More Noteworthy Recordings of 2011

By Raul da Gama, Janine Santana, Wilbert Sostre

		Claudio Roditi – Bons Amigos (Resonance Records) Most fans, even aficionados of contemporary music, still only vaguely know the great trumpeter Claudio Roditi as the “Brazilian who joined Arturo Sandoval in Dizzy Gillespie’s United Nations Orchestra”. It is a pity that Roditi’s musical reputation rests on so narrow a spectrum in his enormous musical career. Few know, for instance, that Roditi was one of the first Brazilian musicians to relocate in the United States of America: in 1970 as a matter of fact. Since then he has criss-crossed America playing with the likes of Tito Puente, Mario Bauzá, Ray Barretto and Dizzy Gillespie… Read full review by Raul da Gama.
		Silvano Monasterios – Unconditional (Savant Records) Silvano Monasterios reaped the benefit of a valuable education. Born in Caracas, Monasterios studied classical piano at José Lamas Conservatory, learned the traditional rhythms associated with sambas of South America, and studied jazz at home with his father. This combination has integrated and developed Monasterios into a superb composer and performer. After winning a scholarship award for best soloist at the Miami Jazz Festival, he moved to the United States to attend Miami-Dade College. He has several jazz honors both here and in Venezuela… Read full review by Janine Santana (jazzhistoryonline).
		Jane Bunnett & Hilario Durán – Cuban Rhapsody (Alma Rec) Saxophonist and flutist Jane Bunnett exploration of cuban music started back in the 1990′s and she is a frequent visitor to Cuba. So Bunnett is not a newcomer to the world of latin music. In fact Bunnett received the 2002 Smithsonian Institute Award for her contributions and dedication to the development of latin jazz. On her new release Cuban Rhapsody, Bunnett recorded with her long time musical friend pianist virtuoso Hilario Duran. Their music partnership goes back to 1990 when Bunnett went to Cuba to record her album Spirits of Havana. Bunnett and her husband… Read full review by Wilbert Sostre.
		Diego Urcola Quartet – Appreciation (CAM Jazz/Sunnyside) Diego Urcola’s is a voice that remained somewhat hidden—certainly tucked away—for two decades in Paquito D’Rivera’s quintet. And then there was the subdued role he played in Los Guachos, the fabulous larger ensemble. However the graceful candour of his voice is irrepressible and it was only a matter of time when he would be heard for what he really is and plays. Urcola is distinct and a singular artist in the manner of his more famous countryman Leandro “Gato” Barbieri. The trumpeter plays with sensuous swagger and digs deep into his own soul for… Read full review by Raul da Gama.
		Antonio Adolfo – Chora Baião (AAM Music) Antonio Adolfo is not very well-known outside of Brazil—yet! His beautiful new recording "Chora Baião" (Cry Baião) is a successful marriage of traditional northern Brazilian musical forms (which meld African, European and indigenous cultures) and jazz. Adolfo has taken the music of two beloved Brazilian artists, Guinga and Chico Buarque, whose fortes are choro and baião and arranged it with his own elegant flavor. He respectfully maintains the integrity of these two masters while infusing his own mastery of composition and arrangement. The album opens with “Dá O Pé … Read full review by Janine Santana (jazzhistoryonline).
		Wayne Wallace – To Hear from There (Patois Records) Wayne Wallace continues to explore the infectious Afro-Cuban rhythms on To Here From There, the follow-up to his 2010 Grammy-nominated album, Bien Bien! (Patois Record, 2009). Wallace is a trombonist with vast experience that includes collaborations with artists such as Count Basie, Joe Henderson, Lionel Hampton, Sonny Rollins and Tito Puente. Wallace Latin Jazz Quintet plays like they were born in Cuba. The danceable “La Escuela” with its piano montuno and the distinctive clave of the Cuban son is dedicated to La Escuela Nacional de las Artes… Read full review by Wilbert Sostre.
		Hendrik Meurkens – Live at Bird’s Eye (Zoho Music) Hendrik Meurkens is, most certainly, one of the greatest musical adventurers from Europe. The harmonica wunderkind who also happens to be a fine vibraphone player seems to have almost singlehandedly rediscovered Brazil decades after Stan Getz and Joe Henderson did almost five decades ago. In doing so Meurkens along with the grandmaster of the harmonica, Toots Thielemans, has cast a refreshing light on Brazilian music, focussing on the angularity and aching beauty longing of its beloved choro. Not only has he brought a new instrument (the harmonica) to… Read full review by Raul da Gama.
