Figueras’ music is steeped in the vast and swelling sea of Latin American rhythms. She often finds the tango and the huayno irresistible and can make the dusty shuffle of a Caribbean beat come alive with a rare blend of outrageous arrhythmic skitter. On “1 de Mayo” for instance, the song is painted with the broad brushstrokes of a bolero, but then over coated with the fiery saxophone that rushes like warm air to fill the expectant ear. “Afro Blue,” Mongo Santamaria’s swaggering Caribbean classic is brilliantly interpreted with a multicoloured rhythmic palette, with Figueras and the ever so brilliant Tony Larokko so much so that it pays homage not just to a legion of musicians who have played this song, but also to the rhythms that have propelled it from one era to the next. Figueras is also unafraid to call upon the atonal lamentations of mystical proportions.

“Pipi’s Blues” is a leaping, flowing kind of piece that comes from an inspired pen. The gushing melody is embellished by a dancing kind of harmony unlike much of the music heard today, with the stop-start rhythms of rap and hip-hop. Tony Larokko’s two compositions certainly are among the several highlights of this exquisite album. “Spiritual Travels” swivels on a kind of mystical hop that enables the song to pirouette with a melodic invention that is guided by a rhythm as vital as a heartbeat. “Yah-Yah,” a hypnotic chant echoing with the flashing brilliance of all things natural features “Ojos Azules” a haunting Bolivian huayno sung by Figueras as well as, a lyrical tango, “Volver” also voiced almost Soto voce by the intriguing saxophonist.

It is probably only fitting for a marvellous record of music that seems to encompass the earth, should end with a track called “Music Heals All Wounds,” which even as it might sound a somewhat autobiographical note, soon assumes majestic proportions as the musicians complete their extraordinary, shamanistic and ultimately mystical musical sojourn.

Tracks: 1 de Mayo; Afro Blue; Pipi’s Blues; Spiritual Travels; Yah-Yah; Music Heals All Wounds.

Personnel: Mercedes Figueras: soprano, alto and tenor saxophones; Tony Larokko: soprano, alto and tenor saxophones, percussion; Fred Berryhill: percussion, djembe; Bopa “King” Carre: percussion, congas; Nick Gianni: upright bass; Dan Tepfer: keyboards; Kenny Wollesen: drums.

The Black Butterflies on the web: www.theblackbutterflies.com

Review written by: Raul da Gama

And what a spectacular program Aslan presents here, together with the masterful bandoneon playing of Nestor Marconi, but especially the trumpet of Gustavo Bergalli and the percussion inventions of Daniel Piazzolla, Astor Piazzolla’s son. The musical challenge was immense: Take eleven classic tangos and reinvent them with the feeling of jazz. Aslan presents these swirling pieces as wonderful dancing, pirouetting spectacles that appear before the mind’s eye as they sweep across gleaming floors with just the swish of dark gowns and leather brushing against the invisible wax. Pablo Aslan recreates this classic setting with sublime playing arco con brio. His ability to create the fire of the music at one time, and then dampen it with murky suggestions of elemental dark sadness and loneliness is unparalleled. Although Aslan appears never to stray from the melodies, in fact he turns these pieces into miniature vignettes in the stellar regions of jazz.

The 1920s classic, “El Amanecer,” for instance conjures aural recollections of early Third Stream as the bassist and bandoneonist dance around each other with graceful counterpoint. “Viejo Smocking,” although reverently read is actually quite avant, with a singing bass and harmonic lines from trumpeter, Gustavo Bergalli, who is spectacular throughout the program. By the time “La Trampera” comes around the ensemble breaks the mould completely, with a wonderful, staccato solo from percussionist Piazolla that breaks down the rhythm for the rest of the ensemble. Aslan then brings proceedings to a spectacular close.

Although there are many defining moments on the album, it is “La Trampera” that presents the sojourn in all its glory as the group led by a bassist and musician of singular vision and ability takes the Tango to the outer reaches of possibility. Tango Grill is a rare and memorable album played flawlessly by a bassist destined for great things in 21st Century music.

Tracks: 1. El Amanecer; 2. Viejo Smocking; 3. El Marne; 4. La Payanca; 5. Sin Palabras; 6. Rencor; 7. El Flete; 8. Dandy; 9. La Ultima Cita; 10. Divina; 11. La Trampera.

