Jerry González y el Comando de la Clave (Sunnyside Records – 2011)
When considering living modern masters of the trumpet, ubiquitous in the world of brass, Wynton Marsalis comes to mind first; and Terence Blanchard perhaps, but certainly not Jerry González. This is a travesty, because in the warmth and bronzed glow of González’s sound there is a singular mystical majesty that deserves infinitely wider recognition than the trumpeter gets. Before the reason was that he played in an idiom that was more insular than mainstream and now that he resides for the large part in Spain, he is less frequently recalled even in remote circumstances. This case of being out of mind is more common these days even as there appears to be a large volume of good music being released. Perhaps his extraordinarily beautiful album, Jerry González, with his relatively new Spanish ensemble El Comando de la Clave, will change all that.
This group of musicians elevate González’s music in a way that is reminiscent of the manner in which the trumpeter’s bassist brother Andy and other musicians such as pianist Larry Willis from the erstwhile Fort Apache Band once did. Coincidentally so does his current bassist, Alain Pérez and the brilliant pianist, Javier Masso “Caramelo” do wonders to fluff out the trumpet and flugelhorn on this album. However, it is the consistently intense, fiery and profound playing by González that stands out here. Of course González is his usual irreverent self, renaming such sacred standards as “Someday My Prince Will Come” as “Someday My Prints Will Come (Back From the FBI),” a deliberate swipe, no doubt, at the still-prevalent and somewhat institutional racism that holds sway in many parts of the US. This is contrasted with the depth and beauty of his tone on this and other charts on the album. For instance, his reading of “Tenderly” is slower than expected, yet with a sense of the true heartache embedded in the song’s narrative. Moreover his playing is soft; his articulation is barely above a whisper at times and this is where González sounds at his sensuous best.
González is as brilliant an improviser as he is a melodist. He is like a master-weaver when he plays, weaving color and subtle shades into a musical tapestry that is beautiful and rare. His phrasing flutters airily across this artefact that becomes the trumpeter’s playing field. Sometimes he rises slowly and vertically as he moves his phrases onward; at other times he races horizontally as if reaching out for some vanishing point in the song that he is “singing”. And just when it appears that he is all but lost, he recovers abruptly, takes a dazzling break on his alternate instrument—the congas—and reins himself in again on trumpet or flugelhorn, finding his silken voice and the lost melody again.
The album is truly flawless from end to end, but several performances are monumental. The turning of “Love for Sale” into a personal statement is one. González leads the ensemble in what must surely be one of the finest versions of this piece. It is no more a lovelorn ballad that it is purported to be. But while still retaining its balladry, González turns it into a sensuous melody full of ebullient twists and turns between trumpet and percussion. Then on Duke Ellington’s “In a Sentimental Mood” the ponderous quietude of the song is transposed, with a voluptuous Latin tinge into a dramatic contrapuntal excursion between voice and trumpet, presided over by some miraculous-sounding triplets on bass. And, of course, the duende of Diego El Cigala’s voice drives the music of “Avisale a mi Contrario”. That and González’s molten, brassy lines make a magic so rare and powerful that the sound of the song—and the album—lingers a lot longer than the last single note played by the trumpeter, thus confirming that Jerry González is everything that a great virtuoso is cracked up to be.
Track Listing:
1. Someday My Prints Will Come (back from the FBI)
2. Resolution
3. Equipoise
4. Tenderly
5. Obsesion
6. Love for Sale
7. In a Sentimental Mood
8. Avisale a mi Contrario.
Personnel:
Jerry González: trumpet, flugelhorn, congas, background vocals (8); Javier Masso “Caramelo”: piano, guiro (3), background vocals (8); Alain Pérez: bass, voice, background vocals (8); Kiki Ferrer: drums, background vocals (8); Alberto “Chele” Cobo: clave; Diego “El Cigala”: voice (8); Israel Suárez “Piraña”: cajon (8).
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Jerry González on the web: www.sunnysiderecords.com/
Review written by: Raul da Gama
Diego Urcola Quartet – Appreciation (CAM Jazz/Sunnyside – 2011)
Diego Urcola’s is a voice that remained somewhat hidden—certainly tucked away—for two decades in Paquito D’Rivera’s quintet. And then there was the subdued role he played in Los Guachos, the fabulous larger ensemble. However the graceful candour of his voice is irrepressible and it was only a matter of time when he would be heard for what he really is and plays. Urcola is distinct and a singular artist in the manner of his more famous countryman Leandro “Gato” Barbieri. The trumpeter plays with sensuous swagger and digs deep into his own soul for even the slightest note. This mortal risk-talking is something Barbieri is well-known for and with his own immaculate sense of grace, absolutely bereft of inhibition Urcola begs favourable comparisons with the much older tenor saxophonist.
