Noteworthy Recordings of 2011
Feature Article Written By NY Co-Editor, Tomas Peña
 |
 |
GREGOR HUEBNER – EL VIOLIN LATINO (TIMBA) Gregor Huebner’s latest CD is not so much an album as a travel narrative. On, "El Violin Latino" the German violinist and composer, who makes his home in Harlem, retraces the evolution of a repertoire that spans continents and centuries even as it remains in the shadow of the European canon. By turns sexy and sly, impassioned and dreamy, his collection of well-known tunes, unexpected arrangements and original compositions brings together far-flung members of the fiddle diaspora. In some ways, it’s the story of the prodigal violin: of how the most aristocratic of instruments crossed the Atlantic and found itself in the rhythm section of a Cuban charanga band, or in a brothel in Buenos Aires. Review by journalist Corinna da Fonseca-Wollheim of the Wall Street Journal. |
|
||
 |
MARACA AND HIS LATIN JAZZ ALL STARS – REENCUENTROS, LIVE AT THE GRAND THEATER OF HAVANA (DESCARGA SARL- CD/DVD) This is the recording that Maraca’s fans have been waiting for. Recorded live at the Grand Theater in Havana, Cuba (2010), it presents Maraca’s collaboration with the Havana Chamber Orchestra and includes standout contributions from pianist Harold Lopez-Nussa, Japanese violinist Sayaka, saxophonist David Sanchez, drummer Horacio “El Negro” Hernandez, percussionist Giovanni Hidalgo and others. The recording takes the listener (and viewer) on a musical journey through the history of traditional and contemporary Cuban music. The repertoire includes such classics as “Camerata en Guaguancó” (a Guido López-Gavilán composition), “Serenata Cubana” (an Ignacio Cervantes piece), Chano Pozo and Dizzy Gillespie’s, “Manteca” and a number of original compositions, including “Afro,” “Danzón Siglo XXI,” and “Nueva Era.” “Reencuentros” is a showcase for Maraca and his distinguished guests and in this writer’s opinion, his finest recording to date. TP. |
|
|
||
 |
JOSE RIZO’S MONGORAMA (SAUNGU RECORDINGS) “Mongorama” is no ordinary band. Its self-mandate of paying tribute to the charanga/jazz musical period extensively explored by Mongo Santamaría and his band mates, saxophonist Chombo Silva and flautist Rolando Lozano, involves revitalizing Mongo’s music and the charanga tradition he helped to develop. 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. The music on this CD has is fresh, spontaneous and has those improvisational elements inherent to Jazz and Afro-Cuban descargas. This approach works perfectly well for these seasoned, highly-trained cats, who proudly follow in the footsteps of Maestro Mongo Santamaría. Review by Danilo Navas, Editor and contributing writer for Latin Jazz Network. |
|
|
||
 |
CACHAO – THE LAST MAMBO (EVENTUS ENTERTAINMENT/LATINUM MUSIC) This historic and heartfelt 2 CD set documents the final performance by bassist and mambo legend Israel “Cachao” Lopez leading a 24-piece orchestra. The concert, which celebrated the bassist’s 80 years in music, was held at the Ziff Opera House at the Adrienne Arsht Center in Miami Florida in 2007. At one point in the recording Cachao becomes reflective, “Tonight I am feeling very emotional” says Cachao, “80 years in the music business. Do you know what that is? It’s no joke.” The Last Mambo transports the listener to the legendary master’s final performance and it’s the next best thing to being there. TP |
|
|
||
 |
CHARITO – HEAL THE WORLD (ZOHO RECORDS) This jazzy tribute to Michael Jackson is a refreshing and pleasant surprise. Vocalist, Charito, who is obviously a huge fan of Jackson, handles the material with passion, intimacy and swing. Moreover, she breathes new life into Jackson’s hits: “Rock with You,” “Human Nature” and “Never Can Say Goodbye” among others. The recording was produced by West Coast percussionist Harvey Mason, who has worked with Dionne Warwick and Whitney Houston. Mason has assembled a distinguished group of musicians and the arrangements are familiar yet fresh. Heal the World is a heartfelt and uplifting tribute to the King of Pop. It’s the feel good album of the year. TP. |
|
|
||
 |
OMAR SOSA – CALMA (OTA) Calma is Omar Sosa’s fifth solo piano recording and perhaps his finest. The CD is comprised of 13 solo piano improvisations, fusing stylistic elements of jazz, classical music, ambient and electronica. As the title implies, the overall feeling is relaxed and introspective. According to Sosa, “Each song is an inspiration for the next, and improvisation is the basis of musical expression. I wanted to play from beginning to end without thinking – just feeling where each note would take me, following the voice of my soul.” Rhythmically, the feeling of the CD is unhurried and meditative. Sensations of floating and suspension of time prevail. Review: Otá Records. |
|
|
||
 |
