James Bongiorno
Prelude
© 2005 James Bongiorno (634479114410)
CD IN STOCK. ORDER NOW. Will ship immediately.
Grand Piano Jazz
tracks
try this
albums you will love
genres you will love
By Location
Recommended if you like ...
notes
James Bongiorno
THE BONGE — Bonge Records #BRCD 10001-2. Waltz for Debbie, When Lights Are Low, My Funny Valentine, Gone with the Wind, Here’s That Rainy Day, Have You Met Miss Jones, I Loved You So, On a Clear Day, Little Girl Blue, Since You Went Away, Young at Heart, In the Wee Small Hours of the Morning, It Might as Well Be Spring, Just Friends.
PERSONNEL: James Bongiorno, piano.
By Bill Donaldson
James Bongiorno was an audio circuit designer, who wanted to be an accordionist, who wanted to be a jazz piano player. Now that Bongiorno has released the fi rst CD of his work on piano, he has become all three, although he did play piano during select occasions in the past. As producer John Novello explains in the liner notes, Bongiorno (or the Bonge, for short) used to perform on piano in the 1960’s, when they were friends in Erie, Pennsylvania. A lot has happened since then. Events, however, have converged to bring the Bonge and Novello together in a project that both wish would have happened years ago. The important thing is, however, that it has happened now.
The Bonge, it turns out, has strong opinions about jazz piano heavyweights, and his influences range from Bill Evans to Oscar Peterson to Art Tatum. You can hear a little bit of all of those pianists in the Bonge’s playing. “Waltz for Debby” is performed in the manner of “Waltz-for-Debby”-if-Tatum-had-played-it. The Bonge adopts Evans’ rhythmic looseness, carrying phrases over the bar lines, as well as his broad, spare chords. However, he also glides into some stride as well, the resulting mixture a tribute to pianists with strength of style and originality of thought. Still, choosing to record a solo album reveals his own choices despite the obvious influences of his predecessors and peers. In doing so, he creates a musical amalgam that establishes his own signature. Not employing the light, scampering touch of an accordionist, who has only to press the keys to squeeze out notes, The Bonge plays piano with great force, as if he were unable to restrain his enthusiasm for the instrument while he performs. Like Erroll Garner, for instance, the Bonge shows delicacy by interrupting swing with fluttering arpeggios and hesitant pauses, though the dynamics of his sound remain within a narrow range.
Still, as a single performer, The Bonge knows how to command a listener’s attention as a glides from metrically free sections of rumination to the irrepressibility of his swing. On “Have You Met Miss Jones,” The Bonge obviously has borrowed some ideas from Peterson as he descends in waterfalls from the top of the keyboard to its very bottom as an embellishment to its introduction be fore moving into the stride section. “Young at Heart” could be interesting in the hands of The Bonge, for one wouldn’t know what means of interpretation he would select, the tune itself being eminently adaptable. Restraining his affinity for stomping bass, The Bonge goes for Evans-like re-harmonizations as he unhurriedly defies expectations. “Just Friends” becomes the track powered by The Bonge’s strong left hand, as he accelerates and then decelerates in an elastic display of technical ferocity.
Recorded in a single session of first takes, James Bongiorno’s premier album represents a long delayed project that was recorded so efficiently and so quickly that one wonders why he and his friend Novello didn’t do it years ago. But now it’s done, and the Bonge no longer remains unheard by listeners interested in traditional jazz piano playing assertively stated.
Review from JAZZ IMPROV MAGAZINE summer 2006 reproduced with permission.
Writing this bio of my friend James (TheBonge) Bongiorno presents me with a sort of conundrum. Firstly, we're both from my home town area of Erie, Pa. However, we've been out of touch for almost 35 years. I'm a bit younger than James and I used to go and listen to him when he was still playing back in Erie.
This last summer when we hooked up again, he came over to my house and studio and played for me. Astonishing. I "goaded" him into making this CD recording in my state of the art studio on my Yamaha Grand piano. At first he was somewhat reluctant having been out of the business for almost 35 years.
He stated that his idols were Peterson, Tatum, Evans, and his late teacher Russ Messina but admitted that "I'm not in their league, but I play pretty". That is an understatement for sure. He said he would have to bone up and practice for a few months to get his "chops" back. Indeed, when you listen to this CD, you will not hear any lack of "chops". In addition, you wil also hear harmony a voicings rarely played in such a grand fashion. All the songs on this album are standards excepting 2 of his originals which are quite spectacular and unusually different in their musical structure.
