Michael Simon – New York Encounter (Fresh Sound – 2009)

It is not obvious that Michael Simon is a native of Venezuela, who owes as much to that tradition as he does to the jazz one that he weaves in and out of. But then nothing is obvious about Michael Simon: not his trumpet-playing antecedents, nor his compositional ones, or who he follows—figuratively-speaking, of course. However, it is safe to say that his musical voice burns with a quiet fire, just like that of his brother, the pianist, Edward and his other drumming sibling, Marlon. And this fire bursts forth with spectacular pomp and circumstance every so often, when the folkloric persona of the Simon’s bursts into flames on this fine album, New York Encounter. At least Simon does not reveal this Venezuelan folk persona until the roaring parranda sequence in his extraordinary suite, “House of Thoughts”. The ecstatic dancing nature of the music that pervades throughout the album culminates with abandon on Simon’s masterful composition “Joy is Within”, but its swing of delight is felt throughout.

Michael Simon is an extremely talented composer and musician. His horn-playing is marked with the blazing staccato accents that punctuate his playing as they emerge like fireballs from the bell of his horn. He rarely plays in long lines here, preferring to make short stabbing forays into the melody, entwined with his brother Edward’s galloping arpeggios and the swerving interloping of Peter Brainin’s tenor saxophone or Miguel Zenon’s alto horn. He is wont to tear down a melodic line, recasting it somewhere in the middle of a sequence to construct an altogether new melodic motif. Or he might retreat into a harmonic role, softly suggesting a muted chord that changes the complexion of the music altogether. All this suits his role as a musical facilitator of sorts throughout this album, where his voice appears to be heard not always at the forefront of the music, but when you least expect it, making for a delightful surprise always.

Thus, New York Encounter is itself an album of surprises. The superb blues of “Blues del Silencio trio” for instance, which is a soul-stirring minor blues, for instance, breaks down the swagger of his Latin rhythms after they are boldly stated. This is a wonderful surprise, as is the gentle, culo e’puya drums that rock throughout the myriad pirouettes of “Joy is Within”. In fact Simon’s drumming brother has much to do not only with the unwavering high quality of the rhythm section but with the wondrous character of the music itself. His subtle coloring of “Sabor Intimo” is brilliantly contrasted with the bold statements on “Mi Amigo el Machista” and the joyous celebration of “Fiestas”. Edward Simon completes the superb filial presence on this album.

It would be remiss if the presence of bassists, Andy Gonzalez and Boris Kozlov were not acknowledged here. Gonzalez plays with growling muscularity and his roaring accents match the sinewy thrusts of percussion and brass. Kozlov is a revelation as he negotiates the shifting rhythms of the Latin tinge with great intellect and purple-toned majesty. A word about Kozlov: He is a White Russian of a bassist and his lineage spans continents as he aligns himself as much with the complex structures of the music of Charles Mingus as well as with the twists and turns of his Latin peers. His insidious tone contains large dollops of joy as well and this bodes well for his sustained presence in the world of Latin rhythms. So full marks to Michael Simon with another splendid album that is both interminably joyful and utterly memorable as well.

Track Listing: Mi Amigo el Machista; New York Encounter; House of Thoughts; Sabor Intimo; Fiestas; Blues del Silencio Trio; Joy is Within; Equanimity.

Personnel: Michael Simon: trumpet (1, 2, 4-8), flugelhorn (3); Miguel Zenón: alto saxophone (1, 3-6, 8); Peter Brainin: tenor saxophone (1-5); Edward Simon: piano; Andy Gonzalez: bass (1, 2, 7); Boris Kozlov: bass (3-6, 8); Marlon Simon: drum set, bata drums, minor percussion, timpani, gong, vocals (7); Roberto Quintero: congas, güiro (4), parranda drum (3), culo e’puya drums—prima, cruzao, pujao—(7), vocals (7); Luisito Quintero: timbales (1); Noah Bless: trombone (7).

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Michael Simon on the web: www.michaelsimon.nl

Review written by: Raul da Gama

The Latin Giants of Jazz – Ven Baila Conmigo (Gigante Records 2009)

It is a daunting task to play in the idioms of jazz, salsa and mambo in a big band setting without the spirit of El Rey, Tito Puente in attendance. But timbalero and musical director, Jose Madera acquits himself with distinction on “Ven Baila Conmigo,” this record that explodes with that special energy that Puente imparted to his excursions when he was alive. It is not a tribute to El Rey. It does not purport to be, but then every time that music like this is played the homage, ceremonial or otherwise is inevitable. Puente was that kind of giant. But these musicians acquit themselves as “giants” as well.

It is significant that some of the fine musicians who played in Puente’s later bands are part of this orchestra. Reynaldo Jorge, Sonny Bravo Jose Madera and Frankie Vazquez, to name some of those musicians bring a singular energy to this record. If it were a tribute then it would be one of the finest to El Rey. Of course the best homage that anyone could pay Puente is to play the music he loved with the same soul and spirit so that it is impossible to keep still. You must either get up and dance, or preferably both. And there are plenty of these moments on this record. Frankie Vazquez leads the coros with his powerful and soulful tenor and he is – without tremolo – in line to continue where the great vocalists of Latin music left off.

Soloists such as trumpeters Kevin Bryan and Guido Gonzalez deal blazing choruses on “Lo Que Traigo Es Salsa” and “Cannology” respectively. Alto saxophonist Bobby Porcelli and former Compadre of El Rey tenorman, Mitch Frohman also acquit themselves with aplomb. Pete Miranda growls as he drives the heat of the mambo way up on “Cookin’ The Mambo”. John Walsh plays majestically just behind the beat, then racing ahead and clear as a bell on an outstanding track, “Si El Mar Se Volviera Ron,” a classic mambo. Ignacio Piñeiro’s “La Batidora Meneadora,” is another shining example of the Giants’ ability to keep the energy high. This particular arrangement by “Perico” Ortiz is particularly magnificent.

There appear to be only high-points on this record. Certainly this is not uncommon when such a fine band of men get together to play the music that celebrates life in all its warm glory. With such synergy, it is hoped that this ensemble would stick with it and produce a lot more exciting music.

Tracks listing: Lo Que Traigo Es Salsa; Ven Baila Conmigo; I Still Love You; Gua Cha Rumba; Ahora Mismo; Tengo Que Conformarme; Cookin’ The Mambo; Dime Quien Eres; Si El Mar Se Volviera Ron; Incredible; Cannology; La Batidora Meneadora; Cuando Suenan Los Cueros.

Personnel: Kevin Bryan, John Walsh, Pete Nater, Richie Viruet, Guido Gonzalez (11): Trumpets; Bobby Porcelli, Todd Bashore, Lawrence Feldman (11): alto saxophones; Mitch Frohman, Peter Brainen: tenor saxophones; Pete Miranda: baritone saxophone; Sam Burtis, Reynaldo Jorge, Lewis Kahn, Noah Bless: trombones; Sonny Bravo: piano; Gerardo Madera: bass; George Delgado: congas and percussion; John Rodriguez: bongos and percussion; Jose Madera: timbales and percussion; Frankie Vazquez: vocals’ Cita Rodriguez (lead vocals on 5), Marco Bermudez, George Maldonado, Willie Martinez (on 3).

The Latin Giants of Jazz on the web: www.latingiants.com

Review written by: Raul da Gama