New CDs – October 2011 – Part 2
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CD: Without A Doubt Track: Monterey Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser. On this new release (the fourth one to date), percussionist Steven Kroon and his band give us more of his unique, unmistakable sound, reminiscent of the Spanish Harlem (El Barrio) neighbourhood, with its melting pot of cultures and diversity, where musical rhythms collide and blend in a seamless manner. Steven’s music is fresh, lively, full of energy and positive vibes. |
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CD: Bons Amigos Track: Piccolo Samba Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser. Claudio Roditi has just put out a superb recording. Bons Amigos is the work of a true Master, surrounded by his best friends, his very special horns, and his very special bandmates. Piccolo Samba, the track showcased here, couldn’t be more representative of the innovation and creativity of this modern musical genius. As humble as only himself could be, Roditi embodies the best of the best in a Jazz artist. |
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CD: Urban Nature Track: Latin What? Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser. A distinguished sideman who has become a successful leader. That’s Sammy Figueroa. From the very first note on Urban Nature, the musical mastery is evident. A great follow-up to Figueroa’s two previous Grammy nominated albums. Pianist Silvano Monasterios and bassist Gabriel Vivas -both hailing from Venezuela- lend a big hand with their compositions on this project. |
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CD: Unconditional Track: Farmacia Del Angel Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser. Venezuelan pianist Silvano Monasterios’ first release on the Savant label is his fourth to date. Classically trained, Monasterios has come a long way since his early days at the esteemed José Angel Lamas Conservatory in Caracas. Based in Miami, Florida, Monasterios is coming out of his southern territory to project himself at a national scale. He is outstanding as a composer and soloist. |
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CD: Afropean Affair Track: The Illusive Number Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser. Another great American pianist making a name for himself and his band is Oscar Pérez. Born in New York to a Cuban father and a Colombian mother, he absorbed his musical heritage from an early age, and after a long way getting his act together, he joins the wave of jazz artists who are erasing the distinctions between straight ahead and Latin jazz, as they forge a new idiom in the evolution of this great American art form we call Jazz. Afropean Affair is Oscar’s second recording. |
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Conversation with Guitarist Brian Moran
October 25, 2011 by danavas
Filed under Interviews
Grupo Falso Baiano is a choro group that offers a window into the history and diverse culture of Brazil. Choro is one of Brazil’s earliest popular musics, dating back to the late 1800s, and, similar to jazz, it reflects the melding of African rhythms with a melodic and harmonic structure closely resembling Baroque Classical music. G.F.B.’s exploration of choro spans nearly 100 years, including everything from the traditional to more contemporary versions and jazz influenced reinterpretations. In addition to performing and touring, Grupo Falso Baiano has worked in collaboration with the Pasadena Pops, Around the World Music Program, Young Audiences of Northern CA, and Youth in Arts, to bring choro and Brazilian music to students throughout California.
Grupo Falso Baiano takes its name from the famous Geraldo Pereira song “Falsa Baiana,” made famous by Joao Gilberto, among others. A “falsa baiana” (or falso baiano) is a fake Bahian: one who claims to come from the state of Bahia, named after its famous bay. Hence the play on words as it applies to Grupo Falso Baiano: since we hail from the San Francisco Bay Area, we are Bahians of North America, but are “fake Brazilians”. “We picked the name to honestly reflect our love and respect for the music we play. Our take on choro is to preserve the traditional sounds and instruments while incorporating our own influences and heritage.”
Grupo Falso Baiano is: Zack Pitt-Smith, reeds, Brian Moran, 7 string guitar, Jesse Appelman, mandolin (bandolim), and Ami Molinelli, percussion.
A Conversation with Guitarist Brian Moran
By Danilo Navas
LJN: Hello Brian, welcome to the pages of Latin Jazz Network. It’s a pleasure talking to you. Let’s get started with this interview by asking you about Grupo Falso Baiano’s newest recording (the second one) entitled “Simplicidade: Live at Yoshi’s.” But before, let’s go back to the beginnings of Grupo Falso Baiano. It started in the San Francisco Bay Area as a trio in 2003. It became a quartet in 2006. Your first CD Viajando Choro e Jazz came out in 2008. None of you are Brazilian. Why Choro music? What sparked your interest and made you take that direction?
BM: It’s hard to explain why and how someone gets bitten by the choro bug. For us – as musicians – I think it’s the special way that melody, harmony and rhythm come together in the form of choro. There’s nothing unique in traditional choro that isn’t found in jazz harmony, melody and rhythm, but the way it all comes together, with the particular instruments, and particular way of playing, is what makes it so addictive. Coming from a jazz background, my interest had a lot to do with the rootsy, acoustic quality – and the lack of a drum kit or bassist. It was fascinating to hear something that swung so hard that had no bass (only 7 string guitar), and instead of a drum kit, a single pandeiro (tambourine like instrument).
LJN: Your take on Choro music has a distinctive American flavor: Brazilian music with a Jazz accent…
BM: For us, it was simple: out of respect for the tradition, and those who grew up with it all their lives and play choro professionally in Brazil, we weren’t about to try to pass ourselves off as Brazilians, or try to emulate the Brazilian way at the expense of expressing ourselves – which is going to happen anyway. So sure, we transcribe Brazilian recordings, travel to Brazil and play with Brazilians and all of that, but in the end, any sincere musician is going to leave a part of them self in the music they play, so we recognized that and made it a plus.
LJN: Let’s talk about your collaboration with Jovino Santos Neto for this Live recording. Jovino is certainly one of the greatest Brazilian artists living in America.
