Chembo Corniel – Things I Wanted To Do (Chemboro Records 2009)

There is nothing like a swinging, stomping Latin-Jazz record laden with sensuous clave and robust horns and relentless, driving percussion to stir the senses. And this is exactly what Wilson “Chembo” Corniel brings to life with Things I Wanted To Do. And this is also one more step in the journey for Corniel on his way to join the rarified space occupied by the likes of Tata Güines, Pancho Quinto, Long John Oliva and many others. Much of this has to do not just with Corniel’s wonderful abilities as percussionist, but also because of his ability to make music with his cohorts which is new and memorable.

Corniel is a mature artist and a fine, tasteful percussionist. His style may not be flamboyant, but he has this great depth as a musician. And as a punisher of the skins he is extremely intelligent. Corniel also understands not just clave, but pulse and dynamics. His work is inspired by living color and myriad timbral texture – as much as the mind can imagine. He often shows controlled passion and he certainly has a deep understanding of the metaphors and phrasing of music – no matter what dialect he sings in – Afro-Cuban or jazz. This is what makes his percussion work almost vocal. He rides his congas like a master who can tame even the wildest skins. His work on the smallest Batá (Okónkolo) together with Pedro Martinez and Ogduardo Roman Diaz, who play (Itótele and Iyá Batás, respectively) is highly spiritual and authentic. Together these percussionists – especially on “Oru Pa Tommy Lopez” is especially heartwarming as Corniel, Martinez and Diaz return the drum to its deep sacred voicing.

On Things I Wanted To Do Chembo Corniel makes short work of the exuberance of Latin American music. He swings from flamboyant to thoughtful and extreme virtuosity on “The Sultan,” a track that the great Marty Sheller wrote with him in mind. The restraint here is admirable. And this stands him in good stead as he leads from the front. And this is a powerful quintet that he leads. The group includes Ivan Renta on tenor and soprano saxophones who is especially memorable on “Tenia Que Ser Asi.” Then there is Vince Cherico, who brings that hard edge and filigreed drumming approach to the music. Pianist Elio Villafranca is outstanding throughout this recording. Villafranca, not only a soloist with a voice of his own is fast becoming a first-call sessions pianist and he is highly adept at eschewing the flash and showmanship that comes so easily to many pianists these days, replacing this with feeling and emotion instead. There is ample evidence of this especially on the extraordinary “Isla Verde.” And bassist, Carlos DeRosa is solid as a rock!

Things I Wanted To Do showcases all of the group’s formal rhythmic structures from cha-cha to classic son and rumba, with “Oru Pa Tommy Lopez” being a beautifully pure ritualistic percussion ensemble conversation with God. But there is also a spectacular array of music here. For instance Corniel stretches wonderfully on Ludovic Beier’s “Swing Street,” a track on which Beier’s accordion adds a superb harmonic twist to the ensemble sound. “Descarga Patato” and “The Sultan” are also tremendous vehicles for Corniel. “Fantasma,” although somewhat dark in tone is bewitching and beguiling and is riveting as it progresses languorously towards its denouement.

This record is also marked by several fine performances by its guest musicians. Frank Fontaine, who guests on “Descarga Patato”, is superb on flute alongside Jimmy Bosch, who growls his way on trombone. This may not be a typically rocking Latin record, but it is thoughtful and majestic and marks another giant step for Chembo Corniel in the world of Latin music.

Tracks: Buena Gente; Habana; September Cha; Tenia Que Ser Asi; Descarga Patato; The Sultan; Things I Wanted To Do; Isla Verde; Swing Street; Fantasma; Oru Pa Tommy Lopez.

Personnel: Grupo Chaworo: Ivan Renta: tenor and soprano saxophone; Vince Cherico: drums; Carlo DeRosa: acoustic bass; Elio Villafranca: piano, Fender Rhodes; Chembo Corniel: tumbadoras, Batá (Okónkolo), all percussion; Guests: Dave Samuels: vibes (4); Ludovic Beier: accordion (9); Jimmy Bosch: trombone (5); David Oquendo: guitar (3); John Di Martino: Fender Rhodes (10); Ruben Rodríguez: acoustic bass (4, 10); Tino Derado: piano (4); Gennaro Tedesco: lead guitar (7); Octavio Kotan: rhythm guitar (7); Junior Rivera: tres (5); Frank Fontaine: flute (5); Marvin Diz: timbales (3, 5, 10); Nelson Jaime (Gazu): string arr. and player (4); Pedro Martinez: Batá {Itótele} (1, 2, 6, 11), vocals (2, 5, 6, 11); Ogduardo Roman Diaz: Batá {Iyá} (1,2, 6, 11), vocals (2, 3, 5, 6); Iliana Santamaria: vocals (2, 5, 6).