JERRY GONZALEZ Y EL COMANDO DE LA CLAVE (SUNNYSIDE) “González is as brilliant an improviser as he is a melodist. He is like a master-weaver when he plays, weaving color and subtle shades into a musical tapestry that is beautiful and rare. His phrasing flutters airily across this artifact that becomes the trumpeter’s playing field. The album is truly flawless from end to end, but several performances are monumental. The turning of “Love for Sale” into a personal statement is one. González leads the ensemble in what must surely be one of the finest versions of this piece. It is no more a lovelorn ballad that it is purported to be. But while still retaining its balladry, González turns it into a sensuous melody full of ebullient twists and turns between trumpet and percussion. Then on Duke Ellington’s “In a Sentimental Mood” the ponderous quietude of the song is transposed, with a voluptuous Latin tinge into a dramatic contrapuntal excursion between voice and trumpet, presided over by some miraculous-sounding triplets on bass. And, of course, the duende of Diego El Cigala’s voice drives the music of “Avisale a mi Contrario”. That and González’s molten, brassy lines make a magic so rare and powerful that the sound of the song—and the album—lingers a lot longer than the last single note played by the trumpeter, thus confirming that Jerry González is everything that a great virtuoso is cracked up to be.” Excerpts from review by Raul da Gama, contributing writer for Latin Jazz Network. |
|
|
||
 |
MICHEL CAMILO – MANO A MANO (EMARCY) In Mano a Mano, Michel Camilo, returns to one of his most effective settings, the trio, but with a twist, using congas and small percussion, instead of trap drums. Featuring longtime friends, master conguero Giovanni Hidalgo and bassist Charles Flores, Michel’s trio creates a lighter, more open sound, still powerful, yet also with a certain sweet mango-flavored lyricism that proves to be a perfect vehicle for a wide ranging repertoire that includes eight original compositions and three standards. The group represents not only a “meeting of the minds, each with his own rhythmical baggage and rhythmic notions but also considering Michel hails from the Dominican Republic, Giovanni hails from Puerto Rico, and Charles is Cuban, the coming together of three potent Afro-Caribbean musical traditions. Review: www.michelcamilo.com |
|
|
||
 |
HAROLD LOPEZ-NUSSA – EL PARAISO DE LAS MARAVILLAS (IMPORT) Upstart pianist, Harold Lopez-Nussa hails from a musical dynasty – his uncle is the pianist Ernan Lopez-Nussa and he is the son of drummer Ruy Lopez-Nussa. Nussa came to my attention through his work with the Ninety Miles Project and Maraca’s Latin Jazz All-Stars, where he steals every scene in which he appears. Nussa is probably best known for his work with the legendary Cuban vocalist Omara Portuondo and his group, Herencia. The Montreal Gazette describes Nussa as, “A virtuosic pianist brimming with passion and tempered by self-knowledge and sensitivity… there’s keyboard mastery and a rich rhythmic vocabulary combined with heart-and-soul harmonies.” You are going to be hearing a lot from this dynamic, young pianist in the future. TP |
|
|
||
 |
PABLO ASLAN – PIAZZOLLA IN BROOKLYN (SOUNDBRUSH RECORDS) During the late 1950s Astor Piazzolla made a recording titled, “Take Me Dancing,” strictly for U.S. consumption (the recording is currently out-of-print). Suffice it to say, it was not one of Piazzolla’s most inspired recordings (Piazzolla called it a ‘disaster’). Fast forward to present day where Pablo Aslan reexamined the material, discovered a “rhythmic approach that was obscured by the writing” and took the material on as an artistic challenge. “Piazzolla in Brooklyn” includes re-arranged and expanded versions of Piazzolla originals such as “La Calle 92,” “Triunfal,” “Counterpoint,” and “Show Off” as well as “Laura” and “Lullaby in Birdland.” Aslan’s quintet features the top young veterans of Buenos Aires jazz and tango scene including Astor Piazzolla’s grandson, drummer Daniel "Pipi" Piazzolla. A fitting tribute to Astor Piazzolla on what would have been his 90th birthday. TP |
|
|
||
 |
TITO PUENTE MASTERWORKS LIVE! – MANHATTAN SCHOOL OF MUSIC AFRO CUBAN JAZZ ORCHESTRA BY BOBBY SANABRIA (Jazzheads) “Masterworks Live” is a passionate and spirited tribute to El Maestro, Tito Puente. Under the direction of drummer, educator Bobby Sanabria, the Orchestra breathes new life into a variety of Tito Puente classics. Some time ago I had the pleasure of seeing the orchestra in action and I am happy to report that “Masterworks Live” does an excellent job of transporting the listener to a ringside seat at the Manhattan School of Music. Taking on the repertoire of legendary figure in Latin music is an audacious task but Sanabria and the orchestra rise to every challenge and then some. “Masterworks Live” is a recording that would have made Tito Puente very proud. Long live the King! TP |
|
|
||
 |
