Phil Hawkins – Sugarcane Suite (P. Note Music – 2010)
The remarkable aspect of Phil Hawkins’ Sugarcane Suite is the fact that it connects seemingly disparate elements into a cohesive whole with cheerful alacrity. The resulting suite conjures a vivid expedition, a kind of rhythmic voyage that hugs the Caribbean coast, plunging several times into Brazilian waters. How Hawkins, a superb steel pans player, joins the dots in with his high-wire act is one of those mysteries that can only exist when a musician shares an unbridled and pure joy for musical expression. It is this quality of emotion and not the versatility on his chosen Caribbean instrument that drives the energy of this album. Hawkins is no Othello Molineux on the pans, but he is a brave practitioner brimming with ideas, a wonderful sense of the shuffling rhythms of Afro-Caribbean and Brazilian samba and maracatu. On this coastal voyage he is joined by an ensemble who shares his unfettered joy for music. And this becomes infectious as the program unfurls.
Hawkins weaves his rhythmic quilt with a warp that is Afro-Cuban and a weft that stretches from Brazil to New Orleans, Trinidad, bobbing on the waves of guaguanco, son, calypso and of course, a generous helping of the sensuous rhythms of Brasil—from the samba with a frevo thrown in and a maracatu hidden in the mix. He is determined to show how this magic carpet can be woven with mystery and the combined skills of technically excellent musicians. The Van Wageningen brothers bring their unique universality to the set, and this—combined with pianist Murray Low and percussionist Michael Spiro casts a seductive spell on the mind and the body and the soul. And just when it seemed that the mystique may be on the wane, Randy Brecker steps up with extraordinary, brassy timbral work on the guaguanco, “Encendido” and the son-inflected “A New Old Soul”.
Michael Spiro is a key player in an expedition that makes dramatic twists and turns into uncharted territory. His mastery of the complicated rhythms and merely having to remember what rhythmic landscape he inhabits is one of those wonders of the music of the West Coast, Hollywood scene. The other is the little known vocalists—from the inebriating vocalastics of Jessica Vautor and the irascible gutbucket joy of Crazy, who voices the calypso song, “Pan Wisdom” with large dollops of joy. However, it would be remiss not to put the success of this joyous album squarely on the shoulders of an emerging giant in terms of talent and courage: Phil Hawkins. This young percussionist is one of the emerging talents of the West Coast and he is someone who is unafraid to journey beyond the safe waters of popular music into the realms of Afro-Caribbean and the even more inebriating waters of Brazil. Here is an artist to watch for all the daringly beautiful things he is about to do.
Track Listing: 1. The Big Idea; 2. Encendido; 3. Sopatos do Meu Pai; 4. Seven Steps to Heaven; 5. Minha Parede; 6. Pan Wisdom; 7. A New Soul; 8. Euclid Ave.; 9. Suk-Kyo’s Samba; 10. Eight O’clock Blues; 11. Pan Wisdom (Carnival Mix).
Personnel: Phil Hawkins: steel pans, drums (6, 7, 9), percussion (1, 8), keyboards, synth bass(11) ; Murray Low: keyboards (1, 2, 7, 8, 9); David K. Mathews: keyboards (3, 4, 5, 10); Ray Obiedo: guitar (1, 2, 5-8, 11); Marc van Wageningen: bass; Paul van Wageningen: drums (1-5, 8, 10); Michael Spiro: percussion(1-10); Randy Brecker: trumpet (2, 7, 8), flugelhorn (2, 7); Scott Sorkin: acoustic guitar (9), electric guitar (5), Cavaquinho (6); Jessica Vautor: vocals (3, 5); Crazy: vocals (6, 11); Michelle Hawkins: vocals (3, 5, 9); Edgardo Cambon: vocals (2, 7); Orlando Torriente: vocals (2, 7); Karl Perazzo: timbales (2, 7), guiro (7); Gerry Grosz: vibes 10); Joe Cohen: alto saxophone (3); Katie Koeplin: vocals (9).
