BY JAZZTIMES MAGAZINE : 08/07/11 • Albums • By Scott Albin Album 2-- André Vasconcellos André Vasconcellos Brazilian bassist André Vasconcellos has distinguished himself by performing with the likes of Djavan, Hermeto Pascoal, Ivan Lins, and Hamilton de Holanda, but his second CD--simply titled "2"--is not Brazilian jazz. While there are subtle hints of South and Latin American rhythms throughout, Vasconcellos' ambition and vision is not contained by any one genre, and his composing and arranging abilities are impressive. "Signals of Rain" features a plaintive melody strikingly played by tenor saxophonist Josue Lopez. Vasconcellos' bass and David Feldman's piano interact engagingly in a tension-building interlude. Drummer Allen Pontes is enhancingly responsive. "The Old City Ballad" has a melody and mood much in keeping with "Signals of Rain." Here guest artist Torcuato Mariano's guitar solo is the key highlight, noteworthy for its beautiful sound and flowing lines. The leader provides a succinct and moving bass solo as well. "Balance of Relations" begins with a soft intro by guitarist Marco Vasconcellos and André's bass, before Lopez essays the Latin-tinged theme. Marco's solo is varied in attack and builds relentlessly. "Rome" is a dramatically arranged piece, with André's ostinato driving the proceedings. A soaring Lopez solo is followed by Feldman's more reflective yet equally passionate one. His piano vamp then propels the closing Pontes drum solo. The first section of "Bullfight" seems to depict the slow and deliberate mutual stalking of bullfighter and bull. Marco's guitar work spices things up even more, leading to Lopez's fervent solo as the confrontation continues to intensify before a prancing Feldman piano solo fades the scenario. Mariano and Lopez share the loping melody of "Puerto Madero." This time it's pianist Renato Fonseca who delivers a probing solo, as André's pulsating bass lines establish a strong foundation. Lopez's darting solo caps a memorable track. "The Trip of the Elephant" offers an insinuating, hypnotic theme that inspires Lopez's searching, cascading tenor solo--his best (or perhaps anyone's) on the entire CD. The last track, "Spiral," develops an urgent groove that is sustained by the trio of piano, bass, and drums, over which Lopez solos vigorously and Feldman embarks on a deft extended improvisation. This is refreshing modern mainstream small group jazz led by an artist of promising talent.