I am extremely proud to have produced this exceptionally fine grand jazz piano recording and welcome James back into the music world which is his first love.
John Novello
P.S. When the session was finished, I asked James to play a song for me namely-Waltz For Debbie. This was not planned or rehearsed and caught James by surprise as he said he hadn't played it in years. So, he proceeds to rattle off the most mind boggling version you've ever heard-IN ONE TAKE. Awesome.
reviews
Please log in to review this album.
positively awesome recording
author: Bud LambertSeveral months ago, a good friend, who’s opinion I trust, insisted that I obtain this recording. To be sure, I wasn’t prepared for the grandeur of this recording. The Bonge’s pianistic efforts are like nothing I’ve ever heard before. In the liner notes the Bonge refers to his idols namely, Art Tatum, Bill Evans, and Oscar Peterson, as inspiration. However, he doesn’t sound like any of them. Mainly, I am a music educator and amateur pianist. I say this because I don’t play professionally as I don’t have the time. However, my recording collection is extensive numbering in the thousands, 98% of which remain on the shelves collecting dust. More on this later. In the genre of jazz, specifically jazz piano, there are a multitude of styles. The style of Art Tatum is pre-bebop from the swing era. It is so unfortunate that he died so young (at 47). We’ll never know where this genius could have gone. Next is the funky style (my description) of another genius, Bill Evans. Sadly, he passed away at 50. It seems that a lot of our musical giants pass on at such early ages, like Gershwin, who was only 37. Next is undoubtedly the greatest of them all namely, Oscar Peterson, who at 80 is still with us. Unfortunately, a stroke several years ago has robbed him of the abilities that he once had. Fortunately, we have over 50 years worth of recordings of this giant of the jazz world. There are other jazz piano idioms such as the avant-garde style, and the far out fusion style, neither of which excite me very much, although I have plenty of these recordings for reference purposes only. Now, where do we place the Bonge? Clearly he doesn’t fir into any of the aforementioned styles which makes adjudicating his music somewhat difficult. Not difficult to listen to but rather, difficult to quantify. Firstly, his approach to solo piano is what I call very loose as opposed to totally tempo driven. His playing is of a much more grandiose style as if doing a concert in a big hall rather than playing in a small club. On virtually every song, he does giant intros and equally giant endings, which I find refreshing because this is rarely done to this degree. Ironically, there are only 4 songs that don’t have a majestic intro. The first is the opening tune, Bill Evan’s jazz classic, “Waltz For Debby” which according to the liner notes was an unplanned afterthought. Some afterthought! The Bonge opens up rubato style in the written key of F and then moves the second chorus up a whole tone to G in a 4/4 lilt, which by the way puts the latter part of the bridge in B Major. I tried this—it ain’t easy, believe me. And to do this off the cuff with no rehearsal is truly astonishing. He then moves back down to F with a very nice segue into a little more funky final chorus with an almost concerto-like ending. Really nice driving rhythm on this one. Next is another jazz standard, Benny Carter’s “When Lights are Low” in which the Bonge plays this entire tune in a much more loose, tacit rhythm fashion than is traditionally done. A foot tapper well executed. The third song on this CD is an absolute masterpiece. I have heard hundreds of versions of Richard Rodger’s “My Funny Valentine” but none have moved me like this version. It has a depth of feeling that actually makes the piano “sing” as if there were a vocalist there singing the lyrics. And the ending is truly mindblowing. If you don’t appreciate this selection, then you need your ears examined. Next comes one of the most challenging songs on this CD namely “Gone With The Wind” played at a very brisk tempo. Why this tune is rarely played and/or recorded is a mystery to me. In the hands of the Bonge, you would never suspect that he is not a pianist. The seamless integration of melody and tempo with the left hand is truly amazing for a converted accordion player. “Here’s That Rainy Day” undoubtedly the most gorgeous song that Jimmy Van Heusen ever wrote is one of the most recorded songs ever. Along comes the Bonge with his version which is as different (read incredible) from all the others as can be imagined. He very cleverly opens this song with an “Over the Rainbow” pattern leading into the main theme. Contrary to most other players that play this song in a very light manner, not so with the Bonge. Right from the beginning he attacks this in grand fashion with substitute chord changes and harmonies and voicings that I would only expect from Peterson. Then he comes way down softly in tempo with a fantastic segue key change to A Flat building up again to a return to the original key of G. The last half chorus has such a magnificent build up and mind blowing