Chucho Valdes at the NJPAC: Performance Review

THE NEW JERSEY PERFORMING ARTS CENTER PRESENTS

CHUCHO VALDES AND THE AFRO CUBAN MESSENGERS

THE HIROMI TRIO PROJECT

PERFORMANCE REVIEW BY Thomas Peňa

On Sunday, January 21^st the New Jersey Performing Arts Center (NJPAC) presented an afternoon of piano jazz, with Chucho Valdes and the Afro Cuban Messengers and the Hiromi Trio Project. The event took place at Prudential Hall, which is hailed by the New York Times as “one of the world’s greatest concert halls.”

THE HIROMI TRIO PROJECT

The show opened with pianist, composer, and bandleader, Hiromi Uehara — a striking and youthful prodigy who epitomizes a new generation of artists whose music transcends conventional boundaries. Visually, Hiromi makes a striking first impression. She is 23, looks younger than her years, and projects an informal, playful demeanor that flies in the face of convention. Aurally, you quickly realize that you are in the presence of a force of nature.

Most, if not all of the music performed was from Hiromi’s most recent CD, titled, “Voice.” The trio kicked off the set with the title track, which begins with a somber piano solo that expands into an energetic groove, pushed forward by Jackson and Phillips, followed by “Now or Never,” whose chord progressions brought to mind Thelonious Monk’s “In Walked Bud.” The tune featured a spirited give and take between Jackson and Phillips. Towards the middle of the set the momentum built to such a degree that it became impossible to concentrate on anything but the music and the interaction between the band members. Onstage, the trio is a tight unit but it’s Hiromi who steals the show. She is fond of rhythmic and melodic complexity, extended improvisation, playing the piano at breakneck speed and switching gears on a dime, yet she never loses sight of the big picture. Towards the end of the set the trio performed a bluesy rendition of “Beethoven’s Piano Sonata No. 9,” which garnered a rousing standing ovation and a chorus of “Bravos!” As the set came to a close and the house lights went up for intermission, the burning question on everyone’s mind was, “Who is that girl?”

Hiromi was born and raised in Japan. She took up the piano at the age of 6, where she learned early on to tap into the intuitive as well as the technical aspects of the music. At 14, she performed with the Czech Philharmonic Orchestra and at 17, through a chance meeting, shared the stage with Chick Corea. Prior to enrolling at the Berklee College of Music in Boston in 1999, Hiromi made her living composing jingles for Nissan and a number of other high profile Japanese companies. While at Berklee, pianist Ahmad Jamal took a special interest in her and called her “nothing short of amazing.” In 2003 she stunned the jazz community with her debut on Telarc Records titled, “Mind.” To date, she has released 8 recordings as a leader, the most recent being “Voice,” where she returns to the trio format with two formidable musicians, bassist Anthony Jackson and drummer Simon Phillips.

Hiromi’s music transcends genres. “It has some elements of classical music, some rock, it has some jazz,” says Hiromi, “but I don’t want to give it a name.”

CHUCHO VALDES AND THE AFRO CUBAN MESSENGERS

Looking tall, lean and totally in command, Jesus “Chucho” Valdes Rodriguez needs no introduction. The pianist, composer, arranger, bandleader and educator is the recipient of 5 Grammy Awards in the Latin Jazz category, 3 Latin Grammys and numerous doctorates and awards. He formed the Afro Cuban Messengers, a 7 piece band named after Art Blakey’s Jazz Messengers. The set began with a tribute to one of Chucho’s favorite composers, Duke Ellington. The medley included “Satin Doll,” “In a Sentimental Mood” and “Caravan” against the background of Cuban groove. The band also performed a tribute to the Austrian American keyboardist, composer and co-founder of Weather Report, Joe Zawinul. “Zawinul’s Mambo” turned the tune “Birdland” on its ear without compromising its center of gravity.  The tune, “To Begin to Be Good” cleverly combines mambo with elements of two show tunes: “Begin the Beguine” and “Lady Be Good”. Anyone who is familiar with Chucho’s music knows that he never strays far from his African roots. In keeping with that vocalist Mayra Caridad Valdes (Chucho’s sister) praised “Obatala,” a Yoruban deity of purity. Likewise, the Afro Cuban Messengers performed a scorching rendition of “Yansa,” another name for Oya, the Yoruba Goddess of the wind. The tune was a showcase for the percussionists, Dreiser Duruthy Bambole (bata drums), Yarold Abreu Robles (congas) and drummer Juan Carlos Rojas Castro, whose intense rhythmic exchange garnered cheers from the crowd. The set closed with “Chucho’s Steps,” whose chord progressions and driving montuno (vamp) pay tribute to John Coltrane’s “Giant Steps.” The band returned to the stage for an encore and performed the Cuban classic, “The Peanut Vendor” as Chucho gave the audience a lesson in the fundamentals of clave (a structural element in Cuban music).

It’s worth noting that the Afro Cuban Messengers current tour included a triumphant return to Carnegie Hall, where Chucho last performed with Irakere in 1978. In a long and illustrious career that spans over 50 years, Chucho Valdes is still going strong. As for Hiromi, it was her night to shine, and shine she did!

