Review written by: Raul da Gama -

Elio Villafranca is one of the most exciting young trio of pianists to come out of Cuba in recent years; the other two being David Virelles and Aruán Ortiz. That number may well have been a quartet, had Arturo Stable chosen to remain a pianist—an instrument he started out with—before he chose percussion as his means of musical communication. But then again, Villafranca did begin his musical life as a percussionist before he chose the piano as his instrument. That both musicians appear to have chosen wisely is beyond doubt with the release of Dos y Más. Unusual maturity and erudition appear to flow through the music of this album and whether this is a result of the fact that each is sensitive to the demands and characteristics of the other’s instrument is a moot point here. However, the rarity and exquisite nature of their collaboration shines through and makes this more than merely an outstanding feature of this album. It also shows how four hands can multiply exponentially as Villafranca’s and Stable’s dazzle as they fly and move quietly and surreptitiously across keys and skins in a flurry of activity.

This is, quite simply, craftsmanship at its finest and it goes beyond mere technique, as the word “craftsmanship” may suggest. It is a matter of voices entwined like pirouetting DNA—gourds with hundreds of seeds; a chekere with a myriad seeds and shells; the glimmering swish of cymbals that accompany a dazzling arpeggio on the piano on “Yusa’s” and “Agua Marina”… These are just two examples of how magnetically attracted Villafranca and Stable are. The other outstanding aspect of the music is how inspired the compositions are. Although composed by two completely different minds the mindset appears to be almost inspirationally alike so that different and varied compositional pieces seem to have come from a person with two brains yet one personality. “1529” and “Alla”; “Saghezi” and “Vertiente” are compositions that are dramatically different on the face of it. The first and third are rhythmically complex and revel in that character; the second and fourth rely on melodic extravagance and dramatic harmonic polyphony than anything else. And yet they seem to be of one body; one soul.

Most beautiful and spectacular of all is the geometry of the compositions and the manner in which they unfold—a succession of lines, dance steps, airy curves, parabolas, sharp angles and wide elevations. Nowhere is this more superbly evident than on “1529”, a song of extreme subtle expression and dynamics and nuanced beauty for both pianist and percussionist. However, it is the gentle rousing emotion of “Cuba Linda” that stirs heart and soul. Both Villafranca, who composed the guaguancó and Stable, who anchors its stirring tide must have known this so that it must have been easy to end (sadly) this brilliant album on that note. The suspended animation might suggest something more is on the horizon in terms of a future collaboration and it is impossible to suggest how eagerly this is awaited.

Track Listing: 1. 1529; 2. Saghezi; 3. Alla; 4. Arara; 5. En la Colonia; 6. Vertiente; 7. A las Millas; 8. Yusa’s; 9. Agua Marina; 10. Cuba Linda.

Personnel: Elio Villafranca: piano, guataca, vocals; Arturo Stable: djembe, udu, dumbek, congas, bata, cajon, hand percussion, vocals; Igor Arias: lead vocals (10).

Related links: Elio Villafranca on the web: www.eliovillafranca.net
Arturo Stable on the web: www.arturostable.com

Review written by: Raul da Gama -

On Further Arrivals two forces of nature come together. One is the molten voice of Brian Lynch’s trumpet and the other is the very exciting European quartet that goes by the name: Bye-Ya! On the face of it this fine ensemble might appear to be a tribute to Thelonious Monk and, indeed, their chattering approach to music might well be the debt they owe to His Great Outness. However, the music dances to a Latin American rhythm and so, these three men and a woman are quite the singular musical entity, dancing to a beat that is all their own. And the more-than-passing-homage to Monk is clear from the spectacular “guaguanco” that is centered in his classic composition, “Evidence.”

Bye-Ya! gets its character from the supple bass of Mick Paauwe, a musician from the Netherlands, who—as Charles Mingus might has said—is one “nervy broad.” In fact, although she plays music in the Latin-American idiom here and elsewhere, Paauwe might owe her sinewy intonation as much to Mingus as she does to Andy Gonzalez from the mighty Fort Apache Band. Paauwe also has a voice that sings in harmony to Lynch’s trumpet with as much flair as she anchors the rest of the rhythm section in a manner that dances around the melodies with irresistible flair. The intention is not to dwell too much on the Monk chart, but this is very the center-piece of the album all the same.

Randal Corsen, the pianist and co-conspirator to Paauwe is the other lead voice in the group. Corsen is responsible for egging both Lynch and the bassist on as they twist and turn up and down the melodies, with solos that must heat up the lead-sheets to such an extent that they catch fire and burn as guaguanco, descarga, montuno and maracatu germinate and fertilize the musical seeds that explode and unfurl like gigantic Afro-Cuban and Amazonian whorls. Corsen has near-flawless technique and a robust tumbao. He also is brimful with ideas that seem to flow in dancing lines as they shuffle through the melodies. His soli are breathtaking and expressed with rippling intensity, best experienced on “Dance The Way You Want To.”

The two percussionists, Uruguayan-born drummer, Enrique Firpi and Jens Kerkhoff, the co-founder of this ensemble provide not just the shuffling rhythm, but also annunciate this with bold and subtle accents as the music demands. Both percussionists appear to feed off each other and in the culminating moments of “Arriba Abajo” raise their playing to an intensity that is stutteringly majestic.

Brian Lynch, who is well-known for his steamy Latin-American idiomatic phrasing revels in the volcanic atmosphere created by the other four musicians. Lynch recently released a spectacular album, Unsung Heroes: a tribute to some underappreciated trumpet masters, where he doffs his hat to such masters as Tommy Turrentine, Idrees Sulieman, Claudio Roditi, Kamau Adilfu, Howard Mcghee and Charles Tolliver. He is playing with sublime mastery and his chops are as fine as any of the masters to whom he pays homage. A long way off from his days as a Jazz Messenger, Lynch plays with unquenchable fire here as he scorches through his own charts, “Further Arrivals” and “Dance The Way You Want To” and through the rest of the program, providing a glorious, bronzed approach to the Latin rhythms of Bye-Ya! on their wonderful third album.

Track Listing: 1. Further Arrivals; 2. Descarga # 1; 3. Mellotone; 4. Tranquilidad; 5. Evidence; 6. Downunder; 7. Dance The Way You Want To; 8. Arriba Abajo.

Personnel: Brian Lynch: trumpet; Randal Corsen: piano; Mick Paauwe: baby bass; Jens Kerkhoff: percussion; Enrique Firpi: drums.