ending that it sent chills right up my spine. By far, the greatest rendition of this song that I have ever heard. The next song is kind of an enigma and seems to have been avoided by most musicians mainly, I suspect, because of the bridge, which is a real killer. The genius of Richard Rodgers really nailed this one for everyone: key signature changes every two beats. I myself have always had difficulty with this bridge but the Bonge just effortlessly nails it every time in all five places. Masterful! As a matter of fact he opens the song rubato with the bridge with a completely left field set of chord structures that I’ve never heard before—beautiful. The first chorus he does all rubato but the last 8 bars are again a masterful change of chord structure and voicing. The next three choruses, played in a medium tempo, gives us a small insight into the potential of the Bonge’s improvisational skills. And again, another song with an explosive wonderful ending. The next song is the first of two original compositions. This one “I Loved You So” is one of the prettiest ballads I’ve heard in a long, long time. The Bonge could make a living just as a songwriter. Incidentally, I surreptitiously obtained a copy of the leadsheet and was pleasantly surprised with a beautiful set of lyrics as well. Most amazingly, the entire song is sung in past tense except for the final line which moves to present tense with “I LOVE You So”. What an elegant touch. Next is the standard “On A Clear Day” which is rather short but with some very pretty voicings and some very smooth chordal transistions—very difficult to execute. Nice ending. Next comes another beautiful Richard Rodgers song, “Little Girl Blue”. Does the Bonge not like Rodgers or what. While this is a well executed version, I think the Bonge was a little heavy handed here. Oscar Peterson’s version is much more gentle and delicate, although nowhere near as complex. The most astounding thing about this rendition is the total use of arpeggios (17 in all, I counted them) throughout the song. And not one is a repeat! Obviously the Bonge does not fall prey to the “when in doubt, arpeggiate out” syndrome. Every one of these is done in taste in the right place, at the right time, and in the right manner. And again, that monster ending. Next is one of the most popular of Sinatra’s songs—“Young At Heart”. Not often done as a jazz tune (I know of only one other, which is paltry by comparison) this rendering is just gorgeous. I feel that the Bonge captures all the essence the way Sinatra sang it. And also what a mind-boggling set of chord changes and voicings. And once again he does this incredible intro build up and likewise finale. I think Frank would be proud. Next is the second original from the Bonge entitled “Since You Went Away”. This song is much more of a soliloquy as opposed to a popular ballad form. As a matter of fact, with the back and forth changes from major to minor several times, along with the deep mood structure of the presentation, I was actually sensing the emotion of what the song title means. A beautiful composition. Next comes one of my favorite songs, “In The Wee Small Hours”. Not only does the Bonge do the verse but, he actually comes up with an introduction verse to the verse. How many pianists do that! Even though there is a semblance of tempo, most of this song is played rubato. The transition between the first and second chorus has a very nice double—left hand, answer right hand— to a purely classical transition. Just gorgeous. You can tell that I just love all these dainty little things that may be subtle on one hand but are the mark of a true artist. This is another song that has some tidbits of improvisations that surely are a clue to things to come. And here again we have this classical-esque monster ending. Fantastic. This next song must be the greatest undertaking on this recording and is the longest—over 7 minutes. I wonder what Richard Rodgers would say if he heard this rendition. This song starts out and ends with a pure Gershwinesque style. I think even Gershwin would approve of this version of “It Might As Well Be Spring”. Again, this song goes through key changes and has chord structures and voicings that are just gorgeous. And that transition at the end of the third bridge is just stunning. A purely classical invention. Only Oscar Peterson has ever done something like this (on “At Long Last love”) to my knowledge. After the segue into the last strain of the second chorus, the Bonge does a very pleasant bluesy section which temporarily gives a totally different feel to the chorus. But the ending is just unbelievable. Does the Bonge have chops or what! No question. The last song on this album is probably the weakest. Don’t get me wrong. It is very pretty and reasonably well executed but, a little sloppy in a few spots. And the blazing tempo on the last chorus gets an “A” for effort BUT. The Bonge is obviously not an oom-chuck player although it would be difficult to apply here anyway. He gets through it—barely. A little more practice, my man. Now lets get to the nitty-gritty. In a recent interview (in Jazz Improv Magazine), Oscar Peterson referred to a thing