Laura Fernandez – Un Solo Beso (Self Published – 2011)
There is a certain fire that burns with a quietude that, although atypical of the Latin soul, still contains much of the passion that is contained in it. In fact the passion is so contained that the fire actually soars with its very chill. The music of Laura Fernandez “burns” with this cold fire. Much of Miles Davis’ music was “hot” in that sense (that) it burned with a similar quiet fire. Conventional wisdom dictates that Latin music is not meant to be cool but fiery and hot. Still, when music such as that written by an artist such as Fernandez is performed it is still brimful of passion, grace and a cool fire
Laura Fernandez shows, with her albumUn Solo Beso that she is a maturing artist with a fine sense of song form and the poetic image. Being equipped with this artistic intuition she is able to write with a remarkable sense of nuance. Writing about relationships; their growth, maturation and also their decline requires a keen grip of the fine sense of listening to and interpreting emotions as well as reacting to them. Fernandez does all of these things. She then produces songs reflect the narrative of live well lived and felt deeply as if from every pore of the body. Fernandez also imbues these songs with exquisite melody, harmony and a rhythm that beats so close to the human heart that her music is ultimately felt deep within the soul.
Fernandez is unlike most singers. She sings with well-rounded intonation and her pronunciation is impeccable. Moreover her phrasing, especially on tracks such as “A Mi Padre” and “Que Mas Quieres de Mi” is beautifully executed amid expression that is at times aching and bleeding and at other times soaring with joy. This is a sure sign of her individualism and artistry. The fact that she makes the words mean everything they are meant to be and inhabit the emotion of the moment is a sign of how much she lives the songs she writes and sings.
The other remarkable aspect of Fernandez’s music is their beauty of form. She seems to understand the fleeting nature of feelings, tends not to dwell on them too much—which often leads to draining too much out of the emotion. Instead she turns her songs into almost epigrammatic poetic expressions. She also has a gifted feel for melody and surprises with how little she repeats herself as most relatively new songwriters do. Much of her music sound inspired and fresh. The album Un Solo Beso is also richly produced with fine accompaniment from trumpeter Alexis Baró, alto saxophonist Luis Deniz, pianist, Hilario Durán and especially from the hugely talented musician, guitarist and vocalist, Luis Mario Ochoa. A record like this can only whet the appetite for more from an emerging artist such as Laura Fernandez.
Track Listing:
1. Mi Amor
2. Un Solo Beso
3. Junto a Ti
4. A Mi Padre
5. Que Mas Quieres de Mi
6. Inolvidable
7. I Believe in Love
8. Que Linda es La Noche
9. Red Red Bird
10. La Barca
Personnel:
Laura Fernandez: vocals, keyboards (7); Noah Zacharin: guitar (1, 4); Elmer Ferrer: guitar (1, 3, 4, 6, 7 – 9); Luis Mario Ochoa: guitar (1, 5, 10); Duncan Hopkins: bass (1, 5); Paco Luviano: bass (2, 6); Roberto Riverón (9); Yoser Rodríguez: bass (3, 4, 7, 8); Glenda Del Monte Escalante: keyboards (1, 4, 7); Hilario Durán: piano (1, 2, 5, 6, 10); Roberto Linares Brown: keyboards (1, 9); Paul DeLong: drums (1); Rosendo “Chendy” Leon Jr.: drums (5, 8), percussion (9); Frank Durand: drums (2, 6); Shamakah Ali: drums (7); Joaquín Hidalgo: percussion (1, 5, 6); Jalidan Ruiz: percussion (1, 5); Jorge Luis “Papiosco” Torres: percussion (3, 8); Alexis Baró: trumpet (1, 2, 6); Luis Deniz: alto saxophone (2, 6, 7); Jeff King: tenor saxophone (6); Juan Diego De Sedas: accordion (9); Alberto Alberto: vocals (3, 9); Kevin Stock: vocal (9); Verónica Mesa (3); Raquel Olmes: vocal (3); Roberto Linares Brown: programming (7); Billy Bryans: programming (7).
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Laura Fernandez on the web: www.laurafernandezmusic.com
Review written by: Raul da Gama
Glenda Del E – Q-Ban Mixology (Self-Produced – 2010)
If Glenda del E succeeds in doing what she has set out to do with Q-Ban Mixology, she will be one of the few Cuban artists, who include the majestic Gloria Estefan, to meld disparate musical idioms with traditional Cuban ones in a popular metaphor. There is no name for this kind of music. The word “popular” has become so tainted because there is a good deal of over-produced music is thrust upon the listener and aficionado that real talent often passes like a ship in the night. But hearing rap and hip-hop sit comfortably in her music is an assurance that something new is being sought in the manner of attempting to push the envelope a little bit further. Of course Del E is not the kind of street poet that Telmary Diaz is. Still the attempt to bring various lyric styles into play in her repertoire makes Del E something of a daring artist.