MARK WEINSTEIN AND ARUAN ORTIZ – EL CUMBANCHERO (Jazzheads) Flutist Mark Weinstein is a daring and innovative artist who is never content to rest on his laurels and “El Cumbanchero” is living proof. Here, Weinstein and co-conspirator, pianist Aruan Ortiz explore charanga, a style of Cuban music that was popular from the late 19th century to the mid-20th century and recasts the form in contemporary terms. Essentially, Ortiz’s arrangements open up the melodic and harmonic possibilities and Weinstein explores the rhythmic complexity within each newly arranged composition. According to Weinstein, “El Cumbanchero” might be the best album I have ever recorded. Aruan Ortiz who wrote the arrangements for string quartet and contributed three original compositions has written one of the most amazing pieces of music I have ever had the pleasure of playing. The fact that he gave this music to me and permitted me to respond with complete freedom is one of the greatest gifts I have ever received.” Suffice it to say, “El Cumbanchero” is yet another feather in Mark Weinstein’s and another addition to his impressive body of work. TP |
|
|
||
 |
ARTURO O’ FARRILL AND THE AFRO LATIN JAZZ ORCHESTRA – 40 ACRES AND A BURRO (ZOHO) Earlier this year I had the pleasure of speaking with pianist, musical director Arturo O’ Farrill and he made the statement with regard to creating new music” “Lord, I want to be on unsure footing, I want to be challenged, I want to feel like I am always and every day, not comfortable, not retreading. It’s really important to me that every time I play the piano that it is a new experience. If I walk away from writing a piece and I don’t feel that I have done something new, I feel guilty! I feel like I have shucked and “jived” my responsibility.” On “40 Acres and a Mule” O’ Farrrll finds inspiration in music from Brazil (Pixinguinha’s "Um A Zero" and Hermeto Pascoal’s "Bebê"), Peru (Gabriel Alegria’s "El Sur"), Argentina (Astor Piazzolla’s "Tanguango") Cuba ("Ruminaciones Sobre Cuba") and beyond. Furthermore, he uses his large ensemble like an artist uses a palette, creating different musical scenarios from piece to piece. O’ Farrill describes “40 Acres and a Burro” as “pure unabashed jazz and 100% unabashed Latin (music) and it melds them beautifully, and does it from the perspective of Peru, Argentina, Puerto Rico, Cuban and Ireland.” TP. |
|
|
||
New CDs – November 2011
  |
 |
CD: Recordando Track: Inesperado 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. The Andrés Ortíz Trío is formed by Colombian pianist Andrés Ortiz, Italian double bass player Antonio Cervellino and Swiss drummer Brian Quinn. They are currently based in Switzerland. Musically, Andrés has a strong Latinamerican folkloric influence from his early years growing and learning in his native country. He’s a talented composer and arranger who has received several awards in Spain, where he was living before moving to Switzerland in 2008. |
 |
CD: El Cumbanchero Track: El Cumbanchero 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. Virtuoso flute player Mark Weinstein is joined this time by strings and percussion, revisiting and reinventing the classic charanga Cuban tradition. Weinstein and Cuban pianist Aruán Ortiz produced this album, and Ortiz also contributed brilliant arrangements for this project. Flutist Danilo Lozano writes in the liner notes: "For me, this recording has borne the musical and cultural challenges inherent in performing Latin jazz." |
|
 |
CD: Plays Toninho Horta Track: Retrato Do Gato 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. In this new album, superb Brazilian drummer Duduka Da Fonseca is joined by his musical partners, David Feldman on piano and Guto Wirtti on acoustic bass. They are the Rio de Janeiro-based Duduka Da Fonseca Trio, rendering hommage to Toninho Horta, another extraordinary Brazilian artist (singer-songwriter and guitarist). This project is a tremendous follow-up to Duduka’s 2009 Latin Grammy- nominated "Brazilian Trio Forests." |
|
 |
CD: Live at Bird’s Eye Track: Sambatropolis 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. The harmonica and the vibraphone take a new dimension on Hendrik Meurkens hands. This album, recorded live at the Bird’s Eye club, in Basel, Switzerland, is uplifting and refreshing. Meurkens is joined by Misha Tsiganov on piano, Gustavo Amarante on bass and Adriano Santos on drums (and pandeiro on track #5). This project showcases the most representative Brazilian rhythms: Samba, Bossa, Choro and some beautiful Jazz ballads. Truly enjoyable. |
|
 |
CD: David Murray Cuban Ens. Plays Nat King Cole en Español Track: Quizás, Quizás, Quizás 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. Based on the two recordings en español by Nat King Cole, released around 50 years ago, this is truly an innovative interpretation of those historic albums by saxophonist, conmposer and bandleader David Murray and his 10-piece Cuban ensemble. Some of the best Cuban musicians participate on this project, which is enhanced with a Portuguese string section (Sinfonieta of Sines), tango revivalist singer Daniel Melingo and bandoneón player Juanjo Mosalini, both from Argentina. The final result is magnificent. |
|
|
||
Latin Jazz Network Radio – Jukebox – May 2011 Playlist
Click here to launch our audio player. See our playlist below.