Related links: Bye-Ya! The Latin Jazz Quintet on the web: www.bye-ya.com

by Danilo Navas – Editor

	Afro Bop Alliance – Una Más OA2 Records – USA “I must confess That when I received the call from Joe McCarthy (leader of Afro Bop) to perform as guest pianist for un upcoming show, featuring Una Más, I had not heard their music, although I was familiar with them… Needless to say, after listening to the music, I was extremely impressed with the choice and the complexity of the charts…” Luis Perdomo, Pianist/Composer
	Poncho Sanchez & Terence Blanchard Chano y Dizzy (Concord Picante – USA) The drum and the horn, an inspired duet that played a vital role in the birth of Cubop. Poncho Sanchez and Terence Blanchard, two Living Masters in their own right, pay a heartfelt tribute to Chano Pozo and Dizzy Gillespie, two Masters whose legacy continues to expand in the ample vocabulary of Jazz music. Their musical spirits are more present than ever on Chano Y Dizzy!
	Chilcano – Madera Corazón Saponegro Records – USA/Peru Led by Afro-Peruvian jazz innovator Gabriel Alegria, Chilcano has made long strides since its conception in September of 2010. Consisting of trumpet (Alegria), baritone saxophone (Wood), bass (Da Silva), keys (Prado), guitar (Fisher) and drums (Doing), Chilcano performs weekly on Saturdays at Tutuma Social Club, and went on a concert tour in Peru last summer, 2011.
	Daniel López Infanzón Quinteto 8 Momentos, 8 Fotografías Self produced – Mexico In his early thirties, Daniel López Infanzón is an accomplished pianist and bandleader whose compositions are impregnated with the culture of his native Mexico, where he resides and evolves as an artist. Firmly planted on his roots, Daniel mixes in a delightful concoction of international musical flavors and rhythms.
	David Murray Cuban Ensemble Plays Nat King Cole en Español (Motéma Music – USA) Nat King Cole’s Latin influenced recordings of 1958 and 1962 were performed in both Spanish and Portuguese. Cole spoke neither, but sang the lyrics phonetically, maintaining his signature phrasing style. Although it sounded odd to native Spanish and Portuguese speakers, his obvious affection for the songs beloved world-wide by Latinos was accepted as it opened the door to a new audience.
	Jovino Santos Neto – Currents Adventure Music – USA/Brazil Jovino Santos Neto, more than any Brazilian musician, with the possible exceptions of Egberto Gismonti, Nana Vasconcelos, Sergio Santos—vastly different artists from each other as they are from Santos Neto—yet who revel in the deep roots of African, native as much as they do on European sources. These artists are in the forefront of a neo-Brazilian revolution that is setting the world on fire.
	Mario Adnet – More Jobim Jazz Adventure Music – USA/Brazil Mario Adnet may well be one of the finest living orchestrators in contemporary musical idioms… He combines the skill of Gil Evans in his use of woodwinds and brass, with a stylish use of strings and percussion and although he has not written much for truly large ensembles he is easily the peer of the Duke, or at least the Duke Ellington of small and medium sized Brazilian ensembles.
	Miguel Zenón – Alma Adentro: The Puerto Rican Songbook (Marsalis Music – USA) Being a recipient of the coveted MacArthur Fellowship has given Miguel Zenón the freedom to pursue great projects. Alma Adentro is an extraordinary exploration of the Puerto Rican Songbook. The true soul of a nation reflected in its musical creations. The result has invaluable quality. Variations on a theme that are rooted in the tradition, elevating the standards to new musical heights.
	Paquito D’Rivera & The Madrid Big Band – Clazz, Continental Latin Jazz (WEA – Spain) Todo esto ocurría en Febrero de 2011 de forma simultánea en Madrid y Barcelona. En el escenario uno de los más grandes músicos del mundo. Paquito D’Rivera, un genial saxofonista y clarinetista que nos encandiló a todos con su impresionante directo acompañado por La Madrid Big Band de 18 músicos que sonó con la espectacularidad que requería el momento… chumanceralatinjazz.blogspot.com
	Sebastian Schunke – Life and Death Connector Records – Germany On “Life and Death, the newest CD of German pianist and composer Sebastian Schunke, he presents a more mature, accomplished vision of his musical work. The eternal dichotomy of Human existence. His classical training exudes throughout his compositions, melding with Jazz and just the necessary Latin tinge to present refined arrangements that defy any genre.

Review and photographs by Wilbert Sostre

Friday, January 27

It was an exciting opening night for the third edition of the Puerto Rico Jazz Jam, an event created by trumpet player, composer, arranger and now producer Humberto Ramirez. Two extraordinaire Jazz musicians started this year’s Puerto Rico Jazz Jam 2012.

The opening act was trumpet player Julito Alvarado and his Latin Jazz Band. Alvarado Latin Jazz Band combines a young musician, drummer Khalil Ed Gonzalez with some Jazz masters from Puerto Rico, pianist Richard Trinidad, bassist Aldemar Valentin, trombonist Elluet Cintrón and percussionist William “Kachiro” Thompson.

Alvarado’s intense music explores aspects of Latin jazz, bomba, plena and even classical music. The plena/jazz “Pal Barrio de San Anton”, the trombone and trumpet improvisational dialogue on “Cuatro Meses” and the creative arrangement of Rafael Hernandez “Lamento Borincano” were some of the highlights of Alvarado’s presentation. Alvarado ended “Lamento Borincano” masterfully quoting melodies from other Rafael Hernandez songs like “Cumbanchero”.

The second act was trombone virtuoso and composer William Cepeda and his Afrorican Jazz. The musicians on the Afrorican Jazz are, Piro Rodriguez and Carlos Soto on trumpet, Luira Torres on tenor sax, Benson Pagan on electric guitar, Jorge Del Valle on piano, Ariel on bass, Hector Barés and Maria Romero on percussion and Kany Medina on vocals.

Cepeda comes from a family recognized in Puerto Rico for keeping alive the traditional rhythms of Bomba music, so naturally Cepeda music includes a good dose of Bomba. But his brilliant compositional ideas have a lot of influences.

“Jibatonico”, has elements of (música jibara), folk music from the mountains of Puerto Rico. Cepeda described this piece as (música jibara pentatonica), pentatonic folk music. In “Bomba cha” Cepeda combines the rhythms of Bomba an Cha cha cha. “Hey Ray”, a piece he plays for the first time, is a wonderful blues dedicated to Ray Charles.