The trumpet resides in a cluttered world and not even its softer relative, the flugelhorn, can serve to set horn men who favour this burnished brass instrument apart from the pack that always seems to advance like the frontline of an ancient army. Still, someone like Charles Mingus was able to pick Thad Jones, and more significantly, the mysterious, Clarence Shaw from out of the clutter. Jones he called Bartok with valves and Shaw’s language and phrasing left him breathless. Then there is Wallace Rooney, and Arturo Sandoval. To these must be added the name of Diego Urcola. To understand why this is so, it pays to peruse Urcola’s most recent solo date Appreciation.
Here is an example of a gargantuan challenge, one where the artist has chosen to pay homage to a host of his peers and mentors: wholly different characters that have pursued widely divergent paths. And yet Urcola brings it all together, to fruition, so to speak with a mighty effort that defines each musician—from Freddie Hubbard to Hermeto Pascoal, Guillermo Klein to John Coltrane and Astor Piazzolla. In doing so, Urcola traverses the soundscape of Lydian modes, bebop, the Brasilian “partita alto” and the wildly inventive metres of Klein using what the Guachos did—7+7+7+3. The tribute to Woody Shaw and Dizzy Gillespie, “Woody ‘n Diz” offers a masterful use of the flatted fifth, while “El Brujo” sings of the fire and irrepressible creativity of Pascoal in that rarely used Brasilian rhythm. Urcola’s tribute to his long-term employer, D’Rivera is an astounding “Milonga” song-style in the manner of Astor Piazzolla.
Urcola is blessed to have the artistry of pianist, Luis Perdomo, a master of that elusive Latin rhythm that actually resides hidden in the melody and is only brought forth by superlative “tumbao” something few pianists possess. Drummer, Eric McPherson is truly a revelation in the deft manner in which he negotiates the maddeningly complex rhythms, especially that invented by Guillermo Klein in a 7+7+7+3 part. He is no doubt aided on “The Natural” by Yosvany Terry on chekere, but then there is the “partita alto” and all the other tantalizing modes that follow. And of course Hans Glawischnig too makes up the wondrous quintet recording.
Tracks: 1. The Natural (to Freddie Hubbard); 2. El Brujo (to Hermeto Pascoal); 3. Milonga para Paquito (to Paquito D’Rivera); 4. Super Mario Forever (to Mario Rivera); 5. Guachos (to Guillermo Klein & Los Guachos); 6. Deep (to Astor Piazzolla & Miles Davis); 7. Senhor Wayne; 8. Woody ‘n Diz (to Woody Shaw & Dizzy Gillespie); 9. Camilla (to John Coltrane).
Personnel: Diego Urcola: trumpet, flugelhorn, valve trombone, vocals; Luis Perdomo: piano, Fender Rhodes; Hans Glawischnig: bass; Eric McPherson: drums; Yosvany Terry: chekere (1, 8).
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Diego Urcola on the web: www.diegourcola.com
Review written by: Raul da Gama
Paquito D’Rivera with the Pablo Aslan Ensemble – Tango Jazz: Live at the Lincoln Center (Sunnyside Records – 2010)
One of the greatest love affairs in music is the one between folk music and dance. This extremely covert relationship has spilled over into contemporary music as well—more so in musical excursions in Europe (where even Igor Stravinsky sang its praises with compositions of his own) and in Latin America. One of the most beloved of all these affairs is the storied one of the tango, a voluptuous one between characters born in countries as far removed as Finland, Spain and France—mixed in with vibrant ones in Africa—then transported across oceans to a brave new world where they came to rest principally in Argentina and Uruguay, where the romance grew until it reached dizzying heights at the hands of Carlos Gardel and Astor Piazzolla. The love affair has continued until today with musicians such as the great bassist, Pablo Aslan, who have continued to expand its role in the literature of music.
