Bye-Ya! The Latin Jazz Quintet – Further Arrivals (Challenge 2010)
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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
Eddie Palmieri 50th Year Anniversary DVD
By Danilo Navas
Dedicated to his wife, Iraida Palmieri, this long-awaited DVD (due to some technical issues its release was delayed a few years) serves two purposes. It celebrates 50 years of Eddie Palmieri’s prolific musical career (one of the most influential and acclaimed in Latin music). 50 years since Mr. Palmieri started to perform as a pianist, and 50 years since he formed his first band, Conjunto La Perfecta. Innovative, respected and adored by fans and peers alike, “La Perfecta” revolutionized the musical scene with a bold, striking sound, coming from a very unusual combination of horns, two trombones and flute. Later on, Eddie Palmieri would blend his Afro-Caribbean distinctive take on Latin music with Jazz, presenting an exciting combination that would stretch seamlessly between the two genres. Since then, he’s always been at the forefront of Salsa and Latin jazz.
A night to remember, this concert took place in 2006 at the Bushnell Auditorium in Hartford, Connecticut. Mr. Palmieri is in top form and backed up by his terrific band, mostly composed by long-time collaborators (Brian Lynch, Conrad Herwig, Hermán Olivera, José Clausell, Richie Viruet and more) and a few new additions (Luques Curtis, Philip Dizack). Together, as a solid, tight unit, with an impressive sound, they revisit classical tunes from Mr. Palmieri’s repertoire (Muñeca, Vamonos Pa’l Monte, Azucar Pa’Ti), covering decades of historical performances. Latin jazz fans get treated to a terrific performance with the composition entitled “Vanilla Extract”.
The DVD also offers an insightful conversation between Mr. Palmieri and Felipe Luciano (well-known community activist, journalist and political figure from New York). Mr. Palmieri talks about his life, his music, achievements and challenges as an artist who’s always given the best, and nothing but the best, to his huge legion of followers.
You can buy this DVD -a true collector’s item- online from Eddie Palmieri’s official website, www.eddiepalmierimusic.com.
Songs:
1. Palo Pa’Rumbá
2. La Voz Del caribe
3. Pa’La Ocha Tambó
4. Muñeca
5. Vanilla Extract
6. Oyelo Que Te Conviene
7. Azucar Pa’Ti
8. Vamonos Pa’l Monte
Musicians:
Eddie Palmieri: Leader, Piano
Hermán Olivera: Lead Vocalist
Brian Lynch: Lead Trumpet
Richie Viruet: Trumpet
Philip Dizack: Trumpet
Conrad Herwig: Trombone
Jimmy Bosch: Trombone
Nelson Gonzáles: Tres Guitar and Back Up Vocal
José Claussell: Timbales
Vincent “Little Johnny” Rivero: Congas
Orlando Vega: Bongó
Luques Curtis: Bass
Joseph “Quique” González: Back Up Vocalist
Julio Salgado: Back Up Vocalist and Maracas
Related Link:
The Power of the Patriarch by Larry Blumenfeld – The Wall Street Journal
Latin Jazz Network Radio – Jukebox – May 2011 Playlist
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Robby Ameen – Days in the Life (Two and Four Records – 2009)
Robby Ameen is one of those first call percussionists who has been chaffing at the bit to produce something all his own. Now he has his chance, with Days in the Life and he acquits himself with excellence. Things might have very well gone awry, as so often happens when self producing the first record. This, however, does not happen with Ameen, as he is careful to avoid the obvious, at all costs. The percussionist is well known for his abillity to slip into almost any kind of rhythmic mode, whether deriving from samba, or with clave or swing. He does just that and then some… Ameen soaks it all and, as it percolates in his percussion brain, he channels it out through his arms and fingers into a mix of rhythms that comes alive with surprises at almost every turn.
It seems that the prime directive of the music is to dance madly as one on hot coals or a tightrope or a trampoline. There is never a dearth of surprise in anything that Ameen does–alone, or in conjunction with bandmates such as guitarist Wayne Krantz and bassist Lincoln Goines. Of course the brassmen–Conrad Herwig and Brian Lynch, both deeply in the pocket at all times, light blue flames to the melody trailing in behind it or racing in front with florentine swirls and madcap runs. Trombonist Herwig, in particular, solos in great swathes of sound that begin rather quietly and then build up into mountainous tones of great harmonic consequence. John Beasley–probably missing clave in his wrists–makes up for it all by playing beguiling lines on Hammond B3 and Fender Rhodes.
Ameen is fiery on almost every song, but really pulls out the stops on his stunning composition, “Skateboard Intifada.” The title is brazen as his drumming, with furious rolls of the tom toms and heavily laid bombs on the bass drum at breakneck speed. The funky riff is followed simply but memorably by Goines, Krantz and especially Beasley. The composer also shows great tenderness in his ballad, “Una Muy Anita” and brings new fire to Joe Farrell’s “Sound Down.” “Stagger” is a fine example of a visually driven piece, where Ameen shows great skill in varying the beats to create a feeling of unsteady, but purposeful movement. His off-key figure with guitar and organ is also well knit into the melody. Krantz plays in gut-wrenching style. “RR” is a spectacular duet with conguero, Ritchie Flores.
