Seven Questions with Larry Costa

Rising jazz artist Larry Costa talked to music editor R.Todd Jones of JazzMusicChart about his busy entertainment career, including a new movie which he produced. Larry Costa's "Blue Serenade: Songs Of The American Songbook" is available now.

Jazz Music Chart: The arrangements on your vocal recordings seem to precisely suit your voice. When you record, do you utilize live instrumentalists, quality synthesized tones or a combination of both?

Larry Costa: When I decided to be a professional singer for the public, I promised myself that I would never deliver anything less than the best of my abilities.  Although I did not have access to a band at the time, I began knocking on doors of some well known musicians and practically had to beg them to play for me Finally I did get a band together for my first album, "Blue Serenade." These days, I get calls from... golden treasures of the music world. These guys have set the standard for backing a star performer, and I am honored to be able to sing to that beautiful music. It is my obligation to deliver the best possible listening experience.

JMC: Just had to ask this: You're stranded on a remote island. You luckily have a solar powered iPod that can hold a limited amount of content. What are five jazz recordings/CDs you absolutely couldn't live without?

Larry Costa: I have actually thought about this question to myself in the past, believe it or not. My greatest fear is being stranded on an island, and I already know this answer because I am prepared if this happens. I would only need the Ella Fitzgerald songbook. That lady sang every song under the sun and did it perfectly every time. I would not mind being stranded on an island as long as I can sing. I would be able to belt it out as loud and as long as I wanted… and I can do it naked on a beach. Ha ha.

JMC: Although there are a variety of jazz duet albums currently available, who are your dream collaborations- living, or otherwise?

Larry Costa: Oh wow, how many pages is this interview?  The list goes on and on. My first choice is Barbra Streisand.  I love Barbra.  I have not met her yet, but I will.  I actually have a weird Streisand collection, I own her wigs - wigs that she had worn in select films, stage, tv etc. I have more than 50 of these wigs. Second would be a tie between Doris Day and Rosemary Clooney. After that, I would have to say that I would relish the opportunity to sing with some of the guys such as Vic Damone or Johnny Hartman.  My particular sound is so different from what is out there today that in my opinion I would need to be paired up with practically anyone born before 1970.  I am a direct relative of Rudy Maugeri. He was lead singer of the popular 1950's group, The Crew Cuts.They had a well known hit called "Sh-Boom." I would like to add him to this list.

JMC: Do you have a preferred concert set-list?

Larry Costa: Each performance I do is completely different. I want to give my fans something new and fresh every time. It is a difficult task to do this and learn so many songs, but I believe I owe it to my fans to give them something different at every show. In addition, I only perform special shows, shows that have a meaning behind them or a particular purpose and I make the show very special. When I perform, I like to think that I am on a date with my audience, I feel the love from them and I give the love back through my voice and lyrics. Because I can not reach out and physically  touch my audience while on stage, I touch them with my words, I imagine the sound traveling from my soul, out past the stage, past the lights, and into the audience and it lovingly caresses the cheek of each and every person there.

JMC: Some of your music fans may not know that you've produced a soon to be released film project titled "Larry Ravioli."

Larry Costa: Well, "Larry Ravioli" is a musical comedy mafia misadventure based on my true life adventures.  [The character] Larry Ravioli is a sexy, fun, and charismatic crooner that only wants to sing, the ladies love him. Unfortunate for him, he owes the mafia and is sent out on "assignments" to pay back his loan.  With the help of his assigned accomplice, Gina the Assassin, they bumble their way out of trouble and into harms way. Ravioli always seems to do wrong even though he thinks it is right. Somehow, clean-cut Ravioli seems at home in any underground [seedy] situation. Taking place in and around New York City's jazz clubs and speakeasies. Larry Ravioli is an accomplished crooner.  He sings from the Great American Songbook.  Although he has talent and is a celebrity, he never really knows how popular he really is and is always seeking out that "one big break".  Performing comes naturally for him, but nothing else ever falls into place.  While women throw themselves at him, he only has eyes for Gina, who only wants to get the hit over with. "Larry Ravioli" is not my first film, although it is the first that I produced.

JMC: What skills that you possess as a jazz performer helped you with the "Larry Ravioli" film and its soundtrack?