The Cuban-born, US-based musician, Paquito D’Rivera has been known to be in an interminable dalliance with tango and this album, Tango Jazz: Live at the Lincoln Center is a culmination of sorts and a tribute to his role in the affair. D’Rivera brings his pliant ingenuity to this project displaying every bit of his mastery on the alto saxophone as well as on the dreamy, woody tones of his clarinet, which seems born for the romance of the tango. His phrasing is immaculate and undulates with the rhythm of his heart. Lines and phrases slide into one another with mighty glissando. They begin sometimes with a shrill cry of delight, then swirl and pirouette as they soar and float on their way to the inevitable denouement. On this album, he plays off the wonderful brassiness of Gustavo Bergalli’s burnished horn and the bandoneón of Michael Zisman and Raul Jaurena.
The tantalizing brilliance of “Viejo Smocking” is memorable as is the sweeping indolence of “Milonguinha” and “Close Encounters of the Fourth Kind.” The dark romance of “Bandoneón” is one of the high points of the program just as the hypnotic swirl of “Verano Porteño” another. In like manner, the creativity of “Tanguajira” is one where D’Rivera marries the Cuban with the Argentinean and the Uruguayan as well. And just as “Beto” does, so also “Goodbye” mixes various idioms with the all-pervasive tango. It is almost impossible to stop the feet from sliding and tapping to the music as they prepare to glide and guide the body into the queen of all Latin American dances.
Make no mistake; however, as this is almost as much Pablo Aslan’s journey as it is Paquito D’Rivera’s. The bassist is a towering figure in the world of modern tango and music as well. His complete mastery of his instrument and virtually all forms of music and dance is legion. Here his spirit is all over the music even guiding the mighty work of Michael Zisman and drummer Daniel Piazzolla throughout this memorable album.
Tracks: Viejo Smocking; Beto; Bandoneón; Milonguinha; Close Encounter of the Fourth Kind; Verano Porteño; Tanguajira; Goodbye.
Personnel: Paquito D’Rivera: alto saxophone and clarinet; Gustavo Bergalli: trumpet; Pablo Agri: violin (6); Nicholas Danielson: violin (7); Michael Zisman: bandoneón; Raul Jaurena: bandoneón (7); Abel Rogantini: piano; Pablo Aslan: bass; Daniel Piazzolla: drums.
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Paquito D’Rivera on the web: www.paquitodrivera.com
Review written by: Raul da Gama
Chico Pinheiro – There’s a Storm Inside (Sunnyside Records – 2010)
The near falsetto vocals of Chico Pinheiro perfectly offset the voluptuous music that he has created on There’s a Storm Inside. However narrow his vocal range, Pinheiro is a master storyteller and he weaves his lines like an elaborate tapestry, a sort of patchwork quilt that tells the story his way. Pinheiro has a softness that seems to accelerate and retard his very breath. This increases the dramaturgy of his vocalastics in both English and Portuguese, but more so in the latter, which when spoken or sung has those gliding vowels—rising and falling diphthongs—that make for the more sensuous nature of vocal music in tongues descended from the Romance languages. Ironically this also makes Pinheiro something of an astute interpreter of music that borders on the modern troubadour tradition. Small wonder why his music fits like a glove with some of Brazil’s finest lyricists— the celebrated poet of the Musica Popular Brasileira/ Tropicalia tradition, Paulo César Pinheiro (no relation) being one of them.
On this album Chico Pinheiro shows himself to be a mature composer with a talent for referencing finer emotions related to sadness and love. He is, of course, being a classic Brasileiro when he makes music like this and it is hard not to see how close he is in talent to composers that have created the Brazilian musical universe. Pinheiro’s music is a fine mixture of the folk rhythms of the Brazilian hinterland as well as the rhythms and colors that dapple the urban landscape. Sometimes these collide and the result is stupendous. “Mamulengo” and, of course, the classic, “Sertão Wi Fi” are perfect examples of Pinheiro’s prodigious talent for lyricism. “Boca De Siri,” “Flor De Fogo” and “A Sul Do Teu Olhar” are three collaborations with the great Paulo César Pinheiro and the two men seem to be alter egos of each other as they delve deep into the territory of the emotional psyche as they turn to music and poetry to give vent to their feelings. However, it is ultimately Chico Pinheiro’s solo compositions that are truly memorable as well.
Pinheiro’s music also gets an unusual lift from the bass of Paulo Pauleli, whose stupendous melodicism and harmonic brilliance provide a stunning palette of sounds for Pinheiro to wrap his voice around. Pauleli is also the master of dancing round the root notes of the chords he plays and his interpretation of the tonal values of chords puts him in the vaunted company of men like Oscar Pettiford and Ray Brown, like him, masters of the bass violin. Pinheiro is also a self taught and ingenious guitarist, who accompanies himself with horn-like lines on the guitar and adheres himself to the finest guitar tradition of Laurindo Almeida, Baden Powell and other great Brazilians.