BM: No doubt. I’m surprised how many people aren’t aware of him. He was Hermeto Pascoal’s right hand man for 20 years. And many jazz musicians forget about Hermeto. Miles Davis collaborated with him on Live Evil, and called him, “…the most impressive musician in the world”. To be in Hermeto’s band alone is no small feat. Jovino is an incredible spirit and inspiration, and an honor to work with.
LJN: How did this collaboration with Jovino happen?
BM: Jovino was a fixture at the California Brazil Camp for many years. We all met him there and got to know him over the years. As a result, we had him perform on our first record “Viajando: Choro e Jazz” in 2008. Around the time of the 2010 Yoshi’s concert, he was teaching at Jazz Camp West with our percussionist Ami Molinelli. So after the camp, we threw together a quick afternoon rehearsal and had him perform with us at the concert 2 days later.
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CD: Simplicidade: Live at Yoshi’s Track: Feira Livre Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser. |
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Based in the San Francisco Bay Area, Grupo Falso Baiano teams up with Brazilian master Jovino Santos Neto on this delightful Live in concert new release. A great follow-up to Viajando Choro e Jazz (their first recording), Simplicidade: Live at Yoshi’s showcases Grupo Falso Baiano’s original take on the classical Brazilian style, incorporating three compositions by special guest, Santos Neto. They have carved themselves a niche in an increasingly competitive musical environment with extraordinary results. Percussionist Brian Rice is also featured as a special guest.
LJN: Let’s talk about the compositions you included in “Simplicidade”.
BM: Aside from Jovino’s 3 compositions (Feira Livre, Rosa Cigana and Kenny É Você), they are all covers. It’s a mix of traditional choro tunes (Caminhando, Cheguei, Doce de Coco, Simplicidade), and a few lesser known tunes (Bem Brasil, Deixe o Breque) and a “forró” (Forró na Penha). Something we always do in shows and on records is to play tunes from different eras in choro, as well as material that isn’t considered pure choro (like the forró).
* Forró is a kind of Northeastern Brazilian dance that developed from European styles of folk music such as “Chula” and “Xotis” (term that originated the derivate “xote”), as well as a word used to denote the different genres of music which accompanies the dance. Both are much in evidence during the annual Festa Junina (June Festival), a part of Brazilian traditional culture which celebrates some Catholic saints. The most celebrated day of the festival is known as São João. (From Wikipedia)
* Choro, traditionally called chorinho (“little cry” or “little lament”), is a Brazilian popular music instrumental style. Its origins are in 19th century Rio de Janeiro. In spite of the name, the style often has a fast and happy rhythm, characterized by virtuosity, improvisation, subtile modulations and full of syncopation and counterpoint. Choro is considered the first urban popular music typical of Brazil. (From Wikipedia)
LJN: How has Grupo Falso Baiano and its music been received by the public? by your peers? how difficult has been to find a niche market in such a competitive environment?
BM: It’s been very well received. I think the public appreciates how different it sounds to their ears. When we do Latin festivals (like on the Latin Stage at the San Jose Jazz Fest), we often get sandwiched between big “latin jazz” groups, with piano, drum kit and congas, horn sections, etc etc. With all that volume and energy, our smaller tighter sound stands out, and I think people really enjoy the contrast. We’ve all dedicated a lot of time to this – learning to speak Portuguese, traveling and/or living in Brazil, studying and performing with Brazilian masters of these forms. So I think there’s a lot of appreciation among our peers. And as for finding a niche, it’s been a blessing. Frankly, with so few band performing choro (though that’s changing!), it’s much easier to book our group than say, another jazz quartet, of which there are many, and a limited audience.
LJN: So, we can say you have had a full immmersion in Brazilian music.
BM: I think we’re all just following our passion for the music, and down the rabbit hole we go! Everything has been a natural extension of that. You realize quickly that language can be a barrier, and through the desire to obtain as much knowledge as possible, it becomes evident that you need to speak the language. Then once you’re speaking, the next step seems to be to follow the river to the source, and go to Brazil. Being there, and seeing how the musicians perform the music, both formally and informally is invaluable and is something we try to bring back with us and present in our shows and workshops. For us, it’s all about channelling our love and respect for the music through our own experiences and musical personalities.
LJN: Congratulations Brian, “Simplicidade” is a terrific recording. Latin Jazz Network wishes you all the best on your coming projects.
More information about “Simplicidade: Live at Yoshi’s” at: www.grupofalsobaiano.com
Related links:
Brian Moran Music: www.brianmoranmusic.com
Grupo Falso Baiano: www.grupofalsobaiano.com
Conversation with Brazilian artist Antonio Adolfo – Chora Baião
October 3, 2011 by danavas
Filed under Interviews
Antonio Adolfo grew up in a musical family in Rio de Janeiro (his mother was a violinist in the Brazilian Symphony Orchestra), and began his studies at the age of seven. At seventeen he was already a professional musician. His teachers include Eumir Deodato and the great Nadia Boulanger in Paris. During the 60′s he led his own trio and toured with singers Elis Regina and Milton Nascimento. Adolfo wrote tunes that gained great success and have been recorded by such artists as Sérgio Mendes, Stevie Wonder, Herb Alpert, Earl Klugh, Dionne Warwick, and others. He won International Song Contests on two occasions. As a musician and arranger he has worked with some of the most representative Brazilian names, besides having released more than 25 albums under his name. In 1985 Mr. Adolfo created his own school in Rio, Brazil. His most recent studio recording, Chora Baião, follows in the footsteps of his previous CDs, Lá e Cá/Here and There (released in 2010), and the 2007 live recording Antonio Adolfo e Carol Saboya Ao Vivo/ Live. Antonio Adolfo is currently conducting a music school in Hollywood, FL (USA) where, along with other instructors, he teaches Brazilian Music, Jazz, and Pop.