Noteworthy Recordings of 2011

Feature Article Written By NY Co-Editor, Tomas Peña

		GREGOR HUEBNER – EL VIOLIN LATINO (TIMBA)  Gregor Huebner’s latest CD is not so much an album as a travel narrative. On, "El Violin Latino" the German violinist and composer, who makes his home in Harlem, retraces the evolution of a repertoire that spans continents and centuries even as it remains in the shadow of the European canon. By turns sexy and sly, impassioned and dreamy, his collection of well-known tunes, unexpected arrangements and original compositions brings together far-flung members of the fiddle diaspora. In some ways, it’s the story of the prodigal violin: of how the most aristocratic of instruments crossed the Atlantic and found itself in the rhythm section of a Cuban charanga band, or in a brothel in Buenos Aires. Review by journalist Corinna da Fonseca-Wollheim of the Wall Street Journal.
		MARACA AND HIS LATIN JAZZ ALL STARS – REENCUENTROS, LIVE AT THE GRAND THEATER OF HAVANA (DESCARGA SARL- CD/DVD) This is the recording that Maraca’s fans have been waiting for. Recorded live at the Grand Theater in Havana, Cuba (2010), it presents Maraca’s collaboration with the Havana Chamber Orchestra and includes standout contributions from pianist Harold Lopez-Nussa, Japanese violinist Sayaka, saxophonist David Sanchez, drummer Horacio “El Negro” Hernandez, percussionist Giovanni Hidalgo and others. The recording takes the listener (and viewer) on a musical journey through the history of traditional and contemporary Cuban music. The repertoire includes such classics as “Camerata en Guaguancó” (a Guido López-Gavilán composition), “Serenata Cubana” (an Ignacio Cervantes piece), Chano Pozo and Dizzy Gillespie’s, “Manteca” and a number of original compositions, including “Afro,” “Danzón Siglo XXI,” and “Nueva Era.” “Reencuentros” is a showcase for Maraca and his distinguished guests and in this writer’s opinion, his finest recording to date. TP.
		JOSE RIZO’S MONGORAMA (SAUNGU RECORDINGS) “Mongorama” is no ordinary band. Its self-mandate of paying tribute to the charanga/jazz musical period extensively explored by Mongo Santamaría and his band mates, saxophonist Chombo Silva and flautist Rolando Lozano, involves revitalizing Mongo’s music and the charanga tradition he helped to develop. Rizo, as producer and bandleader and musical director Danilo Lozano incorporate new arrangements and orchestrations, modern variations of the themes without losing the essence of the rhythm and the infectious “danceability” of the music. The hip, jazzy feel exudes throughout the vocal and instrumental deliveries on this recording. Engaging and enjoyable at the same time, “Mongorama” equally pleases the listeners (jazz and Latin music fans) and the dancers. Great job accomplished by pianist Oscar Hernández with his arrangements and Francisco Torres as well. This is an album recorded live-in-studio over a two days fantastic musical journey. The music on this CD has is fresh, spontaneous and has those improvisational elements inherent to Jazz and Afro-Cuban descargas. This approach works perfectly well for these seasoned, highly-trained cats, who proudly follow in the footsteps of Maestro Mongo Santamaría. Review by Danilo Navas, Editor and contributing writer for Latin Jazz Network.
		CACHAO – THE LAST MAMBO (EVENTUS ENTERTAINMENT/LATINUM MUSIC) This historic and heartfelt 2 CD set documents the final performance by bassist and mambo legend Israel “Cachao” Lopez leading a 24-piece orchestra. The concert, which celebrated the bassist’s 80 years in music, was held at the Ziff Opera House at the Adrienne Arsht Center in Miami Florida in 2007. At one point in the recording Cachao becomes reflective, “Tonight I am feeling very emotional” says Cachao, “80 years in the music business. Do you know what that is? It’s no joke.” The Last Mambo transports the listener to the legendary master’s final performance and it’s the next best thing to being there. TP
		CHARITO – HEAL THE WORLD (ZOHO RECORDS) This jazzy tribute to Michael Jackson is a refreshing and pleasant surprise. Vocalist, Charito, who is obviously a huge fan of Jackson, handles the material with passion, intimacy and swing. Moreover, she breathes new life into Jackson’s hits:  “Rock with You,” “Human Nature” and “Never Can Say Goodbye” among others. The recording was produced by West Coast percussionist Harvey Mason, who has worked with Dionne Warwick and Whitney Houston. Mason has assembled a distinguished group of musicians and the arrangements are familiar yet fresh. Heal the World is a heartfelt and uplifting tribute to the King of Pop. It’s the feel good album of the year. TP.
		OMAR SOSA – CALMA (OTA) Calma is Omar Sosa’s fifth solo piano recording and perhaps his finest. The CD is comprised of 13 solo piano improvisations, fusing stylistic elements of jazz, classical music, ambient and electronica. As the title implies, the overall feeling is relaxed and introspective. According to Sosa, “Each song is an inspiration for the next, and improvisation is the basis of musical expression. I wanted to play from beginning to end without thinking – just feeling where each note would take me, following the voice of my soul.” Rhythmically, the feeling of the CD is unhurried and meditative. Sensations of floating and suspension of time prevail. Review: Otá Records.
		JERRY GONZALEZ Y EL COMANDO DE LA CLAVE (SUNNYSIDE) “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 artifact that becomes the trumpeter’s playing field. 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.” Excerpts from review by Raul da Gama, contributing writer for Latin Jazz Network.
		MICHEL CAMILO – MANO A MANO (EMARCY) In Mano a Mano, Michel Camilo, returns to one of his most effective settings, the trio, but with a twist, using congas and small percussion, instead of trap drums. Featuring longtime friends, master conguero Giovanni Hidalgo and bassist Charles Flores, Michel’s trio creates a lighter, more open sound, still powerful, yet also with a certain sweet mango-flavored lyricism that proves to be a perfect vehicle for a wide ranging repertoire that includes eight original compositions and three standards. The group represents not only a “meeting of the minds, each with his own rhythmical baggage and rhythmic notions but also considering Michel hails from the Dominican Republic, Giovanni hails from Puerto Rico, and Charles is Cuban, the coming together of three potent Afro-Caribbean musical traditions. Review: www.michelcamilo.com
		HAROLD LOPEZ-NUSSA – EL PARAISO DE LAS MARAVILLAS (IMPORT) Upstart pianist, Harold Lopez-Nussa hails from a musical dynasty – his uncle is the pianist Ernan Lopez-Nussa and he is the son of drummer Ruy Lopez-Nussa. Nussa came to my attention through his work with the Ninety Miles Project and Maraca’s Latin Jazz All-Stars, where he steals every scene in which he appears. Nussa is probably best known for his work with the legendary Cuban vocalist Omara Portuondo and his group, Herencia.  The Montreal Gazette describes Nussa as, “A virtuosic pianist brimming with passion and tempered by self-knowledge and sensitivity… there’s keyboard mastery and a rich rhythmic vocabulary combined with heart-and-soul harmonies.” You are going to be hearing a lot from this dynamic, young pianist in the future. TP
		PABLO ASLAN – PIAZZOLLA IN BROOKLYN (SOUNDBRUSH RECORDS) During the late 1950s Astor Piazzolla made a recording titled, “Take Me Dancing,” strictly for U.S. consumption (the recording is currently out-of-print). Suffice it to say, it was not one of Piazzolla’s most inspired recordings (Piazzolla called it a ‘disaster’). Fast forward to present day where Pablo Aslan reexamined the material, discovered a “rhythmic approach that was obscured by the writing” and took the material on as an artistic challenge. “Piazzolla in Brooklyn” includes re-arranged and expanded versions of Piazzolla originals such as “La Calle 92,” “Triunfal,” “Counterpoint,” and “Show Off” as well as “Laura” and “Lullaby in Birdland.” Aslan’s quintet features the top young veterans of Buenos Aires jazz and tango scene including Astor Piazzolla’s grandson, drummer Daniel "Pipi" Piazzolla. A fitting tribute to Astor Piazzolla on what would have been his 90th birthday. TP
		TITO PUENTE MASTERWORKS LIVE! – MANHATTAN SCHOOL OF MUSIC AFRO CUBAN JAZZ ORCHESTRA BY BOBBY SANABRIA (Jazzheads) “Masterworks Live” is a passionate and spirited tribute to El Maestro, Tito Puente. Under the direction of drummer, educator Bobby Sanabria, the Orchestra breathes new life into a variety of Tito Puente classics. Some time ago I had the pleasure of seeing the orchestra in action and I am happy to report that “Masterworks Live” does an excellent job of transporting the listener to a ringside seat at the Manhattan School of Music. Taking on the repertoire of legendary figure in Latin music is an audacious task but Sanabria and the orchestra rise to every challenge and then some. “Masterworks Live” is a recording that would have made Tito Puente very proud. Long live the King! TP
		MARK WEINSTEIN AND ARUAN ORTIZ – EL CUMBANCHERO (Jazzheads) Flutist Mark Weinstein is a daring and innovative artist who is never content to rest on his laurels and “El Cumbanchero” is living proof. Here, Weinstein and co-conspirator, pianist Aruan Ortiz explore charanga, a style of Cuban music that was popular from the late 19th century to the mid-20th century and recasts the form in contemporary terms.  Essentially, Ortiz’s arrangements open up the melodic and harmonic possibilities and Weinstein explores the rhythmic complexity within each newly arranged composition. According to Weinstein, “El Cumbanchero” might be the best album I have ever recorded. Aruan Ortiz who wrote the arrangements for string quartet and contributed three original compositions has written one of the most amazing pieces of music I have ever had the pleasure of playing. The fact that he gave this music to me and permitted me to respond with complete freedom is one of the greatest gifts I have ever received.” Suffice it to say, “El Cumbanchero” is yet another feather in Mark Weinstein’s and another addition to his impressive body of work. TP
		ARTURO O’ FARRILL AND THE AFRO LATIN JAZZ ORCHESTRA – 40 ACRES AND A BURRO (ZOHO) Earlier this year I had the pleasure of speaking with pianist, musical director Arturo O’ Farrill and he made the statement with regard to creating new music” “Lord, I want to be on unsure footing, I want to be challenged, I want to feel like I am always and every day, not comfortable, not retreading. It’s really important to me that every time I play the piano that it is a new experience. If I walk away from writing a piece and I don’t feel that I have done something new, I feel guilty! I feel like I have shucked and “jived” my responsibility.” On “40 Acres and a Mule” O’ Farrrll finds inspiration in music from Brazil (Pixinguinha’s "Um A Zero" and Hermeto Pascoal’s "Bebê"), Peru (Gabriel Alegria’s "El Sur"), Argentina (Astor Piazzolla’s "Tanguango") Cuba ("Ruminaciones Sobre Cuba") and beyond. Furthermore, he uses his large ensemble like an artist uses a palette, creating different musical scenarios from piece to piece. O’ Farrill describes “40 Acres and a Burro” as “pure unabashed jazz and 100% unabashed Latin (music) and it melds them beautifully, and does it from the perspective of Peru, Argentina, Puerto Rico, Cuban and Ireland.” TP.

Andy and Jerry’s: A Tribute to the González Brothers

ARTURO O’ FARRILL AND THE AFRO LATIN JAZZ ORCHESTRA
ANDY AND JERRY’S: A TRIBUTE TO THE GONZALEZ BROTHERS
PETER NORTON SYMPHONY SPACE, NEW YORK
OCTOBER 14 AND 13, 2011

Performance Review and Commentary by New York Co-Editor, Tomas Peña (11/11)

Arturo O’ Farrill, the Afro Latin Jazz Orchestra and guest conductor, Miguel Blanco paid a heartfelt tribute to cultural warriors, Jerry and Andy González at Peter Norton Symphony space, a performance space on New York’s upper West Side. The highly anticipated event was promoted as “Andy and Jerry’s: A Tribute to the González Brothers,” an allusion to Andy and Jerry’s apartment in the Bronx during the 1970s, a place where veteran and second generation, musicians congregated, experimented, participated in rumbas and jam sessions and created the environment for the birth of El Grupo Folklorico Nuevayorquiño, the Fort Apache Band and Conjunto Libre.

O’ Farrill’s relationship with the González brothers, dates back to his early days as a pianist. “When I began to play I rejected my father (Chico O’ Farrill’s) inherited (Cuban) music and culture,” said O’ Farrill, “at the time I was making my name around Manhattan’s downtown loft scene, then a magical thing happened when my father got elderly, I heard our music as if it was new to me.” Andy was instrumental in encouraging O’ Farrill to embrace his culture. “I remember telling him that it was OK to play clave inspired music,” says Andy, “that it was part of him.”

