Elio Villafranca & Arturo Stable – Dos y Más (Motéma 2012)
|
Review written by: Raul da Gama -
Elio Villafranca is one of the most exciting young trio of pianists to come out of Cuba in recent years; the other two being David Virelles and Aruán Ortiz. That number may well have been a quartet, had Arturo Stable chosen to remain a pianist—an instrument he started out with—before he chose percussion as his means of musical communication. But then again, Villafranca did begin his musical life as a percussionist before he chose the piano as his instrument. That both musicians appear to have chosen wisely is beyond doubt with the release of Dos y Más. Unusual maturity and erudition appear to flow through the music of this album and whether this is a result of the fact that each is sensitive to the demands and characteristics of the other’s instrument is a moot point here. However, the rarity and exquisite nature of their collaboration shines through and makes this more than merely an outstanding feature of this album. It also shows how four hands can multiply exponentially as Villafranca’s and Stable’s dazzle as they fly and move quietly and surreptitiously across keys and skins in a flurry of activity.
This is, quite simply, craftsmanship at its finest and it goes beyond mere technique, as the word “craftsmanship” may suggest. It is a matter of voices entwined like pirouetting DNA—gourds with hundreds of seeds; a chekere with a myriad seeds and shells; the glimmering swish of cymbals that accompany a dazzling arpeggio on the piano on “Yusa’s” and “Agua Marina”… These are just two examples of how magnetically attracted Villafranca and Stable are. The other outstanding aspect of the music is how inspired the compositions are. Although composed by two completely different minds the mindset appears to be almost inspirationally alike so that different and varied compositional pieces seem to have come from a person with two brains yet one personality. “1529” and “Alla”; “Saghezi” and “Vertiente” are compositions that are dramatically different on the face of it. The first and third are rhythmically complex and revel in that character; the second and fourth rely on melodic extravagance and dramatic harmonic polyphony than anything else. And yet they seem to be of one body; one soul.
Most beautiful and spectacular of all is the geometry of the compositions and the manner in which they unfold—a succession of lines, dance steps, airy curves, parabolas, sharp angles and wide elevations. Nowhere is this more superbly evident than on “1529”, a song of extreme subtle expression and dynamics and nuanced beauty for both pianist and percussionist. However, it is the gentle rousing emotion of “Cuba Linda” that stirs heart and soul. Both Villafranca, who composed the guaguancó and Stable, who anchors its stirring tide must have known this so that it must have been easy to end (sadly) this brilliant album on that note. The suspended animation might suggest something more is on the horizon in terms of a future collaboration and it is impossible to suggest how eagerly this is awaited.
Track Listing: 1. 1529; 2. Saghezi; 3. Alla; 4. Arara; 5. En la Colonia; 6. Vertiente; 7. A las Millas; 8. Yusa’s; 9. Agua Marina; 10. Cuba Linda.
Personnel: Elio Villafranca: piano, guataca, vocals; Arturo Stable: djembe, udu, dumbek, congas, bata, cajon, hand percussion, vocals; Igor Arias: lead vocals (10).
Related links: Elio Villafranca on the web: www.eliovillafranca.net
Arturo Stable on the web: www.arturostable.com
David Murray Cuban Ensemble Plays Nat King Cole (Motema 2011)
|
Review written by: Janine Santana -
Nat King Cole’s Latin influenced recordings of 1958 and 1962 were performed in both Spanish and Portuguese. Cole spoke neither, but sang the lyrics phonetically, maintaining his signature phrasing style. Although it sounded odd to native Spanish and Portuguese speakers, his obvious affection for the songs beloved world-wide by Latinos was accepted as it opened the door to a new audience for the music. To be honest, Cole’s versions of the songs my parents loved and I grew up listening to were not my favorite versions, although I am fond of Cole’s other offerings. What I admire about the work is his verve. Not one to be threatened by cultural barriers and willing to step up to the plate to create and explore cultural music, Cole put his unique stamp on these Latin arrangements. Fifty years later Saxophonist David Murray, himself a bold breaker of barriers, has recorded a testimonial to Cole’s excursion into the popular Latin music of his day.
Known for free-style improvisation and dissonant interpretations, Murray takes traditional dance rhythms and transposes them into a swinging, jazzy journey rich with his signature sound. With the support of a Cuban jazz ensemble and a Portuguese symphonic orchestra, as well as exciting, rough vocals by Latino Rock/Tango interpreter Daniel Melingo, Murray and co-producer Valérie Malot have offered an exciting meld of different traditions and styles that work well together.