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Phil Hawkins on the web: www.pnotemusic.com
Review written by: Raul da Gama
CD Title: Sugarcane Suite
Artist: Phil Hawkins
Record Label: P. Note Music
Year of Release: 2010
Promoted by: Kate Smith Promotions
Wayne Wallace Latin Jazz Quintet – To Hear From There
Trombonist, Wayne Wallace is very probably one of the most melodic players on his instrument. And although he might inhabit a somewhat narrow range—eschewing the very high register—he is also one of the most expressive trombone players today. His husky tone is one of a kind and gives his playing tremendous character. Moreover, he is one of the few players who comfortable in virtually every idiom and this is something unique as it enables him to extend his playing with subtle changes in rhythmic accents and phrasing. As someone who loves simply to dance around the melody of the songs he plays interminably he is able to create a seemingly endless stream of linear inventions around the melodic lines. He darts ahead and draws down as he plays behind the melody at other times and his variations are full of unparalleled surprise throughout.
On his celebrated album, To Hear From There (Patois Records – 2011 – Kate Smith Productions/Braithwaite & Katz Communications) Wallace leads his extraordinary quintet on a superlative musical journey through the lively waters of the Afro-Caribbean ocean often raising the harmonic bar several notches with the help of the incredible pianist, Murray Low, who appears to have the energy and invention that is every match for the trombonist. It is an almost mystical union of souls and almost every song bursts with the elasticity and unforgettable engagements that trombonist and pianist brings to bear on the music as they pursue each other from chorus to chorus. Low also has that elusive rhythmic sense, what is known in Afro-Caribbean music as “tumbao” with a left hand that electrifies the rhythms of “son” as he ebbs and flows through songs like “IBebo Ya Llego!” as well as in the thick fluidity of “Descarga En Blue”.
The character of the music on charts such as “Ogguere (Soul of the Earth)” and “Yemaya (The Seven Seas)” also suggests the absolute reverence with which Wallace approaches his music. In many respects that belies a deep connection with his African roots. There is also a ground swell of emotion in Wallace’s playing that caps the sensuous and dancing tone that seems to emerge from a deeply aching or joyous soul that simmers when playing JJ Johnson’s beautiful “Lament” and leaps ecstatically on songs like “La Escuela” and “Serafina Del Caribe”. His mood draws in the other players like a gilt-edged magnet and thus the percussionists, Paul van Wageningen and Michael Spiro shine as does the sinewy bass of David Bedlove. Vocalist, Kenny Washington lights up the eternal beauty of Juan Tizol’s “Perdido” and makes it quite his own as does that force of nature, vocalist Bobi Cespedes, who also ignites the lyrics of “The Peanut Vendor (El Manicero),” which has been done so often yet is made new on this album. Wayne Wallace has earned many accolades for this album and judging by the performance all are richly deserved.
Track Listing: La Escuela; Serafina Del Caribe; Perdido; Los Gatos; Descarga En Blue; Ogguere (Soul of the Earth); Lament; The Peanut Vendor (El Manicero); Yemaya (The Seven Seas); IBebo Ya Llego!; Philadelphia Mambo.
Personnel: Wayne Wallace: trombone, Wagner Tuba, vocals; Murray Low: piano, vocals; David Bedlove: bass, vocals; Paul van Wageningen: trap drums, vocals; Michael Spiro: percussion, vocals; Kenny Washington: lead vocal (3); Bobi Cespedes: lead vocal (8); Jeff Cressman: trombone (2); Natalie Cressman: trombone (2); Dave Martell: trombone (2).
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Wayne Wallace on the web: www.walacomusic.com
Review written by: Raul da Gama
Kristina – Offshore Echoes (Patois Records 2009)
A female vocalist with a low vocal spectrum is not supposed to sound as joyful as Kristina does on Offshore Echoes. And she sounds joyful no matter what she sings. Many singers would sound solemn. However, Kristina, being the wonderful practitioner of the vocal arts that she is gives a fine account of herself. Not only is she a versatile vocalist in terms of how many languages she can actually sing with accurate diction, but to be able to communicate the soul of the song, no matter what that language… And this is truly special. The secret is probably the fact that Kristina is three: part Cherokee, part African and part German. Not that this specific cultural mixture matter, but that she has a soul dipped in the spirits of the ancients of African and Native American and German gives her fearless courage and a true sense of alegria.
