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 – 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
