Hector Martignon – Second Chance (Zoho Music – 2010)
In a literal world the music on Second Chance would simply represent “B” sides of music that pianist, Hector Martignon has played in the past. In reality they are anything but that. It is here that Martignon has provided wicked twists to all the music he has played before—he uses the term “devilish,” which in Spanish is a word fraught with meaning. The word diabólico might be infinitely more appropriate as it has fangs and breathes a fire. But then again the connotation that the gentleman south of the earth’s core has something to do with these wondrous renditions of Martignon’s fabulous compositions and others’ work seems to negate their “purifying” fire. This is something that can only come from something quite simply stellar; very possibly even celestial, when Martignon’s piano emerges from the ensemble to make singular statements.
Martignon’s virtuoso pianism often draws from—to use an Afro-Cuban term—a tumbao, a style commanded by a resonant 8th note of the bass line that pianists of South American origin often bring to that otherwise sweeping style of playing the piano. This is what makes pianists such as Chucho Valdés, Omar Sosa and Gonzalo Rubalcaba, Roberto Fonseca and Hilario Durán so unique. Martignon occupies a similar space in the stellar regions of the piano. His style is more vocal and his choice of notes not only bounce and stomp with hidden and revealed tumbadora-like accents, they can also be heard to cry—almost weep on occasion. His phrases roll and gambol and frolic like shrill children and when he wants to sound all grown up, then they are silken and sensual.
The rhythmic Martignon unfolds with revelry throughout the album, from João Bosco’s “Bala Con Bala” a tune that is woven like a tapestry—warp or melody, quite straight until it hits a certain note, then it wobbles and bumps, but weft, always inside out and intricate as it builds a maddeningly twisting harmony. The joropo treatment of “Coqueteos” is quite simply spectacular and offers a rare chance, at least on this album, to observe breathlessly, the percussive skills of Samuel Torres and the harp of Edmar Castañeda. And while “Guaji-Rita” may be elegiac at times, it is nevertheless like that skipping return in a funeral in New Orleans. Even “Alone Together,” a chart that is normally played rather pensively is animated and keeps the heart pumped with expectation that things might change on a dime. It bears mention here that Martignon is wonderfully assisted in his rhythmic quest by his bassist, Armando Gola, drummer, Ludwig Afonso and the Colombian percussionist, Samuel Torres.
While Martignon can be wildly exciting with rhythm, he also displays a softer side, which is often coloured by wistfulness and a sense of longing that is so characteristic of artists—and certainly, highland folk—and sometimes with sensuality that is irresistibly South American. The elegiac tribute to his brother in “Andrea” and the wonderfully dreamy “Hatari,” where the full force extent of the talent of saxophonist, Xavier Perez, trumpet and flugelhorn player, John Walsh and Torres’ sensitive use of the percussion palette is heard are the true gems of this album.
The contemporary nature of this album should not go unnoticed. Despite the use of several traditional song forms, Martignon sounds modern and is indeed very forward-thinking in his approach to each and every one of them on this highly memorable album.
Tracks: Bala Con Bala; Second Chance; Coqueteos; Guaji-Rita; Andrea; She Said She Was From Sarajevo; Abre Los Ojos; Hatari; A Long Farewell; Alone Together.
Personnel: Hector Martignon: piano, accordion (7); Armando Gola: bass; Ludwig Afonso: drums; Samuel Torres: percussion; Xavier Perez: saxophones; Tim Collins: vibes (1, 2, 7, 8); Vinny Valentino: guitar (1); Edmar Castañeda: harp (3); John Walsh: trumpet, flugelhorn; Edward Perez: bass.
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Hector Martignon on the web: www.foreignaffair.com
Review written by: Raul da Gama
Corina Bartra & Azu Project – Afro Peruvian Jazz Celebration (2009)
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The rise of smaller record labels and independent music producers has made a significant contribution to the number of musicians from other parts of the world getting not just radioplay, but – in the case of important new artists – the recognition they deserve. Some of the fine musicians to come out of Peru recently have been Gabriel Alegria, Yuri Juarez, Hugo Alcazar and Corina Bartra. Much spotlight has been thrown – and will continue to be thrown – on the latter because she is a vocalist with a powerful and forthright personality. Moreover, vocalists – especially those from Latin America – are also looked upon differently because they verbalize what many cannot but hope to.
