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
Hector Martignon – Second Chance (Zoho Music – 2010)
In a literal world the music on Second Chance would simply represent “B” sides of music that pianist, Hector Martignon has played in the past. In reality they are anything but that. It is here that Martignon has provided wicked twists to all the music he has played before—he uses the term “devilish,” which in Spanish is a word fraught with meaning. The word diabólico might be infinitely more appropriate as it has fangs and breathes a fire. But then again the connotation that the gentleman south of the earth’s core has something to do with these wondrous renditions of Martignon’s fabulous compositions and others’ work seems to negate their “purifying” fire. This is something that can only come from something quite simply stellar; very possibly even celestial, when Martignon’s piano emerges from the ensemble to make singular statements.
Martignon’s virtuoso pianism often draws from—to use an Afro-Cuban term—a tumbao, a style commanded by a resonant 8th note of the bass line that pianists of South American origin often bring to that otherwise sweeping style of playing the piano. This is what makes pianists such as Chucho Valdés, Omar Sosa and Gonzalo Rubalcaba, Roberto Fonseca and Hilario Durán so unique. Martignon occupies a similar space in the stellar regions of the piano. His style is more vocal and his choice of notes not only bounce and stomp with hidden and revealed tumbadora-like accents, they can also be heard to cry—almost weep on occasion. His phrases roll and gambol and frolic like shrill children and when he wants to sound all grown up, then they are silken and sensual.
The rhythmic Martignon unfolds with revelry throughout the album, from João Bosco’s “Bala Con Bala” a tune that is woven like a tapestry—warp or melody, quite straight until it hits a certain note, then it wobbles and bumps, but weft, always inside out and intricate as it builds a maddeningly twisting harmony. The joropo treatment of “Coqueteos” is quite simply spectacular and offers a rare chance, at least on this album, to observe breathlessly, the percussive skills of Samuel Torres and the harp of Edmar Castañeda. And while “Guaji-Rita” may be elegiac at times, it is nevertheless like that skipping return in a funeral in New Orleans. Even “Alone Together,” a chart that is normally played rather pensively is animated and keeps the heart pumped with expectation that things might change on a dime. It bears mention here that Martignon is wonderfully assisted in his rhythmic quest by his bassist, Armando Gola, drummer, Ludwig Afonso and the Colombian percussionist, Samuel Torres.
While Martignon can be wildly exciting with rhythm, he also displays a softer side, which is often coloured by wistfulness and a sense of longing that is so characteristic of artists—and certainly, highland folk—and sometimes with sensuality that is irresistibly South American. The elegiac tribute to his brother in “Andrea” and the wonderfully dreamy “Hatari,” where the full force extent of the talent of saxophonist, Xavier Perez, trumpet and flugelhorn player, John Walsh and Torres’ sensitive use of the percussion palette is heard are the true gems of this album.
The contemporary nature of this album should not go unnoticed. Despite the use of several traditional song forms, Martignon sounds modern and is indeed very forward-thinking in his approach to each and every one of them on this highly memorable album.
Tracks: Bala Con Bala; Second Chance; Coqueteos; Guaji-Rita; Andrea; She Said She Was From Sarajevo; Abre Los Ojos; Hatari; A Long Farewell; Alone Together.
Personnel: Hector Martignon: piano, accordion (7); Armando Gola: bass; Ludwig Afonso: drums; Samuel Torres: percussion; Xavier Perez: saxophones; Tim Collins: vibes (1, 2, 7, 8); Vinny Valentino: guitar (1); Edmar Castañeda: harp (3); John Walsh: trumpet, flugelhorn; Edward Perez: bass.
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Hector Martignon on the web: www.foreignaffair.com
Review written by: Raul da Gama
The Latin Giants of Jazz – Ven Baila Conmigo (Gigante Records 2009)
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It is a daunting task to play in the idioms of jazz, salsa and mambo in a big band setting without the spirit of El Rey, Tito Puente in attendance. But timbalero and musical director, Jose Madera acquits himself with distinction on “Ven Baila Conmigo,” this record that explodes with that special energy that Puente imparted to his excursions when he was alive. It is not a tribute to El Rey. It does not purport to be, but then every time that music like this is played the homage, ceremonial or otherwise is inevitable. Puente was that kind of giant. But these musicians acquit themselves as “giants” as well.
It is significant that some of the fine musicians who played in Puente’s later bands are part of this orchestra. Reynaldo Jorge, Sonny Bravo Jose Madera and Frankie Vazquez, to name some of those musicians bring a singular energy to this record. If it were a tribute then it would be one of the finest to El Rey. Of course the best homage that anyone could pay Puente is to play the music he loved with the same soul and spirit so that it is impossible to keep still. You must either get up and dance, or preferably both. And there are plenty of these moments on this record. Frankie Vazquez leads the coros with his powerful and soulful tenor and he is – without tremolo – in line to continue where the great vocalists of Latin music left off.
Soloists such as trumpeters Kevin Bryan and Guido Gonzalez deal blazing choruses on “Lo Que Traigo Es Salsa” and “Cannology” respectively. Alto saxophonist Bobby Porcelli and former Compadre of El Rey tenorman, Mitch Frohman also acquit themselves with aplomb. Pete Miranda growls as he drives the heat of the mambo way up on “Cookin’ The Mambo”. John Walsh plays majestically just behind the beat, then racing ahead and clear as a bell on an outstanding track, “Si El Mar Se Volviera Ron,” a classic mambo. Ignacio Piñeiro’s “La Batidora Meneadora,” is another shining example of the Giants’ ability to keep the energy high. This particular arrangement by “Perico” Ortiz is particularly magnificent.
There appear to be only high-points on this record. Certainly this is not uncommon when such a fine band of men get together to play the music that celebrates life in all its warm glory. With such synergy, it is hoped that this ensemble would stick with it and produce a lot more exciting music.
Tracks listing: Lo Que Traigo Es Salsa; Ven Baila Conmigo; I Still Love You; Gua Cha Rumba; Ahora Mismo; Tengo Que Conformarme; Cookin’ The Mambo; Dime Quien Eres; Si El Mar Se Volviera Ron; Incredible; Cannology; La Batidora Meneadora; Cuando Suenan Los Cueros.
Personnel: Kevin Bryan, John Walsh, Pete Nater, Richie Viruet, Guido Gonzalez (11): Trumpets; Bobby Porcelli, Todd Bashore, Lawrence Feldman (11): alto saxophones; Mitch Frohman, Peter Brainen: tenor saxophones; Pete Miranda: baritone saxophone; Sam Burtis, Reynaldo Jorge, Lewis Kahn, Noah Bless: trombones; Sonny Bravo: piano; Gerardo Madera: bass; George Delgado: congas and percussion; John Rodriguez: bongos and percussion; Jose Madera: timbales and percussion; Frankie Vazquez: vocals’ Cita Rodriguez (lead vocals on 5), Marco Bermudez, George Maldonado, Willie Martinez (on 3).
The Latin Giants of Jazz on the web: www.latingiants.com
Review written by: Raul da Gama
