Pianist Dan Costa Immortalizes a Beautiful Moment From a Better Time
Think of how many musicians were out on the road, trying to earn a living, at the time the lockdowners were trying to seize control of the world under the pretext of a health emergency. The economic damage, not only to those players, but to the venues where they were performing and the people who worked there, is immeasurable – and it’s only getting worse. Brazilian jazz pianist Dan Costa was lucky – his US tour ended just before the lockdown. Serendipitously, he had the presence of mind to record the final concert, on February 29 at Kuumbwa Jazz in Santa Cruz, California. Since then, he’s released it as an album, Live in California, streaming at Spotify.
This gorgeously melodic, meticulously focused set includes a mix of originals and popular Braziian material. Costa plays solo, opening with his lithely energetic, lyrical composition Baião, his understatedly insistent lefthand anchoring a glittering neoromantic tune that strongly brings to mind Egberto Gismonti.
With his second number, simply titled Maracatu, Costa builds Debussy-esque, pentatonic lustre and pointillistic shimmer over a similarly low-key take on that iconic Brazilian rhythm. He approaches that famous and vastly overplayed Jobim hit with a blend of puckish wit and unexpected gravitas. Then he goes back to originals with the more expansively gleaming Sete Enredos, rising to a chiliing, chromatic peak, coloring the ominous resonance with icy upper-register riffs before returning to a pulsing forward drive. It’s the high point of the show.
Aria turns out to be a bounding, High Romantic jazz waltz lit up by Costa’s expansive righthand chords and cascades. Likewise, he adds a cosmopolitan shimmer to the bounce of Roberto Menescal’s O Barquinho.
Tempos Sentidos is another showcase for Costa’s purposeful, economical approach: steady pedalpoint, thoughtfully chosen, emphatic choral work, no wasted notes. He closes the show with a low-key, impressionistic take of Ivan Lins’ Love Dance. How ironic that something so completely unplanned would turn out to be a lock for one of the best jazz albums of 2020.
Pianist Carolina Calvache Takes Her Lyrical, Individualistic Style to New Depths
It’s always validating to see an artist follow his or her muse and take their art to the next level. Pianist Carolina Calvache‘s 2014 debut album Sotareño was an ambitious mix of classically-inspired lyricism, postbop jazz and rhythms from her native Colombia. But Calvache is also a songwriter. On her new album Vida Profunda – streaming at Bandcamp -, she backs a murderer’s row of vocal talent in a collection of originals plus new settings of poems from across the ages. Calvache’s style is distinctly her own: 19th century art-song, classical music, jazz and diverse sounds from south of the border all figure in. Most of the lyrics on the album are in Spanish.
Marta Gomez sings the album’s title track, an anthemic neoromantic art-song awash in lush strings, with an understated intensity. Based on a poem by Porfirio Barba Jacob, it’s an uneasy coming to terms with extremes, emotional or otherwise. As Calvache sees it, an unfelt life is not worth living.
Sofia Ribeiro takes over the mic for El Pájaro Yo (The Bird Is Me), a darkly lilting setting of the famous Pablo Neruda poem. Hadar Noiberg’s flute soaring as fearlessly as the lyric. Ruben Blades delivers Te Conocí de Nuevo (I Met You Again), a reunited-for-good ballad, with hope and tenderness over Calvache’s bright, emphatic melody.
Claudia Acuña gives an aching, imploring angst to Sin un Despido (unpoetic translation: We Never Got to Say Goodbye), a glistening, symphonic requiem for the 2015 LaMia Flight 2933 crash whose victims included the Brazilian soccer team Chapecoens. Sara Serpa provides her signature, crystalline vocalese gravitas to Hope, a optimistically clustering number propelled by Jonathan Blake’s drums, Samuel Torres’ djembe and Peter Slavov’s bass, Calvache introducing it with a reference to Lift Every Voice and Sing.
Aubrey Johnson brings a bracing, unsettled energy to Childhood Retreat, a poignant setting of a Robert Duncan poem capped off by Michael Rodriguez’s soaring trumpet. Haydee Milanes offers warm and reflection in the Horace Silver-inspired Stella, a tribute to Calvache’s mom, with the composer on twinkling Rhodes and then incisive acoustic piano as harmonica player Gregoire Maret spirals overhead.