A Conversation with Pianist, Composer, Educator Antonio Adolfo
By Danilo Navas
Hello Antonio, it’s my pleasure talking to you in light of the release of your new recording entitled Chora Baião. Our readers will be delighted with your insightful answers and commentaries to my questions. Let’s start the conversation.
LJN: Choro and Baião are among the most popular two-beat Brazilian music styles. Choro originated in Rio, Baião in the northeast of Brazil. What are the commonalities and differences between them (if any)? Where do they cross? Where do they separate?
AA: Both are two-beat musical styles, both have African influences as, in general, other Brazilian two-beat styles have, but Choro carries more influences from the traditional European dances, such as Polka, Mazurkas, etc., Baião carries the Moorish-flavored musical atmosphere of the Iberian Peninsula. As you know Brazil was colonized by the Portuguese, whose music, as well as the one from Spain has lots of the characteristics from the Moors culture, who at certain moment in history, invaded and left their influence in the Iberian Peninsula’s countries, such as Spain and Portugal. And when Baião started to be developed in Brazil it incorporated some typical modalism that could be considered as influences from that Iberian music. The typical musical scale found in Baião shows an hybridism of both, tonal and modal (Lydian flat seven and mixolydian scales) – I think it is not necessary to go so deep in that analysis. Anyway, Choro’s scale carries more of the influences from classical music with its tonal system. What also occurs is that, in Brazil, Choro, Baião, Samba and their derivatives can be found in the Brazilian Maracatu that somewhat synthesizes all of them. Maracatu combines the African culture and the Roman Catholic religion adopted by the rich farmers from the period of Brazil’s colonization by the Portuguese, when the African slaves were brought to work for them. Nowadays, however, Brazilian Jazz musicians adopted all those styles and that mixture to their interpretations. Sometimes you go from one style to another without even noticing how much they can fuse themselves.
LJN: Is there an instrument (or more than one) that we can identify with those two music styles?
AA: Traditionally the two styles used different instrumentation. For example, Choro could use guitars, flute, piano, violin and other common instruments found in the classical music instrumentation. Pandeiro (Brazilian tambourine) was not yet used at that time, which we call Belle Epoque, but later when African descendants started to join the typical Choro groups, then pandeiro was totally absorbed by such groups. Baião used the typical Trio Nordestino (Northeastern Trio) formed by accordion, zabumba (a flat bass drum) and triangle. Sometimes you could find the “pifano” flute -a small hand made wood flute. Very characteristical for the Baião was also the melancholic chants sung by the “cantadores” with their sad melodies, combining the different scales used in Baião. It is interesting to notice here that, in both styles, despite some sadness found in the melodies, both (Baião, Choro and, even, Samba) are very rhythmic and danceable. Maybe that is one of Brazilian Music characteristics as well. Some (and more) of the explained can be found on my book Brazilian Music Workshop (Advance Music)
LJN: Carlos Althier de Souza Lemos Escobar (better known as Guinga) and Francisco Buarque de Hollanda (better known as Chico Buarque) are two giants of Brazilian music. What made you choose their musical works as inspiration for your new CD Chora Baião?
AA: As you say, they truly are two giants, but unfortunately not cultivated by Jazz oriented musicians due to several musical factors, as, for example, the harmonic styles found in their music are not the ones generally found in Jazz typical chords and/or chord sequences, I would even say that to build a Jazz solo based on, for example, some Guinga’s (or Chico’s) tunes can be a real challenge, since he (them) go through very different sequences of chords if compared to the II V I, or, even, through the modal ways adopted by Jazz music till nowadays. And even when they use typical harmonic sequences found in Jazz, they use different bass lines, which by itself create different colors. So, I thought it would be interesting to build that bridge that I’ve tried on the new CD and, then, bringing different colors to Brazilian Jazz than the ones normally used, for example, colors found in the music of another giant (Antonio Carlos Jobim) and few others. To achieve that goal it required a deep work and I went through all their songbooks searching which songs (among more than 300) I would feel more affinity and, therefore, could combine with my musical style. Then, I’ve decided recording three of my songs as well.
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CD: Chora Baião Artist: Antonio Adolfo Label: AAM Music Country: USA/Brazil Track: Dá O Pé, Loro (Hey Parrot! Give Me Your Foot) Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser. |
LJN: What can you tell us about the modern revival of Choro music?
AA: Its revival started to come to scene during the 80′s, by musicians in Brazil. First by Choro musicians, mainly in Rio and, then, by Jazz oriented ones. And I can include myself among these, since the recording of my album “Os Pianeiros” (1981), where I payed tribute to the great Ernesto Nazareth, one of the most important Brazilian composers of all times, and the subsequent ones: “João Pernambuco – 100 Anos”, a tribute to the guitarist and great Brazilian Choro composer and “Chiquinha Com Jazz” (another very important and influential Brazilian composer and conductor). Nowadays you can see a countless number of great musicians writing and playing very nice Choros and, among them, people like Guinga that, in my opinion, could be considered the one that reinvented that style.
LJN: Is there any difference between Choro and Chorinho?
AA: Chorinho is an affectionate form of calling Choro. In addition, we could say that Choro embodies several subgenres and similar styles as, for example, maxixe, lundu, polka (Brazilian Polka), tango brasileiro, etc, and even waltzes (Valsa Brasileira).