Personnel: Pablo Aslan: bass; Nestor Marconi: bandoneon: (1, 2, 4, 6, 7, 9, 11); Nicolas Ledesma: piano (1, 3 – 5, 7 – 10); Abel Rogatini: piano (2, 6, 11); Ramiro Gallo: violin (1, 3 – 5, 7 – 11); Gustavo Bergalli: trumpet (2, 3, 5, 6, 8, 10, 11); Daniel Piazolla: drums (2,3, 5, 6, 11).

Pablo Aslan on the web: www.avantango.com

Review written by: Raul da Gama

The spectacular collision of cultures raining down of music in the Latin idiom has brought with it a proverbial deluge of the most wonderful shower of metaphor and idiom, melody and rhythm and harmonics of a tantalizingly high order. This fine record Un Monton de Notas (Not Yet Records) by Emilio Teubal and his grupo projecto, La Balteuband is another fine example. Here is a nonet led by the Spanish-born Argentenian pianist and composer that has literally opened the mystical gates of oceans of music in a record that describes a courageous musical journey. It crosses continents, leaps out of Cordoba, Spain, dives into the heartland of Argentina, then emerges from the deep and dense recesses of the Brasilian Northeast in an explosion of propulsive dynamic energy, and takes off into interstellar space.

There is not enough space here to discuss how this happens in music, repeatedly; it is a matter of fact now. The real trick is to shut the eyes and give into the music, body and soul. The music of this nonet is so seductive that it is impossible not to be drawn into this world and virtually hypnotised. Teubal is a gifted musician and composer and has an inner ear that is sharp and intelligent. He hears music differently. Much of this lies in a multiplicity of tonal densities of various woodwinds and horns – ranging from the flute and soprano saxophone to the bass clarinet. This approach appears to superceed everything and his music is presented with the richly woven voices of these lead instruments.

Sometimes he will poke through with the piano or Rhodes to assert a certain rhythmic harmony. His use of the cello is inspired and on “Un Monton de Notas,” this wonderful instrument is played with equal virtuosity by Greg Heffernan. This track is stellar, a complex blend of maracatu rhythms that conjour a feverish ritual that is showered with melodic ingenuity. There is rarely such excitement in a song and such propulsive rhythm. It is possible – very possible that only Egberto Gismonti’s majestic compositions could have inspired such a richly textured piece.

However, there is much more to recommend this record as one of the year’s finest. “Ping Pong,” opens with a rhythmic piano figure and develops into a superb visual expression with a puckish tête-à-tête between the soprano saxophones of Xavier Perez and Felipe Salles. The mood and textures change dramatically with “Before the Outerspace,” where Felipe Salles creates a dramatic effect with beautifully toned bass clarinet. His speech-like modes are maintaining the dramatic tension of the song.

“X-cetera (after)” is an interesting composition where the melody states an obverse rhyming meter. The two tenors trading 8’s for some time and they make way for the dark piano, bass and percussion to lead the song into an extended piano improvisation that is urged on by the thundering cajon and rumble of the bass.

“El Amanecido” is a nervy polka that pits piano against percussion and horns in a rather jazzy chamane. ”Baguala” is stately, almost dolorous and brings to life a tstely dance form that stradles Argentina and Bolivia. The highlight once again is the superbly arranged dense tonal textures of the clarinets that color the piece and play off the tinkling piano beautifully executed and winds down with a swaggering blues ending. “(T) La Arania 08” is cast in the mould of a chorinho and is outstandingly authentic.

Teubal pays rich tribute to the music that might have first fired up his young imagination to conclude this memorable set. There is a fine piece; “A la Pantalla A” that turns the music awash with the rhythmic extravagance of Cordoba. This is an intense set and brings further evidence that Emilio Teubal is making a name for himself among the growing roster of young modern pianists and musicians.

Tracks: Ping Pong; Before the Outerspace; X-cetera (after); Un Monton de Notas; El Amanecido; Baguala; (T) La Arania; A la Pantalla A; Coda.

Personnel: Emilio Teubal: piano, Fender Rhodes, accordion; Xavier Perez: soprano saxophone (1, 3, 5, 8), tenor saxophone (2, 3, 6), flute (7); Felipe Salles: tenor saxophone (3, 5, 8, 9), soprano saxophone (1, 7), bass clarinet, flute (4); Moto Fukushima: six-string electric bass and effects; Franco Prima: drum set, bombo leguero; Kobi Solomon: clarinet (3, 4); Ivan Barenboim: clarinet (2, 4, 6, 7); Greg Heffernan: cello (4); Marelo Woloski: percussion (2, 4, 7), hand-clapping (1, 5).

