Ravita
Jazz
Oriana
For his second outing as a leader, bassist-composer Phil
Ravita recruited a close-knit crew of musicians that he’s
worked with in the Mid-Atlantic region since their time
together in grad school at the University of Maryland,
College Park. “We’ve known each other since 2007,” he
said of bandmates Greg Small on piano and Nucleo
Vega on drums. Since then, they’ve done gigs in
New York City, Washington, D.C. and Baltimore
and a myriad of Maryland towns and cities.
The group’s elder statesman, saxophonist Benny Russell
(who also appeared on Ravita’s previous release, 2021’s
Jagged Spaces) adds abundant punch to that band
chemistry with his potent playing on tenor and soprano
saxes throughout Oriana.
That album title, explained the leader, has multiple
meanings; the most obvious being that it’s someone’s
name. But Ravita goes deeper than surface
interpretations, as do his compositions on this intriguing
sophomore outing. To his way of thinking, it’s not a
question of who is Oriana but rather what is Oriana.
“The short answer,” he says, “and probably most
approachable, is it stands for a woman. But it also
means golden dawning.” He liked that concept since
some of his music was written in or inspired by the look
of the city in the wee hours of the morning. He added,
“The songs in order tell an ongoing story...like a person’s
journey home through the city. And it’s about what they
see along the way. It’s the traffic backup they’re caught
in (“Sepia”). It’s the person they see in the window
looking anxious and drinking caffeine (“Black Coffee”).
It’s bad news they experienced during the day (“Boo’s
Blues”). It’s what they see and feel while they’re doing
all of this -- people moving at breakneck speed, some
patient, others impatient or even angry when they can't
get what they want…or the actual disassociation from
all that. Like, they’re walking through a rainstorm not
even noticing that they’re wet.”
All of these aspects are addressed on Oriana.
The kinetic opener, Sepia, is funk-based number with a
hard backbeat that has Ravita grooving on electric
6-string bass. It’s a frantic, choppy showcase reflecting
the pace of the city that could stand as the composer’s
ode to being stuck in Baltimore traffic at rush hour. The
release from that initial tension comes with the more
hushed tones and nuanced delivery of Black Coffee,
featuring vocalist Deidre Jennings. Opening this moody
standard as an intimate duo with Ravita’s upright bass
providing the walking pulse, Deidre’s laid-back
interpretation of this bluesy lament is steeped in the
tradition of all the great singers who have ever tackled
this 1948 classic, from Sarah Vaughan and Julie London
to Peggy Lee, Chris Connor and Ella Fitzgerald, right up
to Diane Schuur. Mark Leppo offers a hovering presence
on vibes here with voicings that are rich yet subtle,
more evocative than virtuosic.
Ravita’s funky Boo’s Blues, buoyed by the composer’s
electric bass lines, features Russell in some hard-edged
tenor blowing, a la Stanley Turrentine. Then on Small’s
buoyant jazz waltz December 2021, Russell switches
to soprano to deliver some lilting, lyrical lines. Vega’s
interactive, polyrhythm touch here enlivens the track
while his melodic flurry on the kit at the tag takes the
proceedings up a notch.
Their stark, drum-less interpretation of Caravan has
vocalist Jennings and pianist Small exploring the Middle
Eastern implications of this classic bit of Ellingtonia.
Ravita’s Peace and Love, written 22 years ago, is an
alluring bossa nova flavored number that features some
bold, Houston Person-like tenor work from Russell as
well as potent solo contributions from Small on piano
and the leader on upright bass. Said the composer of
this sensuous number, “It’s just about the concept of
peace and love. In the words of John Lennon, if people
tried it, they may become addicted to it.”
Russell’s Afro-Cuban flavored Sisters carries a touch of
Ahmad Jamal’s hypnotic version of “Poinciana” from
1958’s At the Pershing: But Not for Me. Ravita noted,
“We were definitely going for more of that feel of the
openness of ‘Poinciana.’ And yet, there’s a sense of
imperative and forward motion to it.” Russell’s
powerhouse tenor solo here, in which he double-times
at will while also digging deep, carries a tender but
proud vibe.
