Dan Moretti & Brazilia, Live at the Pump House: Celebrating Wayne Shorter Review

Where Groove Meets Legacy: Dan Moretti & Brazilia Honor Wayne Shorter Live

by Nolan DeBuke

Dan Moretti & Brazilia brings us a homage to Wayne Shorter’s catalog with Brazilia Live at the Pump House: Celebrating Wayne Shorter. Dan Moretti & Brazilia recorded the album live at Pump House Music Works in Rhode Island during a fundraiser concert for the venue. The album captures a band operating in real time, feeding off the energy of the room, the groove, and each other through eight selections. This homage to Wayne Shorter’s catalog is a rhythmic recontextualization that treats his compositions as living frameworks built for exploration.

Shorter’s music has always invited transformation, and Brazilia leans fully into that invitation. Afro-Cuban, Brazilian, Caribbean, reggae, and odd-meter feels reshape familiar themes without stripping them of their identity. Moretti’s role as lead voice is embedded within a tightly interlocked rhythm section, where momentum and collective intent drive the music forward. The live setting amplifies spontaneity, elasticity, and risk—qualities that align closely with the spirit of Shorter’s own artistic legacy.

The album opens with an engaging Afro-Cuban reimagining of “Black Nile” that immediately establishes the ensemble’s rhythmic authority. Steve Langone’s drums and Ernesto Diaz’s percussion lock into a flowing, clave-based feel that is danceable and clearly energizes the performers in real time. Maxim Lubarsky delivers an excellent piano solo that is firmly in the pocket, rhythmically clear, and balanced between single-note lines and well-placed chordal figures. A thoughtfully written interlude provides a seamless bridge into Dan Moretti’s tenor saxophone solo. His tone is big and round, articulation clean and precise, shaping the rhythmic flow of each phrase. He balances fiery lines with melodic motifs that keep the solo grounded in the form. The closing montuno is a highlight, as Langone and Diaz step forward with energetic, fluid exchanges that bring the performance to a powerful close.

“Fee Fi Fo Fum” sustains the momentum with another deep-pocket feel driven by Oscar Stagnaro’s agile and deeply musical bassline. He balances anchoring the groove with tasteful fills that add propulsion and interaction. Moretti’s performance of the melody is playful and expressive, leading into a solo that builds naturally in energy by starting with rhythmic motifs and expanding toward a confident climax. The live nature of the recording is unmistakable; the ensemble plays with urgency and shared excitement. Even at peak intensity, the pulse remains steady, with Stagnaro, Langone, and Diaz providing a rock-solid rhythmic foundation.

A beautiful solo piano introduction from Lubarsky opens “Night Dreamer,” shifting the atmosphere immediately. The groove for the head settles into a reggae-meets-calypso feel, relaxed yet buoyant. The slower tempo gives the ensemble room to emphasize interaction and phrasing. Moretti’s improvisation is especially creative as his freedom and passion are contagious, drawing energy from the groove while stretching melodically and rhythmically in ways that feel spontaneous and deeply musical.

Returning to a contemporary Afro-Cuban jazz framework, “Speak No Evil” continues the exploration of Shorter’s material by the ensemble. Moretti switches to soprano saxophone, and his fluid technique and expressive control bring clarity and joy to Shorter’s harmonic motion. Langone and Diaz create a head-nodding groove with precision and lift, while Stagnaro anchors the ensemble with a big, warm sound and syncopated lines that add momentum. Lubarsky’s piano solo unfolds methodically, guided by strong melodic logic and a deep sense of time. Moretti’s soprano solo uses the melody as a starting point, developing intervals and shapes with patience and musical intent. Stagnaro’s electric bass solo adds another color, featuring confident upper-register playing filled with interesting contours and tonal variation.

“Witch Hunt” leans confidently into a contemporary cha-cha feel, showcasing the ensemble’s deep rhythmic fluency. The swing of the melody aligns naturally with the clave as Langone, Diaz, Lubarsky, and Stagnaro maintain the motion. Stagnaro’s bass solo is lyrical and well-shaped, leading seamlessly into Moretti’s tenor solo. Using the full range of his warm-toned horn, Moretti delivers a spirited improvisation that is grounded and exuberant. This track stands as an outstanding example of ensemble cohesion and stylistic command.

“Yes or No” is framed through a contemporary Brazilian jazz rhythm that highlights the group’s chemistry and precision. The ensemble is perfectly aligned, and the trust between players is audible. Each solo emerges naturally from the groove, never disrupting the collective flow. What stands out most is the band’s shared commitment to time feel and deep listening as Moretti, Lubarsky, Stagnaro, Langone, and Diaz all contribute with fluid interactions.

The track opens with rubato ensemble passages that immediately reveal the group’s fluid connection and dynamic sensitivity. As the groove settles into a medium Afro-Cuban jazz feel, the ensemble locks into a relaxed, focused energy. Moretti’s solo is expressive and dramatic, marked by strong melodic shapes, rhythmic continuity, and emotional builds. His use of held tones and expressive saxophone cries adds tension without breaking the groove, reinforcing the sense of live communication with the ensemble and audience.

“Footprints” closes the album with a compelling blend of Latin jazz rhythm and post-bop harmonic language. This familiar Shorter composition becomes a natural meeting point for tradition and reinvention. The arrangement invites a wide audience of jazz listeners while showcasing just how effectively Moretti and Brazilia explore Shorter’s music through a Latin jazz lens. Energetic, musical, and celebratory, it’s a strong final statement and a natural fan favorite.

Brazilia Live at the Pump House: Celebrating Wayne Shorter reflects an ensemble that understands that honoring Wayne Shorter means embracing curiosity, movement, and transformation. By filtering his compositions through Afro-Latin and global rhythmic frameworks, Dan Moretti & Brazilia reveal how flexible and forward-looking this music truly is. The live setting, ensemble-driven approach, and communal energy reinforce the idea that Shorter’s legacy lives on in continued reinvention.