However, it is safe to say that Glenda del E’s greatest strength is her pianism. On the instrumental tracks, “Grandfather’s Danzon,” she gives a fine account of herself, showing that she can create and excel at complex harmony as well as play interesting counterpoint to the suave trumpet of Mario del Monte Sr. And when she combines this with her powerful voice the effect is quite extraordinary. Earlier, on “Mazacote” Del E is sharp. Her grasp of melody is assured and she has an instinct for tumbao. This necessitates a strong left hand and if anything the pianist is extraordinarily gifted in this regard. The concrete musical imagery of this chart is spectacular and Del E weaves interesting rhythmic patterns with the melodic content. The abrupt and complex rhythmic shifts also show her sound grasp of traditional Afro-Cuban polyrhythm. Later, the dazzling pirouettes she makes with her right hand on the brisk melody of “New Habana” are matched by the growling rhythm of her left hand as she makes it swagger with a kind of spirited intoxication. And although it is Glenda del E who makes much of this happen on her own, her rhythmic cohort of percussionists add a piquant flavour to the musical mix.
Glenda del E’s melding of piano or rather instrumental and lyric also reaches surprising highs on this album. Her experiments with various lyric styles on “Fit In… Not!” are self-assured and the passionate rendering of her tour de force, “Q-Ban R & B” leaves an echo of a lasting impression of her soaring voice. Del E can modulate her voice with the demands of the song and this is something she does with verve on her prayer to the Orishas, “Obbatala” as well as on “La Fiesta Cubana”. On the former, she shows off her spirituality with a moving, drone-like splendour. On the latter she is equally spiritual, but this is blended with a free-spirited exultation. Del E’s warmth and passion as a vocalist is also memorably showcased on “L.U.P”.
As a songwriter, clearly Glenda del E has something to show. She is inventive and has a flair for both melody and rhythm. Her work is adventurous—even daring—and she does not seem to back away from complex structures. The fact that Del E is able to write for small and large ensembles is also an extraordinary angle to her talent. This is rare among young artists and must surely auger well for Glenda del E’s future. Right now if she is agonizing over whether to produce another album showcasing her pianism and vocalastics or one where she focuses on merely on her keyboard skills this would be understandable. Not many young artists have such an embarrassment of riches to offer.
Track Listing: Fit In… Not!; Hoy; Q-Ban R & B; Mazacote; Can You; L.U.P; A Obbatala; Grandparents Danzon; La Fiesta Cubana; New Habana.
Personnel: Glenda Del E: lead vocals, piano, keyboards, flute (2), backing vocals; Mario Del Monte Jr. percussion (3-5, 8, 9), drums (4, 7), trumpet (1, 5); Mireya Escalante: lead vocals (7), backing vocals (1, 3, 5, 7, 9); Juan Pablo Dominguez: bass (1, 2, 4); Roberto Riveron: acoustic bass (3, 8, 9), additional vocals (3, 9); Yoser Rodriguez: acoustic bass (8); Omar Martinez: bass (5); Odalys Cuesta: bass (7); Elmer Ferrer: electric guitar (1, 2, 5); Pablosky Rosales: tres (3, 9), guitar (3, 9); Yordanis O’Reilly: cajon (6), percussion (4, 6); Miguelito Valdes: trumpet (3, 4, 9); Alexander Brown: flugelhorn (2); Yaure Muñiz: flugelhorn (4); Benny “El Baby” Escalante: lead vocals (9); Iredis “Puchita” Mena: additional vocals (2); Mario Del Monte Sr.: trumpet (8); Imarbys Canete: flute (7); Jorge Maza: flute (4); Ahmed Mitchell: drums(2); Elijah Walsh: rap vocal (1); Yosvani Castaneda: electric, acoustic violins (7), backing vocals (7); Sharon Lee: violin (1); Judith Manger: cello (1).
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Glenda Del E on the web: www.glendadele.com
Review written by: Raul da Gama
Jane Bunnett – “Cuban Rumba Roots Meets Jazz”
Jane Bunnett returns to her roots in Cuban Music to present a brand new project “Cuban Rumba Roots Meets Jazz”
This project features new Rumba drum and dance group ” Iya Ire” with Jane’s Spirits of Havana group featuring special guest Hilario Duran.
