Bettye LaVette to close Teatro Libre JazzFest
Bettye LaVette to close the 23rd Teatro Libre International Jazz Festival
Report by Oscar Montagut – From Bogotá, Colombia – Sept 8th, 2011
This Saturday, September 10th, Bettye LaVette will be the artist to close another edition of the Teatro Libre International Jazz Festival, in Bogota, Colombia. On this occasion, the woman with the expressive-voice, Bettye LaVette, will say goodbye to Bogota’s jazz lovers with an exciting concert at Julio Mario Santo Domingo Theater. Mrs. LaVette is going to be the last performer of this festival after nine days of concerts by recognized musicians including Billy Branch, Greg Diamond, Justo Almario, the Cartagena Big Band, Roberto Fonseca, Le Chat Lunatique Band, Luigi Cinque, the Bogota Big Band, Sebastian Schunke, Karlos Rotsen, and Terence Blanchard.
The finale of this 23rd edition could not end better than with this American singer on the festival musical scene. LaVette has enchanted spectators and musical critics with her own musical language and style. It is not a coincidence that many of the most prestigious magazines around the world like The New Yorker and Rolling Stone recognize her as a talented, creative and expressive singer.
Keeping a Beautiful History Alive
The Teatro Libre International Jazz Festival has been hosting some of the most virtuous and amazing Colombian and international jazz musicians since 1998. This festival is considered one of the most important festivals in the region, and it has become a respected stage for those who know about the genre.
Nowadays it is really hard to maintain a festival because every day the media turns their attention more to other massive music genres like pop. Despite this reality, this festival remains committed and loyal to its spectators because the Teatro Libre Foundation has made and maintained a remarkable effort to keep this cultural cause alive even if receiving little economic support from the government and some private sponsors. For 23 years the Teatro Libre International Jazz Festival has given jazz lovers in Bogota the opportunity to meet and listen to jazz legends from Europe, the United States and Latin America including Hermeto Pascoal, Chick Corea, Jerry González, Mike Stern, Kenny Garret, and Carla Bley. This festival has been an inspirational place for local and international musicians, music students, teachers, trainers, professors, music lovers, journalists, and collectors.
More Than Concerts
The festival is not only about musical shows but educational meetings. For this edition of this musical event, three workshops were carried out as alternative activities for musicians: The first one was about modern jazz guitar by the famous Greg Diamond. The second workshop was lead by Le Chat Lunatique who exposed his ideas about gypsy and swing. The last educational session was about swing and R&B trumpet, taught by the Afro-American musician Terence Blanchard.
Creating an Audience
The celebration of jazz will continue next year because the main goal of the coordinators of this great event is to keep making people fall in love with jazz music. This is why the creative minds behind the festival will not stop bringing the best of this genre each year in order to seduce people to learn about jazz music and become enchanted with it. The Teatro Libre International Jazz Festival is part of Bogota’s life, dynamic and rhythm. Like any city in the world, every year the Colombian capital celebrates a festival where people always have the option to encounter others to dream together about musical notes, arrangements, solos, virtuosity, passion, and, of course, the feeling about one of the richest music genres the human being has ever created, jazz music.
Presenting José Rizo’s Mongorama
José Rizo’s Mongorama picks up where the Jazz on the Latin Side All Stars left off. After a decade of fruitful existence, performing and recording four terrific CDs (Jazz on the Latin Side All Stars 1 and 2, The Last Bullfighter and Tambolero), the veteran KJazz radio host, producer, composer and bandleader takes a new direction and moves on to a new project, which is actually a continuation of the original Latin jazz all stars band concept, but now focused on a specific period of the creative evolvement of Cuban Master Conguero, Mongo Santamaría.
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Mongorama is no ordinary band. Its self-mandate of paying tribute to the charanga/jazz musical period extensively explored by Mongo Santamaría and his bandmates, saxophonist Chombo Silva and flautist Rolando Lozano, involves revitalizing Mongo’s music and the charanga tradition he helped to develop in his moment. Rizo, as producer and bandleader and musical director Danilo Lozano incorporate new arrangements and orchestrations, modern variations of the themes without losing the essence of the rhythm and the infectious danceability of the music. The hip, jazzy feel exudes throughout the vocal and instrumental deliveries on this recording. Engaging and enjoyable at the same time, Mongorama equally pleases the listeners (jazz and Latin music fans) and the dancers. Great job accomplished by pianist Oscar Hernández with his arrangements, and Francisco Torres as well.
This is an album recorded live-in-studio over a two-days fantastic musical journey. That means the music on this CD has that fresh, spontaneous and improvisational elements inherent to Jazz and Afro-Cuban descargas. This approach works perfectly well for these seasoned, highly-trained cats who proudly follow on the steps of Maestro Mongo Santamaría.
