Puerto Rico Jazz Jam 2012
Review and photographs by Wilbert Sostre
Friday, January 27
It was an exciting opening night for the third edition of the Puerto Rico Jazz Jam, an event created by trumpet player, composer, arranger and now producer Humberto Ramirez. Two extraordinaire Jazz musicians started this year’s Puerto Rico Jazz Jam 2012.
The opening act was trumpet player Julito Alvarado and his Latin Jazz Band. Alvarado Latin Jazz Band combines a young musician, drummer Khalil Ed Gonzalez with some Jazz masters from Puerto Rico, pianist Richard Trinidad, bassist Aldemar Valentin, trombonist Elluet Cintrón and percussionist William “Kachiro” Thompson.
Alvarado’s intense music explores aspects of Latin jazz, bomba, plena and even classical music. The plena/jazz “Pal Barrio de San Anton”, the trombone and trumpet improvisational dialogue on “Cuatro Meses” and the creative arrangement of Rafael Hernandez “Lamento Borincano” were some of the highlights of Alvarado’s presentation. Alvarado ended “Lamento Borincano” masterfully quoting melodies from other Rafael Hernandez songs like “Cumbanchero”.
The second act was trombone virtuoso and composer William Cepeda and his Afrorican Jazz. The musicians on the Afrorican Jazz are, Piro Rodriguez and Carlos Soto on trumpet, Luira Torres on tenor sax, Benson Pagan on electric guitar, Jorge Del Valle on piano, Ariel on bass, Hector Barés and Maria Romero on percussion and Kany Medina on vocals.
Cepeda comes from a family recognized in Puerto Rico for keeping alive the traditional rhythms of Bomba music, so naturally Cepeda music includes a good dose of Bomba. But his brilliant compositional ideas have a lot of influences.
“Jibatonico”, has elements of (música jibara), folk music from the mountains of Puerto Rico. Cepeda described this piece as (música jibara pentatonica), pentatonic folk music. In “Bomba cha” Cepeda combines the rhythms of Bomba an Cha cha cha. “Hey Ray”, a piece he plays for the first time, is a wonderful blues dedicated to Ray Charles.
On the piece “Súbito” instead of the trombone, Cepeda plays the caracoles, a tradition that comes fromPuerto Riconatives, Tainos. Cepeda closed his presentation and first night of the Puerto Rico Jazz Jam with the bomba rhythms of “Oya oye”.
Saturday, January 28
While musicians like David Sanchez, William Cepeda and Miguel Zenón have successfully fused the Afro-Puerto Rican rhythms of bomba and plena with Jazz music pianist Angel David Mattos is doing something quite unique. Mattos exquisitely fuse in his music the harmonic sophistication of Jazz with the beautiful melodies of Danza, a traditional Puerto Rican music and elegant dance from the 19th century. For this show Mattos played two Danzas, the original composition “Deseo” and Juan Morel Campos “No me toques”.
The impressive improvisations by Angel David Mattos and his Quartet, Aldemar Valentin on bass, Ricardo Pons on sax and Hector Matos on drums, on “Point of Reference” prove that these guys are most of all accomplished musicians well versed in the Jazz tradition. Mattos music also includes the contagious rhythms of plena on the piece “Play Now”.
Celebrating the third edition of the Puerto Rico Jazz Jam and the re release of their 1999 album Best Friends, trumpet player, composer, arranger and producer Humberto Ramirez and master percussionist Giovanni Hidalgo joined forces again on this edition of the Puerto Rico Jazz Jam. Most of the music played by Ramirez and Hidalgo were from this album, including the title track “Best Friends”, a nice music dialogue between these two jazz veterans.
The young rhythm section, Edgardo Rivera on piano, Alexander Ayala on bass and Fernan Rivera on drums, were just as good as the masters on Humberto Ramirez compositions “San Juan Ritual” and “Celebrando” and on Giovanni Hidalgo “Clean”. The pace slows down a little for the sublime version of Juanito Marquez bolero “Alma con alma”.
After Giovanni amazed the audience with his technical ability, musicality and fast hands in an outstanding congas solo, another highlight of the show was the well deserved homage to legendary percussionist Monchito Muñoz. Ramirez and Hidalgo closed the Puerto Rico Jazz Jam with the powerful music of another Giovanni Hidalgo’s composition dedicated to one of the most recognized places in San Juan, “La Perla”.