Small’s minor key samba, Stormshine, has Russell
switching to soprano sax once again. Then on Ravita’s
unhurried City Lights, Russell’s smoky tenor tones lay
against the shimmering presence of Mark Leppo’s
vibraphone comping. “It’s a very contemplative piece,”
said the composer. “You can almost picture somebody
in Brooklyn looking out the back window of their
apartment from the seventh or eighth floor, and they're
seeing the city in the distance. It’s that kind of thing.”
The collection closes with Russell’s gospel flavored
Heaven, which features some of his most soulful
expression of the session. “Yeah, he really takes us to
church on that one,” said Ravita.
Together with his like-minded colleagues,
bassist-composer-bandleader Ravita takes listeners on
a kinetic, contemplative and ultimately expansive ride
on Oriana. — Bill Milkowski
Bill Milkowski is a longtime contributor to Downbeat and Jazziz magazines. He
is also the author of JACO: The Extraordinary and Tragic Life of Jaco Pastorius
and Ode to a Tenor Titan: The Life and Times and Music of Michael Brecker.
1
For his second outing as a leader, bassist-composer Phil
Ravita recruited a close-knit crew of musicians that he’s
worked with in the Mid-Atlantic region since their time
together in grad school at the University of Maryland,
College Park. “We’ve known each other since 2007,” he
said of bandmates Greg Small on piano and Nucleo
Vega on drums. Since then, they’ve done gigs in
New York City, Washington, D.C. and Baltimore
and a myriad of Maryland towns and cities.
The group’s elder statesman, saxophonist Benny Russell
(who also appeared on Ravita’s previous release, 2021’s
Jagged Spaces) adds abundant punch to that band
chemistry with his potent playing on tenor and soprano
saxes throughout Oriana.
That album title, explained the leader, has multiple
meanings; the most obvious being that it’s someone’s
name. But Ravita goes deeper than surface
interpretations, as do his compositions on this intriguing
sophomore outing. To his way of thinking, it’s not a
question of who is Oriana but rather what is Oriana.
“The short answer,” he says, “and probably most
approachable, is it stands for a woman. But it also
means golden dawning.” He liked that concept since
some of his music was written in or inspired by the look
of the city in the wee hours of the morning. He added,
“The songs in order tell an ongoing story...like a person’s
journey home through the city. And it’s about what they
see along the way. It’s the traffic backup they’re caught
in (“Sepia”). It’s the person they see in the window
looking anxious and drinking caffeine (“Black Coffee”).
It’s bad news they experienced during the day (“Boo’s
Blues”). It’s what they see and feel while they’re doing
all of this -- people moving at breakneck speed, some
patient, others impatient or even angry when they can't
get what they want…or the actual disassociation from
all that. Like, they’re walking through a rainstorm not
even noticing that they’re wet.”
All of these aspects are addressed on Oriana.
The kinetic opener, Sepia, is funk-based number with a
hard backbeat that has Ravita grooving on electric
6-string bass. It’s a frantic, choppy showcase reflecting
the pace of the city that could stand as the composer’s
ode to being stuck in Baltimore traffic at rush hour. The
release from that initial tension comes with the more
hushed tones and nuanced delivery of Black Coffee,
featuring vocalist Deidre Jennings. Opening this moody
standard as an intimate duo with Ravita’s upright bass
providing the walking pulse, Deidre’s laid-back
interpretation of this bluesy lament is steeped in the
tradition of all the great singers who have ever tackled
this 1948 classic, from Sarah Vaughan and Julie London
to Peggy Lee, Chris Connor and Ella Fitzgerald, right up
to Diane Schuur. Mark Leppo offers a hovering presence
on vibes here with voicings that are rich yet subtle,
more evocative than virtuosic.