he calls the five T’s. Tempo, Time, Touch, Tone and Taste. Let’s see how the Bonge fares in these regards. Regarding tempo, this can be a very arbitrary thing because a lot of musicians play some songs at what I believe to be very inappropriate tempos, such as playing blazing tempos on obvious ballad material, etc. The Bonge gets a solid 10 here because all the tempos utilized here are a perfect fit for the mood of each selection. Next is time and sorry, only a 6 here. Why? Because on several selections, he tends to rush the tempo from start to finish. Not grossly, but he needs more practice and effort to maintain a constant time signature without speeding up. Next is touch. The Bonge does indeed play with a very heavy touch. He should again practice to obtain a closer resemblance to the touch mastery of say Evans and Peterson. These two gaints have a touch which I can only describe as light and dainty yet solid and powerful at the same time. Give the Bonge a 7 ½ here. Next is tone. This is kind of hard to describe because for example, how does one get a great tone out of a lousy out of tune piano? Fortunately, this recording was made on a Yamaha C7 grand. The Bonge does things with the keyboard however, that really makes this piano “sing” especially in the pedal tones in the right spots which, gives a gull rich sound. Let’s give the Bonge a 9. Finally we arrive at taste. This is a hands down 10 in my opinion. The songs selected, the arrangements, the harmonies, the voicings, and the execution are all first rate. Now, do I have any nitpiks? You bet. These are minor ones that probably only good musicians would notice but, they need to be pointed out. Firstly, the Bonge is a trifle sloppy and I can only assume this is because of his long 35 year layoff. Secondly, on a couple of downward runs, he glossed over some of the last notes. Thirdly, as mentioned previously, he tends to rush the tempos slightly. Fourthly, there were a couple of obvious mistakes although he covered them up adequately. Fifthly, he over-uses the sustain pedal slightly which I think he does for effect. It’s not necessary to such a degree. Finally, the biggest nit. I counted 9 spots where he actually dropped a beat (2 beats in one spot) which was obvious. Even though he covered them up, it shouldn’t have happened. Maybe he was nervous, this being his very first recording. I don’t think he’ll do this in the future, especially when using a rhythm section. Don’t get me wrong. These are minor nits—which don’t detract from the performance. My final words are this. This is absolutely a stunning recording both musically and technically. Especially for a first time debut recording. I can’t wait to hear what the Bonge is going to do next especially with a trio format. I’m sure it will be a killer. Bud Lambert P.S. I mentioned earlier about my record collection collecting dust so let me clarify. 98% of my recordings and CDs I usually listen to once and that’s it. Into the dust bin they go. The ones I keep out are ones that I can listen to over and over, day in, day out, etc. Such is this recording by the Bonge. I have yet to get tired of it.
James Bongiorno 's Solo Piano Recordings Are Truly Grand!!
author: James A. Harger, Audio EngineerJames Bongiorno claims the piano is his second instrument of choice. If this is true, I can't wait to hear his jazz accordion recordings. Granted, some may find these tunes a bit schmaltzy but so what. James gives them new life as well as showing us a glimpse of his own composing abilities. John Novello's recordings are reference quality, certainly the best solo piano I've heard this year. That Yamaha is really Grand. Dynamic solo piano recordings can really challenge a stereo system's loudspeakers, so take "The Bonge" with you when you're auditioning that new stereo system. I've heard rumors of a trio session so we'll be hearing a great deal more from James Bongiorno. Bravo!!!
James Bongiorno 's Solo Piano Recordings Are Truly Grand!!
author: James A. Harger, Audio EngineerJames Bongiorno claims the piano is his second instrument of choice. If this is true, I can't wait to hear his jazz accordion recordings. Granted, some may find these tunes a bit schmaltzy but so what. James gives them new life as well as showing us a glimpse of his own composing abilities. John Novello's recordings are reference quality, certainly the best solo piano I've heard this year. That Yamaha is really Grand. Dynamic solo piano recordings can really challenge a stereo system's loudspeakers, so take "The Bonge" with you when you're auditioning that new stereo system. I've heard rumors of a trio session so we'll be hearing a great deal more from James Bongiorno. Bravo!!!
Nice style, tasty touch, enjoyable arrangements,well recorded
author: mike zuccaroIf you like to hear timeless stuff-the standards- played with taste and class,on a true grand piano,if you like to actually hear the melody,and if you want to hear that piano recorded as it should be- pick this one up. Jim plays in the classic style,very listenable with a touch of Tatum and a pinch of Peterson,but it's his unique style all the way. I"ve been playing it in my car for a week. Mike Z.