Paoli Mejias – De Jazzambia A Mi Tambor – El Concierto
Review by Danilo Navas -
Master percussionist Paoli Mejias belongs to a generation of artists who are redefining puertoricanness in musical terms with their artistry. Mixing diverse Afro-Caribbean styles with global rhythms, based upon traditional/popular puertorican music, bomba, plena, aguinaldo, and holding it all together within the realm of modern jazz, Paoli is at the forefront of creation of an exciting, recognizable sound.
While watching this concert, “Paoli Mejias de Jazzambia a Mi Tambor” three things come to mind.
1. The high level of musicianship of the performers, Paoli’s band and special guests being featured.
2. The high quality, technically speaking, of this superb high definition audio visual creation.
3. The remarkable fact that this is an independent production.
This shouldn’t come as a surprise, as it’s been the case with the three CDs previously released by Paoli Mejias. Truly a feast for the senses, “Paoli Mejias de Jazzambia a Mi Tambor” doesn’t dissapoint at all, on the contrary, it does live up to the expectations of an increasingly demanding legion of discerning viewers/listeners. Paoli’s followers, and I count myself in, couldn’t be more delighted with this long-awaited live video recording.
“De Jazzambia a Mi Tambor” showcases compositions previously recorded by Mejias on his three albums as a bandleader, plus some new arrangements. There are some memorable, inspired moments in most of the performances, especially on the opening and closing songs.
Diaspora, a composition penned by Miguel Zenón, opens up the concert with a percussive explosion, a trio of djembes led by Paoli. Zenón on alto sax and Yan Artime on piano raise the tension to exhilarating levels. Paoli’s djembe solo closes the song with unparalleled intensity.
Jibarology, a composition by Néstor Toro, is based on a traditional Puertorrican rhythm known as aguinaldo jibaro campesino. Christian Nieves is featured on Puerto Rican cuatro guitar.
Encomienda, another composition written by Miguel Zenón, pairs him up with Jonathan Suazo on alto sax on a tremendous Latin jazz arrangement.
Logos, another composition by Néstor Toro, is a fusion of various forms of Mediterranean rhytms, featuring Mejias on congas first and then fiercely soloing on timbales.
El Cacique Rebelde is a progressive Afro-jazz composition by bassist Aldemar Valentín that features L. Raúl Romero on guitar.
Seres is a composition by L. Raúl Romero. An experimental bomba of Loiza featuring Paoli on tambor primo, Amarilys Rios on vocals, Ricardo Pons and Norberto “Tiko” Ortiz on soprano sax and bomba dancer Manuel Carmona.
Rumba 7x 4 with Yuba-Ire is a composition by Paoli Mejias that features Afro-Caribbean folkloric group Yuba-Iré. Rumba dancers Jhan Lee Aponte, Yinaidarys Rivera, Jorvian Santana and Vivian Ayala add color and dimension to this terrific performance.
Hello Nany is a composition by pianist Yan Carlos Artime, who’s joined by Paoli on a heartfelt duet. This song is dedicated to Paoli’s father. Artime’s piano execution engages on a sublime performance with Mejias’ masterful bongo playing.
Metafísica Ancestral, composed by Paoli Mejías and Pável Urkiza, arranged by Urkiza and orchestrated by Javier Curet is a bomba canción that showcases Paoli and Amarilys Ríos Rosa, on vocals first and then on bomba drums. Prodigious six-year old bomba dancer Jenielys Villafañe Bultrón shines on this track.
Oye Como Suena, composed by Paoli Mejías and arranged by Ricardo Pons is a classical descarga that features NG2 singers Norberto Vélez and Gerardo Rivas improvising as true soneros. Javier Oquendo on bongos, Daniel Diaz on timbales and Mejias on congas, have each one their turn to shine on their instruments.
The concert comes to an electrifying closing with Vengan Leones, a traditional plena composition written by Mejías and arranged by Ricardo Pons. It features Tito Matos on pandero. Matos, who is recognized as one of the best requinto players of his generation, leads an ensemble of seasoned pleneros who join Paoli’s band and all the special guests, contributing to set the stage on fire.