|
Mark Weinstein – Jazz Brasil (Jazzheads – 2010)
Mark Weinstein has quietly established himself as one of the most wildly inventive flutists in modern memory. He is also one of the finest virtuoso players in the entire spectrum of 20th and 21st century music. His only rivals may well be the late Eric Dolphy, the Canadians, Jane Bunnett and Bill McBirnie, and of course the great James Galway. Weinstein is radically different from Dolphy, who imparted a speech-like quality to his flute inspiring the mighty John Coltrane in the bargain and radically expanding the vocabulary of that instrument. Weinstein, on the other hand prefers to stay within the confines of the almost classical language of the instrument, but like the others mentioned, makes soaring leaps and swoops from the stratosphere and into the oceanic depths of music, bringing a renewed elasticity to the alto and bass flutes as well as the concert flute. (Although his astounding album, Tales from the Earth, (Ota Records, 2009), with the pianist, Omar Sosa, however might suggest that he now resides closer to Dolphy in the extremely creative improvisations).
Weinstein has also been steady in his output in recent years, with four albums in as many years, but more than quantity, the consistency of his form has been quite impressive. Jazz Brasil, however, must surely rank as one of his finest albums to date. It is radically different from his album with Omar Sosa; more like the earlier Jazzheads album, Lua e Sol (2008), which also paid tribute to the Brasilian milieu. Jazz Brasil is not as thematically connected as the former Brasilian album. The latter has a greater sense of urgency and seeks to unite two great traditions by melding the jazz swing of delight with the shuffle of samba. His reading of the classic Ary Barroso song, “Brazil” is a case in point. Rather than play this chart like wave upon wave of thundering rhythm (as Maria Bethania once did, for instance), Weinstein drops the song into a trance-like Bossa Nova groove, with the master bassist, Nilson Matta chugging along with a steady shuffle and swing. Likewise, his interpretations of Antonio Carlos Jobim’s “Triste” and “If You Ever Came to Me” are magnificently linear re-imaginings of Brasilian standards, crafted, no doubt, with Matta in tow.
The bassist had a leading hand in this album. His joyous playing also raises the level of excitement exponentially. Matta is positively buoyant on his own compositions, employing great leaps, covering multiple octaves on the bass with unbridled technical virtuosity. His double stops on “Brazil” are breathtaking. Pianist Kenny Barron must surely be an inspired choice for the musical journey. The ingenuity of this decision is borne out on the two Thelonious Monk charts played here: “I Mean You” and “Ruby My Dear”. While Weinstein skips and pirouettes his way through the songs, Barron plays perfect foil, as he recreates the charts in singular fashion. Drummer Marcello Pelliteri not only completes the quartet, but leaves an indelible mark on this unforgettable album.
Track Listing: I Mean You; Triste; Nefertiti; Brazil; Ruby My Dear; Sambosco; Dawn’s Early Light; Memphis Underground; If You Never Come to Me; Isotope.
Personnel: Mark Weinstein: concert flute, alto flute, bass flute; Kenny Barron: piano; Nilson Matta: bass; Marcello Pelliteri: drums, percussion.
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.
Mark Weinstein on the web: http://jazzfluteweinstein.com/
Review written by: Raul da Gama
In Conversation with Flutist, Composer, Arranger, Mark Weinstein
September 1, 2010 by danavas
Filed under Interviews
Interview by: Thomas Peña
"First came the transition from trombonist to flutist. Then came the transition to Latin jazz. For Mark Weinstein, a confluence of worlds has become modus operandi." Woodrow Wilkins, All About Jazz (www.allaboutjazz.com).
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.
TP: Congratulations on yet another splendid recording. By all accounts "Timbasa" has been well received.
MW: Yes, it has.
TP: How did the recording come about?
