Home » Jazz Articles » Live Review » La Voz de Tres at Tempe Center for the Arts

La Voz de Tres at Tempe Center for the Arts

By Patricia Myers
October 31, 2014
View read count

La Voz de Tres
Tempe Center for the Arts
Tempe, Arizona
September 27, 2014

Chilean-born Natalie Bernal's vocal sound was both illuminatively angelic and deeply sensual, a transfixing contrast for the New York-based trio La Voz de Tres. Her colleagues,

Mike Eckroth

piano

" data-original-title="" title="">Mike Eckroth on piano-vocals and

Jason Ennis

guitar

" data-original-title="" title="">Jason Ennis on seven-string guitar-vocals, make up the coalition that launched the sixth season for Lakeshore Music's nine-month jazz series in this venue, said producer Woody Wilson.

The concert was a world-jazz musical experience of contrasting moods, from gracefully flowing to rapid-fire electricity. The trio's exceptional originality and style seemed to cause listeners to be mesmerized by the soaring clarity of Bernal's high notes and the bluesy warmth of her voice in the lower register. But final audience approval was defined by strong applause at the end of each composition.

Eckroth, a Phoenix native who relocated to New York two decades ago, is a master of expressive power via his agile command of the grand piano. His sounds supported and underscored Bernal's elastic vocal skill as she sang in Spanish, Portuguese and English, entirely captivating throughout the evening. Her original, "Sofia," also proved her mettle as a composer.

An especially memorable rendition was "Tu, Mi Delirio/You're My Delerium," its internal energy further propelled by Ennis' Brazilian-style guitar segment. His original, "Firefly," featured beautifully delivered guitar expressionism.

Milton Nascimento

guitar and vocals
b.1942

" data-original-title="" title="">Milton Nascimento's "Milagre Dos Peixes/The Miracle of the Fish" provided an equally commanding guitar feature, complemented by Eckroth's expressive strength and a series of three-part harmonies.

The program's content was predominantly Latin American, with jazz charts offered here and there, including the ever-exquisite

Duke Ellington

piano
1899 - 1974

" data-original-title="" title="">Duke Ellington-

Billy Strayhorn

piano
1915 - 1967

" data-original-title="" title="">Billy Strayhorn composition "Daydream." The inclusion of

Stevie Wonder

vocals
b.1950

" data-original-title="" title="">Stevie Wonder's "Visions" had Bernal's supple voice soaring the widest and strongest of the evening. The trio created a flawless synergy that recalled the interfacing of the {{Modern Jazz Quartet}, this Latin-vocal version of that well-meshed group also allowing ample space for improvisation.

PREVIOUS / NEXT

Lines and Dots
< Previous

T - Duality
Next >

Support All About Jazz

All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who make it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.

Go Ad Free!

To maintain our platform while developing new means to foster jazz discovery and connectivity, we need your help. You can become a sustaining member for as little as $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination vastly improves your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.