On the piece “Súbito” instead of the trombone, Cepeda plays the caracoles, a tradition that comes fromPuerto Riconatives, Tainos. Cepeda closed his presentation and first night of the Puerto Rico Jazz Jam with the bomba rhythms of “Oya oye”.

Saturday, January 28

While musicians like David Sanchez, William Cepeda and Miguel Zenón have successfully fused the Afro-Puerto Rican rhythms of bomba and plena with Jazz music pianist Angel David Mattos is doing something quite unique. Mattos exquisitely fuse in his music the harmonic sophistication of Jazz with the beautiful melodies of Danza, a traditional Puerto Rican music and elegant dance from the 19th century. For this show Mattos played two Danzas, the original composition “Deseo” and Juan Morel Campos “No me toques”.

The impressive improvisations by Angel David Mattos and his Quartet, Aldemar Valentin on bass, Ricardo Pons on sax and Hector Matos on drums, on “Point of Reference” prove that these guys are most of all accomplished musicians well versed in the Jazz tradition. Mattos music also includes the contagious rhythms of plena on the piece “Play Now”.

Celebrating the third edition of the Puerto Rico Jazz Jam and the re release of their 1999 album Best Friends, trumpet player, composer, arranger and producer Humberto Ramirez and master percussionist Giovanni Hidalgo joined forces again on this edition of the Puerto Rico Jazz Jam. Most of the music played by Ramirez and Hidalgo were from this album, including the title track “Best Friends”, a nice music dialogue between these two jazz veterans.

The young rhythm section, Edgardo Rivera on piano, Alexander Ayala on bass and Fernan Rivera on drums, were just as good as the masters on Humberto Ramirez compositions “San Juan Ritual” and “Celebrando” and on Giovanni Hidalgo “Clean”. The pace slows down a little for the sublime version of Juanito Marquez bolero “Alma con alma”.

After Giovanni amazed the audience with his technical ability, musicality and fast hands in an outstanding congas solo, another highlight of the show was the well deserved homage to legendary percussionist Monchito Muñoz. Ramirez and Hidalgo closed the Puerto Rico Jazz Jam with the powerful music of another Giovanni Hidalgo’s composition dedicated to one of the most recognized places in San Juan, “La Perla”.

Review written by: Raul da Gama -

Of all the musicians who have contributed to keeping the repertoire of great Brazilian composers alive, Mario Adnet may be making the greatest contribution here. Like trombonist Roswell Rudd, soprano saxophonist Steve Lacy and pianist Misha Mengleberg who gone to great lengths to keep the music of the great pianist and composer Herbie Nichols’ and (to a certain extent) Thelonious Monk’s repertoire alive, the guitarist Adnet has created some of the finest repertory albums of Brazilian music. His work to preserve and spread the music of Moacir Santos, ranks among the finest albums of Brazilian music to have been released as is his album of Baden Powell music and of course his Jobim Jazz album. To these he has now added More Jobim Jazz, another exquisite album produced by the Adventure label of Richard Zirinsky Jr. and Mike Marshall.

Mario Adnet may well be one of the finest living orchestrators in contemporary musical idioms outside what is still catalogued as classical music. He combines the skill of Gil Evans in his use of woodwinds and brass, with a stylish use of strings and percussion and although he has not written much for truly large ensembles he is easily the peer of the Duke, or at least the Duke Ellington of small and medium sized Brazilian ensembles. His elegant taste and his marvelous sense of colours and shades puts him in a secure place where the only other reigning musicians are The Duke, Gil Evans and George Russell. He has a sensibility that makes him to small ensembles what Respighi is to the large world of classical music. Such is his extraordinarily sharp ear for timbre and for the tonal spectrum of the instruments in the brass, woodwinds and certainly strings as well and it seems only a matter of time before he uses the larger family of strings—violins, violoncellos and multiple basses.

On More Jobim Jazz Adnet seems to have tapped into the soul of Jobim, just as he did before. Here, however he is more assured than ever before. This is evident from the sure-footed manner in which he has paced the music, using tempi that are marginally quicker than the Master himself. “Wave” is a wonderful example. On lesser-known Jobim charts such as “Samba de Maria Luiza” “Marina Del Ray” he uses sixteenth notes to colour his harmonies with the most subtle hues. And in “Deus e o Diabo Do Sol” his masterful use of color and nuanced shades turns the melodic narrative into something of a masterful and visually exciting medieval battle. This he repeats in his re-creation of Gershwin’s “Rhapsody in Blue” as he introduces Jobim’s beautiful “Samba do Avião”. The superb work of the trombones has much to do with this and it bodes well for the earthy energy of new Brazilian masters of the instrument, Everson Moraes and Vittor Santos.

Mario Adnet says he discovered the link between Gerry Mulligan’s Tentet and Quartet from 1953. If he goes on listening to the cool surfing sounds of the 50s West Coast, heaven knows what he will come up with next!

Track Listing: 1. Takatanga; 2. Mojave; 3. Boto (Porpoise); 4. Bonita; 5. Antigua; 6. O Homem (The Man); 7. Ai Quem Me Dera (I Wish); 8. O Barbinha Branca (The Little White Bearded Man); 9. Samba de Maria Luiza (Maria Luiza’s Samba); 10. Wave; 11. Marina Del Ray; 12. Deau e o Diabo Na Terra Do Sol (God and the Devil in the Land of the Sun); 13. Samba do Avião (Song of the Jet) (intro: Rhapsody in Blue by George Gershwin).

Personnel: Andrea Ernest Dias: flute (4, 6, 8, 10, 11, 13); Joana Adnet: clarinet (2, 8, 9 – 11, 13); Zé Canuto: alto saxophone (1, 3 – 9, 11, 12); Marcelo Martins: tenor saxophone (1 – 5, 8 – 13); Henrique Band: baritone saxophone (1, 3, 4, 6, 7, 9, 10, 12, 13); Philip Doyle: French horn (1, 3, 5, 6, 10 – 13); Jessé Sadoc: trumpet (1, 2, 3, 5, 6, 12), flugelhorn (2, 10); Aquiles Moraes: trumpet (9), flugelhorn (11, 13); Everson Moraes: trombone (1 – 3, 5, 6, 8, 10 – 13); Vittor Santos: trombone (6, 9, 10 – 13); Mario Adnet: acoustic guitar (1 – 6, 10, 11, 13); Antonia Adnet: acoustic guitar (7 – 9); Ricardo Silveira: electric guitar: 4, 5, 8, 10, 12); Marcos Nimrichter: piano (1, 2, 4 – 10, 12, 13), accordion (3, 7, 8); Jorge Helder: acoustic bass (1 – 10, 12, 13); Jurim Moreira: drums (1 – 3, 6, 12); Raphael Barata: drums (4, 5, 7 – 10, 13), Armando Marçal: percussion (1 – 3, 6, 12).