MW: When I made "Algo Mas" I knew that I was "locked" into a folkloric thing, so I asked (drummer/educator) Bobby Sanabria to recommend a drummer and he suggested that I contact Pedrito Martinez. When I decided to move into more mainstream Latin Jazz I combined Pedrito with (pianist) Mark Levine, (bassist) Santi DeBriano and (drummer) Mauricio Herrera.
TP: On "Con Alma" …
MW: Right. The reason I am focusing on Pedrito is that "Timbasa" is as much his project as it is mine. He co-produced the recording and set things up in response to a funny challenge. I ran into him somewhere and he asked me when we were going to collaborate on another project. Sort of goofing on him I said, "Find me a piano player and a bass player who are as good as you and bring a couple of drummers." I had no idea what he was going to deal me! The thing about Pedrito is that he is in a class all by himself. He has the "chops" but his "head" is enormous!
TP: What did Pedrito "deal you?"
MW: Well, I went into the studio with a lot of confidence in Pedrito but not much else. The only thing I was sure of was that the he was bringing in Cuban musicians who are steeped in jazz. I asked Pedrito to bring some material and I thumbed through the book that I use when I do gigs, which represents the history of Latin Jazz. I had all the old war horses (tunes), "Watermelon Man," "Caravan" and "Milestones," which thanks to Larry Harlow, is the first Latin jazz tune I ever played! I played with Larry as a sideman (trombonist) in the Catskills. At the time he had a quintet and he realized right away that "Milestones" was a natural with a Latin beat. As a goof I also included a tune that I wrote for my infamous "Cuban Roots" album titled "Just Another Guajira."
Pedrito brought drummers, Mauricio Herrera and Ogduardo Diaz. Then there was this kid, a wild man with his hair sticking up in a million different directions, running around the studio. When he and I first met I was in the recording booth and I had all of my flutes on a stand. I remember being concerned that he was going to knock them down, so I said to him, "Hey man, be careful with the flutes!" and he replied, "I might be hyper, but I am a musician." Then he went into the piano booth and started playing some serious Chopin!
TP: What is his name?
MW: Axel Oscar Lougart. He’s 23 or 24 years old and he represents a generation of conservatory trained Cuban musicians who have spent the same amount of time studying classical music, jazz and folkloric music. This is the phenomenon of the Cuban education system that we are getting as they use the U.S. as their launching pad.
Speaking of another Cuban phenomenon, I am in the midst of making a recording with pianist, Aruan Ortiz, which is another funny story. Aruan sent out an e mail blast seeking work and his resume was a who‘s who of prestigious conservatories. I called him up and spoke to him about a Charanga album that I had originally intended for pianist, Omar Sosa. Aruan jumped at the chance and immediately composed four danzones and a bolero, two of which are modern, yet reminiscent of the music of Arcaño y Sus Maravillas and Israel "Cachao" Lopez. Aruan is another example of the amazing young musicians who are coming out of Cuba.
But I digress. There was another guy in the studio standing quietly in a corner who turned out to be bassist Panagiotis Andreou, who happens to be Greek. As I was watching the musicians interact, I noticed something that I haven’t seen since trombonist, Barry Rogers was on the scene. The high degree of respect that he commanded from the Cuban musicians. The thing about Panagiotis is that he is a trained classical guitar player and plays a six string bass that goes down to the notes that only whales can hear. When he plays fast his fingers barely move. He plays with such comfort and the way he lays in the tumbao … It’s like Pedrito and all those young Cuban cats. They have so much confidence in each other that nobody has to lay things out. Everybody can play with whatever subtlety and nuance they choose.
TP: Given Barry’s legacy, that’s saying a lot. How did things go in the studio?
MW: We recorded and worked out all of the arrangements in the studio, with the exception of the complicated drum breaks, which Pedrito sang to the drummers. There are a couple of amazing things about the way the musicians played and interacted with one another. The most obvious being the complex percussion breaks. If you listen to the tune, "Timbasa," you will notice that the Clave is being played on the high hat while the drums are playing the break, but there is also a clave popping in and out! What Pedrito is doing on the clave and in between the clave is so perfect that it’s amazing.
TP: Given the generation gap between you and the other members of the band, did you feel out of your element?
MW: Performing with these guys was like running with the bulls in Pamplona! I had to play very fast in order to stay out of their way, but no matter what I chose to do, they were right there with me. It’s such a blessing to play with such great musicians.
TP: "Timbasa" has received very favorable reviews and a significant amount of airplay.
MW: I recently had a conversation with pianist, Mark Levine about his album, "Off and On – The Music of Moacir Santos." When I asked him how his recording was doing he said, "Great reviews, great radio play, no sales!" I wrote him back and said, "Hey man, sounds like you are talking about my record!" The recording is holding steadily and everybody who responded to me personally has said very positive things. Perhaps one of the highest praises I received was from (percussionist) Bobby Matos, who said it was "Fresh." Not bad for a 70 year old musician!