LJN: Let’s talk about the songs that you included on Chora Baião, starting with your own compositions, which by the way, fit perfectly and embody the spirit of this new project.
AA: There is a brand new one, “Chora, Baião” (Cry, Baião). I had written that song two years ago and it was in the “waiting list” to be recorded. And this was the perfect time to do that. There is another one that I’ve created for a composition class, when I was studying with master Guerra-Peixe, in Brazil, in 1975, “Chicote” (Whip), It was included in my 1977 “Feito em casa’ album, but as I’ve been playing that song in some shows and Concerts, it started to take different forms and for the new album I thought it fitted perfectly. Besides the type of chords used I have inserted a section with 24 measures, sort of Blues form but with typical Baião chord sequences, and one that I’ve written totally inspired by the songs of Chico and Guinga, “Chorosa Blues”, a piano solo, that I’ve decided to play just once for the track, simply the tune. In the album it has 1:24 length.
Note from the Editor: more information about Chora Baião at: www.antonioadolfo.info
LJN: Let’s talk about the musicians that joined you on this recording.
AA: Oh yeah, these are the guys, all GREAT musicians: Leo Amuedo (guitarist), born in Uruguay, worked in Holland for sometime and then went to Brazil to join Brazilian composer and singer Ivan Lins’ group. Leo is an incredible musician and peforms very inspired solos during the whole album. Jorge Helder, actually playing with Chico Buarque, represents what a bass player has to be: besides, his harmony knowledge, Jorge has a sense of the whole in a musical group, comes up with nice suggestions, he is very precise and well tuned: a real great bass player! Rafael Barata is one of the best Brazilian drummers I’ve ever met. He reminds me of Edson Machado, the inventor of playing samba using the cymbals that was in the 60′s. Back to Rafael, I am very impressed by his musicianship, his precision and, besides all that, he makes me feel very comfortable to express myself musically. Marcos Suzano, one of the most influential and precise percussionists from Brazil. The way he approaches and plays the pandeiro (Brazilian tambourine) has completely changed the function and possibilities of that instrument in popular music, not just Choro, but any style. He can play any style of music on pandeiro. Besides that, his musicianship adds much to any group of musicians. The way he chooses the percussion instruments to fit every song. I loved the experience of having him in the album. And, there is also Carol in two songs, singing “Você, você”, by Guinga and Chico, and vocalizes on “A Ostra e o Vento” (The Oyster and the Wind). Carol is great and I feel always very gifted having her with me in my recent albums. The most recent ones: Antonio Adolfo – Lá e Cá/Here and There, and Antonio Adolfo and Carol Saboya – Ao Vivo/Live are examples of the nice combination of our styles.
LJN: You credit Oscar Peterson as one of your major jazz influences. Being myself from Canada, I had to ask you how this came to be.
AA: When I started to listen to Jazz, Oscar Peterson became one of my favorites and biggest influences. He was (is) GREAT!!! I was very impressed by his musicianship and his way of playing Jazz. It is hard to describe.
LJN: Can you tell us about your intensive educational work (in both countries, Brazil and United States)?
AA: Since I’ve studied with all my masters, including Brazilian Guerra-Peixe, my dear French teacher Nadia Boulanger and all others, I could notice the importance of transmitting our musical knowledge to others. Besides that, teaching is another way for you to keep practicing. You have to be ready to answer to any question, you have to practice chords in any key, etc., and you learn a lot from the students. So, since 1975 I became a music teacher and, in 1985, created my school in Rio, Centro Musical Antonio Adolfo, which is very active, with a big number of nice teachers and students. Actually, besides, the school in Rio, which is more under the direction of my two daughters Carol and Luisa I go to Rio and work at the school four or five times a year. I am also conducting an experimental school in Hollywood , FL (USA), Antonio Adolfo School Of Music, where I teach music, mainly Brazilian music for adults and children. It has been a nice experience as well. Once in a while I go to other places to teach Brazilian music clinics as well.
LJN: I quote the following from an online source: “…the legendary Brazilian composer Antonio Adolfo, the first Brazilian musician to play the Fender Rhodes”. What can you tell us about this?
AA: Yes, that was in 1969, when I created my group Antonio Adolfo e a Brazuca, a sort of Sergio Mendes’ influenced band. Sergio had recorded my song “Sa Marina” (Pretty World) in that year and I was a big fan of him and his group. The Fender Rhodes was a new possibility in terms of sound for pianists and I wanted to try that. I still like its sound, but, to tell the truth, for the music I’ve been playing lately, I prefer the acoustic piano.
LJN: Besides promoting your new CD Chora Baião, and continuing your dedicated educational work, what’s next for Antonio Adolfo? Any project(s) that you’re already planning to pursue? Any project(s) you still haven’t been able to acomplish?
AA: I enjoy what I’ve been doing. I enjoy recording (my albums and being guest of other artists as well), performing (I’ve been performing mostly in Brazil, but also in the US). There are no projects right now, since I am dedicating much time to my new “baby”, the CD “Chora Baião” and cannot forget my students as well. Of course, ideas always come to my mind all the time, so, at anytime a new project can become reality.
LJN: Congratulations on another magnificent project. Latin Jazz Network wishes you all the best on this and future endeavors. Is there anything else you would like to add to close this conversation?
AA: Thank you. I’ve enjoyed your questions. It has been a pleasure answering to them.