On Afro Peruvian Jazz Celebration (Blue Spiral Music) vocalist Corina Bartra achieves this and a lot more. Batra has a bold voice and commanding presence. She sings without sentimentality and often ends lines with a rising intensity and a slight quiver. This is characteristic of storytellers – griots – who often deliberately eschew concert hall finesse in favor of the high emotion of narrative and the brutal honestry of truth. Today Bartra enjoys the rare privileges of inhabiting the stellar artistic regions of Peru occupied by singers such as Eva Ayllon and Pilar de la Hoz.
Bartra leads her Azu Project – a floating outfit of musicians from Peru and the United States – courageously into territory that is not normally ventured out onto – especially by vocalists. The repertoire Bartra attempts here is a combination of Afro-Peruvian classics such as “Chacombo,” “Camaron,” “Afro-Peruvian Folk Song,” the lando, “No Valentin” and a baiao/festejo, “Yambambo” – and a generous helping of music from the American Standards songbook. In addition, it is this clever production decision that has enhanced the attraction of the singer and her record enormously.
Corina Bartra sings with unabashed honesty and is unafraid to make her voice do things the English language listening world is unused to hearing. For instance, Bartra cares nothing about pitch. Most South American vocalists do not either. The music of most of those countries is swathed in a culture that puts a premium on emotional delivery. How else would a singer get into character? In bringing this ethos to the standards that Bartra sings, she imbues them with something special – a different kind of quality. That unique sensuality brightens the emotion enormously. This is helped by the fact that Bartra’s vocal range is lower than most and she can really dip into an almost tenor register.
Consequently, musical instruments blend better and the musicians are provoked into taking greater risks with their pianos, saxophones and basses, and percussion instruments. Yet the renditions of American standards may take some getting used to. “Stella by Starlight” is a growing phenomenon. Nevertheless, “You Don’t Know What Love Is” is so stunning that it takes the breath away. Bartra has also written two originals in English: “You Took Me By Surprise” and “I Don’t Regret A Moment.” These two tracks provide the best look at the personality of this wonderful singer who is going to get busier and make more waves in the big venues of music very soon.
Tracks: La Flor de la Canela; Chacombo; You Took Me By Surprise; Stella By Starlight; Toro Mata; Camaron; No Valentin; A Saca Camote Con El Pie; You Don’t Know What Love Is; Afro-Peruvian Folk Song; Puente De Los Suspiros; Yambambo; I Won’t Regret A Moment.
Personnel: Corina Bartra: vocals; Cliff Korman: piano; Vince Cherico: drums; Xavier Perez: saxophones; Perico Diaz: cajon; Motto Fukushima: bass; Andres Prado: guitar (1, 2, 5, 6); Alonso Acosta: piano (1, 2, 5, 6); Oscar Torres: drums (1, 2, 5, 6); Abel Garcia: saxophone (1, 2, 5, 6); Eduardo Freire: bass (1, 2, 5, 6); Dante Oliveros: cajon (1, 2, 5, 6); Perico Diaz: cajon (1, 2, 5, 6); Tino Derado: piano (7); Peter Brainin: saxophone (7); Oscar Stagnaro: bass (7); Fred Berryhill: percussion (7); Perico: percussion (7); Vince Cherico: drums (7); Jay Rodriguez: saxophone (8, 10, 12); David Hertzberg: bass (8, 10, 12).