The tribute was presented in two-parts. The first half featured the music of the Fort Apache band as interpreted by the Afro Latin Jazz Orchestra, tunes such as Pedro Flores’s Obsesion (Obsession), Thelonious Monk’s Let’s Call This and Larry Willis’s Isabel the Liberator and Nightfall. Fort Apache is the product of Jerry’s vision, a mixture of progressive jazz and Latin (Afro Caribbean) music, or as musicologist René López describes the band, “the only group that sounds like a jazz group, and never stops sounding Latin.” The Fort Apache Band figured prominently in the film, Calle 54 and is the recipient of numerous awards, including the World Beat Group of the Year in Downbeat’s Annual Reader’s Poll and the Grand Prix of the French Academie du Jazz.

Jerry, looking dapper in a suit, matching hat and trademark sunglasses was front-and-center throughout the presentation, alternating between the trumpet, the flugelhorn and five congas. Andy joined the orchestra for Vieques, an original composition that navigates Afro Puerto Rican and Afro Cuban rhythms and took a deep, thoughtful solo that clearly demonstrates why he is considered one of the most recorded and respected bassists in Latin music.

The second-half featured the music of Conjunto Libre; a dance band that integrates traditional Latin rhythms with alternative influences and embodies the spirit of its former leader and founder, Manny Oquendo. Vocalists Quique González, bass player and former Libre alumni vocalist Jorge Maldonado and flutist Dave Valentín joined the orchestra for a medley Libre’s “flag wavers,” including Alabanciosa, Que Humanidad and Freddie Hubbard’s Little Sunflower. Andy passed the baton to bass player Luques Curtis (of the Curtis Brothers) and sat in on coro (chorus). Libre’s music electrified the room, beckoned the dancers and had the entire audience clapping to the beat of the clave.

In addition to directing the orchestra and hosting the event, O’ Farrill composed a piece dedicated to Jerry and Andy’s parents, titled Fanny and Oscar. Guest conductor, Miguel Blanco, contributed two compositions, “Alma Vacía” and “Gnossienne 3,” featuring the soulful vocals and saxophone of Antonio Lizana. Blanco is the leader of the Afrodisian Orchestra, a big band founded in Madrid. In 2007 he collaborated with Jerry on the landmark recording, Music for Big Band, which has yet to be released in the U.S.

On a more serious note, the tribute could not have occurred at a more appropriate time. Earlier this year the National Academy of Recording Arts and Sciences (the Grammys) eliminated the Latin jazz category, causing a firestorm throughout the Latin music community. Tributes such as this fly in the face of those who seek to undermine the majesty of the genre and the artists who create it. As events continue to unfold we celebrate the lives and music of Jerry and Andy González, two artists who symbolize dedication, passion, risk, artistic integrity and respect for tradition and innovation.

The show ended with the Afro Latin Jazz Orchestra’s scorching interpretation of Tito Puente’s “Para Los Rumberos” and some words of wisdom from Arturo O’ Farril, “This music does not die, it lives in on our hearts and you can take it with you in your soul.”

THE AFRO LATIN JAZZ ORCHESTRA IS:

Arturo O’Farrill (Piano, Musical Direction), Seneca Black, (Trumpet), Peter Brainin (Tenor Saxophone), Vince Cherico (Drums, Timbales), David DeJesus (Alto Saxophone), Joe González (Bongos, Percussion), Roland Guerrero, (Congas), Reynaldo Jorge (Trombone), Tokunori Kajiwara (Trombone), Jason Marshall (Baritone Saxophone), Earl McIntyre (Bass Trombone), Michael Mossman (Trumpet), Bobby Porcelli (Alto Saxophone), Ivan Renta (Tenor Saxophone) , Ricardo Rodriguez, (Bass), Jim Seeley (Trumpet), Gary Valente (Trombone), John A. Walsh (Trumpet).

SUPPORT THE AFRO-LATIN JAZZ ALLIANCE!

The Afro Latin Jazz Alliance (ALJA) is dedicated to preserving the music and heritage of big band Latin jazz, supporting its performance for new audiences, and educating young people in the understanding and performance of this important cultural treasure. The Alliance maintains a world-class collection of Latin jazz musical scores and recordings, provides institutional support for the Afro Latin Jazz Orchestra, and provides education programs for young musicians and new audiences.

Reencuentros – Maraca and his Latin Jazz All Stars

RECORDED LIVE AT THE GRAND THEATER IN HAVANA, CUBA
(2011, DESCARGA SARL)

Review by: NY Co-Editor, Tomas Peña, October 2011

Flutist, Orlando Valle, known to his followers as, “MARACA,” grew up in a musical environment. He took up the flute at an early age and was invited to join Irakere, one of Cuba’s most popular bands, at the age of twenty-two. During his six years with the band he excelled as a flutist, keyboard player and arranger.

To date Maraca has recorded nine albums as a leader, is the recipient of numerous awards, such as the 1st and 3rd national Composers Competition Adolf Guzman (Havana, 1989) and the National Prize for Best Recordings from Egrem Records (1994) among others. In addition, he is the current leader of the Latin Jazz All Stars, an international all-star band that features some of the most prominent musicians from Cuba, Puerto Rico, France, Japan and Canada.

The genesis of the Latin Jazz All Stars dates back to 2008, when Maraca was invited to create a musical project for the Monterey Jazz Festival in California. According to Maraca, the original idea was to create new material for a string orchestra, but over time the project evolved into a “convention of the minds.” After a triumphant performance at Montery the band toured the United States and Latin America (Colombia). Over the years the band has featured such luminaries as (pianist) Herbie Hancock (pianist), Joshua Redman (saxophone), Cassandra Wilson (vocalist), John Benítez (bassist), Miguel Zenón (saxophonist), Brian Lynch (trumpeter) and Edward Simon (pianist) among others.

Reencuentro was recorded live at El Gran Teatro de La Habana’s García Lorca Concert Hall (in Havana, Cuba) on January 12, 2010. Much like its predecessor (The Monterey Jazz All Stars), the Latin Jazz All Stars features an international lineup: Horacio “El Negro” Hernández (drums), Giovanni Hidalgo (congas, timbal, batá), David Sánchez (saxophone), Hugh Fraser (trombone), Harold López-Nussa (piano), Feliciano Arango (bass), Julio Padrón (trumpet), Yusef Díaz (keyboards), Enrique Lazaga (güiro), and Sayaka (violin), plus the participation of Orquesta de Cámara de La Habana (Havana Chamber Orchestra) under the direction of Iván del Prado.

The recording takes the listener on a musical journey through the history of traditional and contemporary Cuban music. The repertoire includes such classics such as Camerata en Guaguancó (a Guido López-Gavilán composition), Serenata Cubana (an Ignacio Cervantes piece), Chano Pozo and Dizzy Gillespie’s, Manteca and a number of original compositions, including Afro, Danzón Siglo XXI, and Nueva Era.

The production, the repertoire and the high level of musicianship makes this recording a “must have” for aficionados of Latin Jazz and anyone who is interested in the development of Afro Caribbean music. The concert features so many special moments that it is difficult to select one defining moment, however I was particularly impressed with the Japanese violinist, Sayaka, the band’s interpretation of Manteca and the seamless manner in which the Havana Chamber Orchestra and the Latin Jazz All Stars meshed.

Reencuentro is unquestionably Maraca’s most ambitious recording to date and perhaps his finest as well. Look for it on my list of Top Ten recordings of 2011.

For Additional Information on Maraca Visit: www.maraca.cult.cu/

The Paul Austerlitz Quartet – Live at The Stone

THE PAUL AUSTERLITZ QUARTET
LIVE AT THE STONE, NEW YORK CITY
SUNDAY, MARCH 29, 2011

Performance Review by Tomas Peña

On Sunday March 29, Paul Austerlitz and his quartet transformed a performance space on New York’s Lower East Side into a house of worship. In a set that was short but sweet, the quartet showered the audience with a fusion of post-bebop, Afro-Dominican, Haitian and Nigerian rhythms, invocations, prayers and shades of Igor Stravinsky.

The event took place at The Stone, a community based, not-for-profit performance space founded by composer and saxophonist John Zorn. The performance was curated by Innova Records, whose unwavering support of artists “off the radar” is nothing short of remarkable.

Austerlitz is a jazz musician, Ph.D. ethnomusicologist and author. His specialty is Afro-Caribbean music with an emphasis on the music of the Dominican Republic – however, his “sound” defies the trappings of conventional labels or categorizations.

On this evening he was joined by the dynamic Venezuelan pianist, Benito Gonzalez, drummer Babatunde Lea and bassist, Eric Wheeler. “I am currently working with a quartet as opposed to a quintet,” says Austerlitz, “because I am aiming for a more streamlined, interactive sound which, while still based in Caribbean rhythms, also facilitates a hard swinging contemporary post-bebop sound.”