Serpa takes over on vocals again for the album’s most stunning song, The Trail, based on the Gabriel Garcia Marquez short story The Trail of Your Blood in the Snow. Calvache ripples and cascades over sweeping string orchestration: at a time when the lockdowners are insisting on increasingly sinister levels of surveillance, this song couldn’t be more timely.
Lara Bello lends a warmly reflective tone to No Te Vi Crecer (I Didn’t See You Grow Up) over Calvache’s glistening lines: as lullabies go, this is a particularly enegetic one. The album’s only dud is a pop song that smacks of label mismanagement and doesn’t take advantage of Calvache’s many talents. This is a quiet triumph of outside-the-box playing from a rotating cast that also includes drummer Keita Ogawa; bassists Petros Klampanis and Ricky Rodriguez; violinists Tomoko Omura, Leonor Falcon, Ben Russell, Annaliesa Place and Adda Kridler; violists Allysin Clare and Jocelin Pan; cellists Brian Sanders and Diego Garcia; oboist Katie Scheele; trombonist Achilles Liarmakopoulous and bass clarinetist Paul Won Jin Cho.
Jason Yeager Reinvents Pan-American Classics as Protest Jazz on His Searingly Relevant New Album
Pianist Jason Yeager couldn’t have timed the release of his latest album New Songs of Resistance – streaming at Bandcamp – any better. With Bolivian President Evo Morales driven from office by a right-wing coup and Nicaragua’s Sandinistas under increasing fire from corporate-aligned fascists, Yeager’s mix of original protest jazz and classic nuevas canciones from 1970s Latin America are more relevant than ever. He’s playing the album release show on Dec 19 at 8:30 PM at the Cell Theatre; cover is $15.
The album’s most stunning track is Yeager’s grimly modal, savagely kinetic setting of Somos Cinco Mil, the final poem written by iconic songwriter Victor Jara in the Santiago stadium in the hours before he and thousands of other members of the Chilean intelligentsia were murdered by Augusto Pinochet’s death squad following the 1973 CIA-sponsored coup. Vocalist Erini sings this defiant but eerily prophetic anthem with a plaintive calm against cellist Naseem Alatrash’s slashing, Egyptian-tinged accents and the bandleader’s crushing chords.
The group open the album with an elegantly pulsing take of Violeta Parra’s Gracias a la Vida, Erini’s expressive delivery over Matthew Stubbs’ clarinet and bass clarinet, Cosimo Boni’s trumpet, Milena Casado’s flugelhorn, Yeager’s spare piano and the understated rhythm section of bassist Fernando Huergo and drummer Mark Walker.
Farayi Malek delivers Yeager’s cynical broadside The Facts over a sardonically ominous pseudo-march – a frequent and potently effective trope here – bringing to mind the fiery intensity of Todd Marcus‘ similarly political work, especially when the bass clarinet kicks in. Yeager introduces another Jara song, Aqui Me Quedo with a pensively unsettled solo intro, Erini’s vocals rising defiantly over sweeping orchestration.
Mother Earth, a Yeager original, has strong Monk echoes along with more suspiciously straightforward strutting and,a long, insistent trumpet crescendo. Singer Farayu Malek’s matter-of-fact recitation of Yeager’s scathing, spot-on lyrics to In Search of Truth addresses a host of problems – eco-apocalypse, the corporate-driven race toward slavery and dehumanization – over an increasingly agitated backdrop. Then Yeager opens Leon Geico’s Cinco Siglos Igual with a brooding, Rachmaninovian noir interlude, Erini’s expressive, ripely wounded vocals bringing to mind Camila Meza, Casado picking up the pace against the band’s lustre.
The rest of the record includes three originals and a Brazilian song. Protest, a menacing, stabbing little march, leads into the album’s creepiest, most carnivalesque number, Reckoning: with a tune and a Malek vocal this coldly dismissive, who says revenge songs need lyrics? Yeager’s final instrumental interlude follows, macabre and suspenseful. The album ends on an upbeat note with a loose-limbed take of Brazilian songwriter Chico Buarque’s Apesar de Voce, sung with dusky resolve by Mirella Costa. Yeager’s relentless, usually understated intensity, starkly evocative compositions and imaginative reworking of a smartly assembled mix of classic songs make this one of the best albums of 2019 in any style of music.
