll love Wendy Fopeano). "Midnight" may also include my favorite Lande solo, although there are many from which to choose.

He (Lande) is a prolific composer as well: his wistful "As One" is initially reminiscent of an art song (truly, no pun intended) but develops depth and drama as, with almost painful clarity, Fopeano expresses his tender thoughts.

Her bop chops emerge in "On a Clear Day" (trust me, you really will enjoy hearing the well-worn oldie one more time) and she renders a refreshing neo-bop chorus on "Beautiful Love." If you want a lesson on how to resurrect on old chestnut, bump it up to this stylistic foray. The chart's pensive, innocent beginning morphs into darkness followed by another fearless vocal monologue before a petulant, resolute fade.

"Dreamer's Hiccups," a Gerry Mulligan line originally titled "Butterfly With Hiccups," is a whimsical masterpiece complete with genteel gastronomic grace notes.

Lande's Jellyroll-ish intro sets up Fopeano's sweet but sexy personalization of "Do You Know What It Means To Miss New Orleans?" There's a really nice bowing solo by bassist Dwight Kilian, and another fantastic, this time laid back, la-la-palaver scat overview.

Fopeano's talents aren't limited to singing. She penned a haunting, captivating libretto to Pat Metheny's "Always and Forever," infusing it with bittersweet but thoughtful reflections that flowed so freely she says, "it almost wrote itself."

A reverent canon introduces "A Crystal," which exercises more of her rich lower register. Again, throughout, there's respect for the words, themes, ideas. She never blows off a phrase, never misses a chance to use it to its best and most expositive end.

"I Bring Sadness" is another brooding Lande original, a tour de force which made me wonder, ever so briefly, if he may have had past bad experiences with "chick" singers. But Wendy isn't one of "those" and skillfully negotiates the labyrinth of notes therein. I thought a good subtitle for this might have been "The 'Accidental' Tourist" as she has to travel atop a myriad of unconventional chromatic progressions (which she does, by the way, with prodigious facility).

Word pictures via free improvisation characterize "Love Comes and Goes," and the free-falling theme of the title song, "When There's Love" should be accompanied by a warning: We are professionals. Attempt at your own risk. (Note: This group is refreshingly unfamiliar with I-IV-V.)

Although she sings it here, Wendy first learned "Chega de Saudade" on guitar, having been introduced to the lesser-known Jobim gem by Brazilian singer/guitarist Maria Jose Martins. She (Fopeano) seems to have mastered (mistressed?) Portuguese and even the scatting (introductory as well as oct-ligatory chorus trading) sounds Latina.

Have I mentioned there's a female drummer? Thank goodness they're no longer such a novelty. This one, Jill Fredericksen, clearly keeps the engine running smoothly. Content to let the solo spotlight shine on her compadres, her occasional choruses are crisp and impressive and she's obviously an equal and integral partner in this undertaking.

Time now for me to confess my bias: I was lucky enough to be goosebumped by Wendy Fopeano when she was still a pup. Although she came to me for lessons, I can take no credit for her voice, her vision, her eloquence. I am (obviously) very proud of her and hope that this is the first of many successful ventures throughout a rich and rewarding career.

-- Carol Comer

(Editor's note: If the Fopeano name sounds familiar to Kansas Citians, it's because Wendy is the daughter of actress, once-upon-a-time Milgram's TV spokesperson, and longtime KC favorite, Janie Fopeano.)

Norman Hedman
TAKEN BY SURPRISE
Palmetto Records
PM-2065

Personnel: Tropique, featuring Norman Hedman, congas and percussion; Ron Monroe, bass; Willie Martinez, timbales; Misha Tsyganov, piano; A.J. Mantis, vibes, marimba; Craig Rivers, flute, alto flute, piccolo; Roger Byam, soprano, alto and tenor sax; with guests: Sam Furnace, alto sax, flute; Joe Gonzalez, bongos, shekere; Chris Hernandez, maraca; Ahmad Alaadeen, soprano sax; George Cables, piano; Ronnie Buttacavoli, flugelhorn

Tracks: That Unpredictable Eugene; Pa' Bailar; Taken By Surprise; Rudy's Mambo; Felicidad; Soft Serenade; Can't Sell a Secret; Light at the End of the Tunnel; The One Left Behind; Just For Ruby; Maurice; Rags to Riches; The Message

Recorded at Eastside Sound, New York, NY; Lou Holtzman, engineer; Butch Berman, executive producer.

