Posted on April 8, 2007

A Look in “The Inside Out”
(Advance Dance Disques, 2006)
By Antonio Mondesire

Introduction by Tomas Peña

Antonio Mondesire -- Contributing Writer for the Latin Jazz Network is a Babalawo in training / Obatala Priest for a quarter of a century, Consultant / Public Speaker, Entrepreneur and a percussionist / singer living in the New York Metro area. He has nearly a half century of playing experience – his foundation is within the Afro-Cuban tradition -- while fully resonant with kindred Afro-Latino genres – reflective of his “Boricua” roots. To become more “resonant” with the younger generation, he has become conversant with the reggaeton and Latino hip Hop genres. He is dedicated to Afro-Latino culture which has led him to African Traditional Religion – where he represents the faith in many post 9/11 interfaith events, --, “Diversity” presentations and musical performances. Back in the mid-1970s, he recorded with the unique Fania recording Latin Rock / Fusion ensemble “Seguida”, had performance experiences with world renown Jazz Flautist Nestor Torres, Master Percussionist Efrain Toro and international performance with recording sessions with Jazz artists - Bassist Jeff Fuller, Alto Saxophonist Ricardo Strobert and Argentinean singer, songwriter, and guitarist Suni Paz. In addition, he has a M.S. in Transportation Planning & Engineering with over a decade of professional experience in that field – an experience borne out of a lifelong interest in urban rail transit systems. To conclude, he comes to LJN to serve.

Review

In this day of mass consumed music it is a pleasure to listen to Michele Rosewoman, a superbly accomplished pianist, composer and visionary who has created a passionate production with “The In Side Out”. The recording is straight up avant-garde that will more than likely appeal to 20 percent of humanity - meaning, hard core jazz fans, hip crossover fusionists, world music aficionados looking to chill to a different groove and visionary rumberos / salseros who are seeking salt of the earth “clave” melded with straight-ahead jazz arrangements. Michele’s music is deep and she is adept at creating “exploratory moods” with intellectually provocative arrangements that require the “power of listening.”

My particular focus is Michele’s dedication and respect for the “Orisa” - the divinities of the traditional Yoruba religious tradition preserved in and functioning as a cornerstone of globally appealing Afro-Cuban culture. Michele has been contributing to this “niche genre” - Orisa Fusion Jazz - which was created by the masters of yesterday and today (including but certainly not limited to) Chano Pozo, Mario Bauza, Machito, Tito Puente, Mongo Santamaria, Lazaro Ros, Orlando “Puntilla” Rios, Ray Barretto, Eddie Palmieri to name a selected few. The late master “Akpon” Lazaro Ros and his group “Sintesis” seemed to have created a standard for this genre. Michele works with a high standard and has always been -- and remains -- “on point” - respectfully experimenting, fusing, melding and creating sophisticated arrangements with traditional sacred Afro-Cuban rhythms, chants and melodies -- combined with cutting-edge intellect and passion.

This review will focus specifically on Esu Laroye - which is dedicated to a “road” of Esu - the Almighty’s assigned “owner of the crossroad,” or “gatekeeper.” It is a well-done piece with creative vocal overlaying of “coro” (chorus) in call and response with Olufemi Mitchell, solid traditional Bata and “Apkon” (lead vocal) work with Pedro Martinez and smart phrasing of brass and reeds. As usual, Michele’s piano work requires that you listen – to her execution and to the traditional call and “coro” response in “Lukumi” – the “creolized” Cuban Yoruba lingual retention which requires tuning one’s ear. Note that the audio layering of genres requires serious “loop listening” to extract “Esu’s blessing”. Ah! There are secrets for those who listen . . .

I enjoyed listening to this piece. However, I was left hungry for more. Having been exposed to her earlier works, such as “Akomado” (an “Arara” – Cuban Dahomean devotional song for “Asojano” or “Babalu Aye”) and “Enu Aye” (a Lukumi devotional song for “Obatala” - as witnessed during two live concerts with percussionist Eddie Bobe as lead vocalist some years ago). “Esu Laroye” left me hungry for an “ajiaco” or “sancocho” musical stew and more flavor – “sabor” – criollo flavor such as unexpected surprise transitions, unorthodox chord changes; abrupt viscerally titillating tempo switches in clave and eclectic acapela harmonies. Michele and her band certainly have the talent to make that happen. Ah! Orisa Esu Laroye himself was waiting for more - so that he could give the listener what they least expect!

Nevertheless, Michele deeply respects “Orisa.” The traditional singing and Bata arrangement using the “La Tokpa rhythm” – is liturgically on point and does not deviate from the tradition. Ase. And so we wait with bated breath for the unexpected spiced “version 2” where Esu gives license to add “atare” – traditional guinea pepper (grains of paradise)!

To conclude, The In Side Out deserves serious listening. It will give the listener an appreciation for the syncopated brass / reed phrasing and trap work reminiscent of the late Fela Anikulapo Kuti’s ground breaking “Afro-Beat” jazz genre. Through listening, you will come to realize that Rosewoman’s perceptive experimentation is the work of a master - a master who puts her listeners in a state of awe.

Her “focus group” might be the 20 percent of humanity that “gets it.” As for the rest, the music is bound to resonate emotionally as well as kinesthetically! Michele Rosewoman’s music touches the intellect and the heart. Watch out! Michele has got her Mojo working... Ase!

Credits:

Michele Rosewoman - piano, fender rhodes, midi keyboard, vocals
Mark Shim - tenor sax, midi wind controller, programming
Miguel Zenón - alto and soprano saxes
Brad Jones - acoustic and electric bass
Derrek Phillips - drums

Special Guests:

David Fiuczynski - guitar
Josh Roseman - trombone
Olu Femi Mitchell - vocals
Pedro Pablo Martinez - congas, batá, vocals, percussion

For additional information on Michele Rosewoman visit: www.michelerosewoman.com
http://myspace.com/michelerosewoman

Antonio Mondesire - Contributing Writer
Latin Jazz Network
April 2007