Celebrating Emiliano Salvador and his Musical Legacy
Latin Jazz Network Radio – Jukebox – May 2011 Playlist
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Latin Jazz Network Radio – Jukebox – August 2010 Playlist
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Arturo Sandoval – A Time for Love (Concord Jazz – 2010)
The great trumpeter, Maurice André and Wynton Marsalis apart (who play in other musical realms as well, everybody really serious about the idiom of jazz—about music in general—dreams about making a recording with a string ensemble. Louis Armstrong made What a Wonderful World, his album of Broadway, Hollywood and standard charts. Cornetist, Warren Vaché made his, Don’t Look Back (Arbors Records, 2006) with the Scottish Ensemble. The list goes on. Now to add to that Cuban-born trumpeter Arturo Sandoval who has released the simply titled A Time for Love. Although this is Sandoval’s first album with a string orchestra, he actually made another orchestral album, Dream Come True (GRP, 1993). That one featured a brass and woodwinds section on some charts, and a brass, woodwinds and string section on others. Both orchestral segments were conducted by pianist and composer, Michel Legrand.
But this album is special—the effect of playing ahead of just strings is special—and Sandoval makes full use of the length and breadth of his talent for the romantic throughout. His playing is uncharacteristic of what he is accustomed to doing with his horn. He plays softer even than the Danish trumpeter and flugelhorn player, Palle Mikkleborg on Song… Tread Lightly (Columbia, 2000). The string arrangements by conductor, Jorge Calandrelli and pianist, Shelly Berg are marvellous and Sandoval plays both trumpet and flugelhorn—sometimes one atop the other—with such majestic facility that he sometimes conjures up visions of being carried up on the wings of angels. His intonation is perfect, as is his phrasing and he plays low, almost like Nat Cole singing.
The musical repertoire is of a very narrow spectrum. Almost all of it is romantic and some of the charts are so elementally sad that a generous helping of Kleenex might be suggested. Sadness equals catharsis in this case. The cleansing spirit of Sandoval’s playing is especially evident in “Oblivion (How to Say Goodbye,” a song he shares with the devastatingly beautiful voice of Monica Mancini; in the Charlie Chaplin classic, “Smile,” which he sings himself, in a surprisingly beautiful tenor and in “Every Time We Say Goodbye.” But the most elementally and evocative music is heard on the pieces by Gabrielle Fauré—“ Aprés Un Reve” and “Pavane”, and on Maurice Ravel’s masterpiece, “Pavane Pour Une Infante Defunte”. Here Sandoval bends and twists his horn as he squeezes every ounce of emotion possible from it. The strings in the background and Sandoval’s quartet too are magnificent as they back his every note on trumpet, muted and open belled and on overdubbed flugelhorn with rarefied grace.
The Ravel piece also features the horn of Chris Botti, who is sometimes cast in a setting so popular and facile that he is often mistaken for a tactless player. This duet with Sandoval, however, will surely indicate otherwise. Kenny Barron, that other player who is sublime in his reading of the romanticism of music is featured on “Every Time We Say Goodbye” and he is one of the main reasons that this chart is breathtakingly beautiful. But really, A Time for Love is a triumph largely because of Arturo Sandoval’s playing, which is of the highest order throughout. Jorge Calandrelli also makes the project worthwhile with his sensuous arrangements of charts that sound as if they were written especially for this project.
Tracks: Aprés Un Reve; Emily; Speak Low; Estate; A Time For Love; Pavane Pour Une Infante Defunte; I Loves You Porgy; Oblivion (How to Say Goodbye); Pavane; Smile; All The Way; Smoke Gets In Your Eyes; Windmills Of Your Mind; Every Time We Say Goodbye.
Personnel: Arturo Sandoval: trumpet, flugelhorn, vocals; Shelly Berg: piano; Chuck Berghofer: bass; Gregg Field: drums; Chris Botti: trumpet (6); Monica Mancini: vocals (8); Kenny Barron: piano (14); Orchestra: Bruce Dukov: concertmaster; Natalie Legget: violin; Phillip Levy: violin; Charlie Bisharat: violin; Darius Campo: violin; Liane Mautner: violin; David Ewart: violin; Tamara Hatwan: violin; Razdan Kuyumijian: violin; Searmi Park: violin; Songa Lee: violin; Kevin Connolly: violin; Tiffany Yi Hu: violin; Robin Olson: violin; Darren McCann: viola ; Harry Shirinian: viola ; Keith Greene: viola ; Alma Fernandez: viola ; Dennis Kamazin: cello; Vanessa Freebarin-Smith: cello ; Trevor Handy: cello; Christine Ermacoff: cello. Conductor: Jorge Calandrelli.
