Romero Lubambo & Rafael Piccolotto - Live at Dizzy's (Live) (2021) [Hi-Res]

One of Lubambo’s longtime dreams was to perform his music with strings and a large ensemble. Growing up hearing the expansive recordings of his hero Wes Montgomery had put the sound of a solo guitarist leading a large ensemble in Lubambo’s head. But Lubambo wanted to try to apply the musical language of Brazilian music in a similar context.

The guitarist became aware of countryman, composer/arranger Rafael Piccolotto De Lima a few years ago. Originally from Campinas, Brazil, Piccolotto has been based in New York City since finishing his studies at the University of Miami. His talents as a classical and jazz composer and arranger led to a number of impressive affiliations, including the Metropol Orkest and the Los Angeles Symphonic Jazz Orchestra, along with a Latin Grammy nomination.

Impressed with Piccolotto’s work, Lubambo reached out to suggest a collaboration, which Piccolotto readily accepted. The guitarist provided a number of pieces from his catalog for the young arranger to adapt to a chamber jazz orchestra that would feature four string players, four horn players, and a full rhythm section. Together they chose the pieces they thought would work best for the ensemble. An easy-going relationship developed between Lubambo and Piccolotto, allowing for a comfortable environment for creation.

After a long development process, Lubambo reached out to Jazz @ Lincoln Center to see if they would be interested in hosting the project. He was awarded four nights at Dizzy’s Club Coca Cola where the ensemble would perform re-arranged works for a live audience and be able to capture that special live performance energy with the aid of Lincoln Center recording engineer Rob Macomber.

One of the most important elements for Lubambo was to ensure that there would be a Brazilian rhythm section to hold the music together and provide that special Brazilian swing. He enlisted some of the best that New York City offers, including accordionist Victor Gonçalves, pianist Helio Alves, bassist Itaiguara Brandão, and drummer Mauricio Zottarelli. Lubambo made sure that Brandão performed on electric bass so that the music would really have a rhythmic punch, a practice that Brazilian bandleaders have continued from the example of the late, great Elis Regina.

The strings and woodwinds were assembled by Piccolotto and were musicians he has known and worked with for some time. His familiarity with the musicians allowed him to customize parts to the individual performers.

Most of the pieces that were recorded during the series of performances in January 2019 had been previously recorded by Lubambo. The careful study and reinterpretation by Piccolotto allowed these pieces to blossom anew.

The recording begins with Lubambo’s swinging “Lukinha;” Piccolotto’s breezy yet punchy arrangement allowing for some dynamic solos from the leader along with bassist Brandão and saxophonist Alejandro Aviles. The guitar introduces his “Bachião” solo, building with Gonçalves’s accordion and Zottarelli’s insistent drumming, culminating in brilliant solos from saxist Livio Almeida and Lubambo. The lusciously arranged “Pro Romero” was written for the leader by his friend, the prolific Brazilian composer Debora Gurgel. Lubambo’s heartwarming “By the Stream” features his wife, vocalist Pamela Driggs, inviting their young daughter to enjoy playful family time in their backyard stream.

The pace picks up on Lubambo’s “Frevo Camarada,” an effervescent rhythmic workout that highlights the guitarist’s touch, a blistering accordion, and Hadar Noiberg’s dynamic flute work. Piccolotto’s tricky “Samba de Proveta” is a tribute to Brazilian sax master Nailor “Proveta” Azevedo, a welcome challenge to Lubambo and the ensemble. Bobby Troup’s “Route 66” was chosen by Lubambo because of its emotional tie to his first journey with his wife, Driggs.

Lubambo’s introspective “Paquito In Bremen” is a tribute to his friend, Cuban woodwind master Paquito D’Rivera, in a quietly winding ballad. Piccolotto’s arrangement of João Bosco’s “Pret-à-porter de Tafeta” owes a bit to “Proveta” Azevedo’s big band arrangement of the tune, this scaled down version still packing a punch. The recording concludes with Lubambo’s tribute to his father, “Pro Flavio,” a Baião style piece that showcases Aviles on flute and Zottarelli’s percussion mastery.

Romero Lubambo and Rafael Piccolotto’s wonderful collaboration on Live at Dizzy’s provides a perfect example of both musicians doing what they do best. Lubambo provides a master’s touch on his instrument while the arranger helps re-imagine the guitarist’s pieces in a new and enlivening sound world with his chamber jazz orchestra.