Emilio Teubal and La Balteuband on the web: www.myspace.com/labalteuband

Review written by: Raul da Gama

Pasion Por La Vida is an unusual and memorable record, even by Roger Davidson’s standards. It is the third “Latin” record made by Davidson, a pianist influenced by Bill Evans as much as by Chopin. But Pasion Por La Vida takes Davidson’s love for the music of South America a shade further than – Mango Tango, Amor Por El Tango and Rogers in Rio – his earlier expressions of that love. This record is a kind of maturation for Davidson has composed all the eighteen titles on it. Spectacularly, all are tangos – eleven of them have been written in the classical Argentinean form. Several others are more European and there is a Brazilian chorinho, a bolero and a rumba but these may not be played in the familiar 2/4 time signature that exemplifies “the tango”, what unites them with the other tracks on the record is that they all reflect passion.

Davidson is able, here, to switch from his customary jazz-inflected voice to the staccato and sometime legato world of the tango. The dynamic he applies to his pianistic touch is therefore quite different. It is more percussive, following the internal rhythm of Latin melodies and the harmonic changes swirling thick, are heavier and more deliberately, almost unusually accented. Then there is that aspect of the “Tango” that is visual as the music can only partially tell the story with sound; the rest is the image that accompanies the song. Traditionally it helps always that the “tango” music accompanies a couple dancing statuesquely following the rigid dancing tradition. With Pasion Por La Vida, the dimension is singularly aural. The visual component must be imagined. This precludes the music having to work all the more harder – so that that dimension may be created like a virtual dimension, like a hologram. And here lies the success of this record.

Then there is also the almost symbiotic musical relationship between Davidson and Raul Jaurena. The pianist and the bandoneonist engage in interplay that comes from an almost telepathic understanding of the central idea of each piece. This is why ideas are exchanged as if they were imagined simultaneously but expressed separately. Harmonically as well, the musicians are intertwined and so the passionate flow of musical thought is seamless and heart-warming. And this is what separates this record form Roger Davidson’s first, Mango Tango: These songs cover a range of emotions – “Su Pasion” – the passionate romance of a man and woman, “Volvere” – that longing for home – “Puente a la Esperanza,” “Tarde Soleada,” “Alma Apasionada,” “Orquesta de Pueblo”… Throughout the record is a growing and deeper symbiosis between Davidson and Jaurena and it makes the music magnificent and moving.

This is going to be a difficult record to top in terms of following through on an idea whose raison d’etre is emotional. It would be interesting to see where Roger Davidson will go from here, but then again, if he is led by his emotions there is no horizon and more passionate music can never be very far away.

Track Listing: Fuerza Milonguera; Su Pasion; O, Te Quiero; Camino Al Sol; Tarde Soleada; Puente A La Esperanza; Vals Para Mañana; Optimista; Todo El Tiempo; Volvere; Cancion De La Montaña; Milonga Del Norte; Alma Apasionada; Orquesta De Pueblo; Tango Ruso; Si Loin De Toi; Que Pasara; Aventura.

Personnel: Roger Davidson: piano; Raul Jaurena: bandoneon.

Roger Davidson on the web: http://www.soundbrush.com/roger-davidson-biography/

Raul Jaurena on the web: http://www.rauljaurena.com

Review written by: Raul da Gama

Opening of Tutuma Social Club in NYC re-scheduled for May 12, 2009 -

New Venue In Midtown Manhattan Featuring Afro-Peruvian Jazz & Cuisine To Present Pianist Andy
Milne, Vocalists Sofia Rei Koutsovitis & Pilar de la Hoz, Gabriel Alegría Afro-Peruvian Sextet & Others

(New York, NY – April 28, 2009) Due to construction delays the opening of Tutuma Social Club, a new restaurant/music venue in New York City combining the best in live contemporary Afro-Peruvian Jazz with the fusion cuisine of Peruvian tapas and other dishes, has been postponed until Tuesday May 12, 2009.

The May 2009 music calendar for Tutuma now presents pianist Andy Milne in the debut of the series “Jazz Goes Afro-Peruvian” (5/12-17); vocalist Sofia Rei Koutsovitis in the series “Songs From Argentina To Perú” (5/19-24); and the debut of the series “Jazz From Perú” with vocalist Pilar de la Hoz (5/26-31). The series “Ritmos Negros del Perú” will feature percussionist and Zapateo dancer Freddy ‘Huevito’ Lobatón (5/12-13) and Marcos Napa ‘Bombo’ (May 19-20 & 26-27). Lobatón will also appear during “Lunchtime Criollo” (5/12-18). The Afro-Peruvian Sextet of trumpeter Gabriel Alegría, currently artistic advisor to Tutuma Social Club, will appear 5/14-17 and the NYU Afro-Peruvian Jazz Ensemble will appear on 5/18.