Related links: Mario Adnet on the web: www.marioadnet.com

Review written by: Raul da Gama -

From the first notes of the lilting, swaggering Afro-Caribbean melody of “Corrente” it is clear that Jovino Santos Neto is on his surreptitious way to making his Quinteto album, Corrente one of his most memorable to date. From there on, whether he is rendering a baião, a choro, marcha, samba or xoté, it is clear that his mastery of crossing rhythms as they collide with the idiom of jazz is sublime. The magical and beguiling polyrhythms of “Two Friends, True Friends” is a classic example of this, as is the mystical “Zagaia”. And then there is the masterful cross-rhythms of “Matraca,” a chart that owes much to the maddeningly ingenious music of Hermeto Pascoal, an early mentor of Santos Neto.

Jovino Santos Neto, more than any Brazilian musician, with the possible exceptions of Egberto Gismonti, Nana Vasconcelos, Sergio Santos—vastly different artists from each other as they are from Santos Neto—yet who revel in the deep roots of African, native as much as they do on European sources. These artists are in the forefront of a neo-Brazilian revolution that is setting the world on fire. Jovino Santos Neto gives notice of this with the sublime ingenuity of his composition “Vivendo no Presente”, which is as much raucous melding of native and African flavours, with its berimbau and pandeiro mixing with pianism that is technically proficient in the European sense of the phrase.

Despite his masterly piano virtuosity, Santos Neto remains a grassroots Brazilian musician. His approach to music is very much polyrhythmic rather than polyphonic and although he layers Harvey Wainapel’s saxophone and his own flute, or melodica or his piano and Ben Thomas’ vibraphone using multiple counterpoint, it is the bass lines of his compositions that drive the melodies. Thus he is able to accommodate the dancing polyrhythms of his own piano, vibes and of course the drums of Mark Ivester and the percussion of Jeff Busch in the grander scheme of things; making rhythm the stellar concepts of his music.

In the fine choro, “Pra Casa” Santos Neto pits his melodica against multiple layers of clarinets and here the roles of polyphony and polyrhythms are reversed. Yet the angularity and elemental saudade of his song is superbly crafted, with gutbucket tones and exquisite Afro-Brazilian rhythms. The visual extravagance of “Sea and Sky” highlights Santos Neto’s penchant for creating large canvases on which he daubs bright colours and hues, crossing them with thick bass lines hidden in the melody so to create the illusion of multiple textures underscored by percussion and melodica. The forlorn loops and tottering gamboling of the clarinet on “A Fonte” foretell of impending bloom—a colourful symphonic sojourn led by the woodwinds of Wainapel into a mysterious soundscape painted over by the palette of the bass and the hypnotic lines of Santos Neto’s piano that increases the drama and kinetic energy of the piece with its dense Brahms-like textures and timbres.

Somehow the final “word” is that the soul is now in a place from where it will eventually emerge joyfully. But that is a story that the next album from Jovino Santos Neto must tell.

Track Listing: 1. Corrente (Current); 2. Vivendo no Presente (Living in the Present); 3. Two Friends, 4. True Friends; 5. Matraca (Rattle); 6. Outras Praias (Other Beaches); 7. Zagaia (Spear); 8. Pra Casa (Homeward); 9. Sea and Sky; 10. A Fonte (The Source).

Personnel: Jovino Santos Neto: piano, Rhodes, flute, melodica, hand claps; Harvey Wainapel: clarinets, saxophones; Chuck Deardorf: acoustic, electric basses; Mark Ivester: drums; Jeff Busch: percussion; Ben Thomas: vibraphone (2, 4, 6, 8); Lena Simon: vocals (3); Caroline Corcoran: vocals (3).

Related links: Jovino Santos Neto on the web: www.jovisan.net

Grammy Travesty Continues
by John Santos – 1/27/12

Well, it’s that time of year again – Grammy fever. CBS ramps it up with a constant barrage of mega-bucks commercials of all lengths and even specials leading up to the February 12th telecast that is expected to produce multi-gazillions of dollars. The National Academy of Recording Arts and Sciences (NARAS) inundates the membership with nomination and voting materials, invitations to the big event and its surrounding activities including post and pre-parties, local nominee celebrations and simulcasts, and other propaganda. We’re in the midst of the classic, inescapable corporate full press publicity campaign on TV, radio, print ads, internet, email, facebook, Twitter, and regular old US Postal Service.

But this year, NARAS’ brilliant Grammy image has a dark secret. All the smiling faces, glitter, multi-million dollar sets and promises of America’s greatest Vegas act cannot hide the deceit, ill-will and unethical behavior they took a few months ago when they unceremoniously eliminated thirty-one categories from Grammy consideration. It is particularly dishonest and distasteful that NARAS, a non-profit organization that is supposed to honor excellence in the music of our country and advocate for the benefit of its membership, had the gaul to lop off mainly just categories that are the least commercial and happen to be among the most creative and important “roots” categories. They also happen to be the categories that represented what ethnic diversity the Grammys might claim.

The corporate music industry that makes the lion’s share of the profits generated by musicians and the Grammys is of course fully supportive of NARAS’ narrow-mindedness. The latest special issue of Billboard Magazine, dated January 7th, 2012 is 100% Grammy propaganda with full-page ads congratulating the stars and the newest hopefuls backed with huge promo dollars for their nominations. Of course there is not one mention of the conspicuous absence this year of the 31 cut categories nor the growing international uproar that has produced over 1200 published pieces over the last few months protesting and condemning the outrageously insensitive action by NARAS in all forms of media. The current Billboard also features hypocritical statements directly from NARAS including these gems:

“Recording Academy Voting Membership: A Privilege Worth Earning.” (So long as you don’t mind having no say in the organization gutting the voting categories of most of their musical diversity.)

” . . . members become part of a collective that advocates for the rights of music makers . . .” (at the same time that they reverse the hard fought battles and decisions of former open-minded administrations that deemed it appropriate to recognize more American music than just the most profitable.)