(For more on Mark Levine, visit: http://www.marklevine.com/recordings.html)
TP: Not bad at all!
MW: There is no standard for me in my playing other than the absolute highest.
TP: One of the things that I have always admired you is the fact that you are absolutely fearless.
MW: My intention is to play the best music that I can possibly play. I have confidence in the fact that I can go into any rhythmic situation and feel comfortable. That’s something I learned from playing with Eddie Palmieri‘s band. It was the most swinging band in the world and I had to know where the ONE was at all times. Sometimes I would get lost, but I would always find my way back – not by counting – but by dancing! Because at the end of the day it’s dance music. That’s my attitude toward the music of the African Diaspora. I just want sit on top of that rhythm and play free.
TP: For those readers who may not be aware of your "other life" you were a trombonist and a member of the original La Perfecta, the hippest and most swinging Latin band to ever grace a stage.
You already mentioned a few of your future projects. Is there anything else that you are working on that we should know about?
MW: I recently ran into Jochen Becker, the President of Zoho Records and he said to me, "If you want to get nominated for a Grammy you need to do a Tango album. I have just the guy for you." The "guy" turned out to be none other than (bassist) Pablo Aslan. So I called Pablo and he agreed to write five tangos for me. After listening to the material, I thought to myself, wow, this is really interesting stuff but does it really need a flute player? I did the five tangos and tried to figure out, what goes with Tango? The answer I came up with was, (Cuban) danzones. After doing half an album of danzones I realized the Tangos and the danzones are beautiful, however, I am not so sure how well they work acoustically, or as part of an album. In the meantime, Aruan has been pushing me to finish the Charanga album. So I said, OK, but we have to do something contrasting, like Guaracha or Charanga, New York style … fast! … I want to cook! At which point Aruan asks me if I was familiar with the tune, "El Cumbanchero?" (Laughs). As it turns out, "El Cumbanchero" is the working title of the album, which is almost finished. I am still trying to decide what to do with the five Tangos. They are very traditional, which is a problem because I play "free" over very traditional material.
TP No doubt you will figure it out. Uncharted waters are your cup of tea.
MW: That’s true, but I didn’t have the comfort and familiarity with Argentinean music. Anyway, I think for the other five tunes I might want to put together a quartet and get together with some Argentinean jazzers. Also, I want to do another straight-ahead jazz album, because at the end of the day I am a jazz musician. I have always felt entitled to play anybody else’s music the way I saw fit, however, I always did it with complete respect for the music. That is what I have to offer as a jazz musician. I don’t play traditional music, I play jazz with traditional music. Now I can add the traditional music of modern Cuba to my repertoire (Laughs).
TP: You have always been ahead of the curve; you put your money where your mouth is and your passion for the music has never wavered. Moreover, your body of work as a trombonist, flutist and leader is impressive. That’s a legacy to be proud of.
MW: I want a legacy. I want to make a contribution. I want people to know that Mark Weinstein tried to play music.
TP: You have certainly succeeded in doing that. And let’s not forget the countless upstarts you have collaborated with and inspired along the way.
MW: I almost 70 years old and I feel like I am at the top of my game.
TP: Once again, congratulations. Please give my best regards to your co-conspirators and Randy Klein of Jazzheads Records. I look forward to seeing the band perform in a live setting.
MW: Thank you Tomas, I appreciate your support.
VISIT MARK WEINSTEIN’S OFFICIAL WEBSITE: http://jazzfluteweinstein.com/
Latin Jazz Network Radio – Jukebox – August 2010 Playlist
Click here to launch our audio player. See our playlist below.
|
Mark Weinstein – Timbasa (JazzHeads – 2010)
It would seem that there is no stopping flutist, Mark Weinstein. While the composer and instrumentalist extraordinaire may not have trumped his awe-inspiring expedition into the realm of improvisation, Tales From The Earth (Ota Records, 2009) his album, Timbasa has certainly turned out to be an alchemist’s dream. Who would ever have imagined that Miles Davis’ languorous performance of “Milestones” could be regenerated as an extravagant and masterful Afro-Cuban adventure? And yet, between percussion colorist, Pedrito Martinez and Weinstein that chart has been completely reborn, making even Miles’ original literally a thing of the past. As sacrilegious as that might sound it remains absolutely true.
Beginning with the thunderous report of congas, timbales and batás, accented with splashing cymbals and drums clod-hopping in a mad dance around bass and piano the ensemble awaits the fluttering ululation of Weinstein’s concert flute. No sooner does he enter the proceedings he completely deconstructs the melody with dazzling gymnastics turning Miles tune into a hypnotic, percussive masterpiece. This he daubs with superb touches of color and harmony giving it an ethereal beauty that is quite incomparable while the percussionists —three in all- take the music to a breathtaking crescendo that sucks the proverbial air out of the lungs.