Larry Costa: One of the most often heard comments about my jazz performances is that the viewers feel as if they're watching a 1940's movie.  The soaring notes, the swagger, the entire package is truly a scene from an MGM musical.  I'm not talking about dance numbers, but the scenes where the singer would stand in front of the orchestra, sing his beautiful song with feeling and everyone was partner dancing in circles - so dreamy and romantic.  I bring this to the screen in Larry Ravioli.  Although set in present day, Ravioli secretly wants the life of that singer on that stage and will do anything necessary to get it.   Like me, Ravioli is a crooner, but he is not one of these modern Sinatra wannabes, and, in reality, I will not sing Sinatra songs. I was also able to write some original songs for this film as well, they have a nice jazz feeling. I was so excited to write my theme song. I am the only person I know that has his own theme song.

JMC: Is there anything else we should know about you and your music?

Larry Costa: Music is my passion, it is in my blood, it is in my soul, it is in every fiber of my being and I hold my heart in my hand for the listener to see each and every time I sing a song.  I am a very emotional person, on and off the stage, and sometimes it's difficult to hold back tears while singing some of my songs.  I love when my audience and I cry together, it's a beautiful release and an incredible bond that I would not trade for all the money in the world.  I would not want to live if I could not sing.

Larry Costa's "Live At Loi" featuring songs from the movie "Larry Ravioli" is available now for immediate download.

ALBUM REVIEW: Wayne Shorter Quartet "Without A Net"

With its postmodern vibe and spirit of originality, the recent Blue Note Records release from the Wayne Shorter Quartet presents a delightful package of recordings from the group's 2011 European tour. Rounding out the collection titled "Without A Net:" is an impressive 23 minute collaboration with The Imani Winds, which was recorded live at The Walt Disney Concert Hall in Los Angeles.

 

The assemblage runs the gamut from the unexpectedly daring, to traditional with a twist, as evidenced in 'Flying Down to Rio.' The quartet boasts Wayne Shorter sax, Danilo Perez on keys, bassist John Patitucci and drummer Brian Blade, who are all well known musical vanguards in their own right and lend "Without A Net" an appropriate mix of panache, style and substance.

The Wayne Shorter Quartet already has a major hit on its hands, and the group has proven that life can be sweet when you go out on a limb without being encumbered by the proverbial "net." R. Todd Jones for JazzMusicChart.com

ALBUM REVIEW: Terri Lyne Carrington "Money Jungle: Provocative In Blue"

They say that everything old becomes new again, and the veracity of that phrase is proven once again with the release of "Money Jungle: Provocative In Blue." Grammy Award winning Terri Lyne Carrington offers a shiny, new perspective on the fifty-year-old recording of "Money Jungle," which originally featured the legendary Duke Ellington, Charles Mingus and Max Roach. 

This hard-swing interpretation of "Money Jungle" boasts prestigious soundbites from the likes of civil right leader Martin Luther King, President Barack Obama and former President Bill Clinton (along with wife Hillary.) In her own unique way, Terri Lyne Carrington propels the track into a relevant, yet entertaining social commentary on capitalism.

The cut "Grass Roots," is sophisticatedly syncopated and a scrumptious addition to the Concord Jazz release. Another track, "Switch Blade," masterfully highlights Carrington's expert drumming skills while still showcasing the solidity of the bassist and pianist.

Ably assisted by notables such as Clark Terry on trumpet, Robin Eubanks on trombone, Nir Felder on guitar and the versatile Herbie Hancock in the role of commentator, Terri Lyne Carrington delivers a solid, award-worthy package that is even more memorable than the well-executed "provocative" album cover. R. Todd Jones for JazzMusicChart.com

ALBUM REVIEW: Jackie Ryan with John Clayton & Friends "Listen Here"

With her husky alto voice, Jackie Ryan jumps right in and commands attention with the appropriately titled album "Listen Here. On the opening track, "Comin' Home Baby" provides strong instrumentation from John Clayton & Friends - including a lengthy bridge that maintains an improvisational, live feel.

"The Gypsy In My Soul" offers a warm and heartfelt vocal from Ryan. The track boasts an impressive sax/piano interlude with 3-time Grammy nominee Gerald Clayton on keys along with veteran tenor saxophonist Rickey Woodard. A popular Boland/Jaffe composition, Jackie Ryan's rendition of "The Gypsy In My Soul" is a carefree, joyous romp that entertains the ears and soul. The CD packaging is impressive, and the artist mentions why she included this song on her album. She writes: "When I was a little girl, every Halloween I would dress up as a 'gypsy' with dozens of bracelets, long skirts, necklaces and big hoop earrings. And I've always admired the Rom people for putting music first in their lives." Indeed, Jackie Ryan's expressive delivery on "The Gypsy In My Soul" precisely proves that point.