The set took flight with a Haitian-Creole invocation to the spirit, Papa Legba, titled Legba Nan Baye-A, or “Legba is at the entrance.” The band segued from the spirit of Papa Legba to the spirit of Sonny Rollins with East Broadway Merengue, a tune based on Rollins’ East Broadway Run, followed by One Peace, which is inspired by the works of composer, pianist and conductor, Igor Stravinsky. Oriki (a Nigerian praise song) is the first of two new works composed by Austerlitz with a grant from the Community Partners Program of the American Composers forum. The main composition was preceded by an unaccompanied introduction on electronic bass clarinet, where Austerlitz used electronic effects in order to expand his “timbral” palette. Prije djo, or Prayer of the Earth is a jazz arrangement of prayers (short songs) that are recited at the beginning of Haitian Vodou ceremonies. The set closed with Fret in the Open Fields, a swinging, interactive piece that appeared on Austerlitz’s CD, The Fret Cycle (with poet, Michael S. Harper).

“I really enjoy playing with these cats!” says, Austerlitz, “Benito is truly inspiring. His fiery and open hearted playing is an extension of his warm personality. Babatunde’s simultaneous playing of congas is not only virtuosic, but a fantastic boon for my band. Eric Wheeler is an outstanding young player who knows my repertoire and adds a supreme funky swing to the sound.”

As I watched the band and took in the atmosphere I was reminded of the New York Loft Scene circa 1970s, a time when music lovers and artists gathered in a spirit of curiosity, experimentation and innovation. Due to time constraints the set was cut short. Nonetheless, it was a rare opportunity to catch up with Paul Austerlitz, whose intrepid and innovative music never ceases to amaze me.

Listening samples of Paul Austerlitz are available on his website: www.paulausterlitz.org/Recordings.shtml

Academy of Recording Arts and Sciences eliminates the Latin Jazz Category

“Adding further fuel to the fire, NARAS announced late last night that the use of “Minor Chords or any chord that would be a ‘breach of the peace’ is prohibited in any song or arrangement submitted for Grammy Consideration”. Bob Belden

“It’s like the old conquer and divide scenario. Except here it’s eliminate and conquer.” Bobby Sanabria

On Wednesday, April 6, 2011 the National Academy of Recording Arts and Sciences (NARAS) announced the restructuring of the Grammy Award categories in order to “tighten and create a parallel structure among the various fields.” According to Ben Sisario of the New York Times, “The restructuring was a response to longstanding criticism in the music industry that too many categories were diluting the Grammy’s impact.”

A thorough review of the awards process began two years ago however, after the most recent Grammy telecast, Stephen Stoute, an industry insider, ran a full-page ad in the New York Times, reproaching NARAS for “being out of touch with pop tastes.” Stoute’s comments were a reaction to bassist/vocalist Esperanza Spalding’s surprising win over teen idol, Justin Bieber for Best New Artist.

Since the first Grammy Award ceremony in 1959, the categories have swelled from twenty-eight (28) to one hundred and nine (109), including multiple categories within a genre. The restructuring brings the total number of categories down to seventy-nine (79), with four popular categories among Latinos in the Southwest and California – Banda Norteño, Tejano and Regional Mexican – merged into two categories. In addition, NARAS eliminated the Latin Jazz category altogether, citing that the genre consistently received, “low entries” (anything less than forty (40) entries is not considered an adequate number to be eligible).

While there is some truth to the fact that the Grammy Awards have lost their luster, the elimination of the Latin Jazz category demonstrates the degree to which NARAS is out of touch with Latinos and Latin music. According to producer George Rivera, a long-time member of NARAS, “One thing is for sure, since the musical marriage between Dizzy Gillespie and Chano Pozo, the genre has grown by leaps and bounds, and has become something different and apart from its older counterparts such as Swing, Bebop, Hardbop and Fusion. For the academy to force Latin Jazz into a more general category comprised of artists within the jazz field is an injustice to all jazz artists, who will now be forced to compete not only against those in their style, but against those in all styles.”

The elimination of the Latin Jazz category sent shockwaves throughout the Latin music community and the reaction by artists and their colleagues in the music business has been swift. “I guess we shouldn’t be surprised by knee-jerk backlash reactions against Latinos and Latino culture in the United States,” said producer, percussionist and educator, John Santos, “I’ve been nominated five times since 2003 in various categories including Latin Jazz (now eliminated), and Traditional World (now eliminated). Some of the cuts make sense to me, such as the gender categories, but the majority of the cuts are counterintuitive and counter-productive, and the decisions to “illegitimize” Latin Jazz and relegate World Music to one category are especially ill-advised. Who made these decisions? How does this serve the field? ”

For the record, the categories are reviewed each year by the Academy Awards & Nominating Committee and the final approval is the responsibility of the Academy’s Trustees and the Board of Governors.

Since the restructuring was announced NARAS has been harshly criticized for catering to the interests of television and major record labels, discriminating against ethnic minorities and failing to consult with its voting members. As a way of countering the bad publicity, Neil Portnow, the President of NARAS is taking his show on the road and meeting with the Recording Academy’s twelve regional chapters in New York Atlanta, Chicago, Florida, Los Angeles, Memphis, Nashville, Seattle, Philadelphia, San Francisco, Texas and Washington, D.C.

The Recording Academy’s first stop was New York, where artists such as, Bobby Sanabria, Eddie Palmieri, Brian Lynch, Wilson “Chembo” Corniel, Chris Wasburne, videographer Alfie Alvarado and Jochem Becker, the President of Zoho Music, strongly voiced their opposition.

In an official statement by the Afro Latin Jazz Alliance, pianist, bandleader and educator, Arturo O’ Farrill stated “a multitude of categories have been eliminated or restructured, with NARAS often citing low submissions. We think that NARAS is shortsighted in these decisions, lumping styles together in a manner that reflects a lack of supposed ‘diligent research, careful analysis, and thoughtful discussion’ on the distinctions between these various genres. Ostensibly, the reason for the GRAMMY award is to recognize excellence in art. This seems to us like an abandonment of artistic goals.”

Perhaps the most impassioned plea came from pianist and nine-time Grammy Award winner, Eddie Palmieri. According to El Maestro, “In 1993 I was appointed Governor of the New York Chapter of NARAS where I worked diligently to have the Latin Jazz category become recognized, and it was with great happiness that I saw it come to fruition in 1994. And now it is with a heavy heart that I have seen its elimination and truly fear its slow and permanent extinction. Let me be clear: we have been discredited, we have been discarded and we are being wiped out.”

Currently, there are a number of petitions circulating and members of the Latin music community throughout the U.S. have written letters of protest. In addition, members of regional chapters throughout the U.S. are organizing and preparing to meet with NARAS to voice their opposition.

“Latin Jazz is a legitimate American art form that has parallel history with jazz as well as the distinction of being totally exploited commercially on TV and in film for over half a century, while simultaneously being marginalized by the mainstream money makers,” says John Santos. “While our country is in an unprecedented state of Latino demographics and multi-culturalism, NARAS and the GRAMMYS are moving backwards and embracing the anti-immigrant sentiment that is being promoted by certain sectors.”

The elimination of the Latin Jazz category holds tremendous implications for the future of Latin Jazz and the artists who create it. The act of eliminating the Latin Jazz category without any form of outreach or consulting with its voting members should serve as a clarion call to everyone who appreciates the artistry of Machito and his Afro Cubans, Tito Puente, Tito Rodriguez, Mongo Santamaria, Cal Tjader, Willie Bobo, Poncho Sanchez, Bobby Matos, Manny Oquendo and Libre, Jerry Gonzalez and the Fort Apache Band, Bobby Sanabria, Eddie Palmieri, Chico O’ Farrill, Arturo O’ Farrill, Carlos “Patato” Valdes, Chucho Valdes, John Santos, Papo Vazquez, Hilton Ruiz, Miguel Zenon, Andy Gonzalez and countless others.

Make your voices heard by organizing letter campaigns, signing petitions and meeting and speaking with NARAS at the regional meetings. We urge you to join Latin Jazz Network by directing your concerns to: Neil Portnow, CEO and Executive Director of NARAS at: Neil@grammy.com; Vickie Palmer: Vickie@grammy.com; LindaW@grammy.com.

Read the Special Report – Grammy Awards Category Restructuring at:
http://www.grammy.org/recording-academy/announcement/press-release

A Grammy Scar: YouTube Video of New York Regional Chapter Meeting

Favorite Sons of Cuba and New Orleans explore the common roots of Jazz / Cuba Nola – More than the Spanish Tinge

Arturo O’ Farrill and the Afro Latin Jazz Orchestra with special guest Donald Harrison Jr. at Symphony Space, Saturday February 26, 2011

Performance Review by Tomas Peña

Fresh from a triumphant trip to Cuba, Arturo O’ Farrill and the Afro Latin Jazz Orchestra kicked off their fourth season at Symphony Space with Cuba Nola – More Than the Spanish Tinge, a celebration of the music of New Orleans and Cuba and an exploration of the common roots of jazz.