		Oscar Pérez Nuevo Comienzo – Afropean Affair (Chandra Rec) Originally from Queens, pianist Oscar Perez studied both classical music and jazz. He focused on jazz because he was able to acquire more work in nightclubs than concert halls. Yet his classical music training comes through in his original compositions. The title work of the present recording, “Afropean Affair” is a commissioned suite from Chamber Music America which combines themes of the past, present and future of music from African, European and jazz sources. While some of the press material claims that Perez is creating a new musical form, I hear this… Read full review by Janine Santana (jazzhistoryonline).
		Sánchez, Harris, Scott – Ninety Miles (Concord Picante) Three young music virtuosos join forces in the Ninety Miles Project, one of the best albums of 2011. Grammy nominated vibraphonist Stefon Harris, New Orleans native, and also Grammy nominated trumpetist Christian Scott and Grammy winner saoxophone master David Sanchez. Ninety Miles is the distance between the USA and Cuba, two countries with great political differences but with a greater love for good music. Recorded in Cuba with cuban pianists Rember Duharte and Harold Lopez Nussa, Ninety Miles is also the result of the visit and exploration of Cuban music… Read full review by Wilbert Sostre.
		Afrodisian Orchestra – Satierismos (Youkali Music) And now comes Satierismos a superb homage from the large Spanish ensemble, Afrodisian Orchestra. These are extraordinary musicians who have—to a man—a wild sense of creativity. Each of the members of the orchestra show outstanding technique especially pianist Marta Sánchez and under the majestic musical direction of Miguel Blanco, the ensemble displays a tremendous genius for tonal color and command of instrumental timbre. But their greatest asset could well be their monumental sense of rhythm, particularly how to take control of this aspect of the… Read full review by Raul da Gama.
		Sammy Figueroa – Urban Nature (Senator Records) For years he has been heard as the driving percussion force behind many disparate legends in a variety of music genres. Involved in multiple Grammy-winning projects, and well versed as a multi percussionist in a variety of world rhythms, he is firmly established as a first call recording and touring musician. Yet this is not where Sammy Figueroa will stay. He has stepped away from being a sideman to shine as a leader. Figueroa’s skills, mature savvy and humor are revealed with perfect timing in his new CD, “Urban Nature”. While the groove of this recording is Latin… Read full review by Janine Santana (jazzhistoryonline).
		Magos Herrera – Mexico Azul (Sunnyside Records) Magos Herrera is the Cassandra Wilson of latin america. There are similarities in their warm, sultry tone, their bluesy feeling and strong command of the jazz language. What makes Magos Herrera different and certainly a unique voice in the jazz world today is her latin heritage that she proudly displays in all of her music. The CD notes describes México Azul as a celebration of México’s golden age of cinema and television. That was back in the 30′s and 40′s. A lot of good music came out of that era, and Magos did a good job in the song selection for this album… Read full review by Wilbert Sostre.
		Duduka da Fonseca Trio Plays Toninho Horta (Zoho Music) Plays Toninho Horta marks the arrival of Da Fonseca as a masterful interpreter of fine repertoire and inasmuch, as he has made Horta’s music his own, something of a “composer” as well. Da Fonseca is clearly one of the finest rhythm colorists around. He is one of several musicians who followed in the footsteps of fellow-Brazilians, Santos, Claudio Roditi and Nilson Matta in locating themselves in the United States. In bringing their artistry abroad, these musicians have become virtual ambassadors for Brazilian musical culture in that country. As is the case with… Read full review by Raul da Gama.
		Francisco Mela and Cuban Safari – Tree of Life (Half Note) Francisco Mela is a man who lives to drum. He studied in his native Cuba and at Berklee College in Boston. He has been known to rehearse twelve hours a day. He caught the attention of Joe Lovano, and the saxophonist hired him for his band Us 5, and strongly encouraged Mela to compose and perform his own music. “Tree of Life” is Mela’s third CD as a leader and it features his band Cuban Safari, which, in addition to Mela’s drums, includes Elio Villafranca and Leo Genovese on piano, Uri Gurvich on sax, Ben Monder on guitar, Luques Curtis on bass, and Mauricio… Read full review by Janine Santana (jazzhistoryonline).
		Kalani Trinidad – Crossing Bridges (Self produced) Flutist Kalani Trinidad is one of the brightest young stars in the Puerto Rico jazz scene today and the first Puerto Rican to win a Presidential Scholarship from Berklee School of Music in Boston. In his style Trinidad echoes the best of the great Puerto Rican flutist that came before him. One may hear on his music the finesse and sensitivity of a Nestor Torres and the inventiveness and intensity of a Dave Valentín. The music on Trinidad debut album Crossing Bridges has elements of smooth jazz on compositions like “Ubiquitous Being”, fusion jazz on “Noche en Madrid”… Read full review by Wilbert Sostre.