Buy De Jazzambia A Mi Tambor El Concierto online at www.filmbaby.com/films/5914
Paoli Mejias’ official website: www.paolimejias.com
Screenshot from track 1: Diaspora (left to right: Japhet Murguia, Paoli Mejias and Daniel Diaz on djembe)
Screenshot from track 2: Jibarology (Alex “Apolo” Ayala on bass, Christian Nieves on Puerto Rican cuatro guitar, Paoli Mejias on congas)
Screenshot from track 3: Encomienda (Miguel Zenón on alto sax)
Screenshot from track 4: Logos (Raúl Maldonado on drums, Paoli Mejias on timbales)
Screenshot from track 5: El Cacique Rebelde (Raúl Maldonado on drums, Christian Nieves on electric guitar, Paoli Mejias on congas)
Screenshot from track 6: Seres (at the front: Amarilys Rios on vocals, bomba dancer Manuel Carmona)
Screenshot from track 7: Rumba 7×4 with-Yuba Ire (Rumba dancers Jhan Lee Aponte, Yinaidarys Rivera, Jorvian Santana and Vivian Ayala)
Screenshot from track 8: Hello Nany (Yan Carlos Artime on piano, Paoli Mejias on bongos)
Screenshot from track 9: Metafisica Ancestral (bomba dancer Jenielys Villafañe Bultrón, Paoli and Amarilys Ríos Rosa on bomba drums)
Screenshot from track 10: Como Suena (Gerardo Rivas, Wichy Camacho, Norberto Vélez on vocals)
Screenshot from track 11: Vengan Leones (Tito Matos on pandero, with the whole band)
Notes taken from the disc jacket and Paoli Mejias’ official website: www.paolimejias.com
This live recording is a captivating musical journey of Paoli’s evolution as musician, bandleader, and composer. Paoli documents a historical moment in Latin jazz, celebrating the diversity of his Puerto Rican heritage and showcasing the rich talent of the new generation of musicians in Puerto Rico.
Musicians: Percussion Paoli Mejias, Alto Sax Miguel Zenon & Jonathan Suazo, Bass Alex Apolo Ayala & Aldemar Valentin, Piano Yan Carlos Artime, Cuatro Puertorriqueño Christian Nieves, Drums Raul Maldonado, Tenor Sax & Soprano Ricardo Pons, Soprano Sax Norberto Tiko Ortiz, Trompet Luis Aquino, Invited Vocalists NG2 Norberto Velez & Gerardo Rivas, Guitar Raul Romero, Vocalist & Percussion Amarilys Rios, Chorus Wichy Camacho, Yuba-Ire, Invited Percussionists Diego Centeno, Javier Oquendo, Jafet Murguia, Daniel Diaz, Invited Pleneros Tito Matos, Luis Lagarto, Johnsito Rivera, Eric Marrero, Charlie Pizarro, Yoksan Ramos
Dancers: Jenielys Villafañe Bultrón, Manuel Carmona, Vivian Ayala, Jhan Lee Aponte, Jorvian Santana
Production: Film & Sound by Javier Hernandez, Production Assistant Anilyn Diaz
Executive Producers: Paoli Mejias & Sarah Vogel
Recorded at Museo de Arte de Puerto Rico June 14-15, 2011
Independently produced by Paoli Mejias
NOTE OF APPRECIATION FROM PAOLI: To me this project represents the greatest demonstration of brotherhood among exceptional musicians and some extraordinary people. This experience was a fraternal embrace between a group of dear individuals who have been supporting me unconditionally since my first CD. Without them, I would not have been able to achieve what I have achieved up to now. They are witnesses of the great sacrifice we have undertaken in order to bring our music to this high level in a critical time for musicians and artists. It has been to contribute without expecting anything in exchange, in hopes that someday this moment here documented will have a historical value for the next generation. Being able to bring together on one stage a generation of young musicians who are the future of this music alongside other experienced and renowned veteran musicians made this concert a bond of camaraderie and humility which is what I want to endure in our island of Puerto Rico and the world. I express this with all my heart, that this was a unique moment of pure energy, but with a natural fluidity that clearly reflects an environment of peace, harmony and much happiness. This is the direct expression of our being when we do what we love with others who have the same passion for the music and life itself.
Lastly, I would like to thank all those who buy this original DVD. Thanks to the people who from my first CD Mi Tambor, followed by Transcend and then Jazzambia, and now this DVD, have preferred to buy the original product so that I can continue to offer my musical projects in the highest quality possible, all created and produced independently by me. It is for these individuals who have supported me until now that I have decided to produce this project exclusively in Blu-ray format and mixed in 5.1 Surround Sound; because you deserve the best. You demand quality each time you purchase my CD or DVD. For your support, here for you is the highest quality in images and sound, and most importantly music.
