Arturo O’Farrill & The Afro Latin Jazz Orch – 40 Acres and a Burro
There may be a tongue-in-cheek aspect to Arturo O’Farrill & The Afro Latin Jazz Orchestra’s album, 40 Acres and a Burro (Zoho Music – 2011). The title suggests, as O’Farrill explains, the so-called “settlement” which newly-emancipated African Americans received at the end of the Civil War as well as the stereotypical manner in which the Latino population is viewed by the rest of the American population. But perhaps the State of the Union may not actually be quite what it appears to be. In fact, some may say that there is almost an insidious disregard for the “freedom” given the African American Diaspora in the 19th Century. Moreover there appears also to be an uncanny parallel in the same unspoken disregard for the humanity of Latinos today. So, make no mistake: while it may be la injustica se acabô, things are not what they seem.
Suddenly the commitment of artists—poets, painters and musicians—is being tested all the more. More than in any artistic endeavour it appears to be easier to “escape” from this reality into a fantasy world; even pretend social injustice does not exist. But then there are those who choose not to ignore what lies beneath the fabric of society. And this is the significance of the best African American and Latin American music holds fast to this belief as it appears to celebrate the ability of the underdog to triumph over great adversity; the blues, jazz, rap and hip-hop as well as Latin forms especially folk forms celebrates humanity in the grand manner. This is exactly what is outstanding not just about the music of The Afro Latin Jazz Orchestra’s 40 Acres and a Burro, but of its director and pianist, Arturo O’Farrill.
O’Farrill’s music is a mixtura fina, rooted in the historicity of Latin America—its social and artistic fabric—which is one really, as there is no true art that does not emerge from the society that so deserves and influences it. But the words, “Afro Latin Jazz” also suggest a melting away the boundaries of three vibrant cultures. And even though this music may opt to find expression in a principal idiom the others are never far behind or completely hidden. Pixinguinha’s witty, iconic choro, “Um a Zero” recalls the best of the blues and ritual beating of the drum and at the hands of featured soloist, the incomparable clarinettist, Paquito D’Rivera, it soars wonderfully. The seemingly opposed swagger and lilting tenderness of Hermeto Pascoal’s “Bebê” is another example of an orchestra in fine form as it interprets the work of another itinerant Brasilian composer. Afro-Peruvian trumpeter, Gabriel Alegria contributes a spectacular festejo, “El Sur,” one which he conducts and also features his celebrated percussionist, Freddy “Huevito” Lobatón playing three traditional Peruvian percussion instruments, as well as his guitarist, the wildly-talented Yuri Juarez.
Tracks like the ones just mentioned highlight how the unique folk forms of Latin American music can be seamlessly integrated into contemporary Latin Jazz. The term appears to be a complete misnomer as the aching narrative, “She Moves Through the Fair,” which features a traditional Irish song, performed by the spectacular Irish American violinist, Heather Martin Bixler. “A Wise Latina” is wisely described as “a celebration” of the nomination and confirmation of Justice Sonia Sotomayor to the Supreme Court of America. The rousing bomba section at the beginning of the piece seems like an inspired choice with which to open the piece. But this composition is much more than that: It offers a magnificently toned aural perspective on the Latina. With a multitude of shades running through melody and harmony, the music also makes poignant use of atonalism to describe the conflict that described this particular nomination. Once again, O’Farrill displays how social awareness and commitment can be gracefully accommodated in the musical arts, just as he does on the title track, where the commitment is couched in wry humour.
By now no one would dare question just how deeply committed O’Farrill is. Surely that becomes obvious also by his deep sense of history. How else could he make such timely and majestic use of folk forms, as in “Rumba Urbana” a gem from Oscar Hernández and the witty “Tanguango” from maestro Astor Piazzolla? Arturo O’Farrill has a wonderful sense of history and his place in it. Moreover, his consciousness is a humble one for he sees himself as an artist who serves his music. In this regard he is a son of his father, the great Chico O’Farrill in more ways than one. 40 Acres and a Burro is just another memorable album in support of this journey he is making to serve what is a majestic sense of the ancient future of a glorious art.
Track Listing: Rumba Urbana; A Wise Latina; Almendra; Um a Zero; El Sur; She Moves Through the Fair; Ruminaciones Sobre Cuba; Tanguango; Bebê A Night in Tunisia; 40 Acres and a Burro.