A nine-piece members ensemble, Mongorama brings to the stage great musicianship and sophisticated interpretations. It introduces a magnificent sound to a new generation of listeners who will surely be interested in finding out more about the music of Mongo Santamaría and his “La Sabrosa” charanga ensemble during the sixties and seventies.
Mongorama recreates previously recorded material by Santamaría: Bacoso (one of Mongo’s signature tunes featuring Hubert Laws on a superb solo flute, Dayren Santamaría on violin and Joey De Leon on congas); Las Guajiras (an overcharged electric guajira reminiscent of the hypnotic Cachao’s descargas, featuring Poncho Sanchez on congas, Danilo Lozano on flute and Adonis Puentes on vocals); Bluchanga (a popular Latin jazz composition by Mongo’s pianist Joao Donato, featuring Justo Almario on tenor sax, Oscar Hernández on piano and Joey De Leon on congas); Palo Mayombe (a composition by Mongo’s singer, the late Rudy Calzado, featuring Justo Almario on tenor sax and Adonis Puentes on vocals); Siempre en Tí (an arousing bolero by master flautist Rolando Lozano, featuring Hubert Laws on flute, Justo Almario on tenor sax and Adonis Puentes on vocals); Que Maravilloso (another composition by Rudy Calzado, featuring Oscar Hernández on piano, Ramón Banda on timbales and Adonis Puentes on vocals); Cruzan (a beautiful, serene composition by former Santamaría’s pianist Armen Donelian, features Oscar Hernández on piano and Justo Almario on tenor sax) and Guajira at the Blackhawk (one of Mongo’s earliest pieces dedicated to the legendary San Francisco club, features Danilo Lozano on flute, Poncho Sanchez on congas, Justo Almario on tenor sax and Adonis Puentes on vocals). José Rizo contributes two of his own compositions: Así es la Vida (where Adonis Puentes shines on vocals, Poncho Sanchez is featured on congas and Danilo Lozano on flute) and Bubba Boogaloo, a joyful theme that gets a special treatment on the soulful voice of the gracious Destani Wolf. Both tracks are masterfully arranged and co-composed by Francisco Torres. No Molestes Mas, found its way in through an early Ray Barreto’s recording. This swinging tune is a true delicacy for the dancers, making your feet move at the first notes. The album closes with Tin Marín, a traditional tune inspired by the Cachao Cuban Jam Sessions in Miniature legendary recordings (featuring René Camacho on bass, Freddie Crespo on vocals, Ramón Banda on timbales and Danilo Lozano on flute).
 |
 |
Kudos to Rizo for an impecable, very professional presentation. Avid readers and serious listeners are always looking for liner notes that are at the same time informative and educational. That’s exactly the case with this album.
Track listing: 1. Bacoso; 2. Asi Es La Vida; 3. Las Guajiras; 4. Bluchanga; 5. No Molestes Mas; 6. Bubba Boogaloo; 7. Palo Mayombe; 8. Siempre En Ti; 9. Que Maravilloso; 10. Cruzan; 11. Guajira At the Blackhawk; 12. Tin Marin.
Personnel: Alfredo Ortiz (vocals, guiro); Adonis Puentes, Freddie Crespo, Destani Wolf (vocals); Dayren Santamaria (violin); Danilo Lozano, Hubert Laws (flute); Justo Almario (tenor saxophone); Alberto Salas, Oscar Hernandez (piano); Joey de Leon, Poncho Sanchez (congas); Ramon Banda (timbales).
Mongorama on the web: http://jazzonthelatinsideallstars.com/index1.html
Feature/Review written by: Danilo Navas
Chucho Valdés in the Great Jazz Colombian Alliance
Report by Oscar Montagut – From Bogotá, Colombia – June 19th, 2011
With a concert by the 2011 Grammy award winner, Chucho Valdes, the “Circuito de Jazz de Colombia” will be launched in Bogotá, Colombia, on June 23, at 8:00 p.m, at the Jorge Eliecer Gaitán Theatre. The Jazz Colombian Alliance is a group of the most prestigious jazz festivals including Festival de Jazz de Cali Ajazzgo, Festival de Jazz de Barranquilla Barranquijazz, Festival de Jazz de Medellín Medejazz, Festival de Jazz Teatro Libre de Bogotá, Festival Jazz al Parque, Festival Sevijazz de Sevilla and Festival de Jazz de Manizales.
The creation of this great network of jazz festivals is dedicated to working relentlessly for jazz lovers, musicians and the same festivals’ organization. This “circuito” is a strategic alliance that provides a unique space where many artists can share knowledge, experiences and talent which can inspire new audiences. The main goal of this cultural alliance is to keep contributing to the promotion of jazz music in Colombia with a persistent and exciting calendar each year, in the principal cities of the country. This great jazz event will turn Colombia into one of the most interesting jazz destinations in Latin America. Musical legends will visit Colombia in September to be part of a two-week jazz party: John Scofield, Justo Almario, Terence Blanchard, Oscar Hernández, Giovanni Hidalgo, and Diego El Cigala are just a few of the legendary artists in the exciting concert calendar this year.
