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JAZZBOOKING | Joel LaRue Smith – CD Reviews _____________________________________________________

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1. ejazznews.com – reviewed March 27, 2009 By: Edward Blanco Originally released in the fall of 2008, “September's Child” is the debut recording from The Joel Larue Smith Trio, a Latin Jazz combo presenting seven original compositions, the majority of which are Latin-shaded tunes. Also included are unique interpretations of four standards, one from Wayne Shorter (“Fall”), Mario Bauza's “Mambo Inn,” Pedro Flores' “Obsesion” and the shoulder-moving opener from Armando Peraza “Barandanga.” Pianist/composer and educator Joel Larue Smith anchors a standard piano trio with bassist Fernando Huergo and Renato Malavasi pounding the drums. Larue Smith is Director of Jazz Activities and Director of the Tufts Jazz Orchestra at Tufts University and says of his music “My compositions are a mixture of Afro-Cuban dance rhythms and sensual jazz harmonies.” Aside from the previously mentioned Latin colored pieces, Larue Smith leads this assertive trio through a musical landscape that feature more of the Latin sounds on such numbers as “El Mensajero,” “Narrow Escape,” 9 CMiramar,”and the title track. Though obviously a Latin jazz album by any measure, there just happens to be four absolutely beautiful straight ahead jazz pieces that are not to be missed. Beginning with Larue Smith's “Time Out For Love,” a warm and inviting cushy love ballad that plays to the heart. The pianist also provides a superb new read to Wayne Shorter's “Fall” that does include a measure of the Latin jazz beat. Two very special pieces of music rounding out the repertoire are the lively and bouncy “Common Ground” and the sensuous romantic “Que Preciosa.” “September's Child” is a masterpiece of a recording offering a palette of Afro-Cuban rhythms with a touch of the classical and slice of straight jazz making for one compelling debut. Joel Larue Smith and his Latin combo deliver one enchanting session of Latin jazz with harmonic and accessible grooves that's pleasing to the core. Year: 2008 Label: Self Published Artist Web: www.joellaruesmith.com



2. The Latin Jazz Corner - Reviewed by Chip Boaz

September’s Child

The Joel Larue Smith Trio The wealth of opportunities available to modern musicians have allowed artists from every background to express themselves in the public eye, but it has also created a very crowded marketplace; for the contemporary artist, the ability to stand out among a crowd has become an essential skill. For some musicians, their wild lifestyles drive them into the public spotlight, reintroducing them to the general audience for better or worse. With each new display of public humiliation or success, these artists find themselves back in the spotlight and as a result, their music becomes noticed. This approach effectively draws an audience, but it refocuses people away from the true meaning of the music - a strategy that doesn’t work well for Latin Jazz musicians. Music forms the core of the Latin Jazz artist’s personality, and above all, it is the thing that must be noticed and appreciated. A Latin Jazz artist needs many things in their music to stand out among their peers - a studied and thorough knowledge of Caribbean and South American styles, a deep understanding of jazz harmony and improvisation, and a connection to history and tradition. Those are the basics, but there’s a much more intriguing element that pushes the artist into a league of their own: a distinct artistic approach and well-conceived musical personality. Without this, the artist sounds like any other Latin Jazz musician; with this personality in tact, the artist stands as an original voice that can be recognized immediately. Pianist Joel Larue Smith leads a trio through a set of both originals and classic compositions on September’s Child, presenting a strong voice and performance style that deserves avid attention.

Combining Afro-Cuban rhythms With A Distinct Improvisational Approach Smith builds his trio sound upon several original compositions that use Afro-Cuban genres with an improvisational jazz approach. After a long introduction filled with unison piano and bass runs, Smith and bassist Fernando Huergo join forces to present a melody on “El Mensajero” that provides interesting twists on common themes. Smith continues this winding path on his improvisation with intriguing themes that step in and out of the chord structure and dance around rhythmic tension. A band break leads Smith into a driving montuno that serves as the basis for an intensive statement from drummer Renato Malavasi. Huergo doubles Smith on a standard montuno to introduce “Miramar,” before Smith moves into a tipico melody with a jazz edge. Smith continues playing upon the established tone, starting with fairly common lines that stretch into unique variations. The solo begins to reveals Smith’s distinct personality as he pushes the improvisation outside the limits of the chord changes and plays around rhythmic fragments. Smith moves dramatic chords over a pedal tone on “September’s Child” before he jumps into an up-tempo melody filled with a sense of urgency. A series of unison band runs send Smith racing into his improvisation, where he builds his ideas around short rhythmic



lines, bluesy embellishments, and creative thematic development. After a return to the melody, Smith and Huergo set up a sparse vamp for Malavasi, who takes a busy solo full of color and texture. These songs create a distinct connection to the Afro-Cuban tradition, but Smith provides a spin at every turn with interesting arrangement ideas and a high personal performance voice.