There is an interesting relationship in the way Murray has arranged the brass, woodwinds, strings and vocals. The spices of this recipe are all pertinent. The resulting flavor is Dissonance meets Melody and Rhythm.
El Bodeguero, also called “the Grocer’s Cha Cha” Takes an old favorite and transforms it into a treat in counterpoint. While the essence of the original remains, there are many layers of sound both dissonant and harmonious weaving in and out of the arrangement while the rhythm remains true. I’d love to see the sheet music! Besides a tasty solo by Murray, there is a fun, well-formed trombone solo by Denis Cuni Rodriguez. While the piece carries Murray’s signature free –flow arrangement style, it also remains a danceable cha cha.
Quizás, Quizás, Quizás enters with all the theatricality this long time favorite by Osvaldo Farrés deserves. The creative melding of the instrumental voicings are joined by a human voice that was quite a surprise! The thoughtful phrasing, deep, rough and passionate vocals of Daniel Melingo are the perfect choice for the rougher mood of this arrangement. A veteran vocalist of star caliber for both tango and rock in Argentina and beyond, he dances his voice around Murray’s saxophone as if they were teasing each other.
Tres Palabras, a romantic favorite is given a hard punch of excitement immediately via the skillful, stunning high notes of trumpeter Mario Felix Hernandez Morrejon. The spirit of the tune picks up beautifully near the end of the arrangement with an intertwining of alto saxophone by Roman Filiu O’Reilly with Murray and Ariel Binguez Ruiz on tenor saxophones. Congas driven by Abrahim Mansfarroll Rodriguez carry the piece out in style.
Another well-known piece that has been given an entirely new face is Piel Canela, composed originally by Bobby Capó. Here we have a rendition with an elegant alto sax solo by O’Reilly. This arrangement is my least favorite on the project, but by no means does that mean it is weak. It held my attention from start to finish.
The most pleasurable tune is No me platiques, an arrangement where Murray’s mournful tenor saxophone is lifted up by the stringed orchestra. The effect is interesting, slightly unnerving yet I could not turn away. With an outstanding solo by Murray, this is by far the most expressive piece on the recording.
Black Nat, an original by Murray starts out with fire and gets hotter from there. Murray works the band and orchestra to completely support free and wildly expressive horn solos, including a very elegant trombone solo by Denis Cuni Rodriguez. Murray saves the last tenor solo for his own statement.
Cachito, a Consuelo Velásquez composition, is given a good treatment with excellent woodwind arrangements and straight ahead percussion balancing the arrangement. The string section supports a fine be-bop influenced alto sax solo by Oreilly that shows off finesse on the instrument.
A Media Luz returns us to the tango influence, highlighted by the rough vocals of Melingo. The arrangement moves in a dissonance that stretches boundaries for the vocalist, who handles the piece skillfully. Murray Captures the vocals with his bass clarinet and carries the mood through the rest of the piece.
Aqui Se Habla En Amor opens with the keys of José-Pepe Rivero’s teasing us into the tune before the orchestra and band kick in, supporting Murray’s conversational solo.
There is a bonus track on U.S. releases, El Choclo. Bandeleon by Juanjo Mosalini opens the tune as Melingo’s raspy and expressive voice treats us to a flowing tango journey that carries the listener straight to Argentina. The saxophone enters and injects a North American Jazz flavor into the recipe. This tune is a real treat!
David Murray, Valérie Malot, Producers in Argentina, Portugal, France for 3D Family
Track Listing: 1. El Bodeguero; 2. Quizás, Quizás, Quizás; 3. Tres Palabras; 5. No Me Platiques; 6. Black Nat; 7. Cachito; 8. A Media Luz; 9. Aqui Se Habla En Amor; 10. El Choclo; 11. Quizás, Quizás, Quizás (Radio Edit).
Arranger: David Murray.
Personnel: Joana Dias, Joana Cipriano, Rui Guimaraes, Maria José Laginha, Joao Andrade (violin); Joao Gaspar, Gonçalo Ruivo (viola); Samuel Santos, Catarina Anacleto, Tiago Vila, Rita Ramos (cello); David Murray (bass clarinet, tenor saxophone); Roman Filiu O’Reilly (alto saxophone); Ariel Bringuez Ruiz (tenor saxophone); Mario Félix Hernandez Morejon, Franck Mayea Pedroza (trumpet); Denis Cuni Rodriguez (trombone); Pepe Rivero (piano); Georvis Pico Milan (drums); Abraham Mansfarroll Rodriguez (congas).