The performance paired Cuban bandleader, pianist, composer Arturo O’ Farrill, son of renowned composer, arranger, trumpeter, Chico O’ Farrill (1921-2001) and New Orleanian, Donald Harrison, son of the legendary Donald “Big Chief” Harrison Sr. (1933-1965). Harrison (Jr.) is the originator of Nouveau Swing, a style of music that merges acoustic swing with modern R&B, second-line, hip-hop, New Orleans African American roots culture, and reggae.  

The show opened with a typical New Orleans second-line, followed by Iko, Iko a catchy Mardi Gras song that made the Top 40 charts in the 60s. Harrison’s biographical I Am the Big Chief of Congo Square merged “Indian Blues” with Latin percussion and O’ Farrill’s Ruminaciones Sobre Cuba took the audience on a journey through the history of Afro Cuban Jazz, from traditional Cuban danzon to a scorching descarga (jam session).

One of the most thrilling numbers was Fathers and Sons, from Havana to New York and Back, featuring upstarts, trumpeter Adam O’ Farrill and drummer Zack O’ Farrill, who ably held their own with Donald Harrison and trombonist Tokunori Kajiwara.

During the intermission, a short film about the Afro Latin Jazz Academy of Music was presented. Now in its fourth year, the ALJAM is an in-school residency program dedicated to providing instruments and ensemble instruction to under-privileged middle and high school students throughout New York City. The programs overarching mission is to expose students to all types of music in the hope that someday they will choose their own musical path.

The second-half was a showcase for Donald Harrison, who demonstrated that he can play it all – from traditional New Orleans to swing, bop, post-bop, modern, smooth, avant-garde and beyond. Quantum Leap demonstrated his ability to combine complex meters without sacrificing swing and groove; Sandcastle Headhunters combines the jazz, funk and swing of the Headhunters with the music of Jimi Hendrix; Sincerely Yours is a soulful ballad that speaks for its self. O’ Farrill’s Corner of Malecon and Bourbon combined shades of Louis Armstrong, Charles Mingus and Charlie Parker with elements of ragtime and a driving Cuban montuno and the title piece of the ALJO’S new recording, 40 Acres and a Burro lampoons the 40 Acres and a Mule African Americans were offered after the Civil War and stereotypes of Latinos that exist in American culture. The tune begins with a parody of mariachi music and shades of Stravinsky, then traverses the globe and closes with a sizzling Mozambique as the chorus chants, “La injusticia se acabo” (“the injustice is over”).

Arturo O’ Farrill is an articulate speaker, but perhaps his most profound statement of the evening was, “This ain’t a museum band!” As Jon Pareles of the New York Times wrote, “Mr. O’ Farrill has honed the Afro Latin Jazz Orchestra to handle dizzyingly complex music with earthly joy.”

For those who missed the event, be sure to check out the Afro Latin Jazz Orchestras most recent recording, 40 Acres and a Burro (Zoho Music) as well as Adam and Zack O’ Farrill’s debut recording, Giant Peach (Zoho Music).

Last but not least, let’s hear it for the orchestra: Seneca Black (Trumpet), Peter Brainin (Tenor Saxophone), Vince Cherico (Drums, Timbales), David DeJesus (Alto Saxophone), Joe Gonzalez (Bongos, Percussion), Roland Guerrero (Congas), Reynaldo Jorge (Trombone), Tokunori Kajiwara (Trombone), Jason Marshall (Baritone Saxophone), Earl McIntyre (Bass Trombone), Michael Mossman (Trumpet), Bobby Porcelli (Alto Saxophone), Ivan Renta (Tenor Saxophone), Ricardo Rodriguez (Bass), Jim Seeley (Trumpet), Gary Valente (Trombone), John A. Walsh (Trumpet).

To learn more about the Arturo O’ Farrill and the Afro Latin Jazz Orchestra and the Afro Latin Jazz Alliance visit: http://www.afrolatinjazz.org/.

Catching Up with Percussionist, Composer, Arranger Samuel Torres

Interview #2 conducted October 2, 2010 by Tomas Peña (by telephone)

“Music was always the main communion between the members of my family, my friends and me. It also helped me find out who I am.”

TP: Congratulations on the release of Yaounde, your third recording as a leader.

ST: Thank you.

TP: Do you come from a musical family?

ST: My grandfather, Manuel Martinez was a trombone player. He came from a small town in southern Colombia near Ecuador. At the age of fourteen he escaped from the Ecuadorian army and he traveled throughout the Caribbean during the 1930s and 1940s. Before returning to Colombia he picked up a lot of musical influences. My grandmother was a self-taught musician and my uncle, Francisco Martinez, who is the father of (pianist, composer, arranger) Edy Martinez, played the saxophone.

TP: Tell me about Edy Martinez.

ST: Edy came to the United States as a teenager in the 1960’s and rose to fame in the New York City salsa scene in the early 1970s as a pianist and arranger for Ray Barretto’s conjunto. My uncle Juan followed him. He was a drummer and sideman with the Tito Rodriguez orchestra and Machito and his Afro Cubans among others.

My grandfather (Manuel) had a great collection of jazz and Afro-Cuban LP’s (records) that he picked up during his travels and because of Edy I have a collection of Ray Barretto and Fania (Records) recordings. When I was a kid I was fascinated by album covers. My favorite album cover was (and still is) Ray Barretto’s Indestructible.

TP: The cover depicts Ray unbuttoning his shirt and removing his Clark Kent-styled glasses to reveal a Superman costume underneath. Indestructible and The Other Road (1973) are two of my favorite albums of all time.

ST: Eventually I got around to playing the record and I fell in love with Ray’s music and his energy, he was my idol. When I finally met Ray I mentioned that one of my favorite recordings was Barretto Live: Tomorrow (Koch Records, 1976). Suffice it to say he did not feel that it was one of his best recordings.     

TP: I also idolized Ray and grew up listening to his music. It was Ray’s work as a sideman with guitarist, Wes Montgomery that sparked my interest in jazz.

ST: Through Ray’s music, which contained a lot of jazz elements I started listening to jazz, Cuban music, the Fania recordings and Latin jazz. Then in 1989 my cousin went to Cuba and returned with recordings by Irakere and Los Van Van. At the same time there was a big musical community in Bogotá and a nightclub called Salomé, where music lovers and collectors gathered. On Friday night after the bar closed, the serious music lovers would stay behind and listen to music until seven AM. That’s how I was exposed to music that was not considered mainstream in Colombia. After that I started studying music formally. I studied classical music by day and listened to Cuban music by night.

TP: The last time we spoke you mentioned a number of other recordings that were influential in your musical development.

ST: Actually, there were two: Tito Puente’s Cuban Carnaval (1956, RCA) and Santitos Colon’s De Mi Para Ti (1964). I listened to those albums over and over. I even listened to them while I slept.

TP: Today we call that “downloading.” What prompted you take up the drums?

ST: There was a popular commercial on TV for Cerveza Aguila in Bogotá that began with a simple conga pattern (mimics the patterns by mouth). Basically, I started out by copying the basic patterns. Then I graduated to cookie cans, a pair of old bongos, a pair of new bongos, an old conga drum and finally a new conga drum.

TP: Did you take formal lessons?

ST: Yes, I took about four lessons with a great conga player from Colombia named Luis Pacheco. He was the original conguero with Grupo Niche and Orquesta Guayacan.

TP: He taught you the basics.

ST: Yes. Also, when Cuban musicians performed in Colombia I went to see them and invariably we would talk about music and share new ideas. In 1993 my uncle Edy returned to Colombia and formed a band. Also around that time a lot of Cuban musicians moved to Colombia and I learned a lot from them.

TP: How old were you when you started playing semi-professionally?

ST: I was about fifteen years old.  

TP: You also studied composition. The following is a direct quote: “Since I began playing Latin percussion, I felt there was a pervading bad attitude about percussionists. People would laugh and say, ‘there are musicians and then there are conga players.’ One of the things that I wanted to do was to help change that incorrect impression. I believe that composition is one way to do that. Composition is a big tool to help one understand music. It enables you to express many feelings that it might be difficult to communicate otherwise.”

ST: When I told my professor that I wanted to be a professional conga player (percussionist) he asked me if I was willing to forego a career as a classical percussionist and I said “Yes.” Later the Dean of Music became involved and he offered me some very solid advice. He told me that I needed a major and suggested that I should study composition as a way of learning to make a difference and develop my own sound. He also taught me another interesting lesson. That is, in order to break the rules you have to learn them.

TP: What is his name?

ST: His name is Guillermo Gavinia. He eventually went on to become Colombia’s Minister of Culture.

TP: By all accounts you were very successful at an early age. In fact, by the time you were twenty-one you were already an established musician as well as a director and arranger for some of Colombia’s most highly regarded telenovelas (soap operas) and films. In spite of that you packed your bags and moved to the United States.