Offshore Echoes is one of the most infectiously happy records of the year. The amazing driving capoeira samba rhythm of “Ilu Ayé” is a perfect case in point as it spins like a colorful top of ecstacy. “Take me to Aruanda” is no less ebullient and Kristina has a particularly sassy way of letting quarter tones slide by with majestic glissandi here. “Cherokee,” that incomparable song that has brought so much spirited joy through the ages–especially since the legendary Charlie Parker recast it–gets a further refurbishment. Kristina can claim to have sung this one with true soul, being Cherokee herself. In fact the vocalist may have turned this version into one of those songs that renters the vocabulary of modern music in much the same way as “Wichitai-to” did after Jane Bunnett recast the John Pepper classic.
Kristina goes native once again in the beautiful landó, the Afro-Peruvian, “No Valentin.” This is a significant vocal as it is equivalent to a delta blues in the US and Kristina renders her version with sublime authenticity. Her tribute to Sarah Vaughan, “Tenderly” may be the most definitive version since “Sassy” did hers. It is by this song that Kristina shows why she may possibly be the true successor to Vaughan herself. Kristina has that smokey hush that combines with her often-authoritative inflection and undulating phrasing that sets her apart and recalls the great “Sassy” herself. In “The 59th Street Bridge Song (Feelin’ Groovy),” which Kristina sings in a swaggering reggae/calypso rhythm and shows just how uncannily close to Vaughan she can come in all her soulful splendour.
The music on the record is made all the more memorable by the magnificent artists who appear with Kristina. The instrumental ensemble is exquisite as is the choral backing–especially on “Ilu Ayé.” Then there is the outstanding percussion work of John Santos and Michaelle Goerlitz as well as the brass and woodwinds including Wayne Wallace and Mary Fettig, who shine bright.
Offshore Echoes is an experience that far outlives the echoes of the notes that hover in the air long after the last note is played and sung.
Tracks: 1. Tea in the Sahara; 2. Cherokee; 3. Love Everlasting; 4. Open Your Eyes You Can Fly; 5. Take Me to Aruanda; 6. Tenderly; 7. Ilu Ayé; 8. The Performer; 9. Valentin; 10. The 59th Street Bridge Song (Feelin’ Groovy).
Personnel: Murray Low: piano (2-5, 7, 8), electric piano (4); Frank Martin: piano (1, 6); Paul van Wageningen: trap drums (2-5, 7, 8); Deszon Claiborne: trap drums (1, 6, 10); David Bedlove: bass (2-5, 7, 8); Rich Girard: bass (1, 6, 10); Rick Vandiver: guitar (1, 6, 7, 10), palmas (9); Michaelle Goerlitz: percussion, palmas (9); John Santos: percussion (2-5, 7-9), palmas (9); Mary Fettig: horns (2, 4), flute (3); Danny Bittker: horns (2, 4), clarinet (3); Alex Murzyn: horns (2, 4), clarinet (3); Louis Fasman, John Worley, Dave Martell: horns (2, 4); Wayne Wallace: trombone (2, 4, 5); Garrett McClean, Stephanie Antoine, Erin Benim, Jory Fankuchen: violins (2, 6); Madeline Prager, Mimi Dye: violas (2, 6); Eric Gaenslen, Laura Boytz: cellos (2, 6); Kristina: vocals, background vocals (7), palmas (9); Sandy Cressman, Ed Johnson, David Chaidez: background vocals (7, 9); Wayne Wallace, Sheryl Lynn Thomas: background vocals (10); David Pinto: palmas (9).
