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
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
Steve Pouchie – El Puente (The Bridge) (Self Produced – 2010)
It is altogether a special virtue to make an album that features music delightful to listen to as well as to feel an irresistible urge to get up and dance to when the first chords are struck. This is exactly what Steve Pouchie has done with El Puente. From the outset the vibraphonist draws a direct line in his musical lineage from Cal Tjader and Dave Samuels. There is that swaggering bluesy influence of Milt Jackson that may sometimes peep through in slower, more brooding, elegiac passages when Pouchie rocks slowly on the pedals like Bags does. Pouchie proffers a resonant intonation that fills his dapples musical canvas with bright, shimmering colors and shades. His playing is expert and effortless and he always picks the right notes to die quickly, while others he makes dally in an air dense with echoes and overtones and highly articulate emotion.
The album is easy to love and offers no figurative imagery past its title, suggesting a bridge from Puerto Rico to New York, perhaps. That, however, is where the figurative nature of the project ends. The rest of the imagery is in the persistent rhythmic grind that leaps and bounds between the shuffle of Afro Caribbean beats to the delightful swing of jazz motifs. The classic and crowning moments come—not once, but—twice in the album. The first is when Pouchie turns the dramatic 5/4 rhythmic architecture of Paul Desmond’s “Take Five” into a time signature ranging from 6/8 to 8/8. This rhythmic intervention, plus the mind altering imagery from a slot machine to grinding imaginary salsa-go-round is quite incredible and unforgettable as well. Not to be out done by the Latin Jazz crossover, Pouchie does it again with Luis Bonfa’s monster hit, “Manhã de Carnaval” as he transforms this cool Bossa rhythm into bubbling hot Afro Caribbean jive.
Although some of the musicians are not really well-known in the broad sense of the term, this is a razor-sharp ensemble with Pouchie leading from the front. The two saxophonists play with gravelly authority, typical of the command-style of Latin masters. The other percussionists, Little Johnny Rivero and drummer Jotan Alexander have designed a rhythmic matrix that is hypnotic throughout. Bassist, Octavio Rodriguez is not simply solid, but has a flair for the melodic—something all too rare these days, when bassists are content to hold the bass line up. His gifted handling of song lines throughout his short solos is remarkable. Pianist Adan Perez is self effacing yet hiding his talent behind the rest of the wall of sound cannot disguise his striking “tumbao” and he breaks through every now and then, especially on Bronislaw Kaper’s memorable chart and the Latin favourite, “On Green Dolphin Street.” Here too is a place for the percussion to shine like Machito’s Mambo King once did. But it is all too short.
Still, on evidence from the music of this album there is much more to come from Steve Pouchie—and if this band can stay together long enough—this mesmeric ensemble as well.
Tracks: Journey into Outland; Picadillo; Take Five; Watch Ur Wallet; Montaña de Suenos; On Green Dolphin Street; The Ghanan Trail; Manhã de Carnaval; Sands of Outland; The Shores of Summer; Naomi’s Fantasy.
Personnel: Steve Pouchie: vibraphone; Little Johnny Rivero: congas, bongos, cowbell, hand percussion; Octavio Rodriguez: “upright” and electric basses; Jotan Afanador: drums (1, 3, 6 – 10); Adan Perez: piano, keyboards ( 1 – 5, 9 – 11); Andrea Brachfeld: flute ( 4, 7); Julio Botti: tenor saxophone (1, 3, 6, 9, 11); Ivan Renta: tenor saxophone ( 2, 5); Ariel Santiago: flute (11); Pete Nater: trumpet and trumpet arrangements (1, 2, 8, 10); Ronnie Puente: marimba (2); Sam Barrios: piano, keyboards (6 – 8); Jeffery Lopes: timbales (4); Erik Piza: timbales (2, 11).