Jamaican-born percussionist Norman Hedman leads this set of Latin Jazz with a few twists and turns. The band, Tropique, features instrumentation along the lines of a Clare Fischer ensemble, with Roger Byam on various saxophones, A.J. Mantis at the vibes, Craig Rivers on flute, Misha Tsyganov on piano, Willie Martinez adding timbales to Hedman's congas, and Ron Monroe on bass. Most of the arrangements are Fischer-esque as well, with heads played in unison between vibes, flute and sax . The one area where this album is rough around the edges is the intonation difficulties this instrumentation poses. Sometimes it shows.

Hedman's congas play a restrained role, considering his status as band leader. There is no self indulgence, only tasteful accompaniments and tight features of interplay between Hedman and Martinez's timbales.

There is one other problem with this album: Ahmad Alaadeen makes a guest appearance on soprano saxophone on only the title track; it would be a much better album if he'd played on every track.

Not to slight of any of the musicians presented. While the head arrangements could have taken better advantage of the assets in this group, there is remarkable solo work throughout. The percussion features on "Pa' Bailar" and "Felicidad" are superb; Mantis' vibe work on "Rudy's Mambo" is glittering; Rivers' flute and Byam's tenor are particularly strong on the funk-oriented "Light at the End of the Tunnel."

The tempos tend to be upbeat throughout, though there is enough medium-to-ballad tempo work to salt the soup. The track I found most interesting is the Latin version of the show tune "Rags to Riches," featuring Ronnie Buttacavoli on flugelhorn.

All things considered, Taken By Surprise is a worthwhile addition to a Latin Jazz lover's collection. And credit is due to Butch Berman and the Berman Foundation in Omaha for making this recording possible.

-- Rod McBride

RETURN TO APRIL/MAY 2001 MAIN INDEX

© Kansas City Jazz Ambassadors 1996-2001. All rights reserved.