High Voltage Latin Jazz with Dayramir Gonzalez & Cuba enTRANCe at Lincoln Center
It would probably be overhype to call pianist Dayramir Gonzalez the missing link between Eddie Palmieri and McCoy Tyner. But at his thundering, intense show last week Lincoln Center, Gonzalez and his booming ensemble Cuba enTRANCe strongly brought to mind both of those two icons. With a crushing lefthand attack, stampeding the entire length of the keys, Gonzalez’s intensity never relented. Nobody knows better than he does that the piano is a percussion instrument.
If that wasn’t enough, Gonzalez made sure he had plenty more torrential beats on hand, with both drums and congas in the band: each player got plenty of time in the spotlight and used it explosively. Contrastingly, Gonzalez’s bassist – playing a five-string model with an extra B on the low end – held the center, tersely and calmly, with his judicious, resonant slides and the occasional chord to drive a big crash home.
The quartet opened with a shapeshifting, majestic jazz waltz, introducing the calm/frenetic bass/piano dynamic that would last the duration of the night. The second number, Moving Foward, was a bristling, modally-charged epic, the thunder punctuated by Gonzalez’s glistening cascades and a couple of more moody, suspenseful interludes where the rhythm dropped back.
He explained that as a kid, he’d followed his mom’s advice that “Una sonrisa abre puertas,” building on that idea with Smiling, a more pointillistic, leaping number. He brought it down afterward with a solo ballad from his debut album, Grand Concourse, which was party salsa jazz and part late Beatles. The rest of the set was just as dynamic: loopy, catchy riffage over polyrhythms; more glistening, darkly vamping tableaux that were part salsa and part Chopin; sad boleroish balladry and pouncing, carnaval-esque party themes. Gonzalez spoke eloquently to the similarities between the refugee crisis in Europe and the one further south on this continent; he even sang a little. The crowd clapped along, hitting a salsa groove without any prompting. Right now, Gonzalez seems to be better known in Europe than he is here, and that’s a crime. His next gig is on Dec 4 at 8 PM at Vibrato Grill Jazz, 2930 N Beverly Glen Cir in Los Angeles; cover is $30.
The series of free concerts at the Lincoln Center atrium space on Broadway just north of 62nd St. continues tonight, Dec 2, with an earlier, 7 PM show featuring Strings & Skins, who combine Colombian and Haitian dance grooves. There are also many other performances in the neighborhood until 9; if you can handle the cold, follow the sound.
Transcendence and Inner Torment in Lesley Karsten’s Astor Piazzolla Biodrama That’s Not Tango
Over the past couple of years, Lesley Karsten has staged her mesmerizing Astor Piazzolla biodrama That’s Not Tango in larger and larger halls around New York. The project’s sold-out Jazz at Lincoln Center debut Tuesday night came across as a big victory, no matter how turbulently or quixotically she portrayed the life of the godfather of nuevo tango.
Early on we learn how his manager felt about him: “Onstage, he was a god. Offstage, he was a sonofabitch.” That quote is emblematic. Karsten sees the iconic composer and bandoneonist as a guy with a chip on his shoulder that he can’t – or won’t – get rid of, a defiant paradigm-shifter utterly consumed by dedication to his art at the expense of pretty much everything else.
She’s gone on record as surmising that he would have appproved of his role being played by a woman, and while we’ll never know the answer, it’s plausible, especially considering the quality of the musicianship behind her.
Karsten introduces him speaking posthumously – and in what could be a considerable stroke of irony, rather reflectively – from some sort of limbo. What’s he doing there? Setting the record straight, he wants us to know. The extraordinary group Karsten has assembled for this project – Brandt Fredriksen on piano, Nick Danielson on violin, Pablo Aslan on bass and the guy who may be this era’s greatest bandoneon player, JP Jofre – leap and swing and bluster through a mix of Piazzolla hits and a handful of more obscure numbers in between Karsten’s narration.