On this his fourth album, Chico Pinheiro shows off his wizardry as a guitarist on charts such as “Our Love is Here to Stay,” George Gershwin’s great ballad, making this a perfect debut for the Sunnyside label.
Tracks: Our Love is Here to Stay; Boca de Siri; There’s a Storm Inside; Mamulengo; Recriando A Criação; Flor De Fogo; A Sul Do Teu Olhar; Sertão Wi Fi; Um Filme; As; Valsa No. 8; Buritizais.
Personnel: Chico Pinheiro: acoustic guitar, vocal (1, 2, 4 – 6, 8, 9, 12); Paulo Casalans: acoustic piano (1, 5, 6, 10, 12), Fender Rhodes (10); Paulo Pauleli: acoustic bass (1, 2, 4, 7, 9, 11), mouth percussion (1); Marcelo Mariano: electric bass (2, 5, 6, 8, 10, 12); Edu Ribeiro (drums (1 – 6, 8 – 10, 12); Marco Bosco: percussion (2, 4, 5, 10, 12), triangle (8); Dianne Reeves: vocal (3, 10, 12); Bob Mintzer: tenor saxophone (4, 6, 10), bass clarinet (4); Luciana Alves: vocal (5, 7); Zé Piloco: zambumba, vocal (8); Lula Alencar: accordion; Marcos Spirito: ganza; Nailor “Proveta” Azevedo: clarinet; Otmaro Ruiz: electric piano (12); Strings: Alexandra Ramirez: violin (1, 3, 11); Fernando Travassos: violin (1, 3, 11); Flavio Geraldini: violin (1, 3, 11); Adrianna de Mello: violin (1, 3, 11); Mauricio Takeda: violin (1, 3, 11); Octavio “Teco” Scoss Nicolai: violin (1, 3, 11); Heitor Hideo Fujinami: violin (1, 3, 11); Alex Braga Ximenes: violin (1, 3, 11); Ricardo Bem Hoja: violin (1, 3, 11); Luiz Amato: violin (1, 3, 11); Roberta Marcinkowski: viola (1, 3, 11); Alexandra de Leon: viola (1, 3, 11); Fabio Tagliaferri: viola (1, 3, 11); Gustava Lesso: cello (1, 3, 11); Sergio Schreiber: cello (1, 3, 11); Patricia Ribeiro: cello (1, 3, 11).
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Chico Pinheiro on the web: www.chicopinheiro.com.br
Review written by: Raul da Gama
Guillermo Klein – Domador de Huellas (Sunnyside Records – 2010)
Guillermo Klein’s third album for Sunnyside Records is also one of his most beguiling and very possibly one of the most memorable tribute albums of the year. Klein’s album, Domador de Huellas – Music of “Cuchi” Leguizamon, literally “the tamer of the footprints” has a deeply significant meaning. The “footprints” in question are a visceral element of a history that is close to disappearing. In this instance the footprint is also one that Gustavo “Cuchi” Leguizamon left on the proverbial sands of Argentinean time in his incarnation of one of that country’s leading composers of folk songs. In fact it is a credible assumption to suggest that Cuchi Leguizamon’s music defined one of the most pivotal periods in Argentina’s progress, from feudal-to-democratic-totalitarian-to democrat periods, one that left a mark on the city and the pampas.
Leguizamon’s record of that history left behind in the proverbial footprint beckoned Klein for several years until he could no longer resist it. In choosing to re-imagine the music Gustavo “Cuchi” Leguizamon, Klein also chose to inhabit that footprint, but here on this album, that of the elder musician dissolves and melts into Klein’s remarkably creative one. Leguizamon’s music, for instance, contained such high emotion that the songs’ suggested narratives had the consummate power of operatic arias. In Klein’s hands—and with his astute manipulation—they become emotional bombs, as in the chart “La Pomeña” that is rendered with devastating swagger and chilling mesmerism by the modern diva, Liliana Herraro.