ST: I knew that someday I would come to the United States. The music that I fell in love with as a child (Salsa, Latin Jazz) was created in New York.

TP: Did your uncle Edy (Martinez) play a role in your decision to move to states?

ST: At the time he was living in New York and performing with Ray Barretto’s conjunto. I knew that coming to the states was something I had to do. With respect to my career in Colombia, I was working a lot, making lots of money and playing with some of the best musicians on Colombia’s music scene but I was only twenty-one, still young enough to start a new career. When my mother moved to Miami (1998) I sensed that life was telling me what to do. I followed her one year later.   

TP: Shortly after arriving in the U.S. your career took a dramatic turn when you were tapped by trumpet virtuoso Arturo Sandoval to join his group. You spent four years touring and recording with Arturo. Tell me about that period in your life and what you gained from the experience.

ST: Arturo taught me so much. Among other things he taught me about the Cuban element. The way Cubans speak, their expressions, the way they walk, the way they eat, the way they dance. You have to understand the culture in order to understand their music.

TP: In retrospect what was the most significant lesson that Arturo taught you?

ST: When I arrived in the U.S. I was very critical of myself, I was very self-conscious and I had a tendency to over intellectualize my playing. Arturo taught me how to loosen up, to be more spontaneous and to connect with the audience. I can still hear Arturo saying, “Stop worrying, you are a great musician, play from the heart and transmit that feeling to your audience.”

TP: Considering the source that is quite a compliment.  While you were with Arturo’s band you attracted the attention of Tito Puente, Paquito D’ Rivera, Chick Corea, Michael Brecker, Claudio Roditi, Richard Bona, Lila Downs and Shakira among others. As a result you participated in many recordings as a sideman. In 2006 you stepped out on your own and recorded Skin Tones, your first recording as a leader.

ST: While I was living in Miami I wrote a lot of music and worked at developing my sound but it wasn’t until I moved to New York (2002) that I found a voice for my compositions.

TP: How so?

ST: All of my idols live in New York! While I was in Miami I saw a lot of bands that gave me great ideas. Groups you don’t often see in New York and I started thinking about the kind of sound I wanted to create. When I arrived in New York I met vocalist Julia Dollison, whose voice is like an instrument. I collaborated with her and trumpeter Michael Rodriguez on a demo and started thinking about the possibility of creating a career and making a living with my music. Shortly thereafter, I recorded Skin Tones.

TP: You assembled an all-star cast for the recording: Bassist John Benitez, pianist Hector Martignon, harpist Edmar Castaneda, drummer Ernesto Simpson, trumpeter Michael Rodriguez, saxophonist Mike Campagna and vocalist Julia Dollison among others. How was the recording received?

ST: Very good!  From my perspective as a Colombian living in New York it was a very gratifying experience. Unlike other recordings where percussion is used to provide shades and colors, the drums are the centerpiece, everything revolves around the drums.

TP: And the reviews were excellent.

ST: I am grateful for the positive feedback and very happy with the way the recording turned out.

TP: Your association with African guitarist, Richard Bona and a recent trip to Africa (Cameroon) ushered in a new chapter in your life. Moreover it provided you with a new appreciation for the manner in which the music of your native Colombia evolved. Tell me about your trip to Africa and the connections between African and Colombian music.

ST: The first connection is geographical. Climate wise it is very similar to Colombia. Also, the music is very similar. The African influence is very strong in Latin America.

TP: In spite of that, the African influence is often denied in Latin America.

ST: It happens. In Colombia, after the slaves were freed they built their own cities (Palenque’s) on the Pacific coast and segregated themselves economically and socially. Similarly in Cameroon there are no roads. People get to where they want to go by boat or by plane. Interestingly over the last ten years it has become very fashionable to learn about Afro-Latino culture and Black music. The African influence is strong in Latin America and there is no denying that fact.  

TP: It’s gratifying to see a growing Afro-Latino movement throughout Latin America. While you were in Africa you discovered some intriguing similarities between the music of Colombia and Cameroon.

ST: Yes, the use of the marimba and the way the people dance. The music of the Pacific Coast region has indigenous influences, which makes it sound more Latin however rhythmically the music of Cameroon is quite complex.

TP: When you returned from West Africa you embarked on your second recording as a leader.

ST: Actually, I had no idea of what to call it!

TP: In the end you named the album after a song you composed, which is named after Cameroon’s capital city (Yaounde). Tell me about Yaounde.

ST: It’s Latin jazz with a Colombian groove, a New York vision and the spirit of West Africa. Ernesto (Simpson) and John (Benitez) lived in Colombia and they have a deep understanding of the music. And of course the rest of the band members are all superb musicians.

TP: Stylistically, it is more adventurous than anything you have done before. And once again you assembled an all-star cast of Puerto Rican, Cuban, Jewish, Colombian and South American musicians who are well versed in jazz and Latin music: Joel Frahm (tenor and soprano saxophones), Anat Cohen (clarinet), Michael Rodriguez (trumpet, flugelhorn), Manuel Valera (piano, Fender Rhodes, Nord keyboard), John Benitez provides (bass), Ernesto Simpson (drums) and Sofia Rei Koutsovitis (vocals).

How was the recording received?

ST: The reviews have been very good. More important the critics seem to understand the message I am trying to communicate.

TP: It must be very gratifying to know that the critics “get it.” What’s next on your agenda?

ST: I have a number of things coming up, the biggest is a cultural festival in Bogota (Colombia) in October (2010). It’s the world premiere of Concierto para 8 Congas Y Orquesta (Concert for 8 congas and orchestra) with the Bogota Philharmonic followed by a concert in Germany on December 15th.

TP: Good luck with the performance. Do you have any plans to record the event for posterity or perform the concierto in the states?

ST: At the moment there are no specific plans to do either. However, I am open to the idea.

TP: Before I close I should mention the fact that you placed second in Thelonious Monk International Jazz Competition for Hand Percussion. Moreover, you produced the DVD, Drum Solos Revisited for Martin Cohen’s Latin Percussion, Inc., which features fifteen New York City percussionists showcasing beginner, intermediate and advanced solos on congas, bongos and timbales.

More important you have succeeded in dispelling the notion that “there are musicians and then there are conga players.” As one reviewer wrote you are a “fully developed musician in the true meaning of the word – an artist who passionately follows his intuitions, ever broadening his horizons while further honing his wide-ranging, world-class skills.”

ST: Thank you for your kind words.

TP: Thank you for taking the time to speak with me and much success with your upcoming concert in Bogota, Colombia.

ST: Thank you, Tomas.

For Additional Information on Samuel Torres visit www.samueltorres.com

In Conversation with Saxophonist, Composer, Arranger Mercedes Figueras

From Buenos Aires to Nueva York

Interview conducted by Tomas Peña, October 2010

“If you really want to find a new and exciting saxophonist Figueras is a young musician ready to be discovered.” Doug Simpson, Audiophile Edition (October, 2010)

Introduction: Not long ago I received a promotional copy of the Black Butterflies debut recording in the mail. Intrigued by the striking cover-art, I downloaded the music onto my iPod and listened to the music on the way to and from work. Though I had never heard of the band, nor was I familiar with the artists, the music swept over me like a breath of fresh air. Shortly thereafter I contacted Mercedes Figueras via email and paid her my respects, which led to an exchange of emails and a meeting at a local “Starbuck’s” in Manhattan.

When Mercedes and I met in person the first thought that crossed my mind was, “How is such a small person capable of producing such a LARGE sound?” During the course of my conversation with Mercedes I received the answer to that and many other questions about her life and music. As a music journalist, it gives me great pleasure to lend my support to exceptional new artists who are “under the radar.” Meet Mercedes Figueras and the Black Butterflies, a fresh crop of artists who (I predict) you are going to be hearing a lot from in the years to come.

TP: You were born in Buenos Aires, Argentina.

MF: Yes.

TP: Are there any musicians in your family?

MF: No, my family is not musical, however, my brother and sister liked to sing. My sister took singing lessons.

TP: What prompted you to become a musician, more specifically a saxophonist?

MF: When I was about twelve I taught myself to play the guitar by ear. In the building where I lived there was a guy who played the piano and the saxophone. My sister used to go with his mother to take singing lessons. He didn’t know how to play the guitar, but he offered to teach me the piano or the saxophone. When I saw his saxophone I thought to myself, “Wow! That’s what I want to play!” He played the tenor, but he decided that I should play the alto because I was small and thin. When I asked my parents to buy me a saxophone my father predicted that I would give up in a month. Thankfully, my mother convinced him otherwise. After that I became very serious about learning the saxophone and I enrolled at the Berklee School of Music (Argentina).

TP: At the time how old were you?

MF: I was thirteen or fourteen years old. That’s where I met my mentor, Carlos Lastra, who asked me, “What do you want to learn?” I told him I wanted to improvise!

TP: Like a jazz artist, though I am assuming that you had little to no knowledge of jazz at the time.

