Karina Corradini - Bridge To Infinity (Tribute To Zane Musa) (2019)

A very talented and versatile singer who was born and raised in Argentina and has been part of the jazz scene in Los Angeles for the past 15 years, Karina Corradini is making her long overdue recording debut on Bridge To Infinity, Tribute to Zane Musa. The colorful program introduces Karina as an inventive vocalist who is equally skilled at swinging jazz, ballads, boleros and Latin American classics.

“It has been my dream to record a CD since I started singing when I was a teen,” recalls Karina. “I mentioned my idea to my dear friend Christian McBride and not only was he excited for me but he wanted to jump into the project and be part of it.” When the recording took place, the great bassist, who became the project’s producer and main arranger, brought along drummer Marvin “Smitty” Smith and percussionist Munyongo Jackson to join Karina, pianist Mahesh Balasooriya and the late saxophonist Zane Musa. During two days, the musical magic of Bridge To Infinity quickly came together. “It really felt like a big party. All of these musicians are not only incredibly talented but have warmth, are non-judgmental, and have an open-minded vibe along with a great deal of humanity.”

The program begins with “You Turned The Tables On Me” which was inspired by Anita O’Day’s recording with the Oscar Peterson Trio. The warmth of Karina’s voice is displayed during the verse which perfectly sets up the swinging chorus. Musa on alto, Balasooriya and McBride each take passionate solos. “All Of You” looks a bit towards Sarah Vaughan’s version. Karina handles the vocal jumps into the lower register effortlessly, McBride takes a fine bass chorus, and Musa’s tenor is an asset in the background.

“Cuando Vuelva A Tu Lado/What A Difference A Day Makes” gives Karina an opportunity to sing in both English and Spanish, which she does beautifully on the classic bolero. “Like Someone In Love” features some medium-tempo swinging with Karina singing very much in her own infectious style. “I Could Have Told You,” a lesser-known standard that is both a bit dark and nostalgic, has some top-notch ballad vocalizing by Karina along with supportive trumpet from Nolan Shaheed. “I’m Gonna Lock My Heart And Throw Away The Key” is a contrast, a joyful and hard-swinging look at one way to deal with a broken heart. Musa’s tenor and guest guitarist Barry Zweig keep the momentum flowing during their spots.

While Jobim’s “Doralice” starts out being performed at its usual tempo, as a surprise suggested by the singer, everything speeds up during its second half. “I think it is like having another tune inside of the song!” “Doralice” sets the stage for a rapid rendition of “Cai Dento.” “I wanted to do a tribute to my biggest female Latino idol, Elis Regina. Her singing is so raw, talented, and deep, and her incredible sense of rhythm always mesmerized me.” Karina gives the impression that singing and scatting at this tempo is effortless.
“If You Went Away” features Karina’s singing at its most romantic. “Voce E Eu,” a Brazilian song with a memorable melody and a joyful feel, was often performed by Karina with the late bassist Jorge Pasquali to whom she dedicates this performance. “E Com Esse Que Eu Vou” celebrates the Brazilian Carnival and was one of the first songs that Karina sang when she began her career in Argentina. This relaxed version includes some fine scat-singing and a lyrical trumpet solo from Shaheed. “No music represents my romantic heart as well as a bolero,” Karina says of the love song “Tu Mi Delirio (You My Delight).” Her heartfelt performance benefits from Musa’s tenor playing which recalls Ben Webster.

“Until I Met You” (known as “Corner Pocket” before it was given lyrics) gives Karina an opportunity to swing and it includes a chorus in the Count Basie tradition by Balasooriya. “When The Time Is Right” has its composer Howlett “Smitty” Smith on piano. “I owe him a lot for he taught me so much. I studied jazz with him for several years at his weekly vocal workshops and in private lessons.” Karina excels on Smith’s 1950s-type swinger. Bridge To Infinity concludes with a cooking version of “Lover, Come Back To Me” that not only finishes Karina Corradini’s debut on a joyful note but gives one a final opportunity to hear the much-missed Zane Musa.

For the future, Karina Corradini says, “I hope to keep making albums and performing live for as long as I live. To take my music out to the world to heal people, whether making them cry or laugh with a song, that is my calling.”

Scott Yanow, jazz journalist/historian and author of 11 books including The Jazz Singers, Afro-Cuban Jazz and Jazz On Record 1917-76