With the release of his debut CD, Turkish/Canadian vocalist, Fuat Tuaç has presented an intriguing,
multicultural jazz recording, comprised of freshly arranged, under-trodden standards and Tuaç’s original
title track. He is joined here by a superb group of musicians, including Paul Shrofel on piano, Dave Watts on
bass, Richard Irwin on drums and Dave Turner on saxophone. Tuaç is equally comfortable singing in
English, French, Turkish, Portuguese and Italian – easily capturing the lyrical essences of each language.
Manha de Carnaval (A Day in the Life of a Fool) is a standout. The rich, rhythmic arrangement is enhanced
by Turner’s warm, mellifluous alto lines, which soon metamorphose into a gymnastic and powerful solo;
Tuaç’s acoustic, unvarnished, exotic sound is beautifully complemented in this Luis Bonfa classic. Another
highlight is Ellington’s Caravan. Profound, throbbing bass lines from Watts and Eastern rhythmic patterns
succinctly executed by Irwin define this interpretation, as Tuaç seamlessly segues between straight ahead
bop and heady pentatonic vocal motifs. The scent of exotic spices and the sight of auburn-tinged Bedouin
tents are almost palpable here.
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With the release of his debut CD, Turkish/Canadian vocalist, Fuat Tuaç has presented an intriguing,
multicultural jazz recording, comprised of freshly arranged, under-trodden standards and Tuaç’s original
title track. He is joined here by a superb group of musicians, including Paul Shrofel on piano, Dave Watts on
bass, Richard Irwin on drums and Dave Turner on saxophone. Tuaç is equally comfortable singing in
English, French, Turkish, Portuguese and Italian – easily capturing the lyrical essences of each language.
Manha de Carnaval (A Day in the Life of a Fool) is a standout. The rich, rhythmic arrangement is enhanced
by Turner’s warm, mellifluous alto lines, which soon metamorphose into a gymnastic and powerful solo;
Tuaç’s acoustic, unvarnished, exotic sound is beautifully complemented in this Luis Bonfa classic. Another
highlight is Ellington’s Caravan. Profound, throbbing bass lines from Watts and Eastern rhythmic patterns
succinctly executed by Irwin define this interpretation, as Tuaç seamlessly segues between straight ahead
bop and heady pentatonic vocal motifs. The scent of exotic spices and the sight of auburn-tinged Bedouin
tents are almost palpable here.
Two additional highlights include a vigorous and contemporary rendition of Chick Corea’s Spain, in which
Shrofel’s luminous musicianship and Irwin’s inventive, Iberian and rock-steady propulsion are featured; and
also the cinematic Rendez-vous vers huit heures (Drault), which is an elegantly performed possible movie
theme in search of a black and white French film – Tuaç is reminiscent of the late Charles Aznavour here...
musical, mysterious, evocative and très sensual!
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