A rep at one of the record companies zipped off an e-mail last week to rustle up the answer to one lingering question.
Do you like Jazz?
If so, the aggressive young exec was anxious to invite me to listen to a new release by one of his artists, Arturo Sandoval.
Frankly, I am a music-lover, and tend to be keen on chords and melodies of all persuasions.
Jazz - and the soulful cry of the horn - have a special place in my heart for some inexplicable reason.
On occasion, when the strains of a composition float through the air, I am transported back to a semester at Rochdale College where I struck up a close friendship with Science Fiction writer Judith Merril (who was in residency there, too).
Ms. Merril - a ball** delightful (intelligent!) woman - was very fond of jazz and was blessed with a remarkable extensive collection that would make any Jazz afficionado green with envy.
"Sure, send a copy along," I instructed.
"A Time For Love" was released by Concord Jazz on May 11th.
The album features classical compositions for orchestra and jazz trio by Grammy-winning arranger Jorge Calandrelli, along with a smattering of American jazz standards by composers including Gershwin and Chaplin.
Because the talented musician has been a big money-maker for his label by virtue of a particular brand of music - be-hop influenced Afro-cuban - his handlers were reluctant to allow him to stray far from those successful musical expressions.
So, in frustration, Arturo began to record his compositions on the sly with the intent of pressing the recordings under his own label.
The twenty tracks represent a "language of love" according to the multi-talented musician.
Sandoval is known for his keyboard style and stellar trumpet playing.
Amazingly - except for those instances when guest artists appear on the album - Sandoval plays all the instruments on each track (effecting the strings by way of synthesizer).
A chance meeting with Concord Exec - Gregg Field - resulted in a recording contract.
Field ended up taking on the role of producer.
Sandoval is classically-trained - so it was a given that the recordings would fulfill a long-time dream to tackle compositions of a handful of his favorite composers - such as Ravel, Feure, and Piazolla (albeit with fresh interpretations).
In a press notice, Sandoval confided that his big musical influences were Charlie Parker, Woody Herman, and - of course - his mentor Dizzy Gillespie.
A highlight of the release is a track that features celebrated horn player - Chris Botti - performing Ravel's "Pavane for a Dead Princess".
Another top note is a track that tosses the spotlight on renowned vocalist Monica Mancini performing the Astor Piazolla composition "Oblivion".
The album is a definite departure for Sandoval.
"It was the project of a lifetime," he beamed contentedly.
At times, the compositions are light and breezy.
Unfortunately, a couple of the "reinterpreations" are downright disappointing.
For instance, his rendition of "Smoke Gets in your Eyes" (a standard which is one of my own signature songs) whimpered when it should have been a show-stopping heartfelt number.
On "Smile", Mr. Sandoval takes on the role of vocalist - but sadly - doesn't have the pipes to pull it off.
One of the problems with this release is the pedestrian approach Sandoval takes with each composition.
Into the third recording, the musical mish-mash, becomes predictable
There are a handful of solid tracks on the release, though, which touch and entertain.
Weed out the mediocre offerings and you'll end up with a mini-CD that packs some musical whallop with - as Hitchcock would say - "all the boring parts cut out".
Available at your local retailer!