What might be most impressive about Karsten’s depiction of Piazzolla is how closely she focuses on the music. Piazzolla the character offers no shortage of drama as he rises from crippled toddler to smalltime thug, reluctantly taking up the bandoneon just to please his dad, then having a eureka moment when he hears his Hungarian neighbor playing Bach on the piano. The young Piazzolla’s dad – a hard man, and apparently a harder man to please – nonetheless was quick to act on his son’s passion. Karsten – whose background is documentary filmmaking – does not affect an accent, or a man’s voice. This tough-talking, foul-mouthed, often caustically cynical protagonist comes across as plenty macho regardless.
The band burn through the music with reckless abandon matched by expertise, no doubt due to the fact that both Jofre and Aslan are first-rate nuevo tango composers themselves. Fredriksen’s dynamism, from muted snippets of Bach, to an absolutely chilling, emotionally depleted, mostly-solo take of Soledad, to the leaps and bounds of Michaelangelo 70, ranges from flash to poignancy. Danielson, whose spare, suspenseful solo kicks off the night’s opening number, Lo Que Vendra, also gets plenty of time in the spotlight. At the end of the show, Karsten introduced Jofre as “Astor Piazzolla,” his whirlwind cadenzas and rich color palette giving voice to every shade the little bandoneon can conjure.
The noirish pulse and chromatics Piazzolla loved so much underscore just how deeply the klezmer music he heard as a kid, growing up next to a synagogue on the Lower East Side, affected him. Karsten also takes care to quote him on Bach, Cab Calloway, Ellington and especially Bartok. At the other end of the telescope, he’s even more quotable when it comes to much of tango – including a cruelly spot-on account of the kind of dancers who can be found at a milonga. There are also personal vignettes, ranging from Piazzolla’s estrangement from his children to his regrettable if tense relationship with the Videla dictatorship during the Dirty War of the 1970s.
One of the most telling moments in the show is an absolutely heartwrenching, revelatory tour through the backstory of Adios Nonino, Piazzolla’s requiem for his father and ironically one of the most traditional pieces in the Piazzolla repertoire. He’d been between sets at a gig in the Caribbean when he got the news; afterward, he went back on and played the second show of the night. Unable to communicate his grief with his family, he locked himself in his room with his bandoneon and wrote what he considered to be his greatest piece. The rest of the material on the bill focuses on Piazzolla’s most lavish ambitions, from the coy baroque allusions of Fuga y Misterio to the gritty intricacies of Tres Minutos Con la Realidad. What Ellington did with the blues, Piazzolla did with tango: this show will inspire anyone who loves his music as well as the many, many influences that went into it.
¿Que Vola? Put a New Spin on an Ancient Party Tradition at Lincoln Center
Saturday night, Lincoln Center was hopping with Afro-Latin sounds. Out back in the park, Los Hacheros said the hell with the threat of rain and gave the dancers a fiery launching pad for some serious moves. A couple of blocks to the south, winding up their debut US tour at Dizzy’s Club, ¿Que Vola? offered another direction for those ancient beats.
They’re a big, brassy newschool jazz group turbocharged by the whirlwind rhythms of three percussionists from Cuban ensemble the Osain del Monte Orchestra. One suspects that the trio are equally skilled at a brain-warping number of beats; at this show, their roles seemed clearly defined. Adonis Panter Calderon, seated in the middle, was the Secretary of Entertainment with his machinegunning flurries and live-wire crescendos, getting up at the end of the set to do a ritual dance as a shout-out to ancient spirits from the African motherland. To his left, Ramon Tamayo Martinez came across as the salsa maestro; to his right, Barbaro Crespo Richard served as a sort of bass player, holding down the center when things got crazy. And they did.
That didn’t seem to be the case as the group opened with massed, minimalist horns over a subtly shapeshifting intertwine of grooves. Until the individual voices loosened and solos began to appear, the sound was closer to indie classical than jazz. The rest of the night ranged between loosely contiguous Afrobeat and what sounded like boisterous old Yoruba shout-and-response chants transcribed for jazz instrumentation.
The biggest hits with the crowd were the percussion interludes. The three beatmasters played mostly on congas, shifting to the double-barreled bata for extra boom during one lengthy number. Martinez also had a cajon which he used sparingly. Meanwhile, bassist Thibaud Soulas played with the punch and stamina of a percussionist, running circular phrases over and over and taking the occasional stairstepping climb. Drummer Elie Duris was also having a great time using his rims and hardware for extra click and crash amid the booming torrent.