Related links: David Murray on the web: www.davidmurraymusic.com
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. |
|
|
||
T.K. Blue – Latin Bird (Motema Music – 2011)
The hypothesis that in Charlie “Bird” Parker’s music the cultures of the world collided may be new, even unheard of until now. The elemental polyrhythms of Africa were melded into the folk forms of America and both were glorified in the polyphony of European music as Bird soared. The alto saxophonist wrote and played like a pianist; sang like a choir of angels and broke endless boundaries creating a music so timeless and elastic that it will, no doubt, live forever, or at least for a very, very long time like that of the great composers from Haydn, Beethoven and Mozart to Bartok, Stravinsky, Ellington, Mingus, Nichols and Monk. No one can play like Bird, yet his music is open to interpretation. The monumental recreations of Bird’s (and Monk’s) music by Heiner Stadler performed by Thad Jones, George Lewis, Stanley Cowell and others in the early seventies were spectacularly modern, challenging even the then freewheeling tenets of contemporary European music. And of course, musicians playing in the Afro-Caribbean idiom have also had the gumption to attempt to re-interpret Bird’s complex harmonies and rhythms.
The latest tribute comes from no less a figure than T.K. Blue (also known as Talib Kibwe), an alumnus of some of the finest ensembles led by the great Randy Weston. So, schooled in the African idiom, T.K. Blue now takes Bird on an Afro-Caribbean adventure with Latin Bird, an ambitious homage to a musical place Bird sometimes revealed he was also in love with, playing in a large ensemble with Dizzy Gillespie and Machito. However, this album is a much more elaborate adventure. Here T.K. takes some of the most sacred Bird pieces and attempts to—for want of a better word—Latinize them. To pull this off not only requires sublime technique and virtuosity, but also great musical instinct combined with a sustained creative rush to the head, a suicidal streak to dare to defy the gravitational pull of Bird copycats, and of course a great cast of band mates. Fortunately all this comes together in T.K.Blue, who also had the good fortune of bringing together a stellar ensemble—including one of the finest rhythm colorists in drummer, Willie Martínez and Latin percussionist, Roland Guerrero, presided over by a bassist who is too often ignored even by some cognoscenti—Essiet Okon Essiet, who is as supreme a melodist as he is a rhythmic player.
Picking a repertoire of Bird’s blues is also inspired as if anything can universalize Bird—as well as set him apart from any other great composer—it is his absolutely authentic feeling for the blues. T.K does have a near-miss on the opening chart, “Chi Chi” but, egged on by his superb ensemble he recovers in the blink of the eye. The near-miss is only because the melding of the African and the Caribbean appears somewhat separated and contrived (in the most honest sense of the word). But T.K Blue’s spectacular turn as an arranger of Afro Caribbean music is beyond reproach from “Sí Sí” on. The latter chart begins with in the sublime realm of bebop and swings and shuffles its way in the Latin meters so perfectly it is breathtaking to the ear. Monk’s “Round Midnight” is flawless, but it is Bird’s classic “Donna Lee” that is the album’s crowning glory, shuffling from a danzón to the wild swing of bebop, waltzing its way to a great Viennese hallway before colliding with a masterful samba that then breaks down into the most spectacular African blues.
Any musician wanting to Latinize Bird’s repertoire following this wonderful album is going to have to literally pull a rabbit out of a hat, but with an outstanding performance on alto saxophone and flute, perhaps the “hardest act to follow” is going to be for T.K. Blue himself.
Track Listing:
1. Chi Chi
2. Sí Sí
3. Visa
4. Blue Bird
5. Round Midnight
6. Barbados
7. Steeplechase
8. Moods of Parker
9. Donna Lee
10. He Flew Away Too Soon
11. Buzzy.
Personnel:
T.K Blue: composer, arranger, alto saxophone, flute; Willie Martínez: trap drums (1 – 4, 6, 7, 9, 11); Roland Guerrero: congas, percussion (1 – 4, 6, 7, 9, 11); Essiet Okon Essiet: acoustic and electric basses (1 – 9, 11); Theo Hill: piano (1 – 9, 11); Steve Turre: shells and trombone (1, 2, 4); Lewis Nash: trap drums (5, 8).
