Lisa Engelken's "Caravan"

One of my favorite groups from those halcyon days in DC were "The Zimmermans", fronted by the explosive vocals of "Lisa E", and featuring the songwriting and guitar talents of Jonathan Spottiswoode, the band made its CD debut in 1994 with "CUT". Spottiswoode would go on to NYC with his "Enemies", Engelken would soon make her way to San Francisco and find critical acclaim for her role in the Victoria Theater production of "Hedwig and the Angry Inch". Engelken would ultimately return to her passion, jazz. Following a triumphant concert at the 2008 San Jose Jazz Festival, Engelken ventured into the studio and produced one hell of a gem, "Caravan", including a fabulous reworking of Freddie Hubbard's classic "Red Clay".

Engelken arranged and produced her new album on the Little Angel Records label, alongside some stellar musicians and regular band mates; drummer Matthew Swindells, Mike Olmos and Joel Behrman on trumpet, trombone and flugelhorns, Sam Bevan and Gabe Davis on bass, Adam Shulman and Jarrett Cherner on piano, guitarist Jon Monahan, David Alt on sax and clarinet, percussionist Brian Rice, and Jeanette Sarmiento and Chabela Yringoyen backing her on vocals.

Engelken's soulful renditions actually remind me of the incomparable Flora Purim, who blazed trails with pianist Chick Corea and her percussionist, drummer and husband, Airto Moriera. You can feel the chemistry between Engelken and Swindells; the subtlety and nuanced rhythms she coaxes from the music and the musicians around her is a rare gift and Caravan captures it beautifully.

The soft openings of "We'll Be Together Again" makes way for a swinging little number with Engelken scatting and Swindells' tasty snare and cymbal work. I absolutely loved the horns and clarinet work on "Just One of Those Things", a New Orleans flavored affair. "Canto de Ossanha" is definitely a Purim-like, Brazilian tune, ably accompanied by the backing vocals of Sariento and Yringoyen.

"Caravan", the title cut is indeed a revamp of the harmonies and arrangements of Debussy and the British alt-pop band Radiohead, of all people. Only "Lisa E" could conspire to combine those two influences so effectively. Engelken takes a nice turn with the classic "Afro Blue." The band is tight and the mature approach is about the best I've heard any singer attempt.

OK, I'm a freak for funk, so Joni Mitchell's "Trouble Child" just killed me. Berhman's muted trumpet and Shulman's Fender Rhodes took me back to the days of Randy Brecker and Larry Coryell's Eleventh House. It is perhaps my personal favorite, on an album filled with ass-kicking cuts.

Just when I thought it was safe to go back in the water, Engelken busts out the ever so soft "Winter Moon". I'm a huge Bill Bruford fan as everyone knows, but I must ask, where are all these amazing British jazz drummers coming from? Swindells' brush work on this piece is simply gorgeous in its simplicity. It's what Robert Fripp liked to characterize as "admirable restraint", and what Dizzy Gillespie called, "playing what you don't hear".

"From the Earth" is Engelken's turn at my favorite Freddie Hubbard tune, "Red Clay". I actually saw Freddie's last performance at Yoshi's with Bobby Hutcherson and Lenny White, the original drummer on the Red Clay album, so I was primed for this version. Engelken doesn't disappoint. Olmos and Shulman also do a very fine job backing her as well, on trumpet and piano respectively.

"White Wedding". I always love it when jazz musicians take a beautifully written pop tune and make it come alive, much like Coltrane's "My Favorite Things" or Miles' version of Cyndi Lauper's "Time After Time". Engelken also shows her versatility and brilliant skill at arrangement on this popular Billy Idol piece.

I couldn't help but think of Washington's late, great, grand dame of jazz, Shirley Horn when listening to Engelken's version of "Detour Ahead". Like Horn and pianist George Mesterhazy, Engelken and Shulman craft a poignant rendition of the Carter/Ellis/Frigo composition, with a breathless, moody take; a worthy of successor to Shirley's own version I saw performed many times at DC's famed Blues Alley.

There have been some fabulous jazz musicians to come from DC over the last decade or so; pianist Geri Allen, bassist Ed Howard, guitarist Paul Bollenback, saxophonist Ron Holloway, to name just a few. They have become some of the most respected and sought after names in jazz. Add singer, composer and producer Lisa Engelken to that pantheon of great artists. "Caravan" will stand the test of time and is a harbinger of more great music to come. Engelken is having her "Caravan" CD release at the Jazz School in Berkeley on Friday, May 7th at 8 pm and planning a tour in Italy.