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Arturo Sandoval on the web: www.arturosandoval.com
Review written by: Raul da Gama
Poncho Sanchez – Psychedelic Blues (Concord Records 2009)
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Few Latin ensembles have continued to play with such elegance, swagger and irresistible sensuality as those put together by Poncho Sanchez for decades. The leader’s ability to wrap his chops around the blues, and keep swing and clave together with attractive simplicity is now quite legendary. At times Sanchez can also blend his bubbling Latin repertoire with forays into a soulful realm, lending his gravelly voice and puckish charm to vocalizing in the grand manner. On Psychedelic Blues, however, he struts in a decidedly Latin style with rhythms and synchopations like greased lightening. In addition, the results are staggering – this whether the music dallies langorously or when it revs up.
Herbie Hancock’s “Cantaloupe Island” is the perfect kick-start – crackling guiro and all – to this old-fashioned set. Yet it breathes life into the session with a wonderful new arrangement by David Torres. As always, the growl of Francisco Torres’ trombone and howling brass of Ron Blake slide in and around the sleek woodwinds – rapier sharp and on the money. “Crisis,” a wonderfully familiar melody from the late Freddie Hubbard burns in a low flame as Arturo Sandoval crackles on the trumpet in characteristic fashion. The “Willie Bobo Medley” is simply the finest example of molten harmonies, angular rhythms and streetwise fun that only this song could bring. Sanchez’s vocals soar like Ray Charles.
Coltrane’s “Grand Central” is somewhat familiar – almost a déjà vu in terms of its arrangement, but the bright reeds and woodwinds, playing counterpoint to brass – especially Torres’ trombone makes for a slightly more angular melody. The timbalero, George Ortiz always puts in a stellar turn everytime the spotlight is on him and his ability to play across Sanchez’s congas is almost ethereal. There is a master class from Sanchez on “Silver’s Serenade,” as he chops and slaps – open-handed and cupped palms – then slices and breaks the skins. All this in just a few seconds of conga solo that seems to last a lifetime as the notes hang in the air delightfully.
“The One Ways” and “Delifonse” showcase not just percussion, but also the work of the ensemble. Solos are somewhat short, but then this is classic showmanship. It is Poncho Sanchez’s way of showing majesterial leadership for his band to follow. Incidentally, his solo on “The One Ways” provides further evidence that there is a master at work. Francisco Torres is staggering and almost speech-like on “Delifonse.” And just when you thought you could not ask for more, it is the turn of the master trumpeter, Ron Blake to take flight with Sanchez, on “Con Sabor Latino.” Nevertheless, it is on “Psychedelic Blues” that the group truly shines. Sanchez leads from the front, ringing fast and surprising changes and when he is ‘on song’ – as he surely is here – there is no telling where his genius will lead him.
The set is relatively short, but then the group always maintains the excitement and swinging pulse at such a fever pitch, that elation lingers longer than the echoes of the last, dying notes. This is vintage Poncho Sanchez the kind that you do not want ever to end.
Tracks: Cantaloupe Island; Crisis; Psychedelic Blues; Willie Bobo Medley – I Don’t Know/Fried Neck Bones and Some Homefries/Spanish Grease; Grand Central; Slowly But Surely; Silver’s Serenade; The One Ways; Delifonse; Con Sabor Latino.
Personnel: Poncho Sanchez: congas, percussion, lead vocals; David Torres: piano, Hammond B-3 organ; Javier Vergara: tenor and alto saxophones; Ron Blake: trumpet, flugelhorn; Francisco A Torres: trombone; Tony Banda: bass, background vocals; George Ortiz: timbales; Joey de Leon Jr.: bongos, percussion, background vocals; Scott C Martin: baritone saxophone; Andrew Synowiec: guitar; Alfredo Ortiz: bongos, percussion. Special Guest: Arturo Sandoval: trumpet (2).
Poncho Sanchez on the web: www.ponchosanchez.com
Review written by: Raul da Gama