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Kristina on the web: www.kristinasgroove.com
Review written by: Raul da Gama
Wayne Wallace Latin Jazz Quintet – Bien! Bien! (Patois Records 2009)
Wayne Wallace Latin Jazz Quintet – Bien! Bien! (Patois Records 2009)
The music with clave that began with Machito’s “Tanga,” and George Russell’s “Cubana-Be Cubana-Bop” has come a long way. With clave in his soul, trombonist Wayne Wallace proves yet again on his record Bien Bien! that the cheer of the music is truly infectious. Wallace is rare among musicians who can “swing” as well as he can “clave.” He has that and all kinds of shuffle rhythms and backbeats bubbling under the skin. This is why he can produce such glorious music even with just a few notes on his ‘bone and this record is full of it.
On Bien Bien! Wayne Wallace has made several outstanding things happen. First, he employs two trombonists other than himself -Julian Priester and Dave Martell. There are no saxophones or trumpets and they are not missed at all. Vocalists Kenny Washington and Orlando Torriente share English and Spanish honors on one track. Between Paul van Wageningen on drums and Michael Spiro, there appears to be a whole percussion orchestra. Pianist, Murray Lowe brilliantly explores the rhythms hidden in the melodies, with bassist David Belove thumping the strings behind and in front of him every so often.
Bien Bien! is a cheerful package -at least until the eighth track- because throughout, Wallace employes his characteristic swaggering tone. He is also joined in the festivities by Priester and Martell. Moreover, the trombone is that kind of instrument that can sound languid and sexy. It is also the most naturally human voice-like of instruments in the woodwinds family. Wallace, Priester and Martell have a fine time playing this characteristic to the max. Then the songs: On “Freedom Jazz Dance” Torriente and Washington, mimic the “baile” with superb rap and corazon. Julian Priester purrs softly like a jaguar on his part of the solo on both “Building Bridges” and “Going Up.” In addition, he growls with a mighty swell on both tracks. Dave Martell is comparatively lively -a leaping gazelle to Priester’s cat. Wallace, of course, is soulful and complete throughout -especially on “In A Sentimental Mood.” “Mojito Café” is characteristic of the sublime rhythm of the record throughout.
“Africa” alone makes this record worthwhile. Wallace’s wailing arrangement also features a slow build up of percussion to a thunderous low -with the bass kicking in mightily, followed by bright splashes of cymbals. The song -as Coltrane conceived it, is a musical journey from slavery to freedom. Wallace inspired interpretation adds to trombone literature. The wistfullness of the trombone as it breaks down the mournful episode of slavery to the eventual triumph of freedom is poignant and unforgettable. The overall crunching rhythm of the song mimics the many oars and chains that once helped sail those ancient ships to America. Best of all, the sharp contrast of this version to the original that Coltrane and Eric Dolphy created -no brass and only trombones here- is remarkable and fresh. On the merits of “Africa” alone, the record represents a high point for Wayne Wallace.
Tracks: Bien Bien!; Freedom Jazz Dance; Mojito Café; Building Bridges; In A Sentimental Mood; Playa Negra; Going Up (¡Súbete!); Solid; Africa (for Ron Stallings) .
Personnel: Wayne Wallace: trombone, vocals; Murray Low: piano, vocals; Mike Spiro: percussion, vocals; David Belove: bass, vocals; Paul van Wageningen: trap drums, vocals. Special Guests: Julian Priester: trombone (1st solo – 4, 1st solo – 7); Dave Martell: trombone (2nd solo – 4, snd solo on duet – 7); Kenny Washington: English lead vocals (2); Orlando Torriente: Spanish lead vocals (2); David Chaidez: background vocals (2); Alexa Weber Morales: background vocals (2); Karen Aczon: background vocals (2); Sakai: background vocals (2); Jody Noble: background vocals (2); Sheryl Lynn Thomas: background vocals (2); Ron Stallings: background vocals (2).