Chembo Corniel on the web: www.myspace.com/chemboro

Review written by: Raul da Gama

Bobby Matos – Unity (LifeForce Jazz Records 2008)

Whatever music Bobby Matos chooses to inhabit is sure to be brimful – even overflowing – with energy. On this record, Unity, Matos attempts to take his bandmates on a profound, if rhythmic journey. He is attempting to almost metaphysically mirror here the rhythm of the earth in a state of constant unifying – swinging, heart-beating, bebopping – rhythmic revolution. And he lets the music do the talking, or dancing, as is more likely the case.

It is axiomatic that Bobby Matos represents all that is rich and rhythmically interesting about the Puerto Rican music scene. Matos is also well versed in the other subtly shifting Latin rhythms and a master of the Afro-centric universe from where it has derived – jazz included. Lest there be a suggestion that there is only a rhythmic vibe to be excited here on this record, it is important to be clear about Matos’ penchant for harmonic invention and long liner melodies, whether written or interpreted by him.

His own composition, “Da Londons From Da Bronx ,” is typical of this: a melodic plena that is hugely humorous as well. “Oiganlo” the lilting charanga son is another example. To be sure this record pays glowing tribute to the traditional while recasting these forms in a daring modern context. The audacious, jazzy bomba, “Ritmo Bembe” and the recasting of Horace Silver’s classic “Peace” as a lilting bolero are complemented well by a stellar son, “McCoy.” Also, on “Peace,” just as he does on Wayne Shorter’s “Mahjong,” Pablo Calogero reveals just how raw and beautifully he can p[lay tenor saxophone. On “Cuchy Frito Man,” the quirky bomba, he is equally virtuosic on flute, while Dan Weinstein makes it a double whammy with his sophisticated violin. Weinstein returns on “Bronx ‘Trane” on the deeper viola and then for a pleasantly surprise as he doubles on trombone, of all instruments. His solos on “Mahjong” and “No Down, No Feathers” are truly magnificent.

The guests on this record – Chembo Corniel on percussion, Phoenix Rivera on drums, Binky Griptite on guitar, Bosco Mann on bass and The Mighty Echoes make wonderful bedfellows for Matos throughout the tunes that they play on. In fact the musicians on the record connect with each other on many levels and this is one of the main reasons why the music succeeds smoothly and seamlessly. Frank Fontaine stars on tenor, on the hypnotically modal “Bronx ‘Trane.” Pianist, Theo Sanders and Dan Weinstein also solo here with particularly beautiful expressiveness.

This is an accomplished record by every stretch of imagination. While much of the props would automatically go to Matos for guiding it where it must go, the whole group participates as it should – with hypnotic and beautiful unity throughout.

Tracks: Mahjong; Ritmo Bembe; Cuchy Frito Man; Ritmo Yambu; McCoy; Oiganlo; Peace; Bomba Sica; No Down, No Feathers; Algo Diferente; Da’ Londons from Da’ Bronx; Iyesa Afro Beat; Bronx ‘Trane; Soul Zambique.

Personnel: Theo Saunders: piano; John B. Williams: bass; Pablo Calogero: tenor saxophone, flute; Dan Weinstein: trombone, violin; Robertito Melendez: conga, Quinto, pandereta; Jud Matos: percussion; Bobby Matos: timbales, congas, guiro, bell; Frank Fontaine: tenor saxophone (13); Edwin Livingstone: bass (13); Special Guests: Chembo Corniel: congas, percussion; Phoenix Rivera: drums; Binky Griptite: guitar; Bosco Mann: bass; The Mighty Echoes: vocals.

Bobby Matos on the web: www.bobbymatosmusic.com

Review written by: Raul da Gama