Splendido!

Little Brown Brother Comes to the Cadillac

Last October, I was treated to some stellar performances at the Asian Art Museum celebrating Filipino History Month. One of the artists that caught my eye was the phenomenal Carlos Zialcita on harmonica and his trio Little Brown Brother. Joined by guitarist Chris Planas and bassist Ben Luis, Little Brown Brother brought down the house with their blend of Filipino tinged jazz and blues. Today at Noon, Little Brown Brother will bring their full sextet, (Bo Razon, guitar, Mike Ferando on drums, Imanual Junedy on piano and Mio Flores on percussion), to the Cadillac Hotel during their month long concert series to benefit for the victims of the Haitian earthquake. With musical influences from the rich African-American traditions of jazz and blues; Latin jazz, salsa, boleros, and Brazilian sambas and bossa novas, Little Brown Brother’s sound artfully incorporates indigenous Filipino music and instruments as well as Spanish-influenced traditional songs.

Little Brown Brother was formed in the summer of 2006 by Luis and Zialcita. It takes what both of them have been doing individually and collectively and creates a new package designed specifically for the Filipino audience. The nucleus of this ensemble is a quartet, with the addition of Chris Planas or guitar and Mike Fernando on drums. While the rich African-American traditions of jazz and blues remains at the core of what this group represents musically, there are many other influences that add flavor to the mix. There is a definite worldbeat texture and attitude to the music - borrowing from the indigenous Filipino music and instruments and the heavily Spanish influenced traditional Filipino music of the Philippines.

A Little Filipino History

The origin of the term "Little Brown Brother", was used by Americans to refer to Filipinos during the period of U.S. colonial rule over the Philippines, following the Treaty of Paris between Spain and the United States, and the Philippine-American War. The term was also coined by William Howard Taft, the first American Governor-General of the Philippines (1901-1904) and later the 27th President of the United States.

The term was not originally intended to be derogatory, nor an ethnic slur; instead, in the words of historian Creighton Miller, it is a reflection of "paternalist racism", shared also by Theodore Roosevelt. Taft told President McKinley that "our little brown brothers" would need "fifty or one hundred years" of close supervision "to develop anything resembling Anglo-Saxon political principles and skills." "Filipinos are moved by similar considerations to those which move other men."

The phrase "Little Brown Brother" drew some sneers from both Americans and Filipinos, however, due to the bloodshed of the Philippine-American War. U.S. attacks in the Philippines reportedly included the burning of entire villages and the concentration of civilians into concentration camps; Filipinos taken prisoner by Americans were reportedly interrogated using the water cure. American soldiers taken prisoner by Filipinos were reportedly tortured and their bodies mutilated. Although the United States government declared the "insurgency" that was the Philippine-American War over by 1902, guerilla resistance movements against the American occupation continued until 1913.

In addition, the band incorporates different elements of Latin music including latin jazz, salsa, boleros, and of course, a variety of Brazilian rhythms. In addition to regular performances throughout the Bay Area, Little Brown Brother has performed at a number of events in the Filipino community - including the Manilatown Heritage Foundation 1st Annual Banquet in 2007, the 87th Annual Dinner of Gran Oriente Filipino, the 2007 Pista Sa Nayon in Vallejo, the 2007 Bindlestiff Theatre Black and White BindleBall, and a benefit concert for Sugar Pie DeSanto held at The Manilatown Center in San Francisco. Little Brown Brother's debut recording - "Soul Shadows" is available on CD Baby, mail order and at performances. It's available on iTunes, PinoyTunes, UbeTunes, and Amazon.

I've seen and worked with some incredible harmonica players in my day, Jean "Toots" Thielemans and Howard Levy, just to name a few. If you want to see one of the Bay Area's best, hop down to the Cadillac, catch Zialcita and Little Brown Brother and donate to a worthy cause, the people of Haiti.

Little Brown Brother
Cadillac Hotel, Friday, February 12th @12:30 pm
380 Eddy Street, San Francisco, CA 94102
Free to the public
http://cadillachotel.org