Pedro Bermudez – No Limits (Self Produced – 2010)

The energy contained in the body and soul of pianist Pedro Bermudez far exceeds that which may normally be given mere mortals. For his hands and arms are infused with a surfeit of tumbao. In his heart, the echoes of the timbales and the congas bounce excitedly against every internal surface. It is this incredible treasure of rhythm that flavours what he expends through his fingers on the ivories. More importantly, it is this that provides impetus for him to expand his energy like the ripples in a still sea that he plunges into with all the incredible weight of his skills in every aspect of Afro-Caribbean music. This is why his energy is so infectious and cannot be contained in a smaller ensemble, especially not on No Limits, an album that sits somewhere between the Atlantic islands of Puerto Rico and the deepest part of the Caribbean, in the eye of the Afro-Caribbean Hurricane of sorts, so to speak.

Although his proclivities tend more towards urban jazz with a Latin tinge, Bermudez has too much tumbao in his heart and hands to pass up on the Latin idioms and forms altogether. However, in the context of the larger ensemble, this rather tends to be buried and will only come to the fore on charts where his piano is sparingly accompanied by a thick layer of percussion, such as on songs like “El Jarriero” where Richie Flores and Vince Cherico provide that thunderous bed of ritmo, or in “Bombaião” where the exuberant percussion of Duduka Da Fonseca creates dancing rhythms from the Northeast of Brasil. It is then that Bermudez lets it all hang out and appears to fall prey to the charms of his alter ego—that one that lets all control go and when tumbao sets in.

But there is something to be said of Bermudez’s imbibing of the whole of the Afro-Caribbean culture. An example of this is how comfortably he sits in the Amazonian splendour of “Bombaião” or even the urbane carioca rhythms of Jobim’s “Caminhos Cruzados” or how authentic is the rhythmic and melodic sleight of hand on the magnificent choro, “Chorinho para María.”

There are echoes of joropos elsewhere and frequent trips to the floor swinging with the cha-cha and the rumba, but it is eventually Bermudez’s constant pushing of the envelope that seems to win in the end. After all, this is all about finding freedom in the absence of limits. There is rare challenge and flying free in these charts, most of all in the title track, where it all comes together—the Afro-Caribbean sensibility with the fluttering soul, flying free, dancing to the idiom of jazz. This is unmistakable in “No Limits” and “Long Walk” and it is more than gratifying to hear such a talented pianist breaking free of it all.

Tracks: Yubá a Santurce; La Número Seite; El Jarriero; ALC; The Dreamer; Bombaião; Redentor; Chorinho para María; Iván’s Cha; Caminhos Cruzados; Offbeat; No Limits; Long Walk.

Personnel: Pedro Bermudez: piano, Fender Rhodes; Eddie Gomez: acoustic bass (5, 10, 12); Ruben Rodriguez: bass (3, 4, 13); Duduka Da Fonseca: drums, percussion (6, 8); Ivan Renta: tenor and soprano saxophones (1 – 4, 9, 11, 13); Nelson Jaime “Gazu”: trumpet (1, 3, 4, 13); Ritchie Flores (congas (3, 7, 11); Vince Cherico: drums (3, 4, 13); Diego Lopez: drums (1, 2, 9); Cristian Rivera: congas (2, 9); Carli McDonaldo: timbal (9), congas (1, 4, 13); Efrain Martinez: drums (4, 7, 10 – 12); Gabriel Rodriguez: bass (7, 11); Felipe Salles: soprano saxophone (6 – 8); Oscar Stagnaro: electric bass (1, 2, 6, 8, 9); Mike Arroyo: acoustic/electric guitars (2, 8, 10); David “Piro” Rodriguez: trumpet (11); Ana Baiana: vocals (10).

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Pedro Bermudez on the web: www.pedrobermudezpiano.com

Review written by: Raul da Gama

Robby Ameen – Days in the Life (Two and Four Records – 2009)

Robby Ameen is one of those first call percussionists who has been chaffing at the bit to produce something all his own. Now he has his chance, with Days in the Life and he acquits himself with excellence. Things might have very well gone awry, as so often happens when self producing the first record. This, however, does not happen with Ameen, as he is careful to avoid the obvious, at all costs. The percussionist is well known for his abillity to slip into almost any kind of rhythmic mode, whether deriving from samba, or with clave or swing. He does just that and then some… Ameen soaks it all and, as it percolates in his percussion brain, he channels it out through his arms and fingers into a mix of rhythms that comes alive with surprises at almost every turn.

It seems that the prime directive of the music is to dance madly as one on hot coals or a tightrope or a trampoline. There is never a dearth of surprise in anything that Ameen does–alone, or in conjunction with bandmates such as guitarist Wayne Krantz and bassist Lincoln Goines. Of course the brassmen–Conrad Herwig and Brian Lynch, both deeply in the pocket at all times, light blue flames to the melody trailing in behind it or racing in front with florentine swirls and madcap runs. Trombonist Herwig, in particular, solos in great swathes of sound that begin rather quietly and then build up into mountainous tones of great harmonic consequence. John Beasley–probably missing clave in his wrists–makes up for it all by playing beguiling lines on Hammond B3 and Fender Rhodes.

Ameen is fiery on almost every song, but really pulls out the stops on his stunning composition, “Skateboard Intifada.” The title is brazen as his drumming, with furious rolls of the tom toms and heavily laid bombs on the bass drum at breakneck speed. The funky riff is followed simply but memorably by Goines, Krantz and especially Beasley. The composer also shows great tenderness in his ballad, “Una Muy Anita” and brings new fire to Joe Farrell’s “Sound Down.” “Stagger” is a fine example of a visually driven piece, where Ameen shows great skill in varying the beats to create a feeling of unsteady, but purposeful movement. His off-key figure with guitar and organ is also well knit into the melody. Krantz plays in gut-wrenching style. “RR” is a spectacular duet with conguero, Ritchie Flores.

Essentially, though this is a vehicle, which is crafted to display Ameen’s compositional skills. In this department, he brings off a near flawless performance. The percussionist also shows that he is unafraid to step outside the comfort zones of easy-to-execute rhythms. Nor does he shy away from brash and forthright manners of expression. His songs are based on sound melodies, which he writes cleverly for the bass as well as treble clefs, and this is a rare feat indeed for any percussionist to pull off.

Tracks: 1. Swiftboating; 2. Baakline; 3. Sound Down; 4. 2′s & 3′s; 5. Una Muy Anita; 6. Skateboard Intifada; 7. Ceora; 8. Stagger; 9. RR.

Personnel: Robby Ameen: drums, percussion; John Beasley: piano, Hammond B3, Fender Rhodes; Lincoln Goines: acoustic and electric basses; Wayne Krantz: guitar (1, 2, 4, 6, And 8); Ritchie Flores: congas (3 – 5, 7, 9); Conrad Herwig: trombone (2, 3, 5, 7); Brian Lynch: trumpet (2, 3, 5, 7).

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Robby Ameen on the web: www.robbyameen.com

Review written by: Raul da Gama