George and Ira Gershwin's "I Loves You Porgy" gets the subtle treatment with subdued piano, gentle percussion and stripped down production. As in the other 13 cuts, Ryan is in good voice. Soft at times and strengthening appropriately, Jackie Ryan's vocal instrument is ideally suited for this classic tune.

A surge of gospel influence infuses "Accentuate The Positive," with its sermon-tinged Johnny Mercer lyrics and Harold Arlen score. Traditional organ, sax and piano are featured by the proven Clayton & Friends. Ryan's voice is a great match to this style and a pleasure to hear. Church is in session with Ryan at the pulpit. Preach it, Jackie. Preach!

Finally, on the title track, "Listen Here," Jackie Ryan delivers a nuanced, paced vocal which complements Gerald Clayton's superb piano accompaniment. This rendition is a lovely treatment of the Dave Frishberg classic. Simplicity is the key here. With the pairing of Ryan's expressive voice and Clayton's piano, the main theme of the song is quite clear. Ryan writes in the CD booklet: "I love the message of this song. Dave has a way of writing lyrics that go deep and move you - without being heavy handed. She adds: The song itself says what I want the CD to say: Always listen to that inner voice. Follow your calling, be true to yourself and you will never go wrong."

Jackie, we're all listening, and we love what you've done.  R. Todd Jones for JazzMusicChart.com

ALBUM REVIEW: Swing Out Sister "Private View" Special Deluxe US CD & DVD (2013)

Swing Out Sister fans, rejoice! The US version of Private View released today - Tuesday, January 29, 2013 - on Shanachie Entertainment. Before Private View, Swing Out Sister had already enjoyed worldwide success from the debut of It's Better To Travel (1987) all the way to its long anticipated US Jazz Chart #1, Beautiful Mess (2008). And beginning today, US fans can enjoy their own official copy of Private View.

Although the band only sporadically releases new material, the group continues to meet the demands of its eager fan base, while attracting new listeners with fresh material. Fronted by the lovely chanteuse Corinne Drewery and the musical wiz Andy Connell, Swing Out Sister have taken another sturdy step along its historic musical pathway with their latest offering.

Private View is a studio album which was carefully crafted to maintain a live concert sound. Swing Out Sister has managed to re-imagine its sound with jazz imbued versions of some previous recordings, which allows the listener to reconsider familiar SOS favorites with a rejuvenated perspective. For example, a standout is the intricate reworking of their smash hit, "Breakout." Gone are the big horns and sequencers of the original. However, this new take on a classic record has surprisingly managed to retain the inspiring tone. In fact, it's a downright dreamy listening experience.

"Incomplete Without You" soars with its stripped-down treatment and acoustic sound. Close your eyes while listening, and you'll experience the nearest thing to hearing Swing Out Sister perform live. (Corinne and Andy, please consider doing some US shows!) "You On My Mind" retains the groovy retro feel, while shedding the slick production of the original which appeared on 1989's Kaleidoscope World. Included are new takes of Swing Out Sister favorites "Am I The Same Girl," "Now You're Not Here," and "La La Means I Love You," among others. The interlude tracks offer a tip of the hat to some of the more progressive Swing Out Sister releases and make for interesting transitions within the album

An added bonus to this version of Private View is the inclusion of Swing Out Sister's first full length concert DVD, which was recorded at Billboard Live in Tokyo, Japan. In addition, they've assembled exclusive backstage scenes and included a clever montage of Tokyo sightseeing footage. Private View is a recommended Jazz Music Chart top pick. R. Todd Jones for JazzMusicChart.com

ALBUM REVIEW: Joe Lovano & Us Five "Cross Culture"

Cleveland, Ohio born Joe Lovano received early inspiration and instruction from his father. Indeed, the elder Lovano nurtured his son and gave the boy sturdy roots from which his talent grew. Not limiting himself to just one instrument, the grown-up Joe Lovano has mastered multiple types of saxophones, flute, alto clarinet and drums, which propelled him to fame and international recognition. Now, the legendary Blue Note Records has released the highly anticipated 2013 album titled "Cross Culture" from Joe Lovano and Us Five which features 11 juicy tracks - ten of which are signature Lovano compositions. 