Corina Bartra & her Azu Project on the web: www.myspace.com/corinabartra
Review written by: Raul da Gama
Emilio Teubal and La Balteuband – Un Monton de Notas (2009)
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The spectacular collision of cultures raining down of music in the Latin idiom has brought with it a proverbial deluge of the most wonderful shower of metaphor and idiom, melody and rhythm and harmonics of a tantalizingly high order. This fine record Un Monton de Notas (Not Yet Records) by Emilio Teubal and his grupo projecto, La Balteuband is another fine example. Here is a nonet led by the Spanish-born Argentenian pianist and composer that has literally opened the mystical gates of oceans of music in a record that describes a courageous musical journey. It crosses continents, leaps out of Cordoba, Spain, dives into the heartland of Argentina, then emerges from the deep and dense recesses of the Brasilian Northeast in an explosion of propulsive dynamic energy, and takes off into interstellar space.
There is not enough space here to discuss how this happens in music, repeatedly; it is a matter of fact now. The real trick is to shut the eyes and give into the music, body and soul. The music of this nonet is so seductive that it is impossible not to be drawn into this world and virtually hypnotised. Teubal is a gifted musician and composer and has an inner ear that is sharp and intelligent. He hears music differently. Much of this lies in a multiplicity of tonal densities of various woodwinds and horns – ranging from the flute and soprano saxophone to the bass clarinet. This approach appears to superceed everything and his music is presented with the richly woven voices of these lead instruments.
Sometimes he will poke through with the piano or Rhodes to assert a certain rhythmic harmony. His use of the cello is inspired and on “Un Monton de Notas,” this wonderful instrument is played with equal virtuosity by Greg Heffernan. This track is stellar, a complex blend of maracatu rhythms that conjour a feverish ritual that is showered with melodic ingenuity. There is rarely such excitement in a song and such propulsive rhythm. It is possible – very possible that only Egberto Gismonti’s majestic compositions could have inspired such a richly textured piece.
However, there is much more to recommend this record as one of the year’s finest. “Ping Pong,” opens with a rhythmic piano figure and develops into a superb visual expression with a puckish tête-à-tête between the soprano saxophones of Xavier Perez and Felipe Salles. The mood and textures change dramatically with “Before the Outerspace,” where Felipe Salles creates a dramatic effect with beautifully toned bass clarinet. His speech-like modes are maintaining the dramatic tension of the song.
“X-cetera (after)” is an interesting composition where the melody states an obverse rhyming meter. The two tenors trading 8’s for some time and they make way for the dark piano, bass and percussion to lead the song into an extended piano improvisation that is urged on by the thundering cajon and rumble of the bass.
“El Amanecido” is a nervy polka that pits piano against percussion and horns in a rather jazzy chamane. ”Baguala” is stately, almost dolorous and brings to life a tstely dance form that stradles Argentina and Bolivia. The highlight once again is the superbly arranged dense tonal textures of the clarinets that color the piece and play off the tinkling piano beautifully executed and winds down with a swaggering blues ending. “(T) La Arania 08” is cast in the mould of a chorinho and is outstandingly authentic.
Teubal pays rich tribute to the music that might have first fired up his young imagination to conclude this memorable set. There is a fine piece; “A la Pantalla A” that turns the music awash with the rhythmic extravagance of Cordoba. This is an intense set and brings further evidence that Emilio Teubal is making a name for himself among the growing roster of young modern pianists and musicians.
Tracks: Ping Pong; Before the Outerspace; X-cetera (after); Un Monton de Notas; El Amanecido; Baguala; (T) La Arania; A la Pantalla A; Coda.
Personnel: Emilio Teubal: piano, Fender Rhodes, accordion; Xavier Perez: soprano saxophone (1, 3, 5, 8), tenor saxophone (2, 3, 6), flute (7); Felipe Salles: tenor saxophone (3, 5, 8, 9), soprano saxophone (1, 7), bass clarinet, flute (4); Moto Fukushima: six-string electric bass and effects; Franco Prima: drum set, bombo leguero; Kobi Solomon: clarinet (3, 4); Ivan Barenboim: clarinet (2, 4, 6, 7); Greg Heffernan: cello (4); Marelo Woloski: percussion (2, 4, 7), hand-clapping (1, 5).
Emilio Teubal and La Balteuband on the web: www.myspace.com/labalteuband
Review written by: Raul da Gama