Integrating Ideas From Traditional Jazz Smith mixes traditional jazz ideas into his sound on several tracks, broadening his scope and raising his concept to another level. Huergo and Smith imply a gentle swing with a light vamp over an open texture on “Time Out For Love” before settling into an active ballad feel for the delicate melody. Smith’s thoughtful melodic playing leads smoothly into Huergo’s insightful statement that weaves through the chord changes with grace and style. Smith pushes the groove slightly with long beautiful lines, complimented by a freely interpreted accompaniment from Huergo and Malavasi. A timba flavored minor montuno abruptly drops into an active melody on “Narrow Escape,” until the rhythm section bursts into an up-tempo swing feel on the contrasting bridge. Smith starts his improvisation with sparse rhythmic ideas that he builds into a fuller statement through repeated phrases and displaced ideas. As Smith reaches the climax of his solo, Huergo joins him in a wildly winding unison line before the band jumps back to the main melody. Smith engages in a reflective unaccompanied solo on “Que Preciosa” before transitioning into moving melody over a combination of bolero and ballad. Huergo displays a gift for melodic invention with long breathing phrases that pull the beauty from the rich chordal structure. Malavasi and Huergo provide a free, open, and colorful background behind Smith’s improvisation as he careful develops his ideas into a lush and meaningful statement. Smith displays keen insight and a developed sense of artistry on these tracks, combining elements of both Afro-Cuban styles and traditional jazz into a personal sound.

Arrangements Of Classic Compositions Smith connects himself to tradition with several arrangements of classic compositions, while setting himself apart with a distinct performance approach. Armando Peraza’s “Barandanga” opens with a dramatic unaccompanied piano solo from Smith before a driving montuno pushes the band into a fiery melody. Tight band breaks lead the group into Smith’s statement that draws upon the song’s rhythmic nature with tense syncopated ideas. Smith’s solo explodes into a furious montuno while Malavasi constructs a short but strong idea. The trio establishes a vamp over a 6/8 rhythm before transitioning into the melody on Wayne Shorter’s “Fall.” After the main theme, Smith races into a frantic montuno that drives the group into an up-tempo son montuno groove for solos. Smith’s improvisation matches the frenetic feel of this change, plowing through the changes with a bold musicality that simmers with tension. Smith and Huergo introduce Pedro Flores’ “Obsesion” with a traditional vamp over Malavasi’s cha cha cha groove, until the group moves into a quick bolero for a gentle reading of the melody. Huergo builds variations on the main theme, carefully twisting the phrases into an original idea



that resonates with beauty. Smith follows with a respectful trip through the structure that intersperses lush melodies among modern harmonies while playing around the song’s flowing groove. The original rhythmic vamp sends the trio racing into an up-tempo version of the Mario Bauza classic “Mambo Inn,” visiting the melody with avid excitement. Smith jumps at the opportunity to improvise here, with classic phrases that stretch into long lines and tastefully injected rhythmic drive. After a return to the introductory vamp, Huergo displays an impressive set of technical skills and a vast musicality with an assertive improvisation filled with memorable statements. These tracks reveal Smith to be an artist connected with tradition, but always willing to find a place for his personal voice in the mix.