Music’s Biggest Night as they have self-proclaimed the Grammy telecast, never included much, if any of the wonderful music they have now reduced or eliminated, but with the current hatchet job, they now officially sever ties with those undeserving, insignificant and marginal musical styles that by some coincidence are also among the deepest and most creative, albeit unfortunately, non-lucrative.

They have the cojones to announce the induction of Big Bill Broonzy, Sergio Mendes’ Brasil 66, and Martin Luther King into the Grammy Hall of Fame at the same time that they cut down the Blues categories, eliminate Latin Jazz (Sergio’s 1966 group would not be eligible with this year’s eliminations), cut down Gospel and Rhythm and Blues, and eliminate Contemporary Jazz (Dr. King is turning in his grave). A well-intentioned writer states in this issue “This crop of inductees also fleshes out the story of Latin music in America.” (PLEASE – it most certainly does not do anything close to that) But he makes the valid point in a sideways manner, that ” . . . the rich and far reaching legacy created by Latin musicians . . . often gets lumped into one catch-all category . . .” This, of course is exactly what NARAS has done with the 2012 awards, by eliminating the Latin Jazz, and Traditional World Music categories, and combining certain Mexican categories. They have a category called Tropical Latin. What in hell is that supposed to mean? NARAS officials write in Billboard about education and social strategy, but fail to see the hypocrisy and the ramifications of disenfranchising entire communities from the Grammy process.

Our country is full of vibrant musical communities directly and negatively affected by this issue. The earning capabilities of the artists as well as the businesses and schools that present and teach the various types of music that were cut are all compromised. Marginalizing the musical expression of these communities in this way also carries deeper repercussions than the immediate economic hits. Kids and youth who have spent years studying these types of music and have been properly taught to see music with a broad perspective are now confronted with the further invalidation of non-commercial music, narrowing their appreciation and understanding of music to only the most visible and most highly promoted which is clearly not where all the quality and creativity lie. It is obviously devastating to teachers who have spent our lives trying to give students rich alternatives to the top 40 mentality spoon-fed to them via mass media at every moment. It should also not be lost that NARAS itself has severely tainted its own reputation and credibility, both with the membership and with the public, although they are in complete denial.

For those who don’t know, these are some of the categories that were eliminated:

Native American
Contemporary Jazz
Classical Crossover
Latin Jazz
Traditional Blues
Instrumental Rock
Zydeco
Cajun
Hawaiian
Traditional World Music
Traditional Folk Music
Traditional Gospel
Contemporary R&B Gospel
Polka
Contemporary Folk
four categories of Rhythm & Blues

Don’t be taken in by the lies NARAS administration and staff puts forth. They say all of the eliminated categories were cheapening the value of the Grammy award and statue. Au contraire – it has been clearly devalued by their non-inclusive actions. They say that because there are so many more submissions in the pop and commercial categories, it is more difficult to garner a nomination in those categories and therefore not fair to those who seek to make it in the pop/commercial world. Of course it is more difficult! It is akin to kids who aspire to be professional athletes. The competition is fierce and the potential payoff is large. Far fewer make the decision to dedicate their lives to a style of roots music where it takes a lifetime to master the craft and even if you win a Grammy in these categories, it represents very little money in comparison to what is generated by Lady Gaga’s Grammys. This American music is just as valid and deserving of recognition (if not moreso) than the pop styles.

NARAS says everyone is still welcome to submit even though our categories have been eliminated. Thanks a lot – so now we can compete in categories that don’t apply to us and where the voting membership does not know our music, giving us zero chance of seriously competing for a Grammy. For example, Latin Jazz is performed by groups of various sizes, from duos to big bands. The smaller groups are much more common for obvious economic reasons. The only category that even crosses into this area now is Big Band Jazz where duos, trios, quartets, quintets, sextets, septets, etc, cannot apply and if your Latin Jazz project does happen to be a big band format, then you’re competing in the US against our national art form – basically a snowball’s chance in hell. My five nominations (over a 40 year career) were in three categories that have all been eliminated!

NARAS pretends not to be aware of the evil of their bad decision, but they are very aware and have been constantly reminded by many of us, members and non-members, since that dark moment in April last year when they announced it. They are so concerned about saving face that they have turned this into a war when they could have easily fixed it (and still can, if they so desired) with a special meeting and some common sense. But they’ve dug their heels in defending a senseless suggestion by culturally uninformed individuals instead of just admitting it should have been handled much differently.

I’ve been a member for some 25 years, supporting the organization with yearly dues, and by volunteering for Grammys in the Schools programs. I lobbied for years and wrote many letters, attended countless meetings and had many a phone conversation with various administration and staff about how to improve the organization and have always felt that there was very slow progress, but at least it was progress – up until now. This disrespectful mandate by the Academy sets the organization, civil rights, and creative expression in the United States back several decades. It matters not whether their decision was made out of ignorance, arrogance or racism, it is simply wrong and to add insult to injury, was made by secret committee and handed down seven months after the eligibility year had begun, meaning that all of us who produce our projects on a timeline to be eligible for a nomination were abruptly dropped on our arses in the middle of the Grammy year!

They are also trying to ignore away the fact that they secretly changed the eligibility rules for numbers of submissions required to have a category and didn’t bother to let anyone know until after they announced the axing of all the categories based on not having enough submissions! Simply disgraceful! We’d love to take a poll of the membership to get the administration and staff that created and support this colonial mentality removed, but NARAS has refused to allow us access to the membership rosters. This is a violation of non-profit corporate conduct in the State of California and legal actions are being pursued in California as well as in New York. But with no money to back up our legal challenges, that remains a slow and difficult proposition.

If this were not enough, after stabbing a large portion of the membership in the back, many of the staff, and administration have admitted that it was a huge mistake in every way, but they have refused to acknowledge this officially and refuse to correct it. They seem to think that since we appear to be relatively few, we will just disappear under the glitz and clamor of the Grammy apparatus. Although we are all working stiffs and have much more important and urgent things we’d rather do, we don’t plan to let that happen and we hope you will help us go viral and let the world, NARAS, CBS, and the sponsors/advertisers of the Grammys, all know that this is not acceptable and we are considering an occupation of the Grammys and a boycott of their products and “services” until they really fix it.

