T.K. Blue – Latin Bird (Motema Music – 2011)

The hypothesis that in Charlie “Bird” Parker’s music the cultures of the world collided may be new, even unheard of until now. The elemental polyrhythms of Africa were melded into the folk forms of America and both were glorified in the polyphony of European music as Bird soared. The alto saxophonist wrote and played like a pianist; sang like a choir of angels and broke endless boundaries creating a music so timeless and elastic that it will, no doubt, live forever, or at least for a very, very long time like that of the great composers from Haydn, Beethoven and Mozart to Bartok, Stravinsky, Ellington, Mingus, Nichols and Monk. No one can play like Bird, yet his music is open to interpretation. The monumental recreations of Bird’s (and Monk’s) music by Heiner Stadler performed by Thad Jones, George Lewis, Stanley Cowell and others in the early seventies were spectacularly modern, challenging even the then freewheeling tenets of contemporary European music. And of course, musicians playing in the Afro-Caribbean idiom have also had the gumption to attempt to re-interpret Bird’s complex harmonies and rhythms.

The latest tribute comes from no less a figure than T.K. Blue (also known as Talib Kibwe), an alumnus of some of the finest ensembles led by the great Randy Weston. So, schooled in the African idiom, T.K. Blue now takes Bird on an Afro-Caribbean adventure with Latin Bird, an ambitious homage to a musical place Bird sometimes revealed he was also in love with, playing in a large ensemble with Dizzy Gillespie and Machito. However, this album is a much more elaborate adventure. Here T.K. takes some of the most sacred Bird pieces and attempts to—for want of a better word—Latinize them. To pull this off not only requires sublime technique and virtuosity, but also great musical instinct combined with a sustained creative rush to the head, a suicidal streak to dare to defy the gravitational pull of Bird copycats, and of course a great cast of band mates. Fortunately all this comes together in T.K.Blue, who also had the good fortune of bringing together a stellar ensemble—including one of the finest rhythm colorists in drummer, Willie Martínez and Latin percussionist, Roland Guerrero, presided over by a bassist who is too often ignored even by some cognoscenti—Essiet Okon Essiet, who is as supreme a melodist as he is a rhythmic player.

Picking a repertoire of Bird’s blues is also inspired as if anything can universalize Bird—as well as set him apart from any other great composer—it is his absolutely authentic feeling for the blues. T.K does have a near-miss on the opening chart, “Chi Chi” but, egged on by his superb ensemble he recovers in the blink of the eye. The near-miss is only because the melding of the African and the Caribbean appears somewhat separated and contrived (in the most honest sense of the word). But T.K Blue’s spectacular turn as an arranger of Afro Caribbean music is beyond reproach from “Sí Sí” on. The latter chart begins with in the sublime realm of bebop and swings and shuffles its way in the Latin meters so perfectly it is breathtaking to the ear. Monk’s “Round Midnight” is flawless, but it is Bird’s classic “Donna Lee” that is the album’s crowning glory, shuffling from a danzón to the wild swing of bebop, waltzing its way to a great Viennese hallway before colliding with a masterful samba that then breaks down into the most spectacular African blues.

Any musician wanting to Latinize Bird’s repertoire following this wonderful album is going to have to literally pull a rabbit out of a hat, but with an outstanding performance on alto saxophone and flute, perhaps the “hardest act to follow” is going to be for T.K. Blue himself.

Track Listing:

1. Chi Chi
2. Sí Sí
3. Visa
4. Blue Bird
5. Round Midnight
6. Barbados
7. Steeplechase
8. Moods of Parker
9. Donna Lee
10. He Flew Away Too Soon
11. Buzzy.

Personnel:

T.K Blue: composer, arranger, alto saxophone, flute; Willie Martínez: trap drums (1 – 4, 6, 7, 9, 11); Roland Guerrero: congas, percussion (1 – 4, 6, 7, 9, 11); Essiet Okon Essiet: acoustic and electric basses (1 – 9, 11); Theo Hill: piano (1 – 9, 11); Steve Turre: shells and trombone (1, 2, 4); Lewis Nash: trap drums (5, 8).

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T. K. Blue on the web: www.tkblue.com

Review written by: Raul da Gama

The Latin Giants of Jazz – Ven Baila Conmigo (Gigante Records 2009)

It is a daunting task to play in the idioms of jazz, salsa and mambo in a big band setting without the spirit of El Rey, Tito Puente in attendance. But timbalero and musical director, Jose Madera acquits himself with distinction on “Ven Baila Conmigo,” this record that explodes with that special energy that Puente imparted to his excursions when he was alive. It is not a tribute to El Rey. It does not purport to be, but then every time that music like this is played the homage, ceremonial or otherwise is inevitable. Puente was that kind of giant. But these musicians acquit themselves as “giants” as well.

It is significant that some of the fine musicians who played in Puente’s later bands are part of this orchestra. Reynaldo Jorge, Sonny Bravo Jose Madera and Frankie Vazquez, to name some of those musicians bring a singular energy to this record. If it were a tribute then it would be one of the finest to El Rey. Of course the best homage that anyone could pay Puente is to play the music he loved with the same soul and spirit so that it is impossible to keep still. You must either get up and dance, or preferably both. And there are plenty of these moments on this record. Frankie Vazquez leads the coros with his powerful and soulful tenor and he is – without tremolo – in line to continue where the great vocalists of Latin music left off.

Soloists such as trumpeters Kevin Bryan and Guido Gonzalez deal blazing choruses on “Lo Que Traigo Es Salsa” and “Cannology” respectively. Alto saxophonist Bobby Porcelli and former Compadre of El Rey tenorman, Mitch Frohman also acquit themselves with aplomb. Pete Miranda growls as he drives the heat of the mambo way up on “Cookin’ The Mambo”. John Walsh plays majestically just behind the beat, then racing ahead and clear as a bell on an outstanding track, “Si El Mar Se Volviera Ron,” a classic mambo. Ignacio Piñeiro’s “La Batidora Meneadora,” is another shining example of the Giants’ ability to keep the energy high. This particular arrangement by “Perico” Ortiz is particularly magnificent.

There appear to be only high-points on this record. Certainly this is not uncommon when such a fine band of men get together to play the music that celebrates life in all its warm glory. With such synergy, it is hoped that this ensemble would stick with it and produce a lot more exciting music.

Tracks listing: Lo Que Traigo Es Salsa; Ven Baila Conmigo; I Still Love You; Gua Cha Rumba; Ahora Mismo; Tengo Que Conformarme; Cookin’ The Mambo; Dime Quien Eres; Si El Mar Se Volviera Ron; Incredible; Cannology; La Batidora Meneadora; Cuando Suenan Los Cueros.

Personnel: Kevin Bryan, John Walsh, Pete Nater, Richie Viruet, Guido Gonzalez (11): Trumpets; Bobby Porcelli, Todd Bashore, Lawrence Feldman (11): alto saxophones; Mitch Frohman, Peter Brainen: tenor saxophones; Pete Miranda: baritone saxophone; Sam Burtis, Reynaldo Jorge, Lewis Kahn, Noah Bless: trombones; Sonny Bravo: piano; Gerardo Madera: bass; George Delgado: congas and percussion; John Rodriguez: bongos and percussion; Jose Madera: timbales and percussion; Frankie Vazquez: vocals’ Cita Rodriguez (lead vocals on 5), Marco Bermudez, George Maldonado, Willie Martinez (on 3).

The Latin Giants of Jazz on the web: www.latingiants.com

Review written by: Raul da Gama