Gustavo “Cuchi” Leguizamon was known for constantly pushing the melody and harmonic boundaries of formal music. His “zambas” and “tangos” posited the dusty, but rhythmic swagger of the pampas. “Zamba Para la Viuda,” “Zamba de Lozano” and “Zamba del Carnaval” are possessed with the kind of shuffle that makes them living breathing pantomimes that come alive as the characters and their emotions devour the listener’s inner mind. Songs such as “Carnavalito del Duende” swell with the dark magic that arises from deep within the soul and over power the senses.
However make no mistake there is much more of Klein in these works than he would be happy to let go. Guillermo Klein appears to have gone into a trance and let the songs speak to him at an elemental level, tabula rasa so to speak. For it is more than the songs of Leguizamon that have come to life here. There are characters, some of whom only became real after being sung with elemental sadness or hearty historicity. And this is where Klein scores perfect hits where no one else seems to have in a resurrection project of this kind. Not only are there his own elastic pieces in homage to Leguizamon—“Domador De Huellas,” to be precise, but there is his uncanny sense of getting to the tonal center of Leguizamon’s palette of sound. This is the hypnotic element of the music that strikes at the heart. Then there is that molten heat from Klein’s backtracking footsteps as he plants them deep in the groove of Gustavo “Cuchi” Leguizamon’s own footprints, so to speak.
Tracks: Domador de Huellas; Zamba Para La Vuida; Chacarera del Zorro; Coplas de Regreso; La Pomeña; Zamba de Lozano; De Solo Estar; Me Voy Quedando; Cartas de Amor que se Queman; Maturana; Seranata del 900; Carnavalito del Duende; Zamba del Carnaval; La Mulánima.
Personnel: Liliana Herraro: vocals (5, 11); Carme Canela: vocals (9); Ben Monder: guitar (9); Román Giudice: vocals and percussion (14); Richard Nant: trumpet and percussion; Juan Cruz de Urquiza: trumpet; Gustavo Musso: tenor saxophone; Martín Pantyrer: clarinet and bass clarinet; Esteban Sehinkman: Rhodes; Mat&#as Mèndez: electric bass; Daniel “Pipi” Piazzolla: drums; Guillermo Klein: vocals and piano.
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Guillermo Klein on the web: www.myspace.com/guillermoklein
Review written by: Raul da Gama
Alex Brown – Pianist (Sunnyside Records – 2010)
Even for a pianist with as prodigious a talent as Alex Brown, having a heavyweight in the music pantheon such as Paquito D’Rivera produce his debut album, must have largely been a dream. However, to pull off a debut as fine as this is a feat in itself. As a pianist, Brown has remarkable technique. Although he may still be searching for his true voice and that may take time, he appears to be closer than most. He is truly expressive and has an expansive sense of time. Brown’s sense of the acute and obtuse accents of a melody is rivalled only by his sense of how to lay down a surprising harmony. With his strong left hand, playing seemingly every kind of rhythmic figure almost at will, Brown can create memorable phrases, sometimes surprising the listener with classic Afro-Cuban tumbao, as much as he can by conjuring up a contradanza, or even a valse. And then he can swing and bop too…
On the album, simply entitled, Pianist Brown serves notice that he is well on the way to being a leader that musicians will rally around. He is never overawed especially by the presence of such mighty musicians as Paquito D’Rivera, whose classically sharp alto and woody clarinet graces several tracks and he even gives the breathtaking percussionist, Pedro Martinez good reason to believe that he can shuffle that rumba tempo with swaggering confidence. Latin American musical idioms seem to be Alex Brown’s strong suit here and his gentle Bossa Nova swing that he introduces in “Lamentos” with seeming casual grace is, indeed a perfect example of how proficiently he captures the idiom, before he breaks up the song midway, only to return it to if much brisker samba rhythms. Of rhythms it appears Alex Brown appears to be a special kind of maestro.
Then there is the devastatingly beautiful drama of his “Buleria,” a crackling chart written in the style of that memorable dance form from Cadiz, Spain. The manner in which he lets his hands chase one another as he hammers out melody and chords as he recreates the spirit of Cadiz, Spain. The manner in which he lets his hands chase one another as he hammers out melody and chords as he recreates the spirit of Chick Corea’s rapid modal moves in “Elektric” is extraordinarily precise and controlled. “Waltz” pirouettes with classic grace as the all-too-alive characters glide eloquently across the floor.