Duduka da Fonseca Trio Plays Toninho Horta (Zoho Music – 2011)

One of the main reasons why Brazilian music has been preserved and, more importantly, kept alive through the generations has been the readiness of newer generations of musicians to create repertory albums in homage to that country’s master musicians. Over the years there have been a slew of beautiful tributes to classical masters such as Heitor Villa Lobos, from João Carlos Assis Brasil’s legendary album A Floresta do Amazonas with Ney Matogrosso and Wagner Tiso, (Kuarup Discos) to the myriad ones to contemporary maestros from Ana Caram’s The Other Side of Jobim (Chesky), the stunning albums by Mario Adnet honoring Moacir Santos and Baden Powell (Adventure Music). To add to that ever-growing list comes an exquisite album paying tribute to one of the lesser-known, but equally masterful composer and guitarist, Toninho Horta, from one of Brazil’s greatest drummers of his generation, Duduka Da Fonseca.

Plays Toninho Horta marks the arrival of Da Fonseca as a masterful interpreter of fine repertoire and inasmuch, as he has made Horta’s music his own, something of a “composer” as well. Da Fonseca is clearly one of the finest rhythm colorists around. He is one of several musicians who followed in the footsteps of fellow-Brazilians, Santos, Claudio Roditi and Nilson Matta in locating themselves in the United States. In bringing their artistry abroad, these musicians have become virtual ambassadors for Brazilian musical culture in that country. As is the case with this great cultural collision samba and maracatu are now virtually germane to the ever-expanding rhythmic patterns of modern music.

But Horta’s music also brings a certain elegance and graceful to the art of song as well. This is recognizable no matter whether Portuguese is spoken and or understood where his music is played. Da Fonseca proves this with his skillful handling of the repertoire here. Much of this has to do with the beautiful understatement with which he plays, whether he is driving the rhythm forward as he accompanies pianist David Feldman and bassist Wirti, or in his solos. As an accompanist, Da Fonseca creates fabulous whorls of color and shade with his melange of rolls, tickles and bombs on the drums which are offset by the joyous splashes and tinkles on his many cymbals. The Brazilian backbeat constantly reminds the body that it must keep on swerving, swaying and pirouetting to Horta’s sensuous, delicious melodies. Da Fonseca’s solos are few and when Feldman and Wirti quiet down to let him take one, he flies, unfettered as if he and his drums are floating on great gusts of wind. Bassist and pianist bring him down only to take off themselves in what is a continuous display of sublime artistry that never seems to end.

Wirti also shines as he opens con arco, the hushed, aching lyricism of “Moonstone,” a piece that is one of Horta’s most beautiful torch songs. This song also calls to mind the mastery of Toninho Horta as a melodist. Few musicians are as capable as he is of such sweet assaults on the soul. “Francisca,” “Waiting for Angela” and “Luisa” are other reminders of Horta’s genius that rank him among the sublime creators of song—with men such as Jobim and Santos themselves as well as with Americans like Green and Sour, who created such unforgettable charts as “Body and Soul”. Such is the beauty of Horta’s music and the world would have been the poorer had not Duduka Da Fonseca and his Trio brought its beauty to us with this memorable album.

