Portland Groove Collective

All Original Jazz Rock, Brazilian and Afro-Cuban-based rhythm music that derives its musicianship from across the United States to coalesce in the Pacific Northwest.

The Portland Groove Collective is a rhythmic jazz quintet from Portland, Oregon. Coming together at a series of local jazz jam sessions, the group is comprised of musicians with dynamic musical experience and training. With an emphasis on groove-oriented music, The P.G.C brings an exciting interpretation to jazz standards as well as producing an array of original music. Influences range from the relaxed and clear melodies of Antonio Carlos Jobim, to the experimentation and latin funk of Weather Report to the precise arrangements and chordal labyrinths of Steely Dan. This is the Portland Groove Collective's debut album and is entirely original music. Enjoy!

 

What others are saying about Portland Groove Collective...

Author: Steve Pinkston

Blue Nova Review:

Blue Nova, the second CD by the Portland Groove Collective, displays the band's continued growth as musicians, as composers, and most important, as a band. This time out, PGC has also coaxed some top northwest players to sit in on several tracks, including percussionist Manavihare “Mimy” Fiaindratovo, trombonist Ed Green, and trumpeter Brad Davis.


Overall, solid Latin grooves continue to dominate PGC's sound, with some nods to funk, rock, and bop for good measure (or good measures, perhaps). The CD opens with the title track, written by saxophonist Les Gray. Over a tight groove laid down by drummer Michael Kora and bassist Grady McKenzie, Guitarist Christian Botto wails on an extended solo that calls to mind a fusion of Santana and Metheny. Next up is Kora's outstanding composition, the enigmatically-named The Clemency Of Clepsydras, which—with its unexpected turns of chord progression and melody—brings to mind Mingus' Goodbye Pork Pie Hat. On this tune and others on the CD—notably the jazz waltz Pseudo's Pseller—studio magic allows Kora to showcase his chops on both drums and Rhodes piano.


Each of the PCG members contributes solid and unique compositions on this CD. McKenzie's When Is When is a nod to old-school bop, with outstanding solos all around, particularly an uninhibited solo by Les Gray. McKenzie also contributes the Monk-flavored waltz Manifestation which also features his own fine work on upright, and the Cuban-tinged Dance Of The Jerrys. Living up to its title is Gray's composition Sweet and Sour, which layers a modal and dissonant melody over a solid Latin groove, bringing to mind a soundtrack from an avant-garde film. PGC goes back to school—old-school funk, that is—on Kora's El Medio Pollo, complete with wah-wah guitar, electric sax, and an extended drum solo by Kora. One of the most interesting arrangements on the CD is Botto's Samba Du Café, starting with a Spanish rap over a tight latin groove, developing into a vocal chorus with answering flute lines. Botto also contributes the lovely bossa In Her Gentle Way and the sweet ballad Melodia for Ava, which completes his cycle of tunes dedicated to the ladies in his life begun on PGC's first CD. Gray shows off his flute chops on his Latin tune Holiday, which features some hot fours-trading before the out-chorus, and his tenor chops on Lazy Cha-Cha, which also features a hip ensemble arrangement for the horn section. Gray's Waltz for Tess features a driving 3/4 groove supporting both parallel and contrapuntal interplay between Gray and Botto, and A Dream Remembered features a sweet melody and extended solos by Gray and Botto.

Portland Groove Collective has definitely moved forward into new and interesting territory with this CD, while holding onto their signature tight grooves and top-flight solo work. Northwest jazz fans are indeed fortunate any time PGC steps into the studio or out for a live set, and this CD just whets their appetite for even more.

 

G-Rad Review:

The Portland Groove Collective, well known in the Pacific Northwest for their individual musicianship and tight grooves, has just released their first CD, featuring nine original tunes penned by members of the group. This CD is a real delight; PGC manages to combine fresh new material with an old-school jazz/rock/latin band aesthetic that is very appealing. The musicians are all standout performers in their own right. Christian Botto’s guitar work anchors the tracks harmonically, and he brings a vast palette of styles to his groove and solo playing from his diverse musical background. Saxophonist Les Gray weaves solos that are melodic and edgy at the same time. My personal feeling is that a band is only as good as its bass player, and by that criterion bassist Grady McKenzie provides the structure to make PGC a great band. Grady swings and grooves comfortably on both acoustic and electric bass, and is a terrific soloist. One surprise for me was that Michael Kora – a very solid, creative, and swinging drummer – was such a tasty electric piano player and composer. Adding flavor to the tracks is multi-percussionist Milledge Bennett. All of the tracks on this CD are very strong – no throwaways here! My own favorites include “Pin-Day-Tuck,” a groove tune with a very strong, hooky melody and great solos by Botto and Gray. “Bella’s Step,” written by guitarist Botto, is a sweet latin number that nods to the classic compositions of Jobim. “Call Back” starts with a strong bass line, and develops into a gently grooving fusion piece. Actually, any of the tracks on this strong debut CD could (and should) find airplay on jazz and multi-format radio stations and bring PGC the wider audience they clearly deserve.