Personnel: Arturo O’Farrill: piano; Ricardo Rodriguez: bass; Vince Cherico: drums; Roland Guerrero: congas; Joe González: percussion; David DeJesus: alto saxophone; Bobby Porcelli: alto saxophone; Peter Brainin: tenor saxophone; Ivan Renta: tenor saxophone; Jason Marshall: baritone saxophone; Seneca Black: trumpet; Michael Philip Mossman: trumpet; Jim Seeley: trumpet; John Walsh: trumpet; Reynaldo Jorge: trombone; Tokunori Kajiwara: trombone; Earl McIntyre: trombone; Gary Valente: trombone; Paquito D’Rivera: clarinet (4, 9); Pablo O. Bilbraut: güiro (3, 7); Heather Martin Bixler: violin (6); Hector Del Curto: bandoneon (8); Yuri Juárez: guitar (5); Freddy “Huevito” Lobatón: cajón, cajita, quijada (5); Sharon Moe: French horn(2); Jeff Scott: French horn(2); Guilherme Monteiro: guitar (4); Adam O’Farrill: trumpet (7); Gabriel Alegria: guest conductor.
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Arturo O’Farrill on the web: www.arturoofarrill.com
Review written by: Raul da Gama
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Gabriel Alegria – Nuevo Mundo (Saponegro Records 2008)
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Every once in awhile there comes a musician who, when playing his or her chosen instrument, seems to carry within a vital life-force that is irrepressible, no matter what the circumstances of his or her playing. At the height of his powers, Charles Mingus was one such musician. Whether he was playing hot or cool, beautiful or ugly, he seemed to be fired up with a raw unparalleled force that appeared to spring from a vortex. Many musicians ever since have come close to literally bursting with this energy. But there are few—very few musicians—that come even close to exuding the intensity of trumpet and flugelhorn player, Gabriel Alegria.
This record, Nuevo Mundo, is a classic testament to creativity of the highest order. In the music contained within it we have a volcanic confluence of modern American music, Peruvian folk motifs and the all-pervasive African roots of both musics. And what Alegria does is funnel the musical lava through his horn whereby he makes a statement that is raw and harking to an ancient future so new that although there are touchstones of the historic past there is also something elementally new, unheard before… and altogether breathtaking.
The recording opens with a wonderful surprise. “Buscando a Huevito,” a three-part suite that swings wildly with trumpets (Alegria and Bobby Shew) and trombone (Bill Watrous) cavorting madly with the various percussion excursions of Freddy “Huevito” Lobaton. The track melds jazz and folk rhythms with dance forms, swinging, that is, from festejo to lando and back to festejo again. This veritable carnival sets the irrepressible tone for the record. It appears that Alegria can twist his rhythmic ingenuity around classic American song as well. “Summertime” gets the Afro-Peruvian treatment and here Alegria shows how cleverly he melds the old New Orleans style—making brilliant use of the plunger mute—while the gentle swing of the original is replaced by the infinitely hotter Latin rhythm, spurred on by the cajon and other percussion played by both Lobaton and Hugo Alcazar.
“El Norte,” takes the chord changes of Dave Brubeck’s “Take Five” and crosses them with the Afro-Peruvian festejo to turn in another unique new song. Tierney Sutton’s vocals add to the wonderful elasticity of Alegria’s new composition. The interplay between Lobaton and Alcazar is exhilarating. “Las Hijas del Sol,” is a beautiful, elegiac impression of the innocence of children, seemingly against a sepia backdrop and plenty of atmosphere created by Russell Ferrante’s keyboards. Alegria’s glissandos and acrobatic leaps abound throughout as the trumpet begins to describe the skittering of the subject of the song. “El Sur” is another of Alegria’s sketches—this one a mirror of the sea in harness with woodwinds and horn. “Piano de Patio (y Bongo)” could very well describe a bar in the old quarter of a Peruvian town where—in the squeezed notes of Alegria’s trumpet—the spirit of Louis Armstrong cavorts with local percussionists. On this and also “El Mar” there is a wonderful interplay between Gabriel Alegria and Laurandrea Leguia’s tenor saxophone. Acoustic guitarist Walter “Jocho” Velasquez also excels here.
But the stellar performances come largely from the horn of Gabriel Alegria. This record, abounding in energy and innovation could very well be one of the most memorable musical testaments to the meeting of jazz and its seeming alter-ego Afro-Peruvian music.
Tracks: Buscando a Huevito; Summertime; El Norte; Las Hijas del Sol; El Sur; Piano del Patio; El Mar.