There is a back-story here and it is one of great promise. Not only does Brown rally his musicians, especially the young ones, trumpeter Vivek Patel, bassist Ben Williams, drummer Eric Doob and marimba player Warren Wolf, but he also draws experienced men like D’Rivera and Martinez into his compositions that are compact, yet roomy enough for galactic leaps as the men improvise. It appears that not only is Alex Brown the pianist about to arrive, but the Brown the composer is not far behind at all.
Tracks: 1. Prologue; 2. Warm Blooded; 3. The Wrong Jacket; 4. Lamentos; 5. Elektric; 6. Waltz; 7. Buleria; 8. Leaving; 9. Just One of Those Things.
Personnel: Alex Brown: piano; Paquito D’Rivera: alto saxophone, clarinet; Vivek Patel: flugelhorn; Warren Wolf: marimba; Ben Williams: contrabass; Eric Doob: drums; Pedro Martinez: percussion, vocals.
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Alex Brown on the web: www.alexbrownmusic.com
Review written by: Raul da Gama
Federico Britos – Voyage (Sunnyside Records – 2010)
As the world continues to awake to the rising tide of undiscovered music and musicians from the South American paradigm—in an almost ironic kind of reversal of Alejo Carpentier’s voyage of musical discovery in Los Pasos Perdidos (E.D.I.A.P.S.A, 1953) or to the English-speaking world The Lost Steps (Alfred Knopf, 1956, Univ. of Minnesota, 2001)—the Cuban violinist Federico Britos celebrates five decades in the lonely and all but forgotten Chair of the Magisterium of South American Music with a spectacular Sunnyside offering, Voyage. This sojourn, documented at several moments in time is a dazzling journey featuring the violinist who was acknowledged as being somewhat untouchable in improvisational virtuosity by the great Jascha Heifetz as far back as 1959. The album also forms a monumental edifice that pays tribute to the melding of several idioms in improvised music and dance forms that characterize the music of the 20th and 21st centuries.
Federico Britos thrills throughout. His violin soars with sublime glissandi. It flutters and lets out melodious cries of triumph as he invents phrases and lines that revitalize old melodies. Britos ascends great heights of sound filling the silent spaces with speech-like gasps, high and mighty wails and epic moans that collide to create astounding sounds—beautiful, definitive arias hover and dance in the waning moments of their own music as the moments die into the past. However every moment of each song is a quantum packet of beauteous energy from the elegiac ballad to his wife, “Vivian” to the irresistibly seductive “Vivian Flavia de las Mercedes” and the memorable flamenco call and response of “Tomatito & Federico” a duet with the virtuoso Spanish guitarist, Tomatito.
Among the other gems on the album are the luminous versions of “Moonglow” and “Avalon” featuring Bucky Pizzarelli, a spectacular descarga—a hot Cuban jam—with the late bassist, Israel “Cachao” Lopez and two wonderful songs on which Puertorican conguero, Giovanni Hidalgo stretches majestically. The first is Rafael Hernandez’s “Capullito de Aleli” and the second is a track that closes the album on a high note, “Micro Suite Cubana.” On the latter, Hidalgo’s virtuosity is almost palpable and his wonderful solo throws the otherwise calm Britos into a violin frenzy of sorts as he reaches in to the uppermost register of his magnificent instrument, to play trill after trill of almost impossibly high notes with clarity and spectacular effect.
It is impossible to resist superlatives as Britos engages in triangular, quadrangular conversations with special other guests on Voyage. Bassist, Eddie Gomez, pianists Michel Camilo and Kenny Barron thrill to his music and respond in equal measure on “Vivian Flavia de las Mercedes” and “After You’ve Gone” respectively. The vastly underrated talents of pianist and arranger Carlos Franzetti are also represented here as is the percussion genius of Ignacio Berroa. These major artists, together with a myriad others make Federico Britos’ Voyage utterly irresistible.
Tracks: Vivian; After You’ve Gone; Vivian Flavia de las Mercedes; Moonglow; Tomatito & Federico; Capullito de Aleli; Las Vegas Station; Lluvia de Colores; Avalon; A Las Cuatro de la Manana; Okey Paganini; Oriente; Micro Suite Cubana.