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.
T. K. Blue on the web: www.tkblue.com
Review written by: Raul da Gama
Ithamara Koorax & Juarez Moreira – Bim Bom (Motema Music 2009)
João Gilberto did not just epitomize bossa nova, “The New Thing” that he virtually invented, but he also brought his new laconic vocalastic style to Brasilian music. So deeply passionate and idiosyncratic was his annunciation and intonation that he could wail and groan with equal lyricism. Pitch did not seem to matter as the mood and passion of the emotion often took precedence over all other musical considerations. This was always the highlight of a João Gilberto performance – whether live or on carefully produced studio recordings.
Now comes Bim Bom: The Complete João Gilberto Songbook, an affectionate tribute to the maestro from a younger Brasilian vocalist, Ithamara Koorax. The singer is a perfect foil for João Gilberto’s singing style, yet one who captures the floating lyricism of Gilberto’s music while herself soaring vocally like a thrush in the throes of a swirling thermal wind. She is accompanied by Juarez Moreira, a guitar stylist whose fingers fly exquisitely across the strings to replicate the sound of a broader string section. Moreira is also so skilled that he recreates the crisp accompaniment that João Gilberto often provided himself.
Ithamara Koorax has a voice that soars with celestial grace. It floats and sways as if nudged by a heavenly breeze. Koorax’s vocals can sometimes flip and flop and tumble like a bird in flight. She has complete control over her breath, letting it slip like a sharp flue through her lips. At other times, she may choose to reach deep beyond the bottom of her lungs and in to her guts, to draw great gusts of air, which she will then fill with lyrical swirls and stutters as she forms the words of the songs by brushing this hot breath onto them. Thus the lyrics melt in the heat of her lips that caress them, uttering phrases and memorable sentences that pierce like arrows into the heart.
Ithamara Koorax becomes each song that she sings in wonderous tribute to the maestro, João Gilberto. She is a puckish child playing with words on “Bim Bom.” Koorax becomes all brown up and sensuous as she strikes a pose on “Hô-Bá-Lá-Lá” and on the lustrous, “Minha Saudade.” On “Você Esteve Com Meu Bem?” Koorax recalls every great vocalist who ever covered this song, from Carmen Miranda to Mariza to Caetano Veloso. “Bebel” is a superbly crafted, affectionate waltz for Gilberto’s equally talented daughter, Bebel. Ithamara Koorax has made this a slow burning torch song, so graceful that it glows like molten metal running through her perfect throat. In addition, on and on she goes waxing and waning like a perfect lunar apparition.
The baiao rhythm of “Undiú” is hypnotic and Koorax herself delivers this in a trance-like mode. The Mexican-inflected, “João Marcello” and “Acapulco” are completely surreal in that they capture the blazing heat of the barrio but always are softened by the temperate strumming of a Brasilian guitar. It is impossible not to notice the superb guitar work by Moreira, which is understated at the best of times, always subordinate and supportive of the voice of Koorax. However, every once and awhile he too soars above the music. Naturally, therefore the project could not conclude without a showcase of his skills. “Um Abraço No Bonfá” is just that vehicle for the guitarist to sparkle as if he were a whole string section at times.
To see this record as a mere tribute to Gilberto would be to diminish, somewhat, the superb vocals of Ithamara Koorax and the dexeterity of Juarez Moreira on guitar. Still with abject modesty, they offer this wonderful music in praise of the legendary Brasilian who ought to have been better known decades ago.
Tracks: 1. Bim Bom; 2. Hô-Bá-Lá-Lá; 3. Forgotten Places (João Gilberto/João Donato – Portuguese lyrics by Lysias Enio); 4. Minha Saudade (João Donato/João Gilberto); 5. Você Esteve Com Meu Bem? (João Gilberto/Antônio Cardoso Martins); 6. Valsa (Bebel); 7. An Embrace to Bonfá (Um Abraço No Bonfá); 8. Glass Beads (João Gilberto/João Donato); 9. João Marcelo; 10. Undiú; 11. Acapulco; 12. Bonus track: Hô-Bá-Lá-Lá (English lyrics by Aloysio de Oliveira).
Personnel: Ithamara Koorax: voice; Juarez Moreira: electric and acoustic guitars.
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.
Ithamara Koorax on the web: www.koorax.com
Review written by: Raul da Gama
