Roger Davidson & Raul Jaurena – Pasion Por La Vida (Soundbrush 09)

Pasion Por La Vida is an unusual and memorable record, even by Roger Davidson’s standards. It is the third “Latin” record made by Davidson, a pianist influenced by Bill Evans as much as by Chopin. But Pasion Por La Vida takes Davidson’s love for the music of South America a shade further than – Mango Tango, Amor Por El Tango and Rogers in Rio – his earlier expressions of that love. This record is a kind of maturation for Davidson has composed all the eighteen titles on it. Spectacularly, all are tangos – eleven of them have been written in the classical Argentinean form. Several others are more European and there is a Brazilian chorinho, a bolero and a rumba but these may not be played in the familiar 2/4 time signature that exemplifies “the tango”, what unites them with the other tracks on the record is that they all reflect passion.

Davidson is able, here, to switch from his customary jazz-inflected voice to the staccato and sometime legato world of the tango. The dynamic he applies to his pianistic touch is therefore quite different. It is more percussive, following the internal rhythm of Latin melodies and the harmonic changes swirling thick, are heavier and more deliberately, almost unusually accented. Then there is that aspect of the “Tango” that is visual as the music can only partially tell the story with sound; the rest is the image that accompanies the song. Traditionally it helps always that the “tango” music accompanies a couple dancing statuesquely following the rigid dancing tradition. With Pasion Por La Vida, the dimension is singularly aural. The visual component must be imagined. This precludes the music having to work all the more harder – so that that dimension may be created like a virtual dimension, like a hologram. And here lies the success of this record.

Then there is also the almost symbiotic musical relationship between Davidson and Raul Jaurena. The pianist and the bandoneonist engage in interplay that comes from an almost telepathic understanding of the central idea of each piece. This is why ideas are exchanged as if they were imagined simultaneously but expressed separately. Harmonically as well, the musicians are intertwined and so the passionate flow of musical thought is seamless and heart-warming. And this is what separates this record form Roger Davidson’s first, Mango Tango: These songs cover a range of emotions – “Su Pasion” – the passionate romance of a man and woman, “Volvere” – that longing for home – “Puente a la Esperanza,” “Tarde Soleada,” “Alma Apasionada,” “Orquesta de Pueblo”… Throughout the record is a growing and deeper symbiosis between Davidson and Jaurena and it makes the music magnificent and moving.

This is going to be a difficult record to top in terms of following through on an idea whose raison d’etre is emotional. It would be interesting to see where Roger Davidson will go from here, but then again, if he is led by his emotions there is no horizon and more passionate music can never be very far away.

Track Listing: Fuerza Milonguera; Su Pasion; O, Te Quiero; Camino Al Sol; Tarde Soleada; Puente A La Esperanza; Vals Para Mañana; Optimista; Todo El Tiempo; Volvere; Cancion De La Montaña; Milonga Del Norte; Alma Apasionada; Orquesta De Pueblo; Tango Ruso; Si Loin De Toi; Que Pasara; Aventura.

Personnel: Roger Davidson: piano; Raul Jaurena: bandoneon.

Roger Davidson on the web: http://www.soundbrush.com/roger-davidson-biography/

Raul Jaurena on the web: http://www.rauljaurena.com

Review written by: Raul da Gama

Marco Granados – Music from Venezuela (Soundbrush Records 2008)

This record comes ten years after Marco Granados’ earlier record of Venezuelan music; Amanecer arrived to much critical acclaim. During that time, Granados had traversed the wide soundscape of Latin American music also paying tribute to the great Argentinean tango and bandoneon master, Astor Piazzolla, with Tango Dreams and Luna, a superb program of romantic works for flute and guitar. Every record has been marked by unparalleled artistry, so much so that it is safe to say the Granados’ skill at this delicate woodwind instrument gives new meaning to the word virtuosity.

Music of Venezuela is unique in that it not only features superlative playing by Granados, but it also introduces the world to the work of some of the finest music by Venezuelan composers, who would mostly be obscured by a rather apathetic media, mostly interested in music that is hybrid and derivative and radio-friendly in a cookie-cutter sort of way. Add to that the absolute mastery of the lead instrument that Granados displays throughout and also exquisite accompaniment on the cuatro and bass and this record is at once remarkable on many levels.