From there on it is all upward. “Timbasa” is another mesmerizing chart, an invitation to party for as long as there is music —something that the inner ear wants never to end. Wayne Shorter’s “Footprints” is equally transformed as the Miles Davis chart. Weinstein retains the mysterious, metaphysical nature of the piece but redecorates all else, especially the harmonic progression, which no longer dances in a predictable linear manner, but is more vertical and otherworldly. Herbie Hancock’s eternal “Watermelon Man” is also magnificently reborn with a new rhythm bestowed upon that swaggering vendor of the luscious fruit.
But perhaps the greatest transformation of a classic is reserved for Duke Ellington’s deeply mysterious “Caravan”. To begin with, bassist, Panagiotis Andreau vocalizes a new opening sequence somewhere in between a Turkish muezzin calling the faithful to discover the existence of the Divine, while his fingers gallop like a caravanserai of mad nomads every which way that his bass will allow them to roam. Even the body of the piece that normally sways like a mirage in the heat of the desert begins to dance as if fired up by a thousand dervishes.
Such exquisite work adorns every track on the album, including the wonderful piece of musical tapestry that Andreau and Weinstein have woven in “Kavaklari Cubano,” a wondrous Mediterranean number that turns bewitching as Weinstein works his magic on flute. In the liner notes it appeared odd that Weinstein would heap such unabashed praise on the musicians who accompanied him on this sojourn. However, by the time the last notes of his deceptively nondescript “Just Another Guajira” it is any wonder that the flutist found this to be his finest accompaniment on record.
Tracks: Milestones; Timbasa; Footprints; Watermelon Man; A Ernesto; Caravan; Encuentro; Kavaklari Cubano; Just Another Guajira.
Personnel: Mark Weinstein: concert, alto, bass flutes; Axel Tosca Taugart: piano; Panagiotis Andreau: electric bass, vocals; Mauricio Herrera: drums, timbales, guiro; Ogduardo Diaz: bongos, batá; Pedrito Martinez: congas, timbales, batá, percussion.
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.
Mark Weinstein on the web: www.jazzfluteweinstein.com
Review written by: Raul da Gama
Mark Weinstein/Omar Sosa – Tales from the Earth (2009)
|
Tales from the Earth (Otá Records) by flutist, Mark Weinstein and pianist and vibraphonist Omar Sosa is one of the most extraordinary musical expeditions in a long time. The need for a subscript is not necessary. The extraordinary depth and ethereal beauty of the music would suffice. Nevertheless, one that subscript becomes evident then the music touches parts of the body that much music might not. There is really no beginning and no end. To enter this musical continuum with eyes wide shut and to listen with the heart and soul and every pore of the being is essential.
Perhaps it is the result of a childhood epiphany, which Weinstein recalled years later. Like epic music that is worshipful and healing, profoundly hypnotic as an interminable dance, it simply skips and rushes, cartwheels and catapults. The notes and phrases are alive and breathe as they entwine into each other like gilded braid. One strain… an idea… then the voice of another world of music unfolding almost like an ocean tumbling in harness… Suddenly drums and kalimbas sing and with a rumble and thud quaking of the earth begin. Sadness flows as one of the darkest moments of human history is relived… then; not joy, but resignation—and peace. Such primeaval beauty in melody, harmonic and utterly exquisite polyrhythms… slicing through voices that meander in more melodic counterpoint.
Mark Weinstein probably imagined something like this all his life. However, it is pure chance brought the flutist together with guitarist extraordinaire, Jean Paul Bourelly and the piano wizard, Omar Sosa. The occasion was the Black Atlantic/Congo Square that Bourelly was organizing in Berlin in 2004. For Weinstein, the opportunity to play with these musicians as well as the bassist, Stan Michalak and the balaphon master Aly Keita was much the lure. Then the chilling subscript comes into play: The venue for the recording was the same building that was once the Ministry of Information during the Nazi era. For Mark Weinstein the project now must have been one by Divine design. The music reflects just that as none of the music was written. The music appears to have been dictated by a Divine muse and attendent spirits. Nothing else can explain the mesmerizing set that simply flows from track to track.
The heavenly suite opens with a brilliant, “Sunrise”—dawn aglow and alive with kalimba and brass percussion. The stage for the exorcism of pain is set by contrapuntal voices led by Aho Luc Nicaise and the musical healing begins. In this 14-part suite, unwritten yet unfolding with inspired beauty through each of its sections as it tracks the journey of the group—in a tale reminescent of the ancient Legend of Gilgamesh—until the musical expedition makes its Forest Journey” and River Crossing” there appears to be a real story unfolding here. It develops through “Praise” and the “Spirit Messenger,” who helps the musical travellers through the “Celebration” of lives lived… and pain left behind. This is Santeria… oxumare… soul sacrifice… worship… and finally true catharsis for Mark Weinstein and the whole Human Diaspora as the extraordinary improvised musical experience closes appropriately with “Gratitude.”