Track Listing:

1. Aqui, Oh!
2. Bicycle Ride
3. Moonstone
4. Francisca
5. Aquelas Coisas Todas
6. De Ton Pra Tom
7. Waiting For Angela
8. Luisa
9. Retrato do Gato

Personnel:

David Feldman: piano; Guto Wirti: bass; Duduka Da Fonseca: drums.

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Duduka Da Fonseca on the web: www.dudukadafonseca.net

Review written by: Raul da Gama

Pedro Bermudez – No Limits (Self Produced – 2010)

The energy contained in the body and soul of pianist Pedro Bermudez far exceeds that which may normally be given mere mortals. For his hands and arms are infused with a surfeit of tumbao. In his heart, the echoes of the timbales and the congas bounce excitedly against every internal surface. It is this incredible treasure of rhythm that flavours what he expends through his fingers on the ivories. More importantly, it is this that provides impetus for him to expand his energy like the ripples in a still sea that he plunges into with all the incredible weight of his skills in every aspect of Afro-Caribbean music. This is why his energy is so infectious and cannot be contained in a smaller ensemble, especially not on No Limits, an album that sits somewhere between the Atlantic islands of Puerto Rico and the deepest part of the Caribbean, in the eye of the Afro-Caribbean Hurricane of sorts, so to speak.

Although his proclivities tend more towards urban jazz with a Latin tinge, Bermudez has too much tumbao in his heart and hands to pass up on the Latin idioms and forms altogether. However, in the context of the larger ensemble, this rather tends to be buried and will only come to the fore on charts where his piano is sparingly accompanied by a thick layer of percussion, such as on songs like “El Jarriero” where Richie Flores and Vince Cherico provide that thunderous bed of ritmo, or in “Bombaião” where the exuberant percussion of Duduka Da Fonseca creates dancing rhythms from the Northeast of Brasil. It is then that Bermudez lets it all hang out and appears to fall prey to the charms of his alter ego—that one that lets all control go and when tumbao sets in.

But there is something to be said of Bermudez’s imbibing of the whole of the Afro-Caribbean culture. An example of this is how comfortably he sits in the Amazonian splendour of “Bombaião” or even the urbane carioca rhythms of Jobim’s “Caminhos Cruzados” or how authentic is the rhythmic and melodic sleight of hand on the magnificent choro, “Chorinho para María.”

There are echoes of joropos elsewhere and frequent trips to the floor swinging with the cha-cha and the rumba, but it is eventually Bermudez’s constant pushing of the envelope that seems to win in the end. After all, this is all about finding freedom in the absence of limits. There is rare challenge and flying free in these charts, most of all in the title track, where it all comes together—the Afro-Caribbean sensibility with the fluttering soul, flying free, dancing to the idiom of jazz. This is unmistakable in “No Limits” and “Long Walk” and it is more than gratifying to hear such a talented pianist breaking free of it all.

Tracks: Yubá a Santurce; La Número Seite; El Jarriero; ALC; The Dreamer; Bombaião; Redentor; Chorinho para María; Iván’s Cha; Caminhos Cruzados; Offbeat; No Limits; Long Walk.

Personnel: Pedro Bermudez: piano, Fender Rhodes; Eddie Gomez: acoustic bass (5, 10, 12); Ruben Rodriguez: bass (3, 4, 13); Duduka Da Fonseca: drums, percussion (6, 8); Ivan Renta: tenor and soprano saxophones (1 – 4, 9, 11, 13); Nelson Jaime “Gazu”: trumpet (1, 3, 4, 13); Ritchie Flores (congas (3, 7, 11); Vince Cherico: drums (3, 4, 13); Diego Lopez: drums (1, 2, 9); Cristian Rivera: congas (2, 9); Carli McDonaldo: timbal (9), congas (1, 4, 13); Efrain Martinez: drums (4, 7, 10 – 12); Gabriel Rodriguez: bass (7, 11); Felipe Salles: soprano saxophone (6 – 8); Oscar Stagnaro: electric bass (1, 2, 6, 8, 9); Mike Arroyo: acoustic/electric guitars (2, 8, 10); David “Piro” Rodriguez: trumpet (11); Ana Baiana: vocals (10).