Trumpeter Ingrid Jensen & drummer Jon Wikan and vocalist Angela Vicente, who were originally scheduled to perform at Tutuma April 28-May 11 will be re-scheduled to appear at dates to be announced later.

Located at 164 East 56th St. (at Third Ave.), Tutuma Social Club will be the only locale in the region showcasing both Afro-Peruvian jazz and food on a daily basis. Unlike most clubs presenting “live” music, Tutuma will have neither a cover charge nor a minimum. Music will be featured weekdays at lunch with evening sets presented Monday-Sunday at 8 and 10:30 p.m. Tutuma’s kitchen will be open daily from 11 a.m.-2 a.m. An Afro-Peruvian Jazz Brunch, also accompanied by “live” music, will be held Sundays from 11 a.m.-3 p.m.

For reservations or more information please call 866.988.JAZZ (5299) or visit www.TutumaSocialClub.com.

TUTUMA SOCIAL CLUB MUSIC CALENDAR

May 12-31, 2009
Tue May 12th-Wed May 13th
12:30pm–2:30pm Lunchtime Criollo
Yuri Juárez (Guitars), Freddy ‘Huevito’ Lobatón (Percussion), Others TBA
8pm Jazz Goes Afro-Peruvian – Looking for Gold
Andy Milne (Piano), Freddy ‘Huevito’ Lobatón (Percussion),
Ramon de Bruyn (Bass), Kenny Grohowski (Drums), Yuri Juarez (Guitar)
10:30pm Ritmos Negros del Peru
Freddy ‘Huevito’ Lobatón (Perc & Zapateo Dancing), Yuri Juárez (Gui),
Marcos Napa ‘Bombo’ (Perc & Zapateo Dancing), Mariela Valencia (Voc), Ramon de Bruyn (B)

Thu May 14th-Sun May 17th
12:30pm–2:30pm Lunchtime Criollo
Yuri Juárez (Guitars), Freddy ‘Huevito’ Lobatón (Percussion), Others TBA
8pm Jazz Goes Afro-Peruvian – Looking for Gold
Andy Milne (Piano), Freddy ‘Huevito’ Lobatón (Percussion),
Ramon de Bruyn (Bass), Kenny Grohowski (Drums), Yuri Juarez (Guitar)
10:30pm Gabriel Alegría Afro-Peruvian Sextet
Gabriel Alegría (Trumpet & Flugelhorn), Yuri Juárez (Guitar), Ramon de Bruyn (Bass & Vocals)
Shirazette Tinnin (Drums), Freddy ‘Huevito’ Lobatón (Percussion & Zapateo Dancing)

Mon May 18th
12:30pm–2:30pm Lunchtime Criollo
Yuri Juárez (Guitars), Freddy ‘Huevito’ Lobatón (Percussion), Others TBA
8pm The NYU Afro-Peruvian Jazz Ensemble
Mattias Konrad (Trombone), Jackie Coleman (Trumpet), Nick Myers (Saxophones), Frank Cogliano (Guitar), Claudio Marquez (Bass), Storm Siegel (Drums & Percussion), Ian Chang (Drums & Percussion)
Tue May 19th-Wed May 20th
8pm Songs From Argentina To Peru
Sofía Rei Koutsovitis (Vocals) w/ Eric Kurimski (Guitar), Edward Perez (Bass), TBA (Percussion)
10:30pm Ritmos Negros del Peru
Marcos Napa ‘Bombo’ (Percussion & Zapateo Dancing), Mariela Valencia (Vocals), others TBA

Thu May 21st-Sun May 24th @ 8pm & 10:30pm
Songs From Argentina To Peru
Sofía Rei Koutsovitis (Vocals) w/ Eric Kurimski (Guitar), Edward Perez (Bass), TBA (Percussion)

Tue May 26th-Wed May 27th
8pm Jazz From Peru – Pilar de la Hoz
Pilar de la Hoz (Vocals)
Featuring Juan Medrano “Cotito” (Cajon) w/ Eric Kurimski (Guitar), Edward Perez (Bass)
10:30pm Ritmos Negros del Peru
Marcos Napa ‘Bombo’ (Percussion & Zapateo Dancing), Mariela Valencia (Vocals), others TBA