The Grammy Winner
There was no other way to launch this alliance than to bring one of the most talented pianists in the last two decades to the centre stage. Jesús Dionisio Valdés, well-known as Chucho Valdes, is the international artist whose unrivalled talent will launch this promising network in Colombia.
After eleven years, the Latin jazz icon, Chucho Valdes will be back in Bogotá with the virtuous Afro-Cuban Messengers to share his Grammy award-winning new album “Chucho’s Steps”, according to him, his best and most complete work in years.
Jacobo Vélez and La Matatigrezz
In addition, the dynamic artists Jacobo Vélez and La Matatigrezz are the Colombian musicians scheduled to perform in this jazz event. This quintet plays songs composed by Mr. Veléz and based on traditional Colombian music and some elements of cool jazz. Jacobo is a talented composer and saxophonist from the city of Cali, the other musicians include Holman Alvarez (piano), Jorge Sepúlveda (drums), Juan Manuel Toro, (double bass), and Pavel Zuzaeta (trompet).
CIRCUITO DE JAZZ DE COLOMBIA CALENDAR 2011
www.circuitodejazzcolombia.com
XI FESTIVAL AJAZZGO ARTISTS
Cali, September 5-11
- John Scofield (USA)
- Diego El Cigala (Spain)
- Robbie Ameen (USA)
- Deborah Carter (USA – Netherlands)
- Bobby Carcasses & Afrojazz (Cuba)
- Karlos Rotzen (France)
- Edy Martínez (Colombia)
- Luigi Cinque (Italy)
- Jaime Henao (Colombia)
- Carolina Calvache (Colombia)
- El Colectivo (Colombia)
- Andrés Ortiz (Colombia-Suiza)
XXIII FESTIVAL DE JAZZ DEL TEATRO LIBRE ARTISTS
Bogotá, September 1 – 10
- Billy Branch (USA)
- Greg Diamond (USA)
- Justo Almario & Cartagena Caribe Big Band (Colombia)
- Terence Blanchard (USA)
- Sebastian Schunke (Germany)
- Roberto Fonseca (Cuba)
- Bettye Lavette (USA)
VIII FESTIVAL SEVIJAZZ ARTISTS
Sevilla (Valle), September 2 – 4
- En Ningún Lugar (Colombia)
- Deborah Carter (USA – Netherlands)
- El Colectivo (Colombia)
XV FESTIVAL MEDEJAZZ ARTISTS
Medellín, September 1 – 10
- Robbie Ameen (USA)
- Diego El Cigala (Spain)
- Eddie Palmieri and La Perfecta II (USA-Puerto Rico)
- Buena Vista Social Club (Cuba)
- Deborah Carter (USA-Netherlands)
- Luigi Cinque (Italy)
- Siguarajazz and Los Reyes del Ritmo with Giovanni Hidalgo, “EL negro” Hernández and Samuel Torres. (Colombia-Cuba-Puerto Rico)
- Grupo Triaje (Colombia)
FESTIVAL BARRANQUIJAZZ ARTISTS
Barranquilla, September 7 – 11
- Roberto Fonseca (Cuba)
- Terence Blanchard (USA)
- Seis del Solar with Oscar Hernández
- Diego El Cigala (Spain)
- Stefon Harris (USA)
- Eddie Palmieri and La Perfecta II (USA-Puerto Rico)
- Deborah Carter (USA-Netherlands)
***
Oscar Montagut graduated in journalism and education in Colombia. He also finished his postgraduate program in Creative Writing in Canada. Currently Oscar works as an English teacher, translator, and freelance writer in Bogotá. He is a music collector, explorer and promoter of World Music. Exploring about music is his passion, knowing the history and evolution of this art is part of his life. Latin jazz, Salsa, Bossanova and any afro rhythms are some of his musical interests.
Contact: oscarmontagut@hotmail.com
Henry Brun & The Latin Playerz – A Tribute to Duke Ellington
A musical meeting of minds with Duke Ellington must certainly be the “Holy Grail” of many a composer and arranger no matter what language and idiom the musical tribute or acknowledgement will be played in. However, every musician who attempts that feat must invariably fall through the mythical trapdoor, like in Lewis Carroll’s “Alice in Wonderland.” Duke is, after all, a composer and arranger whose instrument was his orchestra – as Billy Strayhorn so inspirationally pointed out. How, then does the composer (for only someone who thinks like – and is – one) translate Duke’s idiom into his or her own? This must have been a truly formidable challenge for Henry Brun, when he got down to record his Rhythms and Reeds… A Tribute to The Master Duke Ellington (Pulsar Records 2009).