The San Francisco Art Commission, Herbie Hancock, Eddie Palmieri, Paul Simon (also inducted into the Hall of Fame this year), Carlos Santana, Bill Cosby, Esperanza Spalding, Bonnie Raitt, Stanley Clark, David Amram, Pete Escovedo, Oscar Hernandez, Larry Harlow and many others have openly condemned NARAS’ actions. The SF Board of Supervisors is also considering such a resolution. It is a shame though not completely surprising that many more celebrities have not spoken up strongly against this culturally devastating position by NARAS. Many of them have large potential earnings at stake and are not willing to risk a penny of it. Others don’t feel that NARAS has ever deserved our participation and support.

Our informal national coalition has held bi-coastal press conferences and written related posts and letters ad-nauseam. We hope that the action of posting on the internet and writing letters to the appropriate parties will be carried out by anyone and everyone who feels strongly about maintaining any semblance of diversity in the music business and understands what the threat of capitalism-gone-berzerk in the music business means to artistic freedom and creativity. We are extremely encouraged however by the continued international support and today’s news that both Reverend Jesse Jackson and Cornell West have joined our ranks with strong statements against NARAS’ actions and demands for equitable resolution (See below for links). Reverend Jackson tells it like it is, “Sometimes inclusion is inconvenient but it’s the right thing to do.”

The 54th Grammy awards telecast is sold out (in more ways than one) and we also congratulate all the nominees and winners. But when our esteemed organization violates it’s membership, its own mandates, and the public trust, we are all losers. Please help us get NARAS back on track. It can be a very worthwhile organization when run from the heart instead of the wallet.

Visit http://www.grammywatch.org for updates, addresses, and info, and let CBS know your thoughts directly with the link below, too . . . .

In solidarity and with gratitude, as your help is much needed and highly appreciated,

John Santos
Five-time Grammy nominee, educator, composer, producer, percussionist, bandleader, US Artist Fontanals Fellow

CBS comment form: http://www.cbs.com/info/user_services/fb_global_form.php

Rev. Jackson:
http://www.sfgate.com/cgi-bin/article.cgi?f=/n/a/2012/01/27/entertainment/e084722S71.DTL

“I thoroughly endorse the efforts of Grammy Watch and Presente.org. I believe the elimination of the ethnic Grammy categories is unjust and unfair.” -Cornel West

“The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There’s also a negative side.” -Hunter S. Thompson

Here is a list of Grammy sponsors, advertisers and tech partners as listed on their website a few weeks ago. I’m sure there are more that have been added . . .

AT&T
Mastercard
Delta
Harman
Hilton
hp
Waste Management
Diet Pepsi
Acura
Westwood One
People Magazine
Gucci
Lullabot
AEG (digital media)
Live U
Ooyala
Akamai HD

LET’S GO VIRAL!!! NOW!!!
THANK YOU!!!

Review written by: Janine Santana -

Nat King Cole’s Latin influenced recordings of 1958 and 1962 were performed in both Spanish and Portuguese. Cole spoke neither, but sang the lyrics phonetically, maintaining his signature phrasing style. Although it sounded odd to native Spanish and Portuguese speakers, his obvious affection for the songs beloved world-wide by Latinos was accepted as it opened the door to a new audience for the music. To be honest, Cole’s versions of the songs my parents loved and I grew up listening to were not my favorite versions, although I am fond of Cole’s other offerings. What I admire about the work is his verve. Not one to be threatened by cultural barriers and willing to step up to the plate to create and explore cultural music, Cole put his unique stamp on these Latin arrangements. Fifty years later Saxophonist David Murray, himself a bold breaker of barriers, has recorded a testimonial to Cole’s excursion into the popular Latin music of his day.

Known for free-style improvisation and dissonant interpretations, Murray takes traditional dance rhythms and transposes them into a swinging, jazzy journey rich with his signature sound. With the support of a Cuban jazz ensemble and a Portuguese symphonic orchestra, as well as exciting, rough vocals by Latino Rock/Tango interpreter Daniel Melingo, Murray and co-producer Valérie Malot have offered an exciting meld of different traditions and styles that work well together.

There is an interesting relationship in the way Murray has arranged the brass, woodwinds, strings and vocals. The spices of this recipe are all pertinent. The resulting flavor is Dissonance meets Melody and Rhythm.

El Bodeguero, also called “the Grocer’s Cha Cha” Takes an old favorite and transforms it into a treat in counterpoint. While the essence of the original remains, there are many layers of sound both dissonant and harmonious weaving in and out of the arrangement while the rhythm remains true. I’d love to see the sheet music! Besides a tasty solo by Murray, there is a fun, well-formed trombone solo by Denis Cuni Rodriguez. While the piece carries Murray’s signature free –flow arrangement style, it also remains a danceable cha cha.

Quizás, Quizás, Quizás enters with all the theatricality this long time favorite by Osvaldo Farrés deserves. The creative melding of the instrumental voicings are joined by a human voice that was quite a surprise! The thoughtful phrasing, deep, rough and passionate vocals of Daniel Melingo are the perfect choice for the rougher mood of this arrangement. A veteran vocalist of star caliber for both tango and rock in Argentina and beyond, he dances his voice around Murray’s saxophone as if they were teasing each other.

Tres Palabras, a romantic favorite is given a hard punch of excitement immediately via the skillful, stunning high notes of trumpeter Mario Felix Hernandez Morrejon. The spirit of the tune picks up beautifully near the end of the arrangement with an intertwining of alto saxophone by Roman Filiu O’Reilly with Murray and Ariel Binguez Ruiz on tenor saxophones. Congas driven by Abrahim Mansfarroll Rodriguez carry the piece out in style.

Another well-known piece that has been given an entirely new face is Piel Canela, composed originally by Bobby Capó. Here we have a rendition with an elegant alto sax solo by O’Reilly. This arrangement is my least favorite on the project, but by no means does that mean it is weak. It held my attention from start to finish.

The most pleasurable tune is No me platiques, an arrangement where Murray’s mournful tenor saxophone is lifted up by the stringed orchestra. The effect is interesting, slightly unnerving yet I could not turn away. With an outstanding solo by Murray, this is by far the most expressive piece on the recording.

Black Nat, an original by Murray starts out with fire and gets hotter from there. Murray works the band and orchestra to completely support free and wildly expressive horn solos, including a very elegant trombone solo by Denis Cuni Rodriguez. Murray saves the last tenor solo for his own statement.