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Pedro Bermudez on the web: www.pedrobermudezpiano.com

Review written by: Raul da Gama

Carlos Barbosa-Lima – Merengue (Zoho Music – 2009)

There is distinct nobility surrounding the virtuosity of the guitarist, Carlos Barbosa-Lima. His South American sojourn, Merengue presents sweeping vistas and myriad emotions described by such technical superiority as only a few musicians have achieved. Unfortunately Barbosa-Lima’s reputation has not kept pace with his magnificent musicianship.

This record offers a staggering array of music from under-exposed music that comes from relatively unexplored regions of Brazil. Classics from such composers as Heitor Villa-Lobos—who is represented by the dense vibrancy of “Veleiro,” a movement from his symphonic poem, A Floresta do Amazonica and “Prelude No. 2,” with its ever expanding dimensions of sonority. Redamés Gnattali, who composed several pieces especially for Barbosa-Lima, wrote the spectacularly performed “Invocation to Xango” that is carved out of Afro-Brazilian ritualistic celebration. Here it is given a fresh lease on life by Barbosa-Lima, who is accompanied by the percussion colorist, Duduka da Fonseca, bassist, George Anderson and the exquisite Guitar trio, comprising Barbosa-Lima, with Karin Schaupp and Christopher McGuire.

Nestling cheek by jowl with the classics from Brazil are two charmingly moody pieces by Tom Jobim—“Modinha” that features a heartfelt duet with the magnificent, Hendrik Meurkens, who returns to grace the guitarist’s splendid efforts on Jobim’s “Caminho de Pedra.” The Cuban composer, Leo Brouwer is also represented here by The vivacious “Danza del Altiplano” and “Guajira Criolla,” a marvelously performed piece in all its colorful glory. Of course, there is much more here to give cause for considerable celebration. The music of Ernesto Cordero, Uruguayan Isaias Savio, and another Brazilian legend, Jacob do Bandolim, whose “Implicante” highlights the dazzling mandolin skills of Marcillio Lopes. There are also works by Paraguayan, Agustin Barrios, Brazilians, Ernesto Nazareth and Laurindo Almeida, the Venezuelan, Rodrigo Reira. The great Venezuelan guitarist is honored by “Seis por Derecho.” The Columbian composer Gentil Montaña is represented by “Nunca te Olvido,” a rather lyrical piece.

Throughout the record, however, the music is given new life by the exquisite lyricism of Carlos Barbosa-Lima. The guitarist has technique that is staggering and uses dynamics that few guitarists are capable of today. With great mastery and unbridled genius, Carlos Barbosa-Lima has singlehandedly expanded the literature of the guitar. The Brazilian is a bold innovator and has blurred the lines between classical, folk and popular idioms. His ingenuity makes the word, “legendary” seem quite inappropriate in describing just how intelligently and gracefully he is able to create utterly enduring jewels in a musical language.

Carlos Barbosa-Lima has been a stellar concert guitarist for over five decades and has many recordings to his credit. This is his fifth for this Zoho label. Sadly many of his recordings are now lost as a large part of his catalogue existed in the vaults of Concord music and have since been deleted. This record is also significant as it has been carefully produced by Heiner Stadler, a remarkably knowledgeable aficionado whose work spans the classic and the modern, as in his wonderful A Tribute to Bird and Monk (Tomato Records, 1986).

Here, however, Mr. Stadler presides over sessions of glorious vibrancy. The magic of this music remains in the memory many moments after the exquisite last chords have been struck by Carlos Barbosa-Lima on the Hawaiian, Byron Yasui’s “Fantasy On A Hawaiian Lullaby.”

Tracks: 1. Invocation to Xango; 2. Merengue; 3. Veleiro; 4. Modinha; 5. Batuque; 6. Caminho de Pedra; 7. El Marabino; 8. Seis Por Derecho; 9. Prelude No. 2; 10. Seis Milonga; 11. Danza del Altiplano; 12. Guajira Criolla; 13. Cajita de Musica; 14. Canhoto; 15. Implicante; 16. Cancion Carorena; 17. Pais de Abanico; 18. Nunca te Olvido; 19. Escorregando; 20. Fantasy on a Hawaiian Lullaby.