	Search our site:		Wendy Fopeano WHEN THERE'S LOVE Outside Shore Music OSM 1002 Personnel: Wendy Fopeano, vocals; Art Lande, piano; Dwight Kilian, bass; Jill Fredericksen, drums Tracks: Chega de Saudade; Do You Know What It Means To Miss New Orleans?; Beautiful Love; Always and Forever In My Mind; 'Round Midnight; A Crystal; As One; When There's Love; Love Comes and Goes; I Bring Sadness; On a Clear Day; Dreamer's Hiccups Recorded October 1995 and November 1998, Fanfare Studios, Golden, CO. A montage of standards, originals, tone poems and mood pieces produced under extraordinary circumstances -- the first four tunes had to be recorded in less than four hours, were engineered by a last minute substitute with whom the group had never worked, the featured artist was invited to experiment with on-the-spot concoctions, afterthoughts, and unrehearsed material -- Wendy Fopeano's debut CD is an uninhibited, in-your-face, impressive and inspiring vocal triumph. Pianist/accompanist/spaceship captain and genius Art Lande obviously knew that he could challenge the rangy mezzo with "let's try this and you improvise over that" spontaneity, and she rewarded his confidence with an exceptional performance. In fact, the two of them play off of each other with ease, tease and derring-do. "'Round Midnight" is a first-take rendering, thank-you-very-much, which begins with an anxious, desperate "...I do pretty well 'til after sundown" and dissolves into a frenetic vocal narrative, wild but never unmanageable. Check out the high purity, low passion as Fopeano explores the melodic motif (if you like Sheila Jordan, Jay Clayton, rhiannon, you'll love Wendy Fopeano). "Midnight" may also include my favorite Lande solo, although there are many from which to choose. He (Lande) is a prolific composer as well: his wistful "As One" is initially reminiscent of an art song (truly, no pun intended) but develops depth and drama as, with almost painful clarity, Fopeano expresses his tender thoughts. Her bop chops emerge in "On a Clear Day" (trust me, you really will enjoy hearing the well-worn oldie one more time) and she renders a refreshing neo-bop chorus on "Beautiful Love." If you want a lesson on how to resurrect on old chestnut, bump it up to this stylistic foray. The chart's pensive, innocent beginning morphs into darkness followed by another fearless vocal monologue before a petulant, resolute fade. "Dreamer's Hiccups," a Gerry Mulligan line originally titled "Butterfly With Hiccups," is a whimsical masterpiece complete with genteel gastronomic grace notes. Lande's Jellyroll-ish intro sets up Fopeano's sweet but sexy personalization of "Do You Know What It Means To Miss New Orleans?" There's a really nice bowing solo by bassist Dwight Kilian, and another fantastic, this time laid back, la-la-palaver scat overview. Fopeano's talents aren't limited to singing. She penned a haunting, captivating libretto to Pat Metheny's "Always and Forever," infusing it with bittersweet but thoughtful reflections that flowed so freely she says, "it almost wrote itself." A reverent canon introduces "A Crystal," which exercises more of her rich lower register. Again, throughout, there's respect for the words, themes, ideas. She never blows off a phrase, never misses a chance to use it to its best and most expositive end. "I Bring Sadness" is another brooding Lande original, a tour de force which made me wonder, ever so briefly, if he may have had past bad experiences with "chick" singers. But Wendy isn't one of "those" and skillfully negotiates the labyrinth of notes therein. I thought a good subtitle for this might have been "The 'Accidental' Tourist" as she has to travel atop a myriad of unconventional chromatic progressions (which she does, by the way, with prodigious facility). Word pictures via free improvisation characterize "Love Comes and Goes," and the free-falling theme of the title song, "When There's Love" should be accompanied by a warning: We are professionals. Attempt at your own risk. (Note: This group is refreshingly unfamiliar with I-IV-V.) Although she sings it here, Wendy first learned "Chega de Saudade" on guitar, having been introduced to the lesser-known Jobim gem by Brazilian singer/guitarist Maria Jose Martins. She (Fopeano) seems to have mastered (mistressed?) Portuguese and even the scatting (introductory as well as oct-ligatory chorus trading) sounds Latina. Have I mentioned there's a female drummer? Thank goodness they're no longer such a novelty. This one, Jill Fredericksen, clearly keeps the engine running smoothly. Content to let the solo spotlight shine on her compadres, her occasional choruses are crisp and impressive and she's obviously an equal and integral partner in this undertaking. Time now for me to confess my bias: I was lucky enough to be goosebumped by Wendy Fopeano when she was still a pup. Although she came to me for lessons, I can take no credit for her voice, her vision, her eloquence. I am (obviously) very proud of her and hope that this is the first of many successful ventures throughout a rich and rewarding career. -- Carol Comer (Editor's note: If the Fopeano name sounds familiar to Kansas Citians, it's because Wendy is the daughter of actress, once-upon-a-time Milgram's TV spokesperson, and longtime KC favorite, Janie Fopeano.) Norman Hedman TAKEN BY SURPRISE Palmetto Records PM-2065 Personnel: Tropique, featuring Norman Hedman, congas and percussion; Ron Monroe, bass; Willie Martinez, timbales; Misha Tsyganov, piano; A.J. Mantis, vibes, marimba; Craig Rivers, flute, alto flute, piccolo; Roger Byam, soprano, alto and tenor sax; with guests: Sam Furnace, alto sax, flute; Joe Gonzalez, bongos, shekere; Chris Hernandez, maraca; Ahmad Alaadeen, soprano sax; George Cables, piano; Ronnie Buttacavoli, flugelhorn Tracks: That Unpredictable Eugene; Pa' Bailar; Taken By Surprise; Rudy's Mambo; Felicidad; Soft Serenade; Can't Sell a Secret; Light at the End of the Tunnel; The One Left Behind; Just For Ruby; Maurice; Rags to Riches; The Message Recorded at Eastside Sound, New York, NY; Lou Holtzman, engineer; Butch Berman, executive producer. Jamaican-born percussionist Norman Hedman leads this set of Latin Jazz with a few twists and turns. The band, Tropique, features instrumentation along the lines of a Clare Fischer ensemble, with Roger Byam on various saxophones, A.J. Mantis at the vibes, Craig Rivers on flute, Misha Tsyganov on piano, Willie Martinez adding timbales to Hedman's congas, and Ron Monroe on bass. Most of the arrangements are Fischer-esque as well, with heads played in unison between vibes, flute and sax . The one area where this album is rough around the edges is the intonation difficulties this instrumentation poses. Sometimes it shows. Hedman's congas play a restrained role, considering his status as band leader. There is no self indulgence, only tasteful accompaniments and tight features of interplay between Hedman and Martinez's timbales. There is one other problem with this album: Ahmad Alaadeen makes a guest appearance on soprano saxophone on only the title track; it would be a much better album if he'd played on every track. Not to slight of any of the musicians presented. While the head arrangements could have taken better advantage of the assets in this group, there is remarkable solo work throughout. The percussion features on "Pa' Bailar" and "Felicidad" are superb; Mantis' vibe work on "Rudy's Mambo" is glittering; Rivers' flute and Byam's tenor are particularly strong on the funk-oriented "Light at the End of the Tunnel." The tempos tend to be upbeat throughout, though there is enough medium-to-ballad tempo work to salt the soup. The track I found most interesting is the Latin version of the show tune "Rags to Riches," featuring Ronnie Buttacavoli on flugelhorn. All things considered, Taken By Surprise is a worthwhile addition to a Latin Jazz lover's collection. And credit is due to Butch Berman and the Berman Foundation in Omaha for making this recording possible. -- Rod McBride RETURN TO APRIL/MAY 2001 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.