Cachito, a Consuelo Velásquez composition, is given a good treatment with excellent woodwind arrangements and straight ahead percussion balancing the arrangement. The string section supports a fine be-bop influenced alto sax solo by Oreilly that shows off finesse on the instrument.

A Media Luz returns us to the tango influence, highlighted by the rough vocals of Melingo. The arrangement moves in a dissonance that stretches boundaries for the vocalist, who handles the piece skillfully. Murray Captures the vocals with his bass clarinet and carries the mood through the rest of the piece.

Aqui Se Habla En Amor opens with the keys of José-Pepe Rivero’s teasing us into the tune before the orchestra and band kick in, supporting Murray’s conversational solo.

There is a bonus track on U.S. releases, El Choclo. Bandeleon by Juanjo Mosalini opens the tune as Melingo’s raspy and expressive voice treats us to a flowing tango journey that carries the listener straight to Argentina. The saxophone enters and injects a North American Jazz flavor into the recipe. This tune is a real treat!

David Murray, Valérie Malot, Producers in Argentina, Portugal, France for 3D Family

Track Listing: 1. El Bodeguero; 2. Quizás, Quizás, Quizás; 3. Tres Palabras; 5. No Me Platiques; 6. Black Nat; 7. Cachito; 8. A Media Luz; 9. Aqui Se Habla En Amor; 10. El Choclo; 11. Quizás, Quizás, Quizás (Radio Edit).

Arranger: David Murray.

Personnel: Joana Dias, Joana Cipriano, Rui Guimaraes, Maria José Laginha, Joao Andrade (violin); Joao Gaspar, Gonçalo Ruivo (viola); Samuel Santos, Catarina Anacleto, Tiago Vila, Rita Ramos (cello); David Murray (bass clarinet, tenor saxophone); Roman Filiu O’Reilly (alto saxophone); Ariel Bringuez Ruiz (tenor saxophone); Mario Félix Hernandez Morejon, Franck Mayea Pedroza (trumpet); Denis Cuni Rodriguez (trombone); Pepe Rivero (piano); Georvis Pico Milan (drums); Abraham Mansfarroll Rodriguez (congas).

Related links: David Murray on the web: www.davidmurraymusic.com

Review written by: Wilbert Sostre -

Unlike Bossa Nova, a widely recognized style in the US, Brazilian choro is relatively unknown outside Brazil. The members of Falso Baiano with their refined and gorgeous sound are trying to change that.

Falso Baiano is a choro ensemble based in the United States. Their new release Simplicidade: Live at Yoshi’s was recorded live at Yoshi’s Club in Oakland, California in July 5, 2010, and captures vividly the richness and beauty of choro music. The album starts with the more familiar samba rhythms of Nelson Cavaquinho “Caminhando”, followed by the melancholic, delicate sound of the choro “Simplicidade”.

Jovino Santos Neto joins the group, playing piano and flute on three of his compositions. The classically tinged piano intro on “Feira Livre”, where Neto cleverly quotes lines from the ballet The Nutcracker, quickly turns into a contagious baião, a music style from the north of Brasil. Santos Neto masterfully plays the flute on “Kenny É Você” and engages in a superb dialogue with Zack Pitt-Smith on the soprano saxophone. Neto goes back to the piano on his beautiful composition “Rosa Cigana”.

Neto also plays the piano on Pixinguinha’s “Cheguei”, on the sublime interpretation of Jacob de Bandolim “Doce de Côco” and the accordion on Sivuca “Forró na Penha”.

The release also includes special guest Brian Rice on percussion in “Cheguei”, “Feira Livre”, Kenny É Você” and “Forró na Penha.”

Track Listing: 1. Caminhando; 2. Simplicidade; 3. Cheguei; 4. Feira Livre; 5. Kenny É Você; 6. Rosa Cigana; 7. Bem Brasil; 8. Deixa o Breque; 9. Doce de Côco; 10. Forró na Penha.

Personnel: Zack Pitt-Smith – saxophones, flute; Jesse Appelman – mandolin; Brian Moran – guitar; Ami Molinelli – percussion. Special guests: Jovino Santos Neto – piano, flute; Brian Rice – percussion

Related links: Grupo Falso Baiano on the web: www.grupofalsobaiano.com

Master percussionist Paoli Mejias belongs to a generation of artists who are redefining puertoricanness in musical terms with their artistry. Mixing diverse Afro-Caribbean styles with global rhythms, based upon traditional/popular puertorican music, bomba, plena, aguinaldo, and holding it all together within the realm of modern jazz, Paoli is at the forefront of creation of an exciting, recognizable sound.

While watching this concert, “Paoli Mejias de Jazzambia a Mi Tambor” three things come to mind.

1. The high level of musicianship of the performers, Paoli’s band and special guests being featured.
2. The high quality, technically speaking, of this superb high definition audio visual creation.
3. The remarkable fact that this is an independent production.

This shouldn’t come as a surprise, as it’s been the case with the three CDs previously released by Paoli Mejias. Truly a feast for the senses, “Paoli Mejias de Jazzambia a Mi Tambor” doesn’t dissapoint at all, on the contrary, it does live up to the expectations of an increasingly demanding legion of discerning viewers/listeners. Paoli’s followers, and I count myself in, couldn’t be more delighted with this long-awaited live video recording.

“De Jazzambia a Mi Tambor” showcases compositions previously recorded by Mejias on his three albums as a bandleader, plus some new arrangements. There are some memorable, inspired moments in most of the performances, especially on the opening and closing songs.

Diaspora, a composition penned by Miguel Zenón, opens up the concert with a percussive explosion, a trio of djembes led by Paoli. Zenón on alto sax and Yan Artime on piano raise the tension to exhilarating levels. Paoli’s djembe solo closes the song with unparalleled intensity.

Jibarology, a composition by Néstor Toro, is based on a traditional Puertorrican rhythm known as aguinaldo jibaro campesino. Christian Nieves is featured on Puerto Rican cuatro guitar.

Encomienda, another composition written by Miguel Zenón, pairs him up with Jonathan Suazo on alto sax on a tremendous Latin jazz arrangement.

Logos, another composition by Néstor Toro, is a fusion of various forms of Mediterranean rhytms, featuring Mejias on congas first and then fiercely soloing on timbales.

El Cacique Rebelde is a progressive Afro-jazz composition by bassist Aldemar Valentín that features L. Raúl Romero on guitar.