This project recreates the buzz of Jane’s groundbreaking award winning 1st Cuban recording “Spirits of Havana” from the early 90′s Roots Rumba with allstar Jazz soloists!!!!
Hugh’s Room. Toronto, March 19, 2011. Photographs by Danilo Navas
View slideshow: Jane Bunnett – “Cuban Rumba Roots Meets Jazz” (this link will open in a new window)
Jane Bunnett and The Cuban Piano Masters at Koerner Hall, Toronto
Feature/Review written by: Danilo Navas
The Cuban Piano Masters Project
This unique musical group was first conceived in Havana, Cuba in 1992 at the National Theatre with the great Cuban pianists José María Vitier and the late Frank Emilio. It was brought to fruition in Canada in 1993 with a ground-breaking concert at the Glenn Gould Theatre (CBC) and became Jane Bunnett’s recording debut for EMI/Bluenote.
In 1997 the 2nd edition was presented at the Montreal Jazz Festival with collaborators Hilario Durán and Frank Emilio. This concert was filmed by Le Spectre and shown worldwide as “Jane Bunnett and the Cuban Piano Masters” (see: http://www.youtube.com/watch?v=RUmrR7kMRmk).
Now in its third edition, this is a presentation of three generations of piano with Jane’s original collaborator Hilario Durán, current pianist Elio Villafranca and elder master Guillermo Rubalcaba (who appeared with Jane in her 2000 National Film Board Documentary “Spirits of Havana.”
The Cuban Piano Masters 2010/2011 Edition
The Venue
The superb new Koerner Concert Hall is a magnificent, state-of-the-art 1,135-seat venue located in the heart of downtown Toronto. Koerner Hall is one of three stages housed under the TELUS Centre for Performance and Learning, which is the Royal Conservatory’s new Toronto home. The elegant, modern architecture, goes hand in hand with the exceptional acoustics of the hall. It has received unanimous praise by performers and spectators alike.
Jane Bunnett and The Cuban Piano Masters was the last show of a concert-series dedicated to exploring the roots and advancements of the tremendous fusion of Latin Music and Jazz, known under the umbrella term of Latin jazz.
The Musicians
Jane Bunnett, soprano saxophone, flute
Hilario Durán, piano
Guillermo Rubalcaba, piano
Elio Villafranca, piano
José Luis Quintana (Changuito), timbales
Larry Cramer, trumpet
Roberto Riveron, bass
Jorge Torres (Papiosco), percussion
Luis (Luisito) Orbegoso, percussion
The Music
Part I
1. La Comparsa (Ernesto Lecuona)
2. Scheherazada (Frank Emilio Flynn)
3. Lágrimas Negras (Miguel Matamoros)
4. Oguere’s Cha (Elio Villafranca)
5. Timba Mabó (Hilario Durán/José Luis Quintana “Changuito”)
Part II
1. Fool On The Hill (Lennon/Mc Cartney) (Arranged by Elio Villafranca)
2. Quirino Con Su Tres (Poem by Nicolás Guillén/Music by Emilio Grenet)
3. Havana City (Hilario Durán)
4. I Hear Voices (Jane Bunnett)
5. Andalucía (Ernesto Lecuona)
6. Cacique (Elio Villafranca)
7. El Manicero (Moisés Simons)
Encore
- Ron Con Ron (Rum With Rum)
The Concert at Koerner Hall, Toronto
On Saturday, April 17, 2010, at around 8:00 pm, Jane Bunnett opened this special concert, soloing on her soprano, creating an almost sacred atmosphere in the magnificent Koerner Hall. That was a fit preamble to one of the most famous compositions by Cuban composer Ernesto Lecuona, “La Comparsa.” One by one, the three pianos and the rhythmic section joined Jane Bunnett on a journey through popular, classical Cuban music and jazz.
Next on the program was “Scheherazada,” performed as a tribute to his composer, the late Piano Master Frank Emilio Flynn (1921-2001). The audience was treated to a joyful rendition of this piece, originally recorded as a cha cha chá in 1997 by Emilio, on his album “Barbarísimo.”
Next, Bunnett and Guillermo Rubalcaba joined forces as a duet on another classic piece, “Lágrimas Negras” (Miguel Matamoros).