Here is the challenge: Take some of the Duke’s most personal music – it is all personal really – and turn it all over to the Latin idiom and rhythm, which substitutes “swing” for “clave” whether obvious or implied. The second and more challenging task is to assign (instrumental) voices to play the melody and to harmonize and then to solo in the third voice so to speak. Should a flute solo or should a tenor? Should Johnny “Rabbit” Hodges slide in and swirl all over the tune and should a wailing Nance and his muted trumpet follow him… Conundrums like these occupied Duke and he cooked his music with the ingredients of his vastly talented instrumentalists in a myriad different ways. This is, after all, what made for the “Ellington Sound” and resulted in Strayhorn’s prophetic remark. Here, Brun is truly up for the challenge.
The other aspect of this music is that the Latin idiom is flamboyant (and may only be infinitely subtle when needed, but in a vastly different way). In addition, that too when strings are added for subtle changes in color. Brun employs none on this project, except the bass, which is played exclusively pizzacato. Bright Latin tones and colors are earthy and bold, whereas Duke could be fey and nuanced in a one-hundred-and-sixty-odd-shades-of-grey sort of way. Moreover, Duke’s hues were ever evolving shades of cyan and Bruns are in violet, magenta, yellow, and reds. Does that mean that Dukes music sounds necessarily brighter in Latin? Yes, because the piano and the clave hidden in Latin melodic deconstruction necessarily makes it so.
Brun paints subtle shades in the rhythm, playing his wide variety of percussion instruments with great sensitivity and finesse. He and pianist, Benjamin Irom make a glorious version of “In a Sentimental Mood” come to Ducal life with Pedro “Pete” Ojeda playing those dying end-notes to close Barnett’s and Irom’s phrases. Barnett’s solo is diaphanious and the ensemble captures perfectly the langorous “saudades” of the song.
Judi Deleón fits the vocal part of the orchestra well with her sinewy, bluesy approach to song. She brings a nervy vulnerability to “Lover Man,” not exactly a song from the Ellington songbook, but one that offers a refreshing perspective on Billie Holiday’s classic song nevertheless. “Gabe” Pintor on the moving version of “Solitude,” conjours another Ducal alum, Ben Webster, with his breath-and emotion-filled saxophone as he literally carries the song, while Brun is outstanding as he dances in a slow bolero just under the melody. “Gabe” Pintor is stellar again, as he carrys the melody of “Sophisticated Lady” from start to finish. A vastly slowed- down version of “Fleurette Africaine” stars pianist, Benjamin Irom and majestic harmonics from bassist, George Prado, as is Brun’s harmonically strong tumbadoras work.
It is infinitely possible, though not necessarily easy to find the pocket for Dukes more danceable songs, such as “Perdido,” “C-Jam Blues” and “It Don’t Mean a Thing (If You Ain’t Got That Swing).” Still it is a great challenge to keep the integrity of the melody, while creating a “clave equavalent” of the swing of delight in each of the songs. Brun seems to have cracked the Ducal code in all of the above.
“Caravan” is very possibly the finest rearrangement of a song in the Duke’s ouvre. It is possible to see hip-swinging dancers in the Caribbean sashaying with elegantly bred Bedouin as the proverbial “Caravan” moves to an inevitable conclusion. The playfully sinister bassline lays down a perfect groove for the piano con clave too.
So what happens when a Latin plays a tribute to “The Master Duke Ellington”? Strange and wonderful things happen. How about: Duke must be beaming enigmatically in heaven as he shadow-conducts this wonderful ensemble saying, “I told you so…” The music he lovingly called jazz is truly universal.
Tracks: Upper Manhattan Medical Group (U.M.M.G); Satin Doll (Muñeca); Flamingo; In a Sentimental Mood; Lover Man; Solitude; Perdido; Sophisticated Lady; C Jam Blues; In a Mellow Tone; It don’t Mean a Thing (If you Ain’t Got That Swing); Cotton Tail; Fleurette Africaine; Caravan (La Caravana Reprise).
Personnel: Henry Brun: tumbadoras, quinto, bongo, cowbell, timbales, cúa, maracas, guiro, shakers, clave; Travis Davis: piano, keyboards; Rafael “Ralph” Petitón: electric bass; Gabriel “Gabe” Pintor: alto and tenor saxophone; Judi Deleón: vocals; Justo Almario: alto and tenor saxophone & flute (1, 12); Vernon “Spot” Barnett: tenor saxophone (4); Dr. John Mills: tenor saxophone and flute (5, 8, 11); Phillippe Vieux: baritone saxophone (5, 11); Dr. Benjamin Irom: piano (4, 13); Pedro “Pete” Ojeda: electric bass (4); George Prado: double bass (13).
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Henry Brun on the web: www.henrybrun.com
Review written by: Raul da Gama