Personnel: Federico Britos: violin (violin ensemble and soloist 1), arrangements (2 – 5, 8 – 12); Carlos Franzetti: piano and arrangements ( 1, 7); Eddie Gomez: double bass (1, 7); Ignacio Berroa: drums (1, 7); Leonardo Suarez Paz: violin (1, 7); Kristof Witek: violin (1, 7); Hector Falcon: violin; Federico Britos: violin (1, 7); Ron Lawrence: viola (1, 7); Zackaria Enikeev: viola (1, 7); Jessy Levy: cello (1, 7); Garo Yellin: cello (1, 7); Kenny Barron: piano (2); Phil Flanigan: double bass (2); Francisco Mela: drums (2); Michel Camilo: piano (3); James Chirillo: guitar (4, 9); Jon Burr: double bass (4, 9); Tomatito: guitar (5); Giovanni Hidalgo: congas and chekere (6, 13); Felix Gomez: piano (6, 10, 13), arrangements (6); Eddie “Guagua” Rivera: baby bass (6, 10, 13); Edwin Bonilla: percussion (6, 10, 13); Bucky Pizzarelli: guitar (9); Gaby Vivas: double bass (8, 11, 12); Antonio Adolfo: piano (8); Carlomagno Araya: drums (8); Israel “Cachao” Lopez: double bass; Jorge Vivas: guitar (11, 12); Eric Bogart: drums (11); Rafael Solano: percussion (12); German Piferrer: arrangements (13).
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Federico Britos on the web: www.myspace.com/federicobritosvoyage
Review written by: Raul da Gama
Sofia Tosello – Alma y Luna (Sunnyside Records 2009)
There is a story that bears telling about Brasilian musician and multi-instrumentalist, Egberto Gismonti and his legendary teacher, Nadia Boulanger. Upon hearing him and evaluating his technique and his knowledge of harmonic devices, the story goes that Madame Boulanger said to Gismonti, “Go back and master the music of your country. This will unlock your voice and the world will then hear you.” Gismonti returned to Brasil, spent years in the remotest parts of that country and has produced some of the most memorable music.
The same celebrated teacher did not give Sophia Tosello the same advice, but she may have had a celebrated learning regimen of her own. In addition, the benefit of Sheila Jordan – a great vocal musician and teacher in her own right. Alma y Luna is a result of all of that – a by-product of all the music that came before her and poured itself into her soul. Tosello grew up listening to her parents’ collection and this consisted of significant Brasilian artists: Cataeno Veloso and Gal Costa. Then there the great Chilean, Mercedes Sosa, the American legend: Duke Ellington, and soul brother, Luthor Vandross and no doubt a host of others. Then Tosello had instruction from Sheila Jordan, a legend, if ever you could call a living vocalist that. Jordan did not simply unlock Tosello’s voice; she woke up the young singer’s soul.
Jordan must have taught her how to control breath, how to recognize sorrow and joy – and how to express them separately or in shades of both, together. With deep blue indigo quarter tomes, Sofia Tosello is heard to be doing just this on “Me Falta la Imaginacion.” Tosello shreds the emotion with such sadness and so sharply that the words cut right through the heart. “Mi Musita Salteña” picks up the mood slightly as here the zamba demands a brighter, more confident mood and Tosello delivers this in a dizzying, spiral kind of dancing manner that is edifying and resonant.
Sofia Tosello can manipulate her voice—bend it and hold it back, choke and uncoil with tremulous ferocity (“Sin Piel”) and this stands her in good stead throughout the record. When addressing theses that may be slightly beyond her age, she digs deep into her lungs and delivers words with sublime authority and ravishing sensuality. The instrumentation –especially the guitars of Miguel Rivaynera, Pavel Urkiza and the great Aquiles Baez—add superb color and majestic timbral values to the soaring voice of Tosello.
It is entirely possible that Sofia Tosello will choose to explore more contemporary song forms. Alma y Luna, despite its edgy intent, stays in the relatively safe confines of folk classics in a realm that echoes Afro-American musical idioms. The choice is one a maturing Sofia Tosello will have to make. Whatever she chooses to do the music is certain to be edgy, graceful and brimming with thrilling highs.
Tracks: La Clarosa Cruz; La Seca; La Verdadera Llama; Que Bonito; Me Falta la Imaginacion; Mi Musita Salteña; Sin Piel; Nacida en Agua de Guerra; Alma y Luna; Zambita Pa Mi Coyita; Nada; Sentirme Libre Contigo; Caminos Del Cielo.