It is impossible to characterize Marco Granados’ playing without speaking in superlatives. Granados has become a complete master of breath control, beyond what is often thought to be humanly possible. On tracks such as “Cañoneando” and “Regresando” for instance he holds notes for so long a period of time that it appears that they are trapped in time. On “Pa’ Oriente Compay” he makes a virtuoso turn on a pianissimo high C in the recapitulation of the piece and this is absolutely breathtaking. And there are other parts on the record where Granados performs instrumental feats of such excellence that comparison with the virtuosity of such musicians as Piazzolla and D’Rivera would not be such a stretch indeed.

The music on this record brings the work of such staggering composers as Alberto Valderrama – the beautiful joropo, “Pa’ Oriente Compay” and “Los Tiestos de Moca” and the electrifying, “El Avispero”. There is also jazz-inflected work by Aquiles Baez – the exquisite portrait, “La Abuelita,” and the puckish “Cañoneando” among others. “Confesion a las Estrellas” is by the brilliant cuatro, flute and clarinet player, Orlando Cardozo. “Julio Mendez, from the same region as Granados originally came from is represented by “La Encantadora”. The Chilean-born Julio Mendez is also represented here with “Mi Niña”. Agelvis Sanchez wrote “El Gavilan,” a classical style joropo and this is perhaps the most recognized song on the record. “Los Doce,” though not originally a Venezuelan song, from the pen of the Colombian, Alvaro Sandoval, is immensely popular among the folk artists of Granados’ home country. The calypso, “Bumbac” is from the pen of Ricardo Sandoval, and Rodner Padilla’s work is celebrated with “El Negrito ‘e Caja de Agua”. Perhaps the most fascinating track is the one written by the Brazilian, Jacob do Bandolim, “El Vuelo de la Mosca” and this track features an electrifying duet by guest artist, Francisco Flores, on trumpet and Granados on flute.

It would not be appropriate to conclude without praise for the musicians on this record. Not just those who are a part of Un Mundo Ensemble – notably bassist, Roberto Koch and cuatro player, Jorge Glem, but also the outstanding work by the Venezuelan jazz bassist, Gonzalo Teppa, who brings the beguiling “Regresando” to life with his solo turn and harmonic and rhythmic ingenuity throughout. However, “Music of Venezuela” remains a stellar record of the music of that country. And it is another reason why Marco Granados may easily be the finest flutist to have graced the Latin American music scene in modern times.

Tracks: 1. Pa’ Oriente Compay (To the Orient, Compadre); 2. Los Tiestos de Moca (Moca’s Pottery); 3. El Avispero (The Wasp’s Nest); 4. Confesion a las Estrellas (Confession to the Stars); 5. La Abuelita (The Grandmother); 6. Mi Niña (My Girl); 7. Cañoneando (Street Playing); 8. Regresando (Returning); 9. La Encantadora (The Enchantress); 10. Recordando a Tila (Remembering Tila); 11. Los 12 (The Twelve); 12. Tema y Variaciones de “El Gavilan” (Theme and Variations on “El Gavilan”); 13. Bumbac (Calypso Drum); 14. El Negrito ‘e Caja de Agua (The Little Black Boy From Caja de Agua); 15. El Vuelo de la Mosca (The Flight of the Fly).

Personnel – Un Mundo Ensemble: Marco Granados: flute; Jorge Glem: cuatro (all tracks except 4, 8, 13); Roberto Koch: bass (except 8); Leonardo Granados: maracas (2, 8, 9, 14); Manuel Rangel: maracas (1, 3, 5, 7, 10 – 12, 15).

Guests: Francisco Flores: trumpet (3, 15); Hector Molina: cuatro (4, 13); Gonzalo Teppa: bass (8); Henry Linarez: cuatro (8); Alexander Livinali: bumbec, bells (13).

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Marco Granados on the web: www.sunflute.com

Review written by: Raul da Gama