Essentially, though this is a vehicle, which is crafted to display Ameen’s compositional skills. In this department, he brings off a near flawless performance. The percussionist also shows that he is unafraid to step outside the comfort zones of easy-to-execute rhythms. Nor does he shy away from brash and forthright manners of expression. His songs are based on sound melodies, which he writes cleverly for the bass as well as treble clefs, and this is a rare feat indeed for any percussionist to pull off.
Tracks: 1. Swiftboating; 2. Baakline; 3. Sound Down; 4. 2′s & 3′s; 5. Una Muy Anita; 6. Skateboard Intifada; 7. Ceora; 8. Stagger; 9. RR.
Personnel: Robby Ameen: drums, percussion; John Beasley: piano, Hammond B3, Fender Rhodes; Lincoln Goines: acoustic and electric basses; Wayne Krantz: guitar (1, 2, 4, 6, And 8); Ritchie Flores: congas (3 – 5, 7, 9); Conrad Herwig: trombone (2, 3, 5, 7); Brian Lynch: trumpet (2, 3, 5, 7).
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Robby Ameen on the web: www.robbyameen.com
Review written by: Raul da Gama
John Beasley – Positootly! (Resonance Records 2009)
John Beasley’s Positootly! is awash with Lydian modes. That and it is clear that Beasley has listened carefully to Herbie Hancock and Wayne Shorter. However, he is also a singular pianist who is chirpy and breaks up his dazzling melodic runs with staccato perfunctory harmonic statements that then bend the music in another surprising direction. Thus he is never predictable and always makes a new surprise flow through the tips of his fingers that take the keyboard to task every once and awhile.
Not usually gentle–or gruff, for that matter– Beasley prefers the direct approach to turn of phrase and will not waste time with niceties. On this record, he is often heard to comp restlessly when bassist James Genus or drummer, Jeff “Tain” Watts find a groove and start to get a bit cute. Nevertheless, Beasley is generous too and offers plenty of room for his cohorts to express themselves in towering solo when the song demands it. Otherwise, his compositions are short and tight and leave only wiggle room for bursting out, literally. This makes the ones on this record more urgent and breathtaking–as in “Caddo Bayou” and “Positootly!”
Beasley is a clever and bold interpreter of the familiar. He is willing to take chances. This is how “Dindi” came to be played in 5/4 time, with barely a hint of Tom Jobim’s bossa nova rhythm. However, the song does sound entirely charming and refreshing. The romance of “Dindi” is more sensuous than platonic as Jobim and Sinatra both had her. The other “Latin” track is Astor Piazolla’s nueva tango, “Tanguedia III.” Tango, unlike many other musical dance forms is more graceful and formal and while Beasley pays tribute to the authentic, he creates a puckish air about the piece, speeding up and slowing down the music, while maintaining a certain raffish swagger that is utterly charming.
The finest work on the record is, of course the music that he lives and breathes, body and soul and that is the music of the South, with its gris-gris and gumbo flavor. “Caddo Bayou” and “Positootly!” are two of his finest pieces to date. “Shatita Boom Boom” (Club Desire)” is a flaming track as is “Black Thunder,” dedicated to the legendary drummer, Elvin Jones. “Elle” comes as a surprise, not because the rest of the music is full of rhythmic fire, but somehow the tenderness embodied by the ballad is not something that was expected from this pianist. Nevertheless, “Elle” is a fine piece, with a soulful soprano saxophone solo from Bennie Maupin.
Brian Lynch has his moment of glory is yet to happen. On “So Tired”, it still is Bennie Maupin, who swaggers through his tenor solo. “The Eight Winds” provides the space for Brian Lynch to stretch and that too on a fast blues that is played at breakneck speed. “Hope… Arkansas” is another warm-blooded piece that shows a tender side to the pianist and this appears to be the perfect note on which to end a fine record.
John Beasley has learnt well from the last glory days of Miles Davis’ funky groove. With a little help from friends, Maupin and the restrained Munyungo Jackson, Beasley has pulled a memorable follow-up to his earlier Resonance record, Letter to Herbie. Only this record need not be reverential to a mentor and so can be more versatile and free to express the heart and soul of this ever-growing pianist.
Tracks: 1. Caddo Bayou; 2. Positootly!; 3. Dindi; 4. Black Thunder; 5. Shatita Boom Boom (Club Desire); 6. Tanguedia III; 7. Elle; 8. So Tired; 9. The Eight Winds; 10. Hope… Arkansas.