Related links:
Antonio Adolfo – Chora Baião: www.antonioadolfo.info
Centro Musical Antonio Adolfo – Brazil: www.antonioadolfo.mus.br
Antonio Adolfo School Of Music – USA: www.antonioadolfo.net
New CDs – September 2011 – Part 1
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CD: Chano Y Dizzy Track: Chano Pozo Medley: Tin Tin Deo / Manteca / Guachi Guaro Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser. 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! |
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CD: 8 Momentos, 8 Fotografías Track: Torito Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser. 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. "Torito" is a lively, forceful track, full of creative energy. |
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CD: Purpose Track: Purpose Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser. Bassist extraordinaire and proud Boricua, John Benítez, has an only purpose on this new recording: to expand the vocabulary of Latin jazz with the richness of his compositions. He combines a diversity of latin derived styles; rumba, son, bomba, cumbia, chande (a less known Colombian rhythm) meld with jazz harmonies to present a fresh sound that also revitalizes fusion. |
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CD: Mexico Azul Track: Tres Palabras Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser. Mexican-born Magos Herrera (now living in New York) possesses a voice that at the same time delivers melodic lines with finesse and earthly roughness. Her jazzy treatment of classic pieces from the great Latinamerican Songbook is gracious and respectful of the spirit of these widely revered boleros. Truly, a magnificent celebration of Mexico’s golden age of cinema and television. |
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CD: Alma Adentro: The Puerto Rican Songbook Track: Juguete Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser. Being a recipient of the coveted MacArthur Fellowship has given Miguel Zenón the freedom to pursue great projects like this one. 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. |
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Presenting José Rizo’s Mongorama
José Rizo’s Mongorama picks up where the Jazz on the Latin Side All Stars left off. After a decade of fruitful existence, performing and recording four terrific CDs (Jazz on the Latin Side All Stars 1 and 2, The Last Bullfighter and Tambolero), the veteran KJazz radio host, producer, composer and bandleader takes a new direction and moves on to a new project, which is actually a continuation of the original Latin jazz all stars band concept, but now focused on a specific period of the creative evolvement of Cuban Master Conguero, Mongo Santamaría.
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Mongorama is no ordinary band. Its self-mandate of paying tribute to the charanga/jazz musical period extensively explored by Mongo Santamaría and his bandmates, saxophonist Chombo Silva and flautist Rolando Lozano, involves revitalizing Mongo’s music and the charanga tradition he helped to develop in his moment. Rizo, as producer and bandleader and musical director Danilo Lozano incorporate new arrangements and orchestrations, modern variations of the themes without losing the essence of the rhythm and the infectious danceability of the music. The hip, jazzy feel exudes throughout the vocal and instrumental deliveries on this recording. Engaging and enjoyable at the same time, Mongorama equally pleases the listeners (jazz and Latin music fans) and the dancers. Great job accomplished by pianist Oscar Hernández with his arrangements, and Francisco Torres as well.
This is an album recorded live-in-studio over a two-days fantastic musical journey. That means the music on this CD has that fresh, spontaneous and improvisational elements inherent to Jazz and Afro-Cuban descargas. This approach works perfectly well for these seasoned, highly-trained cats who proudly follow on the steps of Maestro Mongo Santamaría.
A nine-piece members ensemble, Mongorama brings to the stage great musicianship and sophisticated interpretations. It introduces a magnificent sound to a new generation of listeners who will surely be interested in finding out more about the music of Mongo Santamaría and his “La Sabrosa” charanga ensemble during the sixties and seventies.
Mongorama recreates previously recorded material by Santamaría: Bacoso (one of Mongo’s signature tunes featuring Hubert Laws on a superb solo flute, Dayren Santamaría on violin and Joey De Leon on congas); Las Guajiras (an overcharged electric guajira reminiscent of the hypnotic Cachao’s descargas, featuring Poncho Sanchez on congas, Danilo Lozano on flute and Adonis Puentes on vocals); Bluchanga (a popular Latin jazz composition by Mongo’s pianist Joao Donato, featuring Justo Almario on tenor sax, Oscar Hernández on piano and Joey De Leon on congas); Palo Mayombe (a composition by Mongo’s singer, the late Rudy Calzado, featuring Justo Almario on tenor sax and Adonis Puentes on vocals); Siempre en Tí (an arousing bolero by master flautist Rolando Lozano, featuring Hubert Laws on flute, Justo Almario on tenor sax and Adonis Puentes on vocals); Que Maravilloso (another composition by Rudy Calzado, featuring Oscar Hernández on piano, Ramón Banda on timbales and Adonis Puentes on vocals); Cruzan (a beautiful, serene composition by former Santamaría’s pianist Armen Donelian, features Oscar Hernández on piano and Justo Almario on tenor sax) and Guajira at the Blackhawk (one of Mongo’s earliest pieces dedicated to the legendary San Francisco club, features Danilo Lozano on flute, Poncho Sanchez on congas, Justo Almario on tenor sax and Adonis Puentes on vocals). José Rizo contributes two of his own compositions: Así es la Vida (where Adonis Puentes shines on vocals, Poncho Sanchez is featured on congas and Danilo Lozano on flute) and Bubba Boogaloo, a joyful theme that gets a special treatment on the soulful voice of the gracious Destani Wolf. Both tracks are masterfully arranged and co-composed by Francisco Torres. No Molestes Mas, found its way in through an early Ray Barreto’s recording. This swinging tune is a true delicacy for the dancers, making your feet move at the first notes. The album closes with Tin Marín, a traditional tune inspired by the Cachao Cuban Jam Sessions in Miniature legendary recordings (featuring René Camacho on bass, Freddie Crespo on vocals, Ramón Banda on timbales and Danilo Lozano on flute).
