Honolulu-based Groovology is a quartet making their debut with Almost Home. This is an unusual band in that leader Aaron Aranita plays tenor sax, flute, and bass clarinet in addition to piano. The remaining members are David Yamasaki (guitar), Ernie Provenchar (bass), and Scott Shafer (drums). Aranita has owned the Sugartown label for thirty years and has issued at least five recordings that range from small combos to big band. His bandmates are versatile with resumes that include major jazz and rock musicians. Bassist Provenchar, for example, has performed in classical, jazz, salsa, Middle Eastern, and Balkan music. Each composes and contributed to the eleven pieces. The one cover, “Manoa,” written by Alberto Bessera and lyrics by Carlinhos de Olivera features vocalist Sandra Tauklyama.
Aranita’s wistful title track opens with the composer on tenor and a mostly comping piano. His poignant solo embellishes the melody as does that of guitarist Yamasaki, playing flowing, liquid lines. The leader’s “Mambowski” is rather obviously a mambo groove, helmed adeptly by the bass-drum tandem while Aranita floats above on flute. At times the rhythms become complex behind Yamasaki’s guitar improvisations and impressive bass lines from Provenchar. The guitarist penned “Groovology,” giving the group a chance to display their infectious, funky side as Aranita takes to the bass clarinet, playing both in unison with as well as soloing. Yamasaki champions the melody while the bassist and drummer turn in impressive spots as well.
Shafer’s “Bubbles The Clown” has Aranita blowing a soulful tenor in this mid-tempo, bright tune that has the saxophonist trading with the composer. Yamasaki’s “The Path” features the guitarist setting a dreamy, ethereal tone before he launches his highly lyrical solo in the first version with Aranita in support with tasteful piano. The track later expands to an additional two minutes in the closer. The quartet emerges from their reverie of sorts, blasting off on Aranita’s “Bries Tropical,” as the composer on tenor and Yamaski move forward to point-counterpoint. Aranita then displays his contemplative side in “The Road Less Traveled,” which builds nicely through his tender tenor which grows more intensely as the piece evolves.
Shafer’s second piece, “Headroom,” is also in a bluesy vein, a vehicle for both the guitarist and Aranita on tenor. “Manoa’ is the previously mentioned vocal piece, a judicious change of pace into a Brazilian boss nova, featuring the vocalist Sanda Tauklyam, singing gleefully and sensuously. The lone composition from Provenchar, “Skybone,” begins ever so slowly with Aranita on tenor but eventually finds the quartet locking into an infectious, swinging groove.
While the band title may suggest rather generic fare, the album succeeds on the variety of material, from blues and Latin to Brazilian to contemporary offerings, as well as astute musicianship.
Jim Hynes
Jim Hynes is a respected music reviewer and journalist celebrated for his thoughtful analysis and unwavering passion for a broad spectrum of music genres, particularly jazz, blues, and Americana. With a career spanning decades, Hynes has built a reputation for his articulate and insightful reviews that delve deep into the artistry, emotion, and cultural impact of the music he covers.
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Groovology