The youngest of the three Masters, Elio Villafranca, contributed his first composition of the night, the enchanting “Oguere’s Cha,” recorded by Villafranca on his first CD, “Incantations.” A very spiritual piece, “Oguere’s Cha” began with a beautiful chant masterfully performed by percussionist Luis (Luisito) Orbegoso, who’s very well known in the Toronto Latin and Jazz musical circuit. Elio and Hilario exchanged lyrical melodies and waves of rhythm and harmony in their interaction, bringing the call and response patterns to a high level of complexity.
Right after, and closing the first part of the concert, another very special guest came on stage. The legendary percussionist José Luis Quintana (Changuito) introduced “Timba Mabó,” a descarga written by Hilario Durán and Changuito during the recording of Hilario’s CD “Killer Tumbao” in Havana, Cuba, back in 1997.
As it’s been customary on this Latin Jazz Series concerts, after the intermission, Mervon Mehta (Executive Director, RCM Performing Arts) joined the featured artist (in this case Jane Bunnett) for a brief chat. Bunnett shared her musical views and ideas with the audience, opening right after the second part of the show with a duet. This time, Jane and Elio Villafranca performed a beautiful rendition of “Fool On The Hill” (Lennon/McCartney). An intricate Villafranca’studio of this popular piece unfolded, led by the piano, and nicely complemented by Bunnett’s flute.
The duet became a trio. This time, Jane and her soprano horn were joined by Hilario Durán on the piano and “Changuito” on the timbales. They did a wonderful interpretation of “Quirino con su Tres,” a popular tune created by Emilio Grenet, who wrote music to a poem by Nicolás Guillén in the 1930′s.
Then it was Durán’s turn of contributing a composition, “Havana City,” from his recording “Encuentro en La Habana,” made in Cuba in 2005 with his former bandmates from “Perspectiva.” A tribute to the city of dreams, as I call it, “Havana City” evoques the nostalgia of the artist’s motherland, the cherished souvenirs and the ghosts of a lifetime.
The next piece was “I Hear Voices,” a song written by Jane Bunnett, from her Juno Award winning album “Embracing Voices.”
Then the classic song “Andalucia,” composed by Ernesto Lecuona, received a modern treatment. Arranged by Maestro Guillermo Rubalcaba. The three pianos participated in the dialogue.
“Cacique” came after. The second composition of the night by Elio Villafranca. Another spiritual song, introduced by Elio singing a chant/prayer to the Orisha Oduduwa (Odua).
Possibly the most popular Cuban song of all times, “El Manicero,” written by Moisés Simons, ended a fantastic musical trip to the Caribbean island. Three true Masters representing the best of the Cuban pianistic tradition, led by a more than passionate Canadian, took us on a helluva ride with their distinctive voices. Big kudos to Jane Bunnett for making this great concert a reality. Not an easy task to accomplish, this show is definitely one of the landmarks in Jane’s musical career.
As if we hadn’t had enough, we were regaled with an encore: the descarga “Ron con Ron” (Rum with Rum), previously recorded on Bunnett’s Cuban Odyssey – Spirits of Havana project.
From an interview with Mrs. Bunnett conducted by John Goddard (Toronto Star daily), I extract the following, where Bunnett describes the significance of each player on this concert.
Guillermo Rubalcaba: “At 83, he is super well-known and in great health. There are not a lot left — guys in their 80s who play in that beautiful, elegant piano style (of 1930s Cuban cha-cha-chá) that blends very European influences with Afro Cuban rhythms. “Guillermo is founder of one of the most famous groups in Cuba, Charanga Rubalcaba, and plays with Buena Vista Social Club.”
Hilario Durán: “In terms of the growing modern jazz scene in Cuba in the 1970s and 1980s, Hilario was one of the more profound players. He was big there. He had his own group “Perspectiva,” besides doing all the other work he was doing.
“When I met him (in 1991 in Havana) he probably had made well over 400 recordings as a sideman, working in the EGREM recording studios, just working away arranging, composing, directing and backing many of the great Cuban masters.”
Elio Villafranca: “Elio is in his 30s, one of the new generation of Cuban musicians on the cutting-edge New York scene. I would say he’s a jazz musician first but really draws from his Cuban roots. He is from Pinar del Río, the little boot part of western Cuba.
“We’ve been working a lot in the States together and playing a lot in Europe.”
Changuito: “He’s done a million recordings. He joined Los Van Van (in 1970), which for me is the best salsa band, my favourite, and he was sort of the originator of the songo rhythm, one of the groundbreaking rhythms the group developed. He left a few years ago to focus more on Latin jazz.”
View Slideshow – Jane Bunnett and the Cuban Piano Masters
Photographs by Danilo Navas