"Blessings In May" opens the disc with a polyrhythmic profusion of aural pleasure. Frontman Lovano pulls dual duty on both the G-Mezzo and tenor saxophones, which culminates in a seemingly effortless transition between the two very different horns. Complementing the tune are James Weidman on keys, bassist Peter Slavov and original Us Five bassist Esperanza Spalding. The Grammy award winning Spalding graces this disc on three additional tracks. Interestingly, Lovano pairs drummers Francisco Mela on the left channel and Otis Brown III on the right, mixing the two together with true aplomb. This rhythmic duet maintains a consistent symbiotic percussive relationship throughout the entire bouncy track.

Lovano's arrangement of the Billy Strayhorn classic, "Star Crossed Lovers," begins with subtle piano and then digs right in with excellent sax work on the melody. The tune builds by weaving the other fine players of Us Five into the mix and aurally nudges the listener to share in the (often) ill-fated plight of the "Star Crossed Lovers." As the sounds of the instrumentalists fade, the listener is left with an emotional sense of longing. The music takes the listener on the lovers' journey without having to endure the actual drama that a star-crossed pairing entails. Conjuring images of Marc Antony and Cleopatra, Anakin Skywalker and Padmé Amidala from the Star Wars saga, or perhaps even Liang Shanbo and Zhu Yingtai of Chinese legend, this tune is a trip you'll want to take again and again.

On the final cut, Lovano shines. The progressively traditional "Royal Roost" offers cascading sax runs, catchy bass and delicious drums. It is a perfect tune for any occasion: cocktail party, automobile driving or even a dedicated task. Listeners will be tempted to hit the 'repeat' button, because it seems a bit of a shame that the song has to end. "Royal Roost" could (and should) be an outstanding choice for a film soundtrack, due to its upbeat nature and sophisticated sound. Quite frankly, every single  track on "Cross Culture" has the potential to be utilized in a quality film. They are that good, well worth repeating and will be a useful addition to your collection. R. Todd Jones for JazzMusicChart.com

Dave Brubeck Quartet's "Time Out" - A Classic That Will Stand the Test of Time

When originally released, Time Out was a solidly recorded study of odd-meter jazz that was destined for greatness, only not everyone may have known it at the time. From Brubeck's contribution to the liner notes - he wrote: "Creating a 'hit' out of the odd-meter experiments of Time Out was the farthest from any of our minds in 1959 when Paul Desmond, Joe Morello, Eugene Wright and I went into the studio to record..." And hit, it did.

Time Out went on to peak at #2 on the Billboard Pop Albums chart and became the very first RIAA certified platinum jazz recording. These cuts will be recognizable to many, simply due to their frequent use in film and television over the years.

In a punchy 9/9 and swing 4/4 rhythm pattern, the first cut, "Blue Rondo A La Turk" slides effortlessly between the frantics of the 9/9 and smoothness of the 4/4 patterns. Brubeck is alleged to have heard this unusual rhythm when observing some Turkish musicians. When Brubeck inquired about the origin of the rhythm, one of the musicians reportedly replied, "This rhythm is to us, what the blues is to you."  Recorded on July 1, 1959, the track still maintains distinct modernistic appeal, although captured in the studio so very long ago.

Saxophonist Paul Desmond shines on the second track, "Strange Meadow Lark." The tune begins as a pleasant, easy-on-the-ears jazz cut. Then at 2:09, Desmond's sax kicks in and proceeds to begin its uplifting meadow lark style call. The saxophone turns the initially pleasant track - into a downright dreamy bird's song.

Which brings us to "Take Five," likely the most recognized of all the tracks. Utilizing the unusual quintuple 5/4 time, while featuring a captivating Joe Morello drum solo and enchanting saxophone melody. Together, the drums and sax perform a delightfully intricate aural dance. The song reached #25 on the Billboard pop chart and climbed to #5 on Billboard's Easy Listening Chart. Many films and television programs have included this cut in their projects including a long stint as the theme music for The Today Show on NBC in the early 1960's.

"Three To Get Ready" showcases a sing-song-slow-swing between Brubeck's Piano and Desmond's saxophone. One instrument goes solo, while the other takes the melody and vice-versa. Done in 2 meters of 3/4, 2 meters of 4/4 time, which was a bold metric pattern choice for the time.

An ideal background music piece is "Kathy's Waltz," with its catchy piano melody which weaves itself in and out of a saxophone counter-melody. Also of note is "Everybody's Jumpin," which features the quartet at their best: blending, while shining individually on the same track. 

We at Jazz Music Chart mourn the recent loss of Dave Brubeck, but we rejoice at the rich musical legacy he bequeathed to lovers of jazz music. In our humble opinion, Time Out will always be "in."  R.Todd Jones - JazzMusicChart.com.