Personnel: Carlos Barbosa-Lima: guitar; Gustavo Colina: cuatro (2, 7, 8); Hendrik Meurkens: harmonica (4, 8); Marcillio Lopes: mandolin (14, 15); Duduka da Fonseca: percussion (1, 14, 15, 19); George Anderson: bass (1); Guitar Trio (1, 3, 19): Carlos Barbosa-Lima, Karin Schaupp, Christopher McGuire.

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Carlos Barbosa-Lima on the web: www.zohomusic.com

Review written by: Raul da Gama

Claudio Roditi – Brazilliance x 4 (Resonance Records 2008)

Charles Mingus would have loved the way Claudio Roditi plays his horn. He is most like Clarence “Gene” Shaw. And like Shaw, Roditi knows the importance of the space between the notes; when to play a note; a quick flurry, or merely a short intricate phrase… and when not to play. His voice is unique; his sound is bright, delivered in short, round bursts of emotion and energy. And because he is one of the most thoughtful musicians around, he almost never plays a wrong note. On Brazilliance x 4 Claudio Roditi is on top of his game, once again. Moreover like the great bebop musicians, whom Roditi no doubt admires—men like Bird and Diz, who was his boss for several years in the United Nations Orchestra—he solos with sonorous rhythm and a quiet fire always aglow, but is the epitome of brevity, always… In and out in a few bars, perhaps a chorus or two. This way the music is always magnificently highlighted, while Roditi and his cohort merely embellish its intricacies in short gentle bursts.

This is Roditi’s first Resonance record and it is a splendid one indeed. He is joined here by three stellar, first call musicians—Helio Alves on piano, Leonardo Cioglia on bass and Duduka da Fonseca on drums. Their expert reading of the charts is near perfect and the empathy with the trumpeter and flugelhorn player is significant. In a day when showboating is the order of the day, each of the musicians here are practically self-effacing. But the music is not. The tunes here cover much ground in contemporary Brasilian music—from Victor Assis Brasil, Johnny Alf, Joao Donato, Durval Ferreira and Raul de Souza—a Miles Davis chart, “Tune Up” and four Roditi originals. All the songs are played in the Bossa Nova mode and the energy is kept up throughout the record.

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Roditi’s original tribute to the great Brasilian percussionist and composer, “Song para Nana,” is a dreamy excursion into a glowing soundscape, creating an almost halo-like quality for the track. Alves solos with exquisite taste and is also mighty glissando. Duduka da Fonseca is restrained and his splashes of brassy color on the cymbals stoke the composition throughout. “Tema para Duduka” has a sturdier bossa nova rhythm and showcases the drummer’s unbridled skill to great effect. The second half of the song belongs to Duduka da Fonseca, who turns his arms and legs, sticks and drums and cymbals into a harmonic and rhythmic constellation. Of course none of this would be complete without the steady strutting of Leonardo Cioglia, who provides a perfect foil for Fonseca to take the song into the stratosphere.

The Brasilian standards at the start of the record are wonderfully recast and in doing so Roditi is also giving notice that he is not merely a Brasilian with a penchant for jazz, but also a soulful Carioca at heart. “A Vontade Mesmo,” “E Nada Mais” and “Quem Diz Que Sabe” provide ample evidence of this. The live track at the back end of the record and the superb sound throughout make this record one of the finest in 2008/09 so far.

Tracks: Pro Zeca; E Nada Mais; A Vontade Mesmo; Tune Up; Rapaz de Bem; Dinner by Five; Song for Nana; Tema para Duduka; Quem Diz Que Sabe; Gemini Man.

Personnel: Claudio Roditi: trumpet, flugelhorn; Helio Alves: piano; Leonardo Cioglia: bass; Duduka da Fonseca: drums.

Claudio Roditi on the web: www.resonancerecords.org/claudioroditi

Review written by: Raul da Gama