A Recording Head And Shoulders Above The Crowd Smith’s voice resonates strongly on September’s Child, clearly presenting his concept as a composer, performer, and arranger with focused intensity. His compositions dance around Afro-Cuban rhythms and traditional jazz ideals with a knowledgeable movement that reflects a solid foundation in both worlds. His ideas often place one foot in each genre, placing his compositions firmly in clave while the band interprets them with the loose freedom of swing. Smith’s voice as a performer reflects this dual experience as well, filling his improvisations with character and ear catching intensity. He often plays melodies with a thoughtful reflection and explodes into solos with bold steps outside the harmony and rhythmic structures. Smith plays with this tension between strict rhythmic forms and open improvisational textures; at times the music shimmers with beauty while other times it roars with passion. Smith fortunately has found sympathetic band mates to support his ideas in Huergo and Malavasi. Huergo plays with a solid foundation, complimented by an active improvisational flair, and his soloing skills sparkle with beauty and excitement. Malavasi supports Smith with a varied accompaniment approach that sometimes precisely charges through Afro-Cuban rhythms and other times thins the texture with an open freedom. As a trio, the three musicians compliment each other, but they also push their band mates to new heights. Smith puts all these factors together into a strong Latin Jazz package on September’s Child, delivering a recording that stands on it’s own, head and shoulders above the crowded music world 3. CD Review/September's Child/Joel Larue Smith/Self Cogent, conclusive, convincing, decisive, effective, forceful, persuasive, satisfying, strong, telling, pertinent, well founded, invincible, unbeatable, unconquerable, stunning, alluring, appealing, charming, delightful. These are words that will describe both how I feel about the piano artistry of one Joel Larue Smith......But, also my inclination that you the reader will take this colossal talent into your musical sensibilities if just for your enjoyment and edification!! Joel's ability to write original jazz is nothing to be ashamed of



either. By default, Joel is a highly literate and tireless proselytizer for the jazz idiom considering the strength of his music, his delivery, and his compositional skill to boot. I predict that the expressive and emotional scope of Joel's pianistic skills will continue to grow impressively now and certainly in the near future. George W Carroll The Musicians' Ombudsman 4. Midwest Record, Chris Spector, reviewer JOEL LARUE SMITH TRIO/September’s Child: This set starts of in a very subtle way that makes you think you are listening to vacation music or music you’d hear in a restaurant that cares about presentation, but then something kicks in that makes you realize this is a cat that knows his stuff and is here to play. With it’s Latin jazz groove sneaking up on you, this is the kind of set that over takes you before you know what happened. Smith is a snazzy piano man that has jazz in his blood. He hits the notes cleanly and sharply giving his piano work a special place within the ensemble effort. Tasty stuff that piano fans have to take to heart. 5. March 10, 2009 Kenfrancklingsjazznotes.blogspot.com Joel Larue Smith Trio, September’s Child (self-produced) It is most appropriate that pianist Smith calls one of his original tunes here “Common Ground” – for this is a CD project that celebrates the wonderful intersection of jazz and Latin music, with a few hints of classical thrown in for good measure. Smith, who has largely flown under the radar, presents us with a gem. Virtually all of the material (principally originals) is from the Latin genre or has been re-arranged to take advantage of Latin energy and rhythms, and of course, the clave. He even reworked Wayne Shorter’s ballad “Fall,” first heard on Miles Davis’s Nefertiti recording, to give it an intriguing Latin flavor. The former Mario Bauza sideman also includes the Bauza classic “Mambo Inn” and Armando Peraza’s “Barandanga,” as well as Pedro Flores’ “Obsesion.” “Miramar,” “Narrow Escape” and the title track are standouts among the originals. Treats abound, thanks to the wonderful teamwork of Smith, bassist Fernando Huergo and drummer Renato Malavasi. Posted by Ken Franckling at 6:35 PM Labels: CD/DVD Reviews



6. www.jazz.com CD - September's Child Musicians: Joel LaRue Smith (piano), Fernando Huergo (bass), Renato Malavasi (drums). Composed by Joel LaRue Smith. Que Preciosa Joel LaRue Smith's "Que Preciosa" is a gentle jazz ballad performed in the guise of a bolero. Smith's solo piano introduction is a case of ten fingers conveying delicate thoughts. Bassist Fernando Heurgo and drummer Renato Malavasi join in this jazz lullaby. Heurgo takes an electric solo that is sometimes busy, but his extra notes do not diminish the mood. Smith meanwhile adds shades of color and Malavasi offers fine brushwork. Smith's solo continues this act of tenderness. You can tell that he and his musicians are totally invested in this heartfelt composition. The intent can be heard in the touch. "Que Preciosa" meets the expectations set by its title.