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Wayne Wallace on the web: www.walacomusic.com
Review written by: Raul da Gama
Wayne Wallace Latin Jazz Quintet – Infinity (Patois Records 2008)
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The attempt to make a thoughtful album and one that is supremely entertaining and musically superlative is perhaps one of the most daunting tasks that a musician can undertake. To find this in an album is rare and that is what makes Infinity by the Wayne Wallace Latin Jazz Quintet so much of an event that just cannot be ignored. It is usually a challenge to even explain the context of the word and phenomenon of “infinity” even for mathematically inclined people. For an artist it is even more rare to find precisely what this could mean. The temptation is always to veer towards the abstract and that is not the best way to present a musical expedition – especially as musical notes have finite pitch, tones and terminal values.
But Wallace appears to have found the exact center of the word “infinity” in meaning context and expression. The fact that he plays a trombone and that too with such unbridled genius, of course, gives him a head start. And then to discover, with Pablo Neruda, that “…everything alive has two sides/a word is one wing of silence/fire has its cold half/I love you in order to begin to love you/to start infinity again…” This is almost magical intuition. Moreover to find the sound of the past that we have never got to hear, but to find in its echoes a place for the sound of this Latin Jazz Quintet as it traverses through time and sound landscapes…with what the Brazilian world (at least) would describe as “alegria”… This too is rare and unforgettable and ingenious.
Wayne Wallace has chosen to show the connectivity of the ancient with the modern in an unbroken rhythmic line from African elements in Latin music to the American invention of jazz. Many scholars have explored this with clever theses. Many musicians also have undertaken the journey with fine results. Wallace surpasses most of them. His music is both played and recorded with a view to effect the excitement of a live performance. So even though the music may be carefully selected to pay tribute to the major idiomatic types of old and new Latin musical forms, each of these songs appears to have been performed for a very real “live” audience that has been explicitly imagined.
It is impossible to listen to the title track or “Songo Colorado,” “As Cores da Menina,” and “Cha-Cha de Alegria” without an unconscious heave of the shoulders or getting up and impulsively and with great flourish to samba or salsa. Wallace’s trombone chops are masterly throughout. But not only that, Michael Spiro sounds like a percussion ensemble every time he sets out to lay down the rhythmic lines with his rapid fire timbales, quirky cuica and rounded guiro, and also with sensuous chekere and grand excursions on the batá and conga. His solos on “Infinity” and “Songo Colorado” in particular are absolutely unforgettable. Paul van Wageningen on regular traps provides exquisite harmonic coverage. David Belove can make his bass sensual too as he plucks and slaps his way to conjuring up a string section on his own. Roger Glenn on flute and on vibes is simply marvelous. Special mention is also due for all the vocalists, especially Orlando Torriente and Jackie Ryan, who is a perfect foil for the breathy sound of the trombone.
Oddly enough the high point of the record may be the perfect vehicle for the trombone – the wonderfully mournful version of “Memories of You,” correctly attributed to Eubie Blake and Andy Razaf in the credits. And even though Wallace mistakenly attributes to “Fats” Waller in his notes to the song, this is only a minor blimp in an otherwise perfect package.
Tracks: Infinity; Songo Colorado; As Cores da Menina; Love Walked In; Memories of You; TBA; Close Your eyes; Cha-Cha de Alegria; Straight Life/Mr. Clean.
Personnel: Wayne Wallace: tenor and alto trombones, Wagner Tuba, melodica, arrangements and vocals; David Belove: bass; Murray Low: piano and keyboard; Michael Spiro: congas, batá, guiro, requinto, timbales, shekere, cuica, and percussion arrangements; Paul van Wageningen: trap drums.
Special Guests: Roger Glenn: flute and vibraphone (8); Jackie Ryan: vocal (4 & 7); Orlando Torriente: lead vocal (2); Karen Aczon, David Chaidez, Alexa Weber Morales, Jody Noble, Sakai, Stallings and Sheryl Lynn Thomas: background vocals throughout.
Wayne Wallace on the web: www.walacomusic.com | www.myspace.com/patoisrecords
Review written by: Raul da Gama