Personnel: Sofia Tosello: lead vocals; Julio Santillan: guitar, background vocals; Jorge Roeder: double bass (1, 4) Yayo Serka; bombo leguero (1, 6), drums (3, 5, 6, 7), darbuka, Cajon (7). palmas; Raul Lavadez: accordion, palmas; Pablo Farhat: violin (1); Miguel Rivaynera: palmas (1), guitar (2, 7, 8, 11); Raul Lavedenz: accordion (2), palmas (1); Pedro Giraudo: double bass (2, 6, 10) Franco Pinna: percussion set, bombo leguero (2); Pavel Urkiza: guitar (3, 9, 10), vocals (13), background vocals 3, 9), palmas (9); Yunior Terry: double bass (3, 9, 12, 13), vocals (12), Yayo Serka: drums, darbuka; Mauricio Herrera: congas; djembe, guiro, timbales (12), congas, Darburka; Ramiro ‘Capi’ Nieva: Zampoña; Dyan Abad: trombone (3, 13); Byron Ramos: electric guitar; Aquiles Baez: guitar (4, 6, 10) Anat Cohen: clarinet (3); Jair Salas: cajon; Yosvanny Terry: soprano saxophone (5, 9), alto saxophone, chekere (13): Osmany Parades: piano (5); Ignacio Freijo: Quena; Rob Curto: accordeon; Hector del Curto: bandoneon; Rafi Michale: trombone (11); Albert Leusink: trumpet (11); Axel Tosca: piano, Wurlitzer; Byron Ramos: electric guitar (12).
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Sofia Tosello on the web: www.sofiatosello.com
Review written by: Raul da Gama
Fernando Huergo – Provinciano (Sunnyside Records 2008)
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This is not just another record of music by an Argentinean musician. Provinciano is a brave attempt to create a new metaphor based on traditional harmonics and rhythms that inhabit the Argentinean Tango and folkloric music. Fernando Huergo, bassist extraordinaire makes a huge leap of faith as he – first explains – and then demonstrates the depth of his creativity and staggering virtuosity in his musical sojourn and his organically evolving bass playing.
Alejo Carpentier once wrote, fictionally of course, of a journey that he once undertook to find the origin of sound. That mythical journey took him into the Amazon and where he lost himself among a very primitive, yet sophisticated people and discovered the magical elixir of sound – a pure sound itself. On Provinciano, Huergo makes a similar journey; only his is one that can no longer traverse a primitive sound scape. But his is a journey that takes place in the interior landscape of the musical mind. Here the musician has imbued the many magical rhythmic impulses that ignite creativity. Amazingly, these parallel the same impulses that have driven jazz music through the ages. The impulse to create continually through time and space – to improvise. Then there is the element of swing and the joyful heartache of the blues.
The music on Provinciano in many respects is a Latin refraction of jazzical modes, but daubed in the lush tones of the provincial. The rhythms are sometimes challenging and may appear to be a tad clever, which they are not… simply accurately describing a tradition that is given new meaning in the modern context. “One in Ten” a track written in 10/8 time is a case in point as is “A Mil,” where a Piazzolla tango might go musically if he were to play it today. Here Huergo is not only proficient technically, but also displays a wonderfully puckish sense of humor. There are two tracks written in Chacarera modes and others in the form of aire de milonga and aire de vidala – folkloric wonders that are completely modern in statement and form. Amazingly, even programmatic pieces such as “The Cost of War” and Coltrane’s lesser masterpiece, “Lonnie’s Lament” also work as folk forms. (Mingus did this many half a Century ago with Thad Jones on his own album, appropriately entitled Folk Forms). These two tracks may unconsciously hark back to that masterly excursion as well.
Finally, a word about the musicians. Huergo is a fine technician, but he plays his bass with great feeling and expression as well. The musicians who honor the compositions have also given a fine account of themselves. Andrew Rathbun and Yulia Musayelyan on saxophones and flute, respectively, have an uncanny sense of empathy for the music, which it would appear, is written with them in mind. Mika Pohjola and Franco Pinna are also artists of enormous rhythmic skill. Together these musicians have all the makings of a long-term partnership, which is to say more music of greater, import sooner rather than later.
Tracks: Provinciano; La Luz del Norte; One in Ten; Vida; A Mil; Chacarera Boogaloo; The Cost of War; El Chupacabras; Lonnie’s Lament; Instinto Matero; Bochis; Chacarera del Carancho; El Dia que me Quieras.
Personnel: Yulia Musayelyan: flute; Andrew Rathbun: tenor and soprano saxophones; Mika Pohjola: piano; Fernando Huergo: bass; Franco Pinna: drums.
Fernando Huergo on the web: www.fernandohuergo.com
Review written by: Raul da Gama