Personnel: John Beasley: piano, Fender Rhodes, synthesizer; Bennie Maupin: tenor & soprano saxophones; Brian Lynch: trumpet; James Genus: acoustic & electric bass; Jeff “Tain” Watts: drums; Munyungo Jackson: percussion.
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John Beasley on the web: www.beasleymusic.com
Review written by: Raul da Gama
Brian Lynch Afro Cuban Jazz Orch. – Bolero Nights (for Billie Holliday)
For a fleeting moment -just one fleeting moment- it appears to be a bit of a stretch putting “bolero” and Billie Holiday together. There appears to be a tad too much “bolero” and not enough “Holiday” on Brian Lynch’s Bolero Nights (Venus Records – Japan 2009). Soon, however, the plaintive wail of Lynch’s trumpet and moan of his flugelhorn and the moody arrangements of “Afinque” start to tie “bolero” and Billie Holiday rather tightly together. Although the music is by no means ponderous and depressing to listen to, there is an elemental sadness to it. This is a masterstroke on the part of Lynch because Billie Holiday embodied something similar as she sang her heart out on so many classics. Mercifully, Lynch also avoids the obvious ones. However, he is masterful in mimicing the voice of the great chanteuse with long “blue” notes -especially in the first chorus of “La Sitiera,” when Lynch draws them out in his inimitable manner with dynamic expression. Only some of Ellington’s great trumpeters were known to have done this with untouchable effect, and trumpeters such as Larry Cramer and Reynaldo Melian.
Another masterstroke on the part of Lynch is the presence of Phill Woods. His malleable alto has become infinitely more distinctive with the passage of time. His narrative solo on Charles Mingus’ “Celia” is full of dramatic twists and turns. His is one of the most lifelike descriptions of Celia Zaentz as she swishes hips and high-heels it out of the bassist’s life into what is depicted as darkness, leaving Mingus alone to be swallowed up in the gathering gloom. Ron Blake is also superb and at his bellowing best. Lynch exchanges flugelhorn for trumpet in the climax of the song to heighten the sense of drama at the end of the song. In this arrangement, Lynch actually manages to give this old song new flair by recasting it as if Mingus might have done it in Tijuana Moods or on Cumbia and Jazz Fusion. Either way it is an exquisite reminder of the universality of Mingus’ music in the manner that Ellington’s was.
“Fire Waltz” is another superb arrangement of Mal Waldron’s classic. The heat is turned up by mighty trumpet work from Lynch and a wild and fiery alto solo by Ivan Renta on alto saxophone. Hoffman’s harmonics are completely and utterly alluring and unexpected. Both solos are elastic and breathtaking, especially with stretched out notes by both horn men. The use of guiro and surdo or tympani in percussion is especially noteworthy as it adds to the sombre nature of the song. “Delilah” is another song where the “blue” of the melody and the fact that Lynch uses his flugelhorn together with perfunctory blowing by Marshall Gilkes on trombone in the background makes a fine piece of work on this Victor Young chart. This track is also one where Boris Kozlov gives notice as to why he is a charter member of the Mingus Orchestra. His playing con arco for two choruses is majestic and soulful and fills the heart with a deep sense of wonder.
Woods and Lynch play off each other again; on “I’m A Fool To Want You”, they recall the relationship between Pres and Holliday, who often played off each other in a similar, dolorous manner. Again, the trombone of Gilkes is mournful and sublime as is the saxophone of Ivan Renta, yet again. As Lynch returns, again he is pitch-perfect and leads into a short, but pithy solo by the young Zaccai Curtis. Although Billie Holiday sung several of these charts in her day, “You’ve Changed” is the easiest to recall from her songbook. Lynch’s longish introductions add further drama to his arrangements of these fine charts and the one that introduces Phil Woods again is no exception. Again, Kozlov is outstanding here, with melodic pizzacato accompaniment to Woods’ second sortie, which he introduces with a series of short tripets in fine manner, before settling into a longish mellow tone.
There has been only one other record in the past five years that has sung in rich praise of the bolero as Brian Lynch’s Bolero Nights has done and that is Charlie Haden’s Nocturne and that record was showered with rewards. It is hoped that this record too will find favor in the festival of awards functions that are just around the corner. They will all be well deserved.
Tracks: 1. Afinque; 2. La Sitiera; 3. Celia; 4. Fire Waltz; 5. Delilah; 6. I’m A Fool To Want You; 7. You’ve Changed.
Personnel: Brian Lynch: trumpet and flugelhorn; Phil Woods: alto saxophone (3, 6, 7); Ivan Renta: alto saxophone; Alan Hoffman: tenor saxophone; Marshall Gilkes: trombone; Ron Blake: baritone saxophone; Zaccai Curtis: piano; Boris Kozlov: bass; Little Johnny Rivero: congas, bongos and percussion; Marvin Diz: timbales and drums.
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Brian Lynch on the web: www.brianlynchjazz.com
Review written by: Raul da Gama