Paoli Mejias – Jazzambia – Recording Session
On this earthy and emotionally charged record, Jazzambia (2008), percussionist Paoli Mejias may appear to be showcasing his skills, but in actual fact, he is doing much more than that. He is actually setting out to draw a not-so-tenuous rhythmic line between the music of Africa and of Puerto Rico. In his own very personal vision of Puerto Rico the glue that binds this is European programmatic music and, of course, the African-American idiom of jazz.- Raul da Gama
Jazzambia is independently produced by Paoli Mejías. Featuring internationally acclaimed musicians: Miguel Zenón – Sax; Jaleel Shaw – Sax; Antonio Sánchez – Drums; Tony Escapa – Drums; Luis Perdomo – Piano; Hans Glawischnig – Bass; Paoli Mejías – Percussion & Chris Cheek – Sax; Christian Nieves – Cuatro / Puerto Rican Guitar; Rafael “Tito” De Gracia – Timbales; Ricardo Pons – Sax and Yan Carlos Artime – Chorus.
Photographs by Sarah Vogel
Paoli Mejias – Jazzambia (Paoli Mejias Records 2008)
On this earthy and emotionally charged record, Jazzambia (2008), percussionist Paoli Mejias may appear to be showcasing his skills, but in actual fact, he is doing much more than that. He is actually setting out to draw a not-so-tenuous rhythmic line between the music of Africa and of Puerto Rico. In his own very personal vision of Puerto Rico the glue that binds this is European programmatic music and, of course, the African-American idiom of jazz.
This is established right in the first track, “Diaspora,” which opens in a purely derivative Latin American context. Then as soon as he solos, the music breaks down into a richly crafted narrative meandering from African roots, through a fine European sensibility. Finally the music flows back into the Latin American metaphor, before a re-statement of the theme, but this time more robust and melodic, yet featuring a resolution of the African and the Latin American. Miguel Zenon states the European in an alto saxophone tone; Mejias rediscovers the African roots and then the wonderfully sensitive piano meandering of Luis Perdomo brings the song home to Puerto Pico in smart rhythm. And this is very much the case, only more traditional, on Nestor Toro’s track “Jibarology,” which features the electrifyingly colored cuatro work of Christian Nieves.
However there is much more to this record than the first two extraordinary tracks and Mejias takes the listener through them with a wonderful array of percussion from the African and the Brazilian to the Puerto Rican and also the American.
There is the beautiful ‘singing’ track, “Logos” and the oblique tribute to he bebop masters – “Fragment,” which features a rising star, Jaleel Shaw on one of the most lyrical alto saxophone excursions imaginable. Shaw returns to wax lyrical on “Sentimental Cha,” a swinging cha cha shuffle. And then there is the dynamic attack throughout, of Luis Perdomo, a direct musical descendent of the great Eddie Palmieri. Perdomo – true to his penchant for a percussive Latin attack creates an enormous swathe of rhythm around the melodic elements of his Latin signature and defines the musical thrust of the record.
And there are also some fine challenging rhythmic excursions where the musicians employ complex time signatures. Bassist Glawischnig’s “El Tintero” is a classic case in point, where this very mode can be seen in the energetic introduction of the song and then throughout the song.
Mejias also states in his dedication that he wanted to pay tribute to the powerful ancestors in his musical family. And if his intention was to praise the griot tradition, which he was born into then this record, with its rhythmic heart that beats around a rich tapestry of melodic and harmonic journeys, then Mejias has truly succeeded in creating a magnificent testament to his heritage.
Tracks: 1. Diaspora; 2. Jibarology; 3. Logos; 4. Fragment; 5. El Tintero; 6. Sentimental Cha; 7. Links; 8. Lo Cierto que es lo incierto; 9. Seres.
Personnel: Hans Glawischnig: bass; Luis Perdomo: piano; Antonio Sanchez: drums (1 & 2, 5 & 6 & 7, 9); Tony Escapa: drums (3, 4, 8); Miguel Zenon: alto saxophone (1 – 3); Jaleel Shaw: alto saxophone (5 & 6), soprano saxophone (7); Ricardo Pons: alto saxophone (8); Chris Cheek: soprano saxophones (9); Christian Nieves: cuatro/Puerto Rican guitar (2), guiro (2, 8); Rafael (Tito) De Gracia: timbal (4, 8); Yan Carlos Artime: chorus (4, 5); Paoli Mejias: all percussion and all percussion solos on all tracks.
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Paoli Mejias on the web: www.paolimejias.com
Review written by: Raul da Gama