Thu May 28th-Sun May 31st
8pm & 10:30pm Jazz From Peru – Pilar de la Hoz
Pilar de la Hoz (Vocals)
Featuring Juan Medrano “Cotito” (Cajon) w/ Eric Kurimski (Guitar), Edward Perez (Bass)

About Tutuma Social Club
Tutuma Social Club is the only locale outside Perú showcasing both Afro-Peruvian jazz and cuisine on a daily basis and its “no cover charge/no minimum” policy further distinguishes it from other music venues. The new venture is the brainchild of Santina Matwey, a second-generation restaurateur whose family founded and operates the RayBari Pizza parlors in Manhattan, who has effectively imported to New York City the atmosphere found in traditional peñas, the vibrant urban clubs of Perú. Dr. Gabriel Alegría, a jazz trumpeter and composer known as one of the world’s leading proponents of Afro-Peruvian Jazz, is the club’s artistic advisor. Evening sets by established jazz artists from North and South America will be presented Monday-Sunday at 8 p.m. and 10:30 p.m. with “live” music also featured weekdays at lunch and on from 11 a.m.-3 p.m. Sundays during an Afro-Peruvian Jazz Brunch. Tutuma’s menu was expressly designed by two of Perú’s internationally acclaimed chefs Rodrigo Conroy and Carlos Testino and its kitchen will be open daily from 11 a.m.-2 a.m. A membership rewards program is available to repeat customers.

MEDIA CONTACT – Music / Mitchell Feldman / MitchellFeldmanAssociates@Comcast.net / 706.550.0263

This is not just another record of music by an Argentinean musician. Provinciano is a brave attempt to create a new metaphor based on traditional harmonics and rhythms that inhabit the Argentinean Tango and folkloric music. Fernando Huergo, bassist extraordinaire makes a huge leap of faith as he – first explains – and then demonstrates the depth of his creativity and staggering virtuosity in his musical sojourn and his organically evolving bass playing.

Alejo Carpentier once wrote, fictionally of course, of a journey that he once undertook to find the origin of sound. That mythical journey took him into the Amazon and where he lost himself among a very primitive, yet sophisticated people and discovered the magical elixir of sound – a pure sound itself. On Provinciano, Huergo makes a similar journey; only his is one that can no longer traverse a primitive sound scape. But his is a journey that takes place in the interior landscape of the musical mind. Here the musician has imbued the many magical rhythmic impulses that ignite creativity. Amazingly, these parallel the same impulses that have driven jazz music through the ages. The impulse to create continually through time and space – to improvise. Then there is the element of swing and the joyful heartache of the blues.

The music on Provinciano in many respects is a Latin refraction of jazzical modes, but daubed in the lush tones of the provincial. The rhythms are sometimes challenging and may appear to be a tad clever, which they are not… simply accurately describing a tradition that is given new meaning in the modern context. “One in Ten” a track written in 10/8 time is a case in point as is “A Mil,” where a Piazzolla tango might go musically if he were to play it today. Here Huergo is not only proficient technically, but also displays a wonderfully puckish sense of humor. There are two tracks written in Chacarera modes and others in the form of aire de milonga and aire de vidala – folkloric wonders that are completely modern in statement and form. Amazingly, even programmatic pieces such as “The Cost of War” and Coltrane’s lesser masterpiece, “Lonnie’s Lament” also work as folk forms. (Mingus did this many half a Century ago with Thad Jones on his own album, appropriately entitled Folk Forms). These two tracks may unconsciously hark back to that masterly excursion as well.

Finally, a word about the musicians. Huergo is a fine technician, but he plays his bass with great feeling and expression as well. The musicians who honor the compositions have also given a fine account of themselves. Andrew Rathbun and Yulia Musayelyan on saxophones and flute, respectively, have an uncanny sense of empathy for the music, which it would appear, is written with them in mind. Mika Pohjola and Franco Pinna are also artists of enormous rhythmic skill. Together these musicians have all the makings of a long-term partnership, which is to say more music of greater, import sooner rather than later.

Tracks: Provinciano; La Luz del Norte; One in Ten; Vida; A Mil; Chacarera Boogaloo; The Cost of War; El Chupacabras; Lonnie’s Lament; Instinto Matero; Bochis; Chacarera del Carancho; El Dia que me Quieras.

Personnel: Yulia Musayelyan: flute; Andrew Rathbun: tenor and soprano saxophones; Mika Pohjola: piano; Fernando Huergo: bass; Franco Pinna: drums.

Fernando Huergo on the web: www.fernandohuergo.com

Review written by: Raul da Gama