MF: To me jazz was Frank Sinatra! Then Carlos gave me a copy of ‘The Very Best of John Coltrane’ and said, “Listen to this.” I listened to that recording so much that I can still sing (and remember) Coltrane’s solos, note for note.

TP: What attracted you to Coltrane’s music?

MF: Mainly his sound.

TP: One of the things that attracted me to the Black Butterflies is your sound. How did you develop such a distinctive sound?

MF: Carlos always told me that sound was the most important thing and I built my sound around that idea. When I perform, record or am in any kind of musical situation I just play myself. I play who I am, I don’t try to impress, I play my heart. In answer to your question, I don’t really know how my sound developed. Perhaps it is because I felt that I could not compete with the great musicians of the past, or even with many of the musicians of today, so the best way to go was for me to be myself. It is my art, my thing and some will like it more than others, but the fact is I am being true to myself.

TP: Getting back to your early years at the Berklee School of Music …

MF: When I started at the Berklee School of Music I listened to and analyzed a lot of jazz standards, however, I did not have a point of reference. I remember buying a Charlie Parker album and thinking to myself, “What do people see in this guy? He’s crazy!”

TP: Byrd was crazy. Crazy like a fox! Who else did you listen to?

MF: Miles Davis, Eric Dolphy, Jackie Mc Lean, Thelonious Monk, Bill Evans, Wayne Shorter, Joe Henderson, Dexter Gordon, Ornette Coleman, Charlie Parker and Charles Mingus among others, but Coltrane is my main influence.

TP: After you graduated from Berklee you enrolled at El Conservatorio Nacional (Buenos Aires) where you studied classical music for four years. Subsequently you made your way to New York.

MF: In 2007 I visited New York. That’s where I was lucky enough to meet and perform with Wynton Marsalis at a party in the Hamptons. It was a great experience. The same year I produced and recorded my first album, Elefante (Elephant) with drummer, Martin Visconti.

TP: Tell me about “Elefante.”

MF: The recording consists of eleven free improvisations, all recorded in one take. The arrangements depart from a particular rhythm or melodic line. Martin and I developed our sound by rehearsing three to four days per week for a couple of years and I decided to document what we were doing at that moment. Thankfully, we had a lot of help with the recording, mastering, CD design and website.

TP: How was the recording received?

MF: Pretty good, but free jazz is not the kind of music that everyone understands. You really have to be into that kind of music to appreciate it.

TP: Tell me about the creation of the Black Butterflies.

MF: The process was organic. I met drummer, Kenny Wollesen, through saxophonist, David Binney. Kenny and I lived in the same apartment building on the West Side of Manhattan. When Kenny learned that I was a musician we became friendly. I gave him a copy of “Elefante” and he invited me to perform with the marching band, the Himalayas.

TP: I read that the band is made up of some of New York’s finest musicians.

MF: Yes, it’s a very cool band and their songbook is filled with compositions by some of New York’s most brilliant musicians: Frisell, Zorn, Bernstein Apfelbaum, Wilson, Mottel, Wieselman, etc.

TP: You also performed with The Dramatics.

MF: Yes. Their music is Afrobeat (but not Fela). I performed with them for about a year and a half.

TP: There is a cool video of you performing with the Dramatics in the subway (see You Tube, Keyword: Mercedes Figueras). Where exactly did you perform?

MF: 42nd Street, Penn Station, Union Square … all over.

TP: Welcome to the “real” New York!

MF: I met saxophonist, Tony Larokko while playing with Martin (Visconti) in the subway. He saw us playing and he offered me a gig.

TP: Tell me about Tony.

MF: He has been everywhere. He teaches high school and has worked with (drummer, educator, acupuncturist, martial artist and shaman) Milford Graves.

TP: And the other band members?

MF: There is percussionists Fred Berryhill and Bopa “King” Carre; Nick Gianni, upright bass, he is a great musician, multi-instrumentalist (he plays saxes flute, piano); drummer Kenny Wollesen and keyboardist Levi Barcourt (keyboardist, Dan Tepfer appears on the recording).

TP: I am quoting directly from your press-release: “The Black Butterflies are individuals who come together from different cultural, ethnical and geological backgrounds, brought together by spirit to elevate the listener to a higher plain.”

MF: In the past music was communal. It was a healing source and it brought people together. Today it seems that the importance of music and culture has lost its value in our society. So that is also part of our message. When we perform we try to create a communal feeling, generate good vibes and get people together.

TP: In your experience, does the audience get it?

MF: I think so. The album has a little bit of everything, something for everyone. Depending on the listener’s mood or state of mind they can listen to a wide variety of music: Latin music, jazz, Latin American, African and Chinese rhythms, experimental music, chants.

As Professor Robert Farris Thompson wrote in his acknowledgements for the book: “Flash of the Spirit – African & Afro-American Art & Philosophy:” “One tree cannot make a forest.”

TP: Tell me about the making of “1 de Mayo.”

MF: Everything was recorded in one take. Actually, we did two takes of “1 de Mayo” but the first take made the final cut. The idea was to keep the music “fresh.”

TP: I like your interpretation of “Afro Blue.” One reviewer commented that the saxophones sounds strikingly similar to the exchange between Coltrane and Eric Dolphy. That’s quite a compliment.

MF: We performed that tune a lot with Tony and created a version that we liked and felt comfortable playing. Also, it is a tribute to John Coltrane. I love his version of Afro Blue.

TP: Another great track is the soulful “Pipi’s Blues.”

MF: When I composed “Pipi’s Blues” I was thinking about the recording as a whole. I knew that at some point in the story I had to include the blues. As I mentioned previously, I had the opportunity to meet Wynton Marsalis in the Hamptons. I gave him a copy of “Elefante” and he contacted me while I was in Argentina. When I came to New York I visited with him a couple of times. In between his writing (composing) and running back and forth to the piano we talked a lot. He gave me a lot of encouragement and I learned a lot from him by watching the way he moves. He is such a great musician, such a great person and he always repeated to me, “It’s all about the blues!”

TP: And “1 de Mayo?”

MF: This was the first tune I chose to record. It was written by Richard Marriot, a great friend and composer who I met while playing with the Himalayas. I chose the tune because it is a Tango and it reminded me a lot of home. Also, I have a lot of admiration for Richard as a composer and artist. Also, I just happened to get married on the 1st of May, so when the time came to pick a name for the recording I chose “1 de Mayo.” Actually, the title has a lot of meanings, not just for me but also for the listener. The title can be interpreted in many ways, however, the listener can interpret it any they choose and create their own story.

TP: Conceptually “Yah Yah” goes even further. The track begins with whistles and a wide range of percussion then segues into African chants, vocals and scorching saxophones. Although you recorded the album in a studio, it feels like a live recording.

MF: The first time Tony invited me to a gig we performed this tune and I found it so interesting. At one point everyone was chanting and we each took a (vocal) solo. When my turn came I was very nervous, however, I jumped in and sang the chorus of a Bolivian Huayno followed by the Tango “Volver.” I never imagined that I was capable of doing that but in the end it sounded great. Wynton had a hand in this, as he insisted that I sing for him. At first I refused but eventually I gave in and sang a Tango. Afterwards, he told me I had a nice voice and in the process I actually discovered that I could sing. Tony liked the fact that my singing added a feminine part (to the composition) so it all worked out perfectly.

TP: The recording closes with “Music Heals all Wounds.”

MF: I wrote it with a gospel feel in mind. Also, I thought that the story should end with a ballad.

TP: What is the band’s message?

MF: The purpose of the album is to have the listeners accept it as their own, imagine what they want to imagine and go wherever they want to go. That’s what I do when I listen to my favorite albums and depending on the mood I am in or how I am feeling at the time, it always feels different.

TP: Tell me about your relationship with Gato Barbieri.

MF: Gato is a friend. I am very good friends with his wife (Laura) and son. One of the reasons I came to New York was because Laura invited me to participate in a documentary about Gato’s life, which I did. It was an honor.

TP: What is your take on the current New York jazz scene?

MF: I think the jazz scene in New York is happening. If you really want to accomplish something the possibilities are there. I would really love to play at places like “Small’s,” the “Jazz Gallery” and the “Blue Note” but it is hard to get gigs if you don’t have a big name. I am focusing my efforts on bookings, jazz festivals and teaching opportunities.

TP: What’s in the future for the Black Butterflies?

MF: We recently performed at “Nublu” (New York) and “Dreams” (Rosedale, New York) and we are looking forward to performing at other venues. Right now I am focusing on getting gigs at jazz festivals and colleges. In terms of future recordings, I really don’t know what’s next. We want to keep introducing new music. When the day comes, depending on how we feel and the story we want to tell, it will happen. I don’t like to think things out in advance. I prefer to go where life takes me. Sometimes unexpected factors intervene and take you in an entirely different direction.

TP: As John Lennon said, “Life is what happens when you are making other plans.” Given the enthusiastic reviews and the buzz surrounding the recording, I have no doubt that we are going to be hearing a lot from you in the future.