Personnel: Gabriel Alegria: trumpet, flugelhorn; Freddy “Huevito” Lobaton: percussion (cajon, cajita, quijita de burro), zapateo dancing; Laurandrea Leguia: tenor saxophone; Hugo Alcazar: drums, percussion; Joscha Ortiz: acoustic bass; Walter “Jocho” Velasquez: acoustic guitar; Bobby Shew: trumpet (1); Bill Watrous: trombone (1); Lisa Harrington: vocals (1, 4, 6); Tierney Sutton: vocals (3); Russell Ferrante: keyboards (1, 4, 6, 7).
Gabriel Alegria on the web: www.gabrielalegria.com
Review written by: Raul da Gama
Tutuma Social Club – Afro-Peruvian jazz in NYC
According to theperuguide.com “Peñas are music clubs that offer folkloric music shows, in particular Afro Peruvian and Criollo gigs. In these upbeat venues you usually eat criollo fare, listen to the music, and have lots of fun -everything seasoned with generous quantities of beer and pisco sour. Eventually, inspired by the friendly atmosphere and the cheerful rhythm of Afro Peruvian music, you will probably end up dancing all night long.”
Modeled after the popular Peruvian “peñas” Tutuma Social Club is the first Afro-Peruvian jazz venue in New York City. New York restaurateur and owner of Tutuma, Santina Matwey, got inspired after a trip -tour peru- organized by Gabriel Alegria, who -as Artistic Director of Tutuma- is in charge of the musical programming. The Gabriel Alegría Afro-Peruvian Sextet performs regularly, as well as many great artists who are presently taking the Afro-Peruvian tradition to new heights.
I was at Tutuma during the opening week in mid-june, and I caught Gabriel Alegria performing in this hip new venue, which offers not to charge its patrons ever for live music. One way Tutuma intends to achieve this goal is by inviting their customers to become VIP members for a very low fee. So, get ready to taste the exciting flavors of Peruvian cuisine, while experiencing first-class talent. Head up to Tutuma Social Club and fall under the Afro-Peruvian spell.
Danilo Navas
Opening of Tutuma Social Club in NYC
Opening of Tutuma Social Club in NYC re-scheduled for May 12, 2009 -
New Venue In Midtown Manhattan Featuring Afro-Peruvian Jazz & Cuisine To Present Pianist Andy
Milne, Vocalists Sofia Rei Koutsovitis & Pilar de la Hoz, Gabriel Alegría Afro-Peruvian Sextet & Others
(New York, NY – April 28, 2009) Due to construction delays the opening of Tutuma Social Club, a new restaurant/music venue in New York City combining the best in live contemporary Afro-Peruvian Jazz with the fusion cuisine of Peruvian tapas and other dishes, has been postponed until Tuesday May 12, 2009.
The May 2009 music calendar for Tutuma now presents pianist Andy Milne in the debut of the series “Jazz Goes Afro-Peruvian” (5/12-17); vocalist Sofia Rei Koutsovitis in the series “Songs From Argentina To Perú” (5/19-24); and the debut of the series “Jazz From Perú” with vocalist Pilar de la Hoz (5/26-31). The series “Ritmos Negros del Perú” will feature percussionist and Zapateo dancer Freddy ‘Huevito’ Lobatón (5/12-13) and Marcos Napa ‘Bombo’ (May 19-20 & 26-27). Lobatón will also appear during “Lunchtime Criollo” (5/12-18). The Afro-Peruvian Sextet of trumpeter Gabriel Alegría, currently artistic advisor to Tutuma Social Club, will appear 5/14-17 and the NYU Afro-Peruvian Jazz Ensemble will appear on 5/18.
Trumpeter Ingrid Jensen & drummer Jon Wikan and vocalist Angela Vicente, who were originally scheduled to perform at Tutuma April 28-May 11 will be re-scheduled to appear at dates to be announced later.
Located at 164 East 56th St. (at Third Ave.), Tutuma Social Club will be the only locale in the region showcasing both Afro-Peruvian jazz and food on a daily basis. Unlike most clubs presenting “live” music, Tutuma will have neither a cover charge nor a minimum. Music will be featured weekdays at lunch with evening sets presented Monday-Sunday at 8 and 10:30 p.m. Tutuma’s kitchen will be open daily from 11 a.m.-2 a.m. An Afro-Peruvian Jazz Brunch, also accompanied by “live” music, will be held Sundays from 11 a.m.-3 p.m.
For reservations or more information please call 866.988.JAZZ (5299) or visit www.TutumaSocialClub.com.
