Off & On - The Music of Moacir Santos
Mark Levine and the Latin Tinge
Left Coast Clave
Over the course of a long career, an artist can compose a substantial repertoire, leaving the world with a memorable body of work; when the musician’s compositions resonate with brilliance, they often inspire future generations to revisit their songbooks. A leap into a prolific composer’s songbook requires research and study, especially when they sit outside the realm of broad popular acceptance. The work pays off though, as younger generations keep the artist’s music alive through the continued performance of their pieces. It’s a tribute to the artist and a service to the greater music world; a musician’s interpretation of a composer’s songbook re-introduces us to the artist and educates the public. Their musical statements speak volumes about history, culture, and the composer’s place in the greater tradition. They run the risk of loosing their own identity within the repertoire, so they enter a balancing act between respecting the original work, paying tribute to the artist, and maintaining a personal identity. As a result, musicians need to thoughtfully construct their tributes in a way that reflects history and contemporary thought. Brazilian composer Moacir Santos built a vast and ingenious songbook during his career, that American audiences largely overlooked in favor of easily accessible material. Pianist Mark Levine and his group The Latin Tinge passionately dive into Santos’ work on Off & On - The Music of Moacir Santos, delivering an enthusiastic celebration of the creative potential behind Santos’ work.

Visiting Santos’ Most Beloved Pieces
Levine skillfully interprets some of Santos’ most beloved pieces while maintaining his own personal sound. Levine and bassist John Wiitala establish a syncopated vamp over a brisk cha cha cha groove on “Nana” while Mary Fettig delivers the extremely catchy melody on flute. Levine builds a clever statement fueled by a bluesy hard bop flavor and a playfully assertive rhythmic drive. A sharp abinico from drummer Paul van Wageningen transitions the group into an energetic improvisation from Fettig that inspires pronounced accents and fills from the rhythm section. A unison run from Levine, Wiitala, and Fettig takes the group into a brisk samba rhythm behind the melody on “Early Morning Love” which comes alive through Fettig’s understated flute work and Levine’s subtle interplay. The group relishes in the melody until Levine jumps into a smart improvisation that starts with pieces of the melody and grows into an engaging thought. Percussionist Michael Spiro pushes the band forward with solid pandiero work as Fettig flies into an uplifting improvisation full of strong melodic invention. Spiro holds a solid conga pattern as Fettig counts the band into a syncopated groove on “Off And On” before entering into a lush flute melody. A unison lick with Levine sends Fettig into a soaring solo, winding her flute through a broad texture with a forceful momentum. Levine creates contrast with a more melodic approach, building a lyrical idea that leads back to the main melody and a memorable solo from Spiro. Abrupt band hits frame Fettig’s melody on “April Child” until the rhythm section jumps into a funky stuttering groove behind her. Fettig plays around the unique rhythmic structure with angular lines that mix sharp syncopations and quick melodic runs. Levine focuses upon thematic development, supporting a steady stream of well-constructed lines with colorful harmonic variations. The group creates a smart blend between the familiar and the original on these tracks, presenting Santos’ recognizable melodies in a creative environment.

Building Arrangements Around Cuban Rhythms
The group digs into several Santos compositions with arrangements that utilize Cuban rhythms. A driving guaguanco provides a frenetic foundation for “Haply Happy” as Fettig constructs the melody through traded phrases with Levine and Wiitala. The harmony disappears as Fettig enters a conversation with the percussionists, cutting through the aggressive rhythmic structure with ferocious flurries of notes. After a brief return to the melody, the drummers take center stage as Spiro explodes into an exciting conga solo over van Wageningen’s driving rumba. The combination of Fettig’s gentle melodic treatment and Levine’s rich chordal support opens “Jequié” into an introspective mood. The band jumps into a double time feel on the bridge as Fettig and Levine trade phrases thoughtfully. The group returns to a bolero as Fettig restates the melody, creating a captivating moment that brings the composition’s beauty to the forefront. The rhythm section falls into a swaggering cha cha cha groove on “A Saudade Mata A Gente,” playing off a funky accompaniment and a simple yet bluesy melody. The rhythm section bursts into a frantic double time son montuno behind Fettig’s improvisation, sending her into an inspired statement fueled with melodic integrity and a contagious energy. The group makes a brief return to the cha cha cha before leaping back into double time behind Levine who applies his ample chops to flying bebop lines. These pieces find a connection to the group’s larger repertoire through the use of Cuban rhythms, but stay firmly rooted in Santos’ legacy with respectful versions of his compositions.

Keeping The Performance Fresh With Brazilian Rhythms
The group places several arrangements of Santos’ work in the context of Brazilian rhythms, but their smart arrangements and personal voices keeps the performance fresh. Levine briefly improvises over a steady baiao groove on “ Tomorrow Is Mine” before Fettig enters the subtly engaging melody on soprano sax. The rhythm section charges ahead with the addictive groove as Levine steps into his solo slowly, smartly building an attention grabbing solo over time. Fettig cuts through the rhythm section’s strong momentum with a sharp clear tone and powerful winding lines that push the band forward. Fettig doubles Wiitala’s lazy ostinato figure on bass clarinet as the group floats through a relaxed groove on “Suk-Cha” before jumping into a double time samba behind the main melody. As the rhythm section charges ahead, Wiitala displays a keen sense of melodic invention, making a solid statement with his rich deep tone. Fettig and Levine both follow with quick improvisations, gliding through the changes with lyrical improvisations that reflect the song’s character. The rhythm section establishes a funky and intensive groove on “Kathy” while Fettig floats a spacious melody over the group. Only van Wageningen and Spiro remain as Fettig begins her soprano sax solo, charging through the percussive setting with confidence and creativity. As Wiitala and Levine gradually rejoin the group, Fettig develops her improvisation into a cleverly constructed climax that reveals thoughtful artistry. Levine assertively grounds the groove with a steady rhythmic pattern behind Fettig’s lush flute melody on “What’s My Name.” Fettig and Levine both take turns improvising over the form, complementing each other with clever ideas that provide quick variations around the harmony. Fettig takes one last time through the form with an invested enthusiasm, leading the group back to the smart arrangement of the melody. Each of these songs allows the group to express their own identities while playing upon the rich connection between Santos and Brazilian music.

An Unforgettable Journey Through Santos’ Songbook
Levine and the Latin Tinge re-introduce Santos’ compositions with class and style on Off & On - The Music of Moacir Santos, sharing their deep appreciation for the musician and his work. The strength of the compositions stays intact throughout the album, with the memorable melodies rising to the surface and the rich harmonies providing strong improvisational contexts. For the uninitiated, this could be a serious step into Santos’ recorded works, and those familiar with Santos will find a positive connection to the original material. The album serves as a serious tribute, but at the same time, Levine breaks the shackles of imitation and exerts his vast creative skills. Each song shines with personal arrangements that simultaneously play upon the deep content of the compositions and the potential behind each rhythmic style. Levine’s playing exudes finesse and a vast musical knowledge base as he spins intelligent improvisations and inventive accompanying patterns. Fettig appears as a strong voice within the group, delivering thought provoking statements filled with jazz lines and thoughtful reflections upon the compositions. The band’s personality serves as the glue holding the album together, making the tribute more personal and exciting at every turn. Levine and the Latin Tinge remind us of the complexity and beauty of Santos’ work on Off & On - The Music of Moacir Santos, encouraging us to celebrate his work through their unforgettable musical journey through his songbook.

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