For Additional Information on Mercedes Figueras and the Black Butterflies visit www.theblackbutterflies.com

In Conversation with Flutist, Composer, Arranger, Mark Weinstein

Interview by: Thomas Peña

"First came the transition from trombonist to flutist. Then came the transition to Latin jazz. For Mark Weinstein, a confluence of worlds has become modus operandi." Woodrow Wilkins, All About Jazz (www.allaboutjazz.com).

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TP: Congratulations on yet another splendid recording. By all accounts "Timbasa" has been well received.

MW: Yes, it has.

TP: How did the recording come about?

MW: When I made "Algo Mas" I knew that I was "locked" into a folkloric thing, so I asked (drummer/educator) Bobby Sanabria to recommend a drummer and he suggested that I contact Pedrito Martinez. When I decided to move into more mainstream Latin Jazz I combined Pedrito with (pianist) Mark Levine, (bassist) Santi DeBriano and (drummer) Mauricio Herrera.

TP: On "Con Alma" …

MW: Right. The reason I am focusing on Pedrito is that "Timbasa" is as much his project as it is mine. He co-produced the recording and set things up in response to a funny challenge. I ran into him somewhere and he asked me when we were going to collaborate on another project. Sort of goofing on him I said, "Find me a piano player and a bass player who are as good as you and bring a couple of drummers." I had no idea what he was going to deal me! The thing about Pedrito is that he is in a class all by himself. He has the "chops" but his "head" is enormous!

TP: What did Pedrito "deal you?"

MW: Well, I went into the studio with a lot of confidence in Pedrito but not much else. The only thing I was sure of was that the he was bringing in Cuban musicians who are steeped in jazz. I asked Pedrito to bring some material and I thumbed through the book that I use when I do gigs, which represents the history of Latin Jazz. I had all the old war horses (tunes), "Watermelon Man," "Caravan" and "Milestones," which thanks to Larry Harlow, is the first Latin jazz tune I ever played! I played with Larry as a sideman (trombonist) in the Catskills. At the time he had a quintet and he realized right away that "Milestones" was a natural with a Latin beat. As a goof I also included a tune that I wrote for my infamous "Cuban Roots" album titled "Just Another Guajira."

Pedrito brought drummers, Mauricio Herrera and Ogduardo Diaz. Then there was this kid, a wild man with his hair sticking up in a million different directions, running around the studio. When he and I first met I was in the recording booth and I had all of my flutes on a stand. I remember being concerned that he was going to knock them down, so I said to him, "Hey man, be careful with the flutes!" and he replied, "I might be hyper, but I am a musician." Then he went into the piano booth and started playing some serious Chopin!

TP: What is his name?

MW: Axel Oscar Lougart. He’s 23 or 24 years old and he represents a generation of conservatory trained Cuban musicians who have spent the same amount of time studying classical music, jazz and folkloric music. This is the phenomenon of the Cuban education system that we are getting as they use the U.S. as their launching pad.

Speaking of another Cuban phenomenon, I am in the midst of making a recording with pianist, Aruan Ortiz, which is another funny story. Aruan sent out an e mail blast seeking work and his resume was a who‘s who of prestigious conservatories. I called him up and spoke to him about a Charanga album that I had originally intended for pianist, Omar Sosa. Aruan jumped at the chance and immediately composed four danzones and a bolero, two of which are modern, yet reminiscent of the music of Arcaño y Sus Maravillas and Israel "Cachao" Lopez. Aruan is another example of the amazing young musicians who are coming out of Cuba.

But I digress. There was another guy in the studio standing quietly in a corner who turned out to be bassist Panagiotis Andreou, who happens to be Greek. As I was watching the musicians interact, I noticed something that I haven’t seen since trombonist, Barry Rogers was on the scene. The high degree of respect that he commanded from the Cuban musicians. The thing about Panagiotis is that he is a trained classical guitar player and plays a six string bass that goes down to the notes that only whales can hear. When he plays fast his fingers barely move. He plays with such comfort and the way he lays in the tumbao … It’s like Pedrito and all those young Cuban cats. They have so much confidence in each other that nobody has to lay things out. Everybody can play with whatever subtlety and nuance they choose.

TP: Given Barry’s legacy, that’s saying a lot. How did things go in the studio?

MW: We recorded and worked out all of the arrangements in the studio, with the exception of the complicated drum breaks, which Pedrito sang to the drummers. There are a couple of amazing things about the way the musicians played and interacted with one another. The most obvious being the complex percussion breaks. If you listen to the tune, "Timbasa," you will notice that the Clave is being played on the high hat while the drums are playing the break, but there is also a clave popping in and out! What Pedrito is doing on the clave and in between the clave is so perfect that it’s amazing.

TP: Given the generation gap between you and the other members of the band, did you feel out of your element?

MW: Performing with these guys was like running with the bulls in Pamplona! I had to play very fast in order to stay out of their way, but no matter what I chose to do, they were right there with me. It’s such a blessing to play with such great musicians.

TP: "Timbasa" has received very favorable reviews and a significant amount of airplay.

MW: I recently had a conversation with pianist, Mark Levine about his album, "Off and On – The Music of Moacir Santos." When I asked him how his recording was doing he said, "Great reviews, great radio play, no sales!" I wrote him back and said, "Hey man, sounds like you are talking about my record!" The recording is holding steadily and everybody who responded to me personally has said very positive things. Perhaps one of the highest praises I received was from (percussionist) Bobby Matos, who said it was "Fresh." Not bad for a 70 year old musician!

(For more on Mark Levine, visit: http://www.marklevine.com/recordings.html)

TP: Not bad at all!

MW: There is no standard for me in my playing other than the absolute highest.

TP: One of the things that I have always admired you is the fact that you are absolutely fearless.

MW: My intention is to play the best music that I can possibly play. I have confidence in the fact that I can go into any rhythmic situation and feel comfortable. That’s something I learned from playing with Eddie Palmieri‘s band. It was the most swinging band in the world and I had to know where the ONE was at all times. Sometimes I would get lost, but I would always find my way back – not by counting – but by dancing! Because at the end of the day it’s dance music. That’s my attitude toward the music of the African Diaspora. I just want sit on top of that rhythm and play free.

TP: For those readers who may not be aware of your "other life" you were a trombonist and a member of the original La Perfecta, the hippest and most swinging Latin band to ever grace a stage.

You already mentioned a few of your future projects. Is there anything else that you are working on that we should know about?

MW: I recently ran into Jochen Becker, the President of Zoho Records and he said to me, "If you want to get nominated for a Grammy you need to do a Tango album. I have just the guy for you." The "guy" turned out to be none other than (bassist) Pablo Aslan. So I called Pablo and he agreed to write five tangos for me. After listening to the material, I thought to myself, wow, this is really interesting stuff but does it really need a flute player? I did the five tangos and tried to figure out, what goes with Tango? The answer I came up with was, (Cuban) danzones. After doing half an album of danzones I realized the Tangos and the danzones are beautiful, however, I am not so sure how well they work acoustically, or as part of an album. In the meantime, Aruan has been pushing me to finish the Charanga album. So I said, OK, but we have to do something contrasting, like Guaracha or Charanga, New York style … fast! … I want to cook! At which point Aruan asks me if I was familiar with the tune, "El Cumbanchero?" (Laughs). As it turns out, "El Cumbanchero" is the working title of the album, which is almost finished. I am still trying to decide what to do with the five Tangos. They are very traditional, which is a problem because I play "free" over very traditional material.

TP No doubt you will figure it out. Uncharted waters are your cup of tea.

MW: That’s true, but I didn’t have the comfort and familiarity with Argentinean music. Anyway, I think for the other five tunes I might want to put together a quartet and get together with some Argentinean jazzers. Also, I want to do another straight-ahead jazz album, because at the end of the day I am a jazz musician. I have always felt entitled to play anybody else’s music the way I saw fit, however, I always did it with complete respect for the music. That is what I have to offer as a jazz musician. I don’t play traditional music, I play jazz with traditional music. Now I can add the traditional music of modern Cuba to my repertoire (Laughs).

TP: You have always been ahead of the curve; you put your money where your mouth is and your passion for the music has never wavered. Moreover, your body of work as a trombonist, flutist and leader is impressive. That’s a legacy to be proud of.

MW: I want a legacy. I want to make a contribution. I want people to know that Mark Weinstein tried to play music.

TP: You have certainly succeeded in doing that. And let’s not forget the countless upstarts you have collaborated with and inspired along the way.

MW: I almost 70 years old and I feel like I am at the top of my game.

TP: Once again, congratulations. Please give my best regards to your co-conspirators and Randy Klein of Jazzheads Records. I look forward to seeing the band perform in a live setting.

MW: Thank you Tomas, I appreciate your support.

VISIT MARK WEINSTEIN’S OFFICIAL WEBSITE: http://jazzfluteweinstein.com/

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