El Mensajero Lots of stops and starts, changes in direction and tight ensemble playing mark this jazz Rumba. To be honest with you, I can't always tell one Rumba from another. (My guess is that this is a Cuban Rumba). But I know good music that is full of explorative improvising when I hear it. Pianist Joel LaRue Smith takes his solo to places I would not expect. Smith and his talented bandmates are all over the rhythms like white on rice. Rumba is about the communication of the dance. The energy, playfulness and motivation to get you moving are all strong elements here. This talented trio should be able to make anybody get off his or her … seat. Reviewer: Walter Kolosky 7. WNTI – “Just Jazz”, host Bob Bernotas New and Recommended Jazz CD’s by Bob Bernotas Joel LaRue Smith Lecturer of Music, Director of Jazz Activities, Director of the Tufts Jazz Orchestra (formerly the Big Band) M.M. Manhattan School of Music; B.A. City College; Ford Fellow. Composition studies: Hale Smith & David Del Tredici; Jazz Piano: Jaki Byard & Barry Harris; Afro-Cuban: Charlie Palmieri. Joel LaRue Smith has been the Director of the Tufts Jazz Orchestra (formerly the Big Band) and Jazz Activities at Tufts University since 1996. Under his direction, the Tufts Big Band has toured Cuba and Prague twice and was invited to perform at Jazz at Lincoln Center in 2007. In the summer of 2006 the Tufts University Big Band debut CD was released. The Big Band, now the Jazz Orchestra, will tour Costa Rica in 2009. Beyond Tufts, Mr. Smith has played with Ron Carter, Mario Bauza and Kenny Burrell. He won the Mid Atlantic Arts Foundation 1995 Jazz Competition in conjunction with Jazz Times; was Artist in



Residence, Orchestra of St. Lukes Education Program Other awards and honors include: six "Meet The Composer" Awards, the ASCAP's George and Ira Gershwin Award, the Queens Council on the Arts Composer Grant, was a 1993 Artist-in-Residence conductor for the Warner Music Group, and has had commissions from New York University's Tisch School of the Arts as well as Brown University. Mr. Smith has performed in the U.S., Europe, Asia and the Caribbean, Carnegie Hall, Lincoln Center and The Whitney Museum; The White House; Symphony Hall in San Francisco & Boston; and The Royal Albert Hall in London. Appointed 1996. Mr. Smiths' debut CD, “September’s Child”, featuring several original compositions, was released in fall 2008. Visit http://joellaruesmith.com for more information. 8. September’s Child reviewed by Tom Hull, Village Voice, Jazz Writer The Joel LaRue Smith Trio: September's Child (2007 [2009], Joel LaRue Smith): Piano trio, with Fernando Huergo on bass, Renato Malavasi on drums. Don't know much about pianist Smith, except that he studied at Manhattan School of Music under Jaki Byard and Barry Harris, and teaches at Tufts, directing their Jazz Orchestra. Debut record. Wrote 7 of 11 pieces, with a strong Afro-Cuban accent, and does an impressive job of carrying it off. Some of the quirkiness of Afro-Cuban jazz is inevitably lost in reducing it to straight piano trio, but he nails it pretty well. B+(***) 9. Reviewed by Bob Bernatos, “Just Jazz”, WNTI Joel Larue Smith Joel Larue Smith: September's Child (Joel Larue Smith Productions) Joel Larue Smith: September's Child (Joel Larue Smith Productions): Boston-based pianist Joel LaRue Smith makes an impressive debut with this Latin jazz trio release. His tuneful compositions deftly blend Afro-Cuban rhythms and jazz harmonies, and his treatment of Mario Bauzá's immortal "Mambo Inn" breathes a new freshness into a Latin jazz standard. Bob Bernotas / www.jazzbob.com host of Just Jazz Sunday nights 10:00 pm-3:00 am Eastern Time (US) 91.9 WNTI & www.wnti.org Just Jazz with host Bob Bernotas is a production of WNTI and airs Sunday nights 10:00 pm-3:00 am Eastern Time (US) - 91.9 or Online 10. Jazz Weekly - The Joel Larue Smith Trio



September’s Child www.Joellaruesmith.com By George W. Harris Here’s an opening salvo from a new guy on the block, pianist Joel Larue Smith. Together with Fernando Huergo/b and Renato Malavasi/dr, he puts together an arresting disc of originals and covers that mixes the best of jazz and Afro-Cuban rhythms. Smith’s touch is assertive and bold, his touch on the keys resonates. Yet, he has the reflexes and style to play it swift and still turn on a dime. Some songs, like “Barandanga” have ebbs and flows of drama that is quite dynamic. His take of Wayne Shorter’s “Fall” is likewise flowing like a river at high tide. His own songs have an attractive joyfulness that is hard to beat, and his teammates mix it up quite well, most notably on the energetic “Narrow Escape.” Smith can also bring the mood down and mellow, as on the eloquent “Que Preciosa.” Similar to Monty Alexander in feel, this guy’s got the Caribbean in his dna. Look for this one.

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