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Christian Howes & Richard Galliano: Southern Exposure
"It's deeper than that," Howes, the 40-year-old violinist who is also an educator and online entrepreneur, says of his 13th album (counting self-produced projects from the 1990s). "I think there's a lot of passion on the record. There's a sort of tragic feel to some of it.
"It's distinguished by the fact that [accordionist]
Richard Galliano
accordionb.1950
Stephane Grappelli
violin1908 - 1997
Not that there's anything wrong with what Howes identifies as salon fare, but it wouldn't reflect the hearty—sometimes fierce—bite with which he and Galliano, his virtuosic Gallic match, plus pianist
Josh Nelson
pianob.1978
Scott Colley
bassb.1963
Lewis Nash
drumsb.1958
Astor Piazzolla
bandoneon1921 - 1992
A talented and obviously inspired violinist since childhood, Howes was a Suziki method student at age five, and soon thereafter on the fast track to a career with a symphony orchestra. However, in his late teens he discovered jazz, and began to pursue whatever lessons in it he could find, whether in school, from black street musicians or players he met at jam sessions around his hometown of Columbus, Ohio. He immersed himself in swing and blues, transcribed solos of jazz violinists such as
Stuff Smith
violin1909 - 1967
Ray Nance
cornet1913 - 1976
John Blake
violin1947 - 2014
Moving to New York City after graduating from Ohio State University with a degree in philosophy, Howes found his way into a circle of improvising modernists including pianist
D.D. Jackson
pianob.1967
David Murray
saxophone, tenorb.1955
Some results of his outreach can be heard on Southern Exposure: For "Gracias por Illustranos (Thank you for teaching me)," his dedication to his Suzuki teacher Ginny Christopherson, Christian constructed the warm string orchestra by "remote tracking" of 30 instrumental parts created each individually by his team of string players scattered across America.
Howes' determination to be both far-reaching and centrally grounded may be the defining characteristic of all his projects or productions. It surely fits this one. "The bright opening song, "Tá Boa? Sant (Are you ok, my dear?)" is a case in point of a complex, exciting piece with aspects of both traditional form and regenerative open-mindedness. After a hand-drumming pattern established by Lewish Nash, Josh Nelson plays a piano part that locks in under Christian's fast, firm rendition of a typically upbeat and quirky chorninho melody. Christian becomes more emphatic as Nash kicks behind him—and Nelson introduces a more somber section of the tune, which leads to a flourish from Galliano, a nimble bass solo from Colley, then Galliano entering to flow over the bar lines in a manner that's natural, organic and unique unto itself (though the violin plays along). There are several more episodes, including one of surprising wistfulness, before "Tá Boa?" concludes. Choro! (which in Portuguese means "to cry," but in Brazilian music is closer to "wail," or even "live!").
The song structure of "Aparecida," based on a samba rhythm, is less complicated, but the musicians' interactions are just as sensitive to the task of weaving their personal strands into a compelling whole. The title is the name of a city in Sao Paolo, where the Basilica of our Lady of Aparecida stands, a shrine to Brazil's revered statue of the Virgin Mary. "Oblivion" is one of the most famous compositions of Astor Piazzolla, the Argentine bandoneon hero, friend and mentor of Galliano's. It climaxes with a stunning cadenza by Howes, but again the entire ensemble stars in the performance, each quintet contributing touches that advance the drama of the piece. Similarly, "Cubano Chant" conjures the spirit of present-day salsa, with a bracing solo by Howes, a sophisticated statement by Nelson, an expressive chorus by Galliano, and a syncopated raveup by Nash. Colley serves them all.
Galliano's reedy accordion introduces "Safona," his own song from his 2007 album Luz Negra. "Richard is a very elegant man, pleasing to be around," reports Howes. "He is a complete professional, and I found a lot of depth in his art, a lot of power. I'm always skeptical about musicians like me, who go back and forth between classical and jazz. But he is the real deal." The two musicians strike a fine balance, supported again by Nelson, Colley and Nash, who deserves applause for precise rolls and impeccable phrasing.
"Cancion de amor" is a testament to the Brazilian concept of saudadé, a nostalgic sadness, or warm satisfaction remembering love lost. "I'm not afraid to turn on the classical gas, the rich vibrato and violin tone," Howes asserts, and so he proves it. "Heavy Tango," another of Galliano's compositions indebted to Piazzolla, is, by comparison, hardboiled. The lyricism of the violin-duet interplay is profound, and one might guess even such nuances as the scrapped percussion and bold dissonance protect an otherwise vulnerable heart. "Choro das aguas," composed by Ivan Lins and Vitor Martins, is transformed by Howes, Galliano, Nash, Colley and Nelson into a lilting yet still minorish waltz; it ends with sweet trembling, an affect few musicians can pull off so credibly.
"I modeled 'Tango Doblado,' after a charanga written by
Eliane Elias
piano and vocalsb.1960
Howes' "Gracias," as mentioned above, returns him to his roots. Overdubbed upon the strings, Nelson, Colley, Nash and towards the end Galliano conjure an air of timelessness, though tempo is not suspended so much as diffused. It is as if the sun's light, suddenly flooding in from a window facing the sea, temporarily bleaches the outlines of a room's furnishings, but as our eyes focus, we see where we are: At home, with a grip firm on the verities of jazz, blues and swing, but our senses refreshed by the shift of visual register. Now apply that metaphor to music, and thank Christian Howes, Richard Galliano, Josh Nelson, Scott Colley and Lewis Nash for the illumination of their Southern Exposure.
Liner Notes copyright ? 2025 Howard Mandel.
Southern Exposure can be purchased here.
Contact Howard Mandel at All About Jazz.
Howard is a Chicago-born writer, editor, author, arts reporter for National Public Radio, consultant and videographer. Visit Howard at howardmandel.com.
Track Listing
Ta Boa, Santa? (Are You OK, My Dear?); Aparecida; Oblivion; Cubano Chant; Sanfona; Canción de Amor (Love Song); Heavy Tango; Choro das ?guas (The Water’s Cry); Tango Doblado (Bent Tango); Spleen; Gracias For Ilustramos (Thank You For Teaching Us).
Personnel
Christian Howes
violin
Richard Galliano
accordion
Josh Nelson
piano
Scott Colley
bass
Lewis Nash
drumsAlbum information
Title: Southern Exposure | Year Released: 2013 | Record Label: Resonance Records
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