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Kudos to Rizo for an impecable, very professional presentation. Avid readers and serious listeners are always looking for liner notes that are at the same time informative and educational. That’s exactly the case with this album.
Track listing: 1. Bacoso; 2. Asi Es La Vida; 3. Las Guajiras; 4. Bluchanga; 5. No Molestes Mas; 6. Bubba Boogaloo; 7. Palo Mayombe; 8. Siempre En Ti; 9. Que Maravilloso; 10. Cruzan; 11. Guajira At the Blackhawk; 12. Tin Marin.
Personnel: Alfredo Ortiz (vocals, guiro); Adonis Puentes, Freddie Crespo, Destani Wolf (vocals); Dayren Santamaria (violin); Danilo Lozano, Hubert Laws (flute); Justo Almario (tenor saxophone); Alberto Salas, Oscar Hernandez (piano); Joey de Leon, Poncho Sanchez (congas); Ramon Banda (timbales).
Mongorama on the web: http://jazzonthelatinsideallstars.com/index1.html
Feature/Review written by: Danilo Navas
Glenda del E’s Q-Ban Mixology CD Release Fiesta
Glenda Del Monte Escalante, aka Glenda del E, released her first CD entitled Q-Ban Mixology. It was an electrifying night at the Mod Club Theatre on College Street in Toronto, on September 23, 2010. Featuring a string quartet and many special guests, Glenda del E took another big step in her artistic career.
From her earliest years in Havana, Cuba, Glenda was immersed in music. Her extraordinary work ethic and dedication to her craft has been instrumental in her development as an artist. In a short period of time, she has built an impressive musical resume, winning various competitions in her home town and being awarded scholarships from the Royal Conservatory of Music in Toronto as well as the Faculty of Music at the University of Toronto and York University. Being open to a wide array of musical influences, which range from classical piano to Cuban folklore to hip-hop, R&B and jazz, Glenda has managed to establish herself as an extremely talented and versatile musician amongst diverse music circles in Canada. Glenda is the ideal representation of a young adult making outstanding contributions to the development of the Latin American community of Canada.
Cuban Pianist-singer-songwriter Glenda del E gives Cuban music a fresh new take with her exceptional musicality, her piano and her voice. “Q-ban Mixology” evolved from Glenda’s trademark, positive and inspiring lyrics and melodies for all ages, pop-soul hooks and funk-jazz influenced arrangements defy generally held notions of what Cuban music is and defines her truly unique, genuine and her real sound. Her music reflects what she is: A strong academic trained musician transcending frontiers and a role model for future generations.
View slideshow: Glenda del E’s Q-Ban Mixology (this link will open in a new window)
Photographs by Danilo Navas
Jane Bunnett and The Cuban Piano Masters at Koerner Hall, Toronto
Feature/Review written by: Danilo Navas
The Cuban Piano Masters Project
This unique musical group was first conceived in Havana, Cuba in 1992 at the National Theatre with the great Cuban pianists José María Vitier and the late Frank Emilio. It was brought to fruition in Canada in 1993 with a ground-breaking concert at the Glenn Gould Theatre (CBC) and became Jane Bunnett’s recording debut for EMI/Bluenote.
In 1997 the 2nd edition was presented at the Montreal Jazz Festival with collaborators Hilario Durán and Frank Emilio. This concert was filmed by Le Spectre and shown worldwide as “Jane Bunnett and the Cuban Piano Masters” (see: http://www.youtube.com/watch?v=RUmrR7kMRmk).
Now in its third edition, this is a presentation of three generations of piano with Jane’s original collaborator Hilario Durán, current pianist Elio Villafranca and elder master Guillermo Rubalcaba (who appeared with Jane in her 2000 National Film Board Documentary “Spirits of Havana.”
The Cuban Piano Masters 2010/2011 Edition
The Venue
The superb new Koerner Concert Hall is a magnificent, state-of-the-art 1,135-seat venue located in the heart of downtown Toronto. Koerner Hall is one of three stages housed under the TELUS Centre for Performance and Learning, which is the Royal Conservatory’s new Toronto home. The elegant, modern architecture, goes hand in hand with the exceptional acoustics of the hall. It has received unanimous praise by performers and spectators alike.
Jane Bunnett and The Cuban Piano Masters was the last show of a concert-series dedicated to exploring the roots and advancements of the tremendous fusion of Latin Music and Jazz, known under the umbrella term of Latin jazz.
The Musicians
Jane Bunnett, soprano saxophone, flute
Hilario Durán, piano
Guillermo Rubalcaba, piano
Elio Villafranca, piano
José Luis Quintana (Changuito), timbales
Larry Cramer, trumpet
Roberto Riveron, bass
Jorge Torres (Papiosco), percussion
Luis (Luisito) Orbegoso, percussion
The Music
Part I
1. La Comparsa (Ernesto Lecuona)
2. Scheherazada (Frank Emilio Flynn)
3. Lágrimas Negras (Miguel Matamoros)
4. Oguere’s Cha (Elio Villafranca)
5. Timba Mabó (Hilario Durán/José Luis Quintana “Changuito”)
Part II
1. Fool On The Hill (Lennon/Mc Cartney) (Arranged by Elio Villafranca)
2. Quirino Con Su Tres (Poem by Nicolás Guillén/Music by Emilio Grenet)
3. Havana City (Hilario Durán)
4. I Hear Voices (Jane Bunnett)
5. Andalucía (Ernesto Lecuona)
6. Cacique (Elio Villafranca)
7. El Manicero (Moisés Simons)
Encore
- Ron Con Ron (Rum With Rum)
The Concert at Koerner Hall, Toronto
On Saturday, April 17, 2010, at around 8:00 pm, Jane Bunnett opened this special concert, soloing on her soprano, creating an almost sacred atmosphere in the magnificent Koerner Hall. That was a fit preamble to one of the most famous compositions by Cuban composer Ernesto Lecuona, “La Comparsa.” One by one, the three pianos and the rhythmic section joined Jane Bunnett on a journey through popular, classical Cuban music and jazz.