Tracks: Sunrise; Invocation; Walking Song; Tea Break; Forest Journey; River Crossing; Children at Play; Men’s Talk; Flirtation; Praise; Spirit Messenger; Celebration; Elders Speak; Gratitude.
Personnel: Mark Weinstein: concert alto and bass flutes; Omar Sosa: vibraphone, marimba, piano, percussion; Aly Keita: balafon; Jean Paul Bourelly: guitar; Stanislau Michalak: bass; Marque Gilmore: drums; Aho Luc Nicaise: lead vocals, percussion; Mathias Agbokou: vocals, percussion.
Mark Weinstein on the web: www.jazzfluteweinstein.com
Omar Sosa on the web: www.omarsosa.com
Review written by: Raul da Gama
Mark Weinstein – Lua e Sol (Jazzheads Records 2008)
|
|
The amazing thing about Lua e Sol the new record by Mark Weinstein, is that might easily have passed like a ship in the night. It if did, it would appear to be a case of history repeating itself, for his historic recording, Cuban Roots (Catalogue Music, 1967) was similarly treated – almost as if it did not matter, when in fact it was one of the earliest and most important records of that and any time in Latin Jazz musical history. This should never happen to this record, Lua e Sol for several reasons. It is time that Weinstein takes his rightful place in musical history – somewhere near the top – as an instrumentalist, composer and innovator when it comes to letting the various idioms of music flow in the flue of his various woodwinds.
That Weinstein has both a masterful understanding of the flute, and control of its tonal palette is like a mathematical constant. That he is able to control his breath to such a superhuman extent and create such an exquisite sonic language on such a difficult instrument is all too magical. Then there is the concept or theme of this record – Lua e Sol – moon and sun, dark and light. And then there is the music itself, which when listened to reveals not only just how modern and contemporary it is, but also the allegorical side of the record. It is a musical, but also a human journey that examines the nooks and corners of darkness and light. It is inspirational to discover source of the sound and its purity… To hear how the music ascends to a superior plane… And that has only happened because Weinstein has subordinated himself to the source of creativity and its instrument – the breath of the musician and the fingers that manipulate the instrument that whirls and twirls notes, phrases and sounds.
This record uses a Brazilian medium and delves into that music milieu as well, to reveal its tonal colors in shades of black and white, dark and light, and the cool and heat of the interstellar symbols that have come to be the iconic sources of that light and dark. Baden Powell and Vinicius de Moraes’ “Canto de Ossanha,” and the Joao Donato/Gilberto Gil piece, “Emorio” – especially the latter – with its use of bass and alto flutes, beautifully describe the idiomatic approach to the record. The Pixinguinha songs too, though short, are remarkable as well. Weinstein’s own compositional contributions to the record, “Estrelinha,” and the title track, “Lua e Sol” appear to be headed to the realm of the classic as musical programs as well as vehicles for the flute.
And of course there is the interplay between the masterful musicians who make up the quartet. Romero Lubambo has always been on the cutting edge of the guitar. His is a sensitive and emotional approach to the instrument and he is the consummate accompanist and soloist whenever he is called to play that role. Nilson Matta is, together with Zeca Assumpçao and only a handful of others, the premier bassist to come out of the Southern part of the American continent. His work with the great Don Pullen on the Afro Brazilian Connection records is now legendary. Mata is exquisite in the bowed entry to the title track. And Cyro Baptista joins Nana Vasconcelos and Paulinho da Costa in a sublimely skilled percussion triumvirate. Baptista is not conjurer of such immense skill that comparisons to someone like Liszt on the piano would not be such a stretch.
Remarkably, this record is not just a profound musical statement, but also one of the most entertaining expressions in sound as well. It is also a master class in the playing of the flute. It is one for a time capsule of this day and age.
Tracks: Canto de Ossanha; Estrelinha; Floresta; Isaura; Choro da Gafiera; Lua e Sol; Emorio; Segura Ele; Pra Machuchar Meu Coraçao; Upa Negrinho.
Personnel: Mark Weinstein: concert, alto and bass flutes; Romero Lubambo: classical guitar; Nilson Matta: acoustic bass; Cyro Baptista: Brazilian percussion.
Mark Weinstein on the web: www.jazzfluteweinstein.com | www.myspace.com/markweinstein
Review written by: Raul da Gama