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Steve Pouchie on the web: www.stevepouchie.com
Review written by: Raul da Gama
Brian Lynch Afro Cuban Jazz Orch. – Bolero Nights (for Billie Holliday)
For a fleeting moment -just one fleeting moment- it appears to be a bit of a stretch putting “bolero” and Billie Holiday together. There appears to be a tad too much “bolero” and not enough “Holiday” on Brian Lynch’s Bolero Nights (Venus Records – Japan 2009). Soon, however, the plaintive wail of Lynch’s trumpet and moan of his flugelhorn and the moody arrangements of “Afinque” start to tie “bolero” and Billie Holiday rather tightly together. Although the music is by no means ponderous and depressing to listen to, there is an elemental sadness to it. This is a masterstroke on the part of Lynch because Billie Holiday embodied something similar as she sang her heart out on so many classics. Mercifully, Lynch also avoids the obvious ones. However, he is masterful in mimicing the voice of the great chanteuse with long “blue” notes -especially in the first chorus of “La Sitiera,” when Lynch draws them out in his inimitable manner with dynamic expression. Only some of Ellington’s great trumpeters were known to have done this with untouchable effect, and trumpeters such as Larry Cramer and Reynaldo Melian.
Another masterstroke on the part of Lynch is the presence of Phill Woods. His malleable alto has become infinitely more distinctive with the passage of time. His narrative solo on Charles Mingus’ “Celia” is full of dramatic twists and turns. His is one of the most lifelike descriptions of Celia Zaentz as she swishes hips and high-heels it out of the bassist’s life into what is depicted as darkness, leaving Mingus alone to be swallowed up in the gathering gloom. Ron Blake is also superb and at his bellowing best. Lynch exchanges flugelhorn for trumpet in the climax of the song to heighten the sense of drama at the end of the song. In this arrangement, Lynch actually manages to give this old song new flair by recasting it as if Mingus might have done it in Tijuana Moods or on Cumbia and Jazz Fusion. Either way it is an exquisite reminder of the universality of Mingus’ music in the manner that Ellington’s was.
“Fire Waltz” is another superb arrangement of Mal Waldron’s classic. The heat is turned up by mighty trumpet work from Lynch and a wild and fiery alto solo by Ivan Renta on alto saxophone. Hoffman’s harmonics are completely and utterly alluring and unexpected. Both solos are elastic and breathtaking, especially with stretched out notes by both horn men. The use of guiro and surdo or tympani in percussion is especially noteworthy as it adds to the sombre nature of the song. “Delilah” is another song where the “blue” of the melody and the fact that Lynch uses his flugelhorn together with perfunctory blowing by Marshall Gilkes on trombone in the background makes a fine piece of work on this Victor Young chart. This track is also one where Boris Kozlov gives notice as to why he is a charter member of the Mingus Orchestra. His playing con arco for two choruses is majestic and soulful and fills the heart with a deep sense of wonder.
Woods and Lynch play off each other again; on “I’m A Fool To Want You”, they recall the relationship between Pres and Holliday, who often played off each other in a similar, dolorous manner. Again, the trombone of Gilkes is mournful and sublime as is the saxophone of Ivan Renta, yet again. As Lynch returns, again he is pitch-perfect and leads into a short, but pithy solo by the young Zaccai Curtis. Although Billie Holiday sung several of these charts in her day, “You’ve Changed” is the easiest to recall from her songbook. Lynch’s longish introductions add further drama to his arrangements of these fine charts and the one that introduces Phil Woods again is no exception. Again, Kozlov is outstanding here, with melodic pizzacato accompaniment to Woods’ second sortie, which he introduces with a series of short tripets in fine manner, before settling into a longish mellow tone.
There has been only one other record in the past five years that has sung in rich praise of the bolero as Brian Lynch’s Bolero Nights has done and that is Charlie Haden’s Nocturne and that record was showered with rewards. It is hoped that this record too will find favor in the festival of awards functions that are just around the corner. They will all be well deserved.
Tracks: 1. Afinque; 2. La Sitiera; 3. Celia; 4. Fire Waltz; 5. Delilah; 6. I’m A Fool To Want You; 7. You’ve Changed.
Personnel: Brian Lynch: trumpet and flugelhorn; Phil Woods: alto saxophone (3, 6, 7); Ivan Renta: alto saxophone; Alan Hoffman: tenor saxophone; Marshall Gilkes: trombone; Ron Blake: baritone saxophone; Zaccai Curtis: piano; Boris Kozlov: bass; Little Johnny Rivero: congas, bongos and percussion; Marvin Diz: timbales and drums.
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Brian Lynch on the web: www.brianlynchjazz.com
Review written by: Raul da Gama
Chembo Corniel – Things I Wanted To Do (Chemboro Records 2009)
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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