Next on the program was “Scheherazada,” performed as a tribute to his composer, the late Piano Master Frank Emilio Flynn (1921-2001). The audience was treated to a joyful rendition of this piece, originally recorded as a cha cha chá in 1997 by Emilio, on his album “Barbarísimo.”
Next, Bunnett and Guillermo Rubalcaba joined forces as a duet on another classic piece, “Lágrimas Negras” (Miguel Matamoros).
The youngest of the three Masters, Elio Villafranca, contributed his first composition of the night, the enchanting “Oguere’s Cha,” recorded by Villafranca on his first CD, “Incantations.” A very spiritual piece, “Oguere’s Cha” began with a beautiful chant masterfully performed by percussionist Luis (Luisito) Orbegoso, who’s very well known in the Toronto Latin and Jazz musical circuit. Elio and Hilario exchanged lyrical melodies and waves of rhythm and harmony in their interaction, bringing the call and response patterns to a high level of complexity.
Right after, and closing the first part of the concert, another very special guest came on stage. The legendary percussionist José Luis Quintana (Changuito) introduced “Timba Mabó,” a descarga written by Hilario Durán and Changuito during the recording of Hilario’s CD “Killer Tumbao” in Havana, Cuba, back in 1997.
As it’s been customary on this Latin Jazz Series concerts, after the intermission, Mervon Mehta (Executive Director, RCM Performing Arts) joined the featured artist (in this case Jane Bunnett) for a brief chat. Bunnett shared her musical views and ideas with the audience, opening right after the second part of the show with a duet. This time, Jane and Elio Villafranca performed a beautiful rendition of “Fool On The Hill” (Lennon/McCartney). An intricate Villafranca’studio of this popular piece unfolded, led by the piano, and nicely complemented by Bunnett’s flute.
The duet became a trio. This time, Jane and her soprano horn were joined by Hilario Durán on the piano and “Changuito” on the timbales. They did a wonderful interpretation of “Quirino con su Tres,” a popular tune created by Emilio Grenet, who wrote music to a poem by Nicolás Guillén in the 1930′s.
Then it was Durán’s turn of contributing a composition, “Havana City,” from his recording “Encuentro en La Habana,” made in Cuba in 2005 with his former bandmates from “Perspectiva.” A tribute to the city of dreams, as I call it, “Havana City” evoques the nostalgia of the artist’s motherland, the cherished souvenirs and the ghosts of a lifetime.
The next piece was “I Hear Voices,” a song written by Jane Bunnett, from her Juno Award winning album “Embracing Voices.”
Then the classic song “Andalucia,” composed by Ernesto Lecuona, received a modern treatment. Arranged by Maestro Guillermo Rubalcaba. The three pianos participated in the dialogue.
“Cacique” came after. The second composition of the night by Elio Villafranca. Another spiritual song, introduced by Elio singing a chant/prayer to the Orisha Oduduwa (Odua).
Possibly the most popular Cuban song of all times, “El Manicero,” written by Moisés Simons, ended a fantastic musical trip to the Caribbean island. Three true Masters representing the best of the Cuban pianistic tradition, led by a more than passionate Canadian, took us on a helluva ride with their distinctive voices. Big kudos to Jane Bunnett for making this great concert a reality. Not an easy task to accomplish, this show is definitely one of the landmarks in Jane’s musical career.
As if we hadn’t had enough, we were regaled with an encore: the descarga “Ron con Ron” (Rum with Rum), previously recorded on Bunnett’s Cuban Odyssey – Spirits of Havana project.
From an interview with Mrs. Bunnett conducted by John Goddard (Toronto Star daily), I extract the following, where Bunnett describes the significance of each player on this concert.
Guillermo Rubalcaba: “At 83, he is super well-known and in great health. There are not a lot left — guys in their 80s who play in that beautiful, elegant piano style (of 1930s Cuban cha-cha-chá) that blends very European influences with Afro Cuban rhythms. “Guillermo is founder of one of the most famous groups in Cuba, Charanga Rubalcaba, and plays with Buena Vista Social Club.”
Hilario Durán: “In terms of the growing modern jazz scene in Cuba in the 1970s and 1980s, Hilario was one of the more profound players. He was big there. He had his own group “Perspectiva,” besides doing all the other work he was doing.
“When I met him (in 1991 in Havana) he probably had made well over 400 recordings as a sideman, working in the EGREM recording studios, just working away arranging, composing, directing and backing many of the great Cuban masters.”
Elio Villafranca: “Elio is in his 30s, one of the new generation of Cuban musicians on the cutting-edge New York scene. I would say he’s a jazz musician first but really draws from his Cuban roots. He is from Pinar del Río, the little boot part of western Cuba.
“We’ve been working a lot in the States together and playing a lot in Europe.”
Changuito: “He’s done a million recordings. He joined Los Van Van (in 1970), which for me is the best salsa band, my favourite, and he was sort of the originator of the songo rhythm, one of the groundbreaking rhythms the group developed. He left a few years ago to focus more on Latin jazz.”