TUTUMA SOCIAL CLUB MUSIC CALENDAR
May 12-31, 2009
Tue May 12th-Wed May 13th
12:30pm–2:30pm Lunchtime Criollo
Yuri Juárez (Guitars), Freddy ‘Huevito’ Lobatón (Percussion), Others TBA
8pm Jazz Goes Afro-Peruvian – Looking for Gold
Andy Milne (Piano), Freddy ‘Huevito’ Lobatón (Percussion),
Ramon de Bruyn (Bass), Kenny Grohowski (Drums), Yuri Juarez (Guitar)
10:30pm Ritmos Negros del Peru
Freddy ‘Huevito’ Lobatón (Perc & Zapateo Dancing), Yuri Juárez (Gui),
Marcos Napa ‘Bombo’ (Perc & Zapateo Dancing), Mariela Valencia (Voc), Ramon de Bruyn (B)
Thu May 14th-Sun May 17th
12:30pm–2:30pm Lunchtime Criollo
Yuri Juárez (Guitars), Freddy ‘Huevito’ Lobatón (Percussion), Others TBA
8pm Jazz Goes Afro-Peruvian – Looking for Gold
Andy Milne (Piano), Freddy ‘Huevito’ Lobatón (Percussion),
Ramon de Bruyn (Bass), Kenny Grohowski (Drums), Yuri Juarez (Guitar)
10:30pm Gabriel Alegría Afro-Peruvian Sextet
Gabriel Alegría (Trumpet & Flugelhorn), Yuri Juárez (Guitar), Ramon de Bruyn (Bass & Vocals)
Shirazette Tinnin (Drums), Freddy ‘Huevito’ Lobatón (Percussion & Zapateo Dancing)
Mon May 18th
12:30pm–2:30pm Lunchtime Criollo
Yuri Juárez (Guitars), Freddy ‘Huevito’ Lobatón (Percussion), Others TBA
8pm The NYU Afro-Peruvian Jazz Ensemble
Mattias Konrad (Trombone), Jackie Coleman (Trumpet), Nick Myers (Saxophones), Frank Cogliano (Guitar), Claudio Marquez (Bass), Storm Siegel (Drums & Percussion), Ian Chang (Drums & Percussion)
Tue May 19th-Wed May 20th
8pm Songs From Argentina To Peru
Sofía Rei Koutsovitis (Vocals) w/ Eric Kurimski (Guitar), Edward Perez (Bass), TBA (Percussion)
10:30pm Ritmos Negros del Peru
Marcos Napa ‘Bombo’ (Percussion & Zapateo Dancing), Mariela Valencia (Vocals), others TBA
Thu May 21st-Sun May 24th @ 8pm & 10:30pm
Songs From Argentina To Peru
Sofía Rei Koutsovitis (Vocals) w/ Eric Kurimski (Guitar), Edward Perez (Bass), TBA (Percussion)
Tue May 26th-Wed May 27th
8pm Jazz From Peru – Pilar de la Hoz
Pilar de la Hoz (Vocals)
Featuring Juan Medrano “Cotito” (Cajon) w/ Eric Kurimski (Guitar), Edward Perez (Bass)
10:30pm Ritmos Negros del Peru
Marcos Napa ‘Bombo’ (Percussion & Zapateo Dancing), Mariela Valencia (Vocals), others TBA
Thu May 28th-Sun May 31st
8pm & 10:30pm Jazz From Peru – Pilar de la Hoz
Pilar de la Hoz (Vocals)
Featuring Juan Medrano “Cotito” (Cajon) w/ Eric Kurimski (Guitar), Edward Perez (Bass)
About Tutuma Social Club
Tutuma Social Club is the only locale outside Perú showcasing both Afro-Peruvian jazz and cuisine on a daily basis and its “no cover charge/no minimum” policy further distinguishes it from other music venues. The new venture is the brainchild of Santina Matwey, a second-generation restaurateur whose family founded and operates the RayBari Pizza parlors in Manhattan, who has effectively imported to New York City the atmosphere found in traditional peñas, the vibrant urban clubs of Perú. Dr. Gabriel Alegría, a jazz trumpeter and composer known as one of the world’s leading proponents of Afro-Peruvian Jazz, is the club’s artistic advisor. Evening sets by established jazz artists from North and South America will be presented Monday-Sunday at 8 p.m. and 10:30 p.m. with “live” music also featured weekdays at lunch and on from 11 a.m.-3 p.m. Sundays during an Afro-Peruvian Jazz Brunch. Tutuma’s menu was expressly designed by two of Perú’s internationally acclaimed chefs Rodrigo Conroy and Carlos Testino and its kitchen will be open daily from 11 a.m.-2 a.m. A membership rewards program is available to repeat customers.
MEDIA CONTACT – Music / Mitchell Feldman / MitchellFeldmanAssociates@Comcast.net / 706.550.0263