Seres is a composition by L. Raúl Romero. An experimental bomba of Loiza featuring Paoli on tambor primo, Amarilys Rios on vocals, Ricardo Pons and Norberto “Tiko” Ortiz on soprano sax and bomba dancer Manuel Carmona.

Rumba 7x 4 with Yuba-Ire is a composition by Paoli Mejias that features Afro-Caribbean folkloric group Yuba-Iré. Rumba dancers Jhan Lee Aponte, Yinaidarys Rivera, Jorvian Santana and Vivian Ayala add color and dimension to this terrific performance.

Hello Nany is a composition by pianist Yan Carlos Artime, who’s joined by Paoli on a heartfelt duet. This song is dedicated to Paoli’s father. Artime’s piano execution engages on a sublime performance with Mejias’ masterful bongo playing.

Metafísica Ancestral, composed by Paoli Mejías and Pável Urkiza, arranged by Urkiza and orchestrated by Javier Curet is a bomba canción that showcases Paoli and Amarilys Ríos Rosa, on vocals first and then on bomba drums. Prodigious six-year old bomba dancer Jenielys Villafañe Bultrón shines on this track.

Oye Como Suena, composed by Paoli Mejías and arranged by Ricardo Pons is a classical descarga that features NG2 singers Norberto Vélez and Gerardo Rivas improvising as  true soneros. Javier Oquendo on bongos, Daniel Diaz on timbales and Mejias on congas, have each one their turn to shine on their instruments.

The concert comes to an electrifying closing with Vengan Leones, a traditional plena composition written by Mejías and arranged by Ricardo Pons. It features Tito Matos on pandero. Matos, who is recognized as one of the best requinto players of his generation, leads an ensemble of seasoned pleneros who join Paoli’s band and all the special guests, contributing to set the stage on fire.

Buy De Jazzambia A Mi Tambor El Concierto online at www.filmbaby.com/films/5914

Paoli Mejias’ official website: www.paolimejias.com

Screenshot from track 1: Diaspora (left to right: Japhet Murguia, Paoli Mejias and Daniel Diaz on djembe)

Screenshot from track 2: Jibarology (Alex “Apolo” Ayala on bass, Christian Nieves on Puerto Rican cuatro guitar, Paoli Mejias on congas)

Screenshot from track 3: Encomienda (Miguel Zenón on alto sax)

Screenshot from track 4: Logos (Raúl Maldonado on drums, Paoli Mejias on timbales)

Screenshot from track 5: El Cacique Rebelde (Raúl Maldonado on drums, Christian Nieves on electric guitar, Paoli Mejias on congas)

Screenshot from track 6: Seres (at the front: Amarilys Rios on vocals, bomba dancer Manuel Carmona)

Screenshot from track 7: Rumba 7×4 with-Yuba Ire (Rumba dancers Jhan Lee Aponte, Yinaidarys Rivera, Jorvian Santana and Vivian Ayala)

Screenshot from track 8: Hello Nany (Yan Carlos Artime on piano, Paoli Mejias on bongos)

Screenshot from track 9: Metafisica Ancestral (bomba dancer Jenielys Villafañe Bultrón, Paoli and Amarilys Ríos Rosa on bomba drums)

Screenshot from track 10: Como Suena (Gerardo Rivas, Wichy Camacho, Norberto Vélez on vocals)

Screenshot from track 11: Vengan Leones (Tito Matos on pandero, with the whole band)

Notes taken from the disc jacket and Paoli Mejias’ official website: www.paolimejias.com

This live recording is a captivating musical journey of Paoli’s evolution as musician, bandleader, and composer. Paoli documents a historical moment in Latin jazz, celebrating the diversity of his Puerto Rican heritage and showcasing the rich talent of the new generation of musicians in Puerto Rico.

Musicians: Percussion Paoli Mejias, Alto Sax Miguel Zenon & Jonathan Suazo, Bass Alex Apolo Ayala & Aldemar Valentin, Piano Yan Carlos Artime, Cuatro Puertorriqueño Christian Nieves, Drums Raul Maldonado, Tenor Sax & Soprano Ricardo Pons, Soprano Sax Norberto Tiko Ortiz, Trompet Luis Aquino, Invited Vocalists NG2 Norberto Velez & Gerardo Rivas, Guitar Raul Romero, Vocalist & Percussion Amarilys Rios, Chorus Wichy Camacho, Yuba-Ire, Invited Percussionists Diego Centeno, Javier Oquendo, Jafet Murguia, Daniel Diaz, Invited Pleneros Tito Matos, Luis Lagarto, Johnsito Rivera, Eric Marrero, Charlie Pizarro, Yoksan Ramos

Dancers: Jenielys Villafañe Bultrón, Manuel Carmona, Vivian Ayala, Jhan Lee Aponte, Jorvian Santana

Production: Film & Sound by Javier Hernandez, Production Assistant Anilyn Diaz
Executive Producers: Paoli Mejias & Sarah Vogel

Recorded at Museo de Arte de Puerto Rico June 14-15, 2011
Independently produced by Paoli Mejias

NOTE OF APPRECIATION FROM PAOLI:  To me this project represents the greatest demonstration of brotherhood among exceptional musicians and some extraordinary people. This experience was a fraternal embrace between a group of dear individuals who have been supporting me unconditionally since my first CD. Without them, I would not have been able to achieve what I have achieved up to now. They are witnesses of the great sacrifice we have undertaken in order to bring our music to this high level in a critical time for musicians and artists. It has been to contribute without expecting anything in exchange, in hopes that someday this moment here documented will have a historical value for the next generation. Being able to bring together on one stage a generation of young musicians who are the future of this music alongside other experienced and renowned veteran musicians made this concert a bond of camaraderie and humility which is what I want to endure in our island of Puerto Rico and the world. I express this with all my heart, that this was a unique moment of pure energy, but with a natural fluidity that clearly reflects an environment of peace, harmony and much happiness. This is the direct expression of our being when we do what we love with others who have the same passion for the music and life itself.

Lastly, I would like to thank all those who buy this original DVD. Thanks to the people who from my first CD Mi Tambor, followed by Transcend and then Jazzambia, and now this DVD, have preferred to buy the original product so that I can continue to offer my musical projects in the highest quality possible, all created and produced independently by me. It is for these individuals who have supported me until now that I have decided to produce this project exclusively in Blu-ray format and mixed in 5.1 Surround Sound; because you deserve the best. You demand quality each time you purchase my CD or DVD. For your support, here for you is the highest quality in images and sound, and most importantly music.