Ravita’s funky Boo’s Blues, buoyed by the composer’s
electric bass lines, features Russell in some hard-edged
tenor blowing, a la Stanley Turrentine. Then on Small’s
buoyant jazz waltz December 2021, Russell switches
to soprano to deliver some lilting, lyrical lines. Vega’s
interactive, polyrhythm touch here enlivens the track
while his melodic flurry on the kit at the tag takes the
proceedings up a notch.
Their stark, drum-less interpretation of Caravan has
vocalist Jennings and pianist Small exploring the Middle
Eastern implications of this classic bit of Ellingtonia.
Ravita’s Peace and Love, written 22 years ago, is an
alluring bossa nova flavored number that features some
bold, Houston Person-like tenor work from Russell as
well as potent solo contributions from Small on piano
and the leader on upright bass. Said the composer of
this sensuous number, “It’s just about the concept of
peace and love. In the words of John Lennon, if people
tried it, they may become addicted to it.”
Russell’s Afro-Cuban flavored Sisters carries a touch of
Ahmad Jamal’s hypnotic version of “Poinciana” from
1958’s At the Pershing: But Not for Me. Ravita noted,
“We were definitely going for more of that feel of the
openness of ‘Poinciana.’ And yet, there’s a sense of
imperative and forward motion to it.” Russell’s
powerhouse tenor solo here, in which he double-times
at will while also digging deep, carries a tender but
proud vibe.
Small’s minor key samba, Stormshine, has Russell
switching to soprano sax once again. Then on Ravita’s
unhurried City Lights, Russell’s smoky tenor tones lay
against the shimmering presence of Mark Leppo’s
vibraphone comping. “It’s a very contemplative piece,”
said the composer. “You can almost picture somebody
in Brooklyn looking out the back window of their
apartment from the seventh or eighth floor, and they're
seeing the city in the distance. It’s that kind of thing.”
The collection closes with Russell’s gospel flavored
Heaven, which features some of his most soulful
expression of the session. “Yeah, he really takes us to
church on that one,” said Ravita.
Together with his like-minded colleagues,
bassist-composer-bandleader Ravita takes listeners on
a kinetic, contemplative and ultimately expansive ride
on Oriana. — Bill Milkowski
Bill Milkowski is a longtime contributor to Downbeat and Jazziz magazines. He
is also the author of JACO: The Extraordinary and Tragic Life of Jaco Pastorius
and Ode to a Tenor Titan: The Life and Times and Music of Michael Brecker.
MUSICIANS
Mark Leppo
vibraphone – All Tracks but 5 & 7
congas – Tracks 5 & 7
Benny Russell
tenor sax – Tracks 1, 3, 6, 7, 9, 10
soprano sax – Tracks 4 , 5 & 8
Greg Small
piano – All Tracks
Nucleo Vega
drums – All Tracks but 5
Deirdre Jennings
vocals/arrangements – Tracks 2 & 5
Phil Ravita
upright bass – All Tracks but 1, 5 & 10
electric bass – Tracks 1, 5 & 10
TRACKS
1 Sepia 5:16
(Phil Ravita, 2011, BMI Music Publishing)
2 Black Coffee 5:29 (1948 Music by Sonny Burke, lyrics by
Paul Francis Webster. [Sondot Music Corp.,
Webster Music Co.])
3 Boo’s Blues 3:34
(Phil Ravita, 2014, BMI Music Publishing)
4 December 2021 4:15
(Greg Small, 2021, BMI Music Publishing)
5 Caravan 3:57
(1936 Music by Edward Kennedy
“Duke” Ellington and Juan Tizol,
lyrics by Irving Mills. [EMI MILLS Music Inc.,
Sony/ATV Harmony])
6 Peace and Love 5:51 (Phil Ravita, 2001, BMI Music Publishing)
7 Sisters 7:36 (Benny Russell, 2013, ASCAP Music Publishing
[Nguzo Saba Publishing])
8 Stormshine 6:01 (Greg Small, 2022, BMI Music Publishing)
9 City Lights 4:34
(Phil Ravita, 2008, BMI Music Publishing)
10 Heaven 4:23
(Benny Russell, 2005, ASCAP Music Publishing
[Nguzo Saba Publishing])
show less
