Wayne Wallace Latin Jazz Quintet – To Hear From There
Trombonist, Wayne Wallace is very probably one of the most melodic players on his instrument. And although he might inhabit a somewhat narrow range—eschewing the very high register—he is also one of the most expressive trombone players today. His husky tone is one of a kind and gives his playing tremendous character. Moreover, he is one of the few players who comfortable in virtually every idiom and this is something unique as it enables him to extend his playing with subtle changes in rhythmic accents and phrasing. As someone who loves simply to dance around the melody of the songs he plays interminably he is able to create a seemingly endless stream of linear inventions around the melodic lines. He darts ahead and draws down as he plays behind the melody at other times and his variations are full of unparalleled surprise throughout.
On his celebrated album, To Hear From There (Patois Records – 2011 – Kate Smith Productions/Braithwaite & Katz Communications) Wallace leads his extraordinary quintet on a superlative musical journey through the lively waters of the Afro-Caribbean ocean often raising the harmonic bar several notches with the help of the incredible pianist, Murray Low, who appears to have the energy and invention that is every match for the trombonist. It is an almost mystical union of souls and almost every song bursts with the elasticity and unforgettable engagements that trombonist and pianist brings to bear on the music as they pursue each other from chorus to chorus. Low also has that elusive rhythmic sense, what is known in Afro-Caribbean music as “tumbao” with a left hand that electrifies the rhythms of “son” as he ebbs and flows through songs like “IBebo Ya Llego!” as well as in the thick fluidity of “Descarga En Blue”.
The character of the music on charts such as “Ogguere (Soul of the Earth)” and “Yemaya (The Seven Seas)” also suggests the absolute reverence with which Wallace approaches his music. In many respects that belies a deep connection with his African roots. There is also a ground swell of emotion in Wallace’s playing that caps the sensuous and dancing tone that seems to emerge from a deeply aching or joyous soul that simmers when playing JJ Johnson’s beautiful “Lament” and leaps ecstatically on songs like “La Escuela” and “Serafina Del Caribe”. His mood draws in the other players like a gilt-edged magnet and thus the percussionists, Paul van Wageningen and Michael Spiro shine as does the sinewy bass of David Bedlove. Vocalist, Kenny Washington lights up the eternal beauty of Juan Tizol’s “Perdido” and makes it quite his own as does that force of nature, vocalist Bobi Cespedes, who also ignites the lyrics of “The Peanut Vendor (El Manicero),” which has been done so often yet is made new on this album. Wayne Wallace has earned many accolades for this album and judging by the performance all are richly deserved.
Track Listing: La Escuela; Serafina Del Caribe; Perdido; Los Gatos; Descarga En Blue; Ogguere (Soul of the Earth); Lament; The Peanut Vendor (El Manicero); Yemaya (The Seven Seas); IBebo Ya Llego!; Philadelphia Mambo.
Personnel: Wayne Wallace: trombone, Wagner Tuba, vocals; Murray Low: piano, vocals; David Bedlove: bass, vocals; Paul van Wageningen: trap drums, vocals; Michael Spiro: percussion, vocals; Kenny Washington: lead vocal (3); Bobi Cespedes: lead vocal (8); Jeff Cressman: trombone (2); Natalie Cressman: trombone (2); Dave Martell: trombone (2).
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Wayne Wallace on the web: www.walacomusic.com
Review written by: Raul da Gama
Wayne Wallace Latin Jazz Quintet – Bien! Bien! (Patois Records 2009)
Wayne Wallace Latin Jazz Quintet – Bien! Bien! (Patois Records 2009)
The music with clave that began with Machito’s “Tanga,” and George Russell’s “Cubana-Be Cubana-Bop” has come a long way. With clave in his soul, trombonist Wayne Wallace proves yet again on his record Bien Bien! that the cheer of the music is truly infectious. Wallace is rare among musicians who can “swing” as well as he can “clave.” He has that and all kinds of shuffle rhythms and backbeats bubbling under the skin. This is why he can produce such glorious music even with just a few notes on his ‘bone and this record is full of it.
On Bien Bien! Wayne Wallace has made several outstanding things happen. First, he employs two trombonists other than himself -Julian Priester and Dave Martell. There are no saxophones or trumpets and they are not missed at all. Vocalists Kenny Washington and Orlando Torriente share English and Spanish honors on one track. Between Paul van Wageningen on drums and Michael Spiro, there appears to be a whole percussion orchestra. Pianist, Murray Lowe brilliantly explores the rhythms hidden in the melodies, with bassist David Belove thumping the strings behind and in front of him every so often.
Bien Bien! is a cheerful package -at least until the eighth track- because throughout, Wallace employes his characteristic swaggering tone. He is also joined in the festivities by Priester and Martell. Moreover, the trombone is that kind of instrument that can sound languid and sexy. It is also the most naturally human voice-like of instruments in the woodwinds family. Wallace, Priester and Martell have a fine time playing this characteristic to the max. Then the songs: On “Freedom Jazz Dance” Torriente and Washington, mimic the “baile” with superb rap and corazon. Julian Priester purrs softly like a jaguar on his part of the solo on both “Building Bridges” and “Going Up.” In addition, he growls with a mighty swell on both tracks. Dave Martell is comparatively lively -a leaping gazelle to Priester’s cat. Wallace, of course, is soulful and complete throughout -especially on “In A Sentimental Mood.” “Mojito Café” is characteristic of the sublime rhythm of the record throughout.
“Africa” alone makes this record worthwhile. Wallace’s wailing arrangement also features a slow build up of percussion to a thunderous low -with the bass kicking in mightily, followed by bright splashes of cymbals. The song -as Coltrane conceived it, is a musical journey from slavery to freedom. Wallace inspired interpretation adds to trombone literature. The wistfullness of the trombone as it breaks down the mournful episode of slavery to the eventual triumph of freedom is poignant and unforgettable. The overall crunching rhythm of the song mimics the many oars and chains that once helped sail those ancient ships to America. Best of all, the sharp contrast of this version to the original that Coltrane and Eric Dolphy created -no brass and only trombones here- is remarkable and fresh. On the merits of “Africa” alone, the record represents a high point for Wayne Wallace.
Tracks: Bien Bien!; Freedom Jazz Dance; Mojito Café; Building Bridges; In A Sentimental Mood; Playa Negra; Going Up (¡Súbete!); Solid; Africa (for Ron Stallings) .
Personnel: Wayne Wallace: trombone, vocals; Murray Low: piano, vocals; Mike Spiro: percussion, vocals; David Belove: bass, vocals; Paul van Wageningen: trap drums, vocals. Special Guests: Julian Priester: trombone (1st solo – 4, 1st solo – 7); Dave Martell: trombone (2nd solo – 4, snd solo on duet – 7); Kenny Washington: English lead vocals (2); Orlando Torriente: Spanish lead vocals (2); David Chaidez: background vocals (2); Alexa Weber Morales: background vocals (2); Karen Aczon: background vocals (2); Sakai: background vocals (2); Jody Noble: background vocals (2); Sheryl Lynn Thomas: background vocals (2); Ron Stallings: background vocals (2).
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Wayne Wallace on the web: www.walacomusic.com
Review written by: Raul da Gama