View Slideshow – Jane Bunnett and the Cuban Piano Masters
Photographs by Danilo Navas
2009 Art of Jazz Festival – Cuban Orchestra Anacaona
Seventy-seven years after the first band was formed, the spirit of the original members of Anacaona is still alive. Today the band’s leaders -sisters Georgina and Dorita Aguirre- maintain the legacy they received from the Castro Zalarriaga sisters.
Anacaona was founded in Havana in 1932, by Concepción Castro and her sisters: Ada, Alicia, Algimira, Caridad, Emma, Olga, Ondina and Xiomara. At that time it was considered the first women son sextet; in 1934 they changed the format to Jazz Band and Charanga Típica. Against all the odds -being an all-female band- they embarked on a steady and very successful musical career. They traveled all over Cuba and abroad, sharing international stages with many artists from all over the world. They recorded and appeared as special guests on radio, TV shows and movies.
Fifty years later, after finishing their studies at the Amadeo Roldán Conservatory in 1983, Georgina Aguirre and her sister Dorita joined the band, then under the leadership of Alicia Castro (who was the second director of the group). In 1987, the five remaining Castro Zalarriaga sisters decided to retire, and the leadership of the orchestra was passed on and kept in good hands. Since then, Anacaona has been renewed with young and talented girls, graduated from different Art schools and with the required musical talent and charisma to maintain the legendary orchestra.
Anacaona made its first Canadian appearance during the Art of Jazz Festival in Toronto, on Saturday June 6, at the Fermenting Cellar venue, in the Distillery District. They also played an outdoor concert at the Trinity stage on Sunday, June 7.
View slideshow: Anacaona Orchestra (this link will open in a new window)
Photographs by Danilo Navas
Mexican musicians play the 2009 Montreal Jazz Festival
Hector Infanzón, Magos Herrera, Sacbé, Lila Downs, Los de Abajo. What do all these artists have in common? Besides sharing a common heritage, they represent the best exponents of a wide range of contemporary music in and out of Mexico, and they all will be performing in Montreal, Canada next July, during the Montreal Jazz Festival (Festival International de Jazz de Montréal).
This year marks a very special occasion for the internationally recognized event, as it reaches 30 years of successful existance. This anniversary will be celebrated with all the bells and whistles you could possibly expect from the largest jazz festival in the world (according to the Guinness Book of World Records).
Between June 30th and July 12th, 2009, more than 3,000 artists from 30 countries, offering more than 650 concerts, will delight thousands and thousands of avid music fans who will gather to commemorate 30 years of cultural endeavour and dedication in the magnificent city of Montreal.
News report by Danilo Navas
The Artists
Héctor Infanzón
Héctor Infanzón is a superb pianist, composer and arranger who has performed with Wynton Marsalis, Jeff Berlin, Carlos Santana, Jose Feliciano, Lincoln Goines, Dave Valentin, Papo Lucca, Johnny Pacheco and many others. He has recorded 4 CDs: “Citadino”, “Impulsos”, “Nos Toca” and “De Manera Personal.” He’s also played numerous national and international jazz festivals, and this is gonna be his first time playing the prestigious Canadian jazz fest.
Héctor Infanzón is scheduled to appear on Saturday, July 11, at 7:00 pm and 9:00 pm at the Club Jazz TD Canada Trust stage.
www.myspace.com/hectorinfanzon
Magos Herrera
Magos Herrera is an accomplished singer-songwriter and a world-class jazz vocalist, fluent in English, Spanish, and Portuguese. Considered “one of the most beautiful voices and the most active vocalist of the contemporary Latin American jazz scene,” Magos herrera is based in New York, where she recently released her latest CD -”Distancia”- on Sunnyside Records. She has toured Latin America, India, Japan and United States.
Magos Herrera plays this time the Montreal Jazz Fest, where she will perform at the Scène CBC/Radio-Canada stage on Sunday, July 12 at 6:00 pm.
Sacbé
Sacbé, “one of the most important and influential bands in the history of Mexican jazz” is integrated by the Toussaint brothers, Eugenio, Enrique and Fernando. Led by Eugenio, who formed the group in 1976, Sacbé has recorded six albums. This is their second year in a row participating in the Montreal big musical event, but this time they’re joining Quebec sax player Jean-Pierre Zanella.
You can catch Jean-Pierre Zanella and Sacbé at L’Astral (Maison du Festival Rio Tinto Alcan) -which is the new house of the festival- on Saturday, July 11 at 6:00 pm.
www.eugeniotoussaint.com/biography/sacbe
Lila Downs
Mexican-American singer Lila Downs grew up in the Sierra Madre mountains of southern Mexico, in the state of Oaxaca, where she was born. Lila Downs is the quintessential World Music Diva. She is a modern icon of Mexican music. With her band, Lila has toured around the globe, participating in many international events. She performs her own compositions, also tapping into the vast reservoir of native mesoamerican music, singing songs in the native languages of Mexico: Mixtec, Zapotec, Maya and Nahuatl.
Lila Downs performs on Friday, July 10 at 7:00 pm, at the Club Soda.
Los de Abajo
Los de Abajo defy any categorization. Their mix of Mexican styles -cumbia, son jarocho, banda sinaloense- with ska, punk, rock, salsa, reggae, and other rhythms is simply explosive. But they have to be experienced live. Their concerts are full of contagious energy and interaction with the audience. Los de Abajo have come a long way since 1992, when they got together as a four-piece Latin-Ska outfit.
The Montreal crowds are gonna be jumping and dancing to the sounds of Los de Abajo on Saturday, July 11 at 8:00 pm, at the Scène Bell.