Alto saxophonist Benjamin Dousteyssier – one of several members associated with the French Orchestre National de Jazz – dazzled the crowd with his silvery, slithery glissandos and arpeggios. Tenor player Hugues Mayot and trumpeter Aymeric Avice shifted between incisive postbop and sometimes airy, sometimes turbulent Afrobeat. Behind them, electric pianist Bruno Rude’s Rhodes bubbled and rippled like a vibraphonist. With so many tightly interwoven rhythms bursting out from every corner of the band, it only made sense that he’d want to join the party.
A Mighty, Majestically Orchestrated, Ambitious Album and a Vanguard Stand This Week From Alto Saxophone Titan MIguel Zenon
You might not expect Miguel Zenon to open his latest album with a cantabile pastorale, but that’s exactly what he’s done. The alto saxophonist has made some amazing records over the years – his smoldering Oye! Live in Puerto Rico from 2013 is a favorite – but his most recent one is his most ambitious yet. You could say that Yo Soy la Tradicion is his Sketches of Spain, a collaboration with the magical, microtonally-inclined Spektral Quartet streaming at their music page.
Jazz sax and strings have a history that dates back to Charlie Parker; this is a lot closer to Astor Piazzolla at his most adventurous, or Bartok, than orchestrated swing. Zenon has yet another weeklong stand at the Vanguard starting tomorrow, March 12 with his quartet and continuing through the 17th, with sets at 8 and 10:30.
The Spektral Quartet – violinists Clara Lyon and Maeve Feinberg, violist Doyle Armbrust and cellist Russell Rolen – open the album with the rather stark, almost severely precise intro to Rosario, inspired by the Catholic rosary tradition; then Zenon flips the script and builds a bubbly dance overhead that brings to mind the similarly paradigm-shifting work of Argentine bandoneonist JP Jofre. It’s catchy, almost to the point of sentimentality.
Cadenas (Chains) draws on European 20th century minimalism as well as Puerto Rican line dances, the strings’ hypnotic, insistent acerbity balancing Zenon’s folksy, airy delivery. Then the sax and quartet switch roles, a neat touch.
Yumac may have roots in rural Puerto Rican folk music – the ttile is the town of Camuy, home to popular 50s songwriter German Rosario, spelled backwards – but the music comes across as a more harmonically complex take on Ernesto Lecuona’s anthemic mashup of Afro-Cuban themes and western classical orchestration.
Milagrosa is more balmy, an unexpectedly successful mashup of spaciously sequenced postbop sax and alternately rhythmic and lush string passages, with a crescendo midway through that’s as majestic as anything Zenon has ever written.
The album’s most gorgeous track is Viejo, shifting from troubled, massed Julia Wolfe-like insistence, to an unabashedly lyrical ballad with an elegaic cello solo followed by Zenon’s broodingly wafting melody. Zenon’s tone is more biting than Paul Desmond’s, but the lyricism here is very similar.
If Bartok had a thing for Spain instead of Tunisia, he might have written Cadenza: there are also echoes of wistul, uneasy Debussy. Again, Zenon brightens the ambience, this time with flamenco allusions. Imagine Ligeti trying to reduce a flamenco tune to simplest terms: that’s the outro.
The album’s most epic track is Promesa, a diptych of sorts that refers to the Catholic festival of the Three Kings. A pensive cello solo takes centerstage over a lush backdrop that recedes to a steady, minimalist pulse, Zenon building the longest solo here from gentle pastoral colors to lively, blues-tinged spirals. Then the atmosphere shifts to artfully pulsing variations on a lively alguinaldo jibaro country dance theme.
Piazzolla, or for that matter, Lecuona would have been proud to have written the anthemic final number, based on a variant of that style from the town of Villalba. Obviously, Zenon’s Vanguard stand this week isn’t likely to showcase a lot of this material; on the other hand, with a guy who’s been known to reinvent classic Sylvia Rexach boleros, you never know.
Chano Dominguez Brings His Saturnine Flamenco Piano Brilliance to Joe’s Pub Friday Night
The annual flamenco festival is happening around town next weekend, and as usual, fiery Spanish pianist Chano Dominguez is part of it. Perhaps better than any musician alive, he blends American jazz with flamenco for all the dark acerbity he can channel – which is a lot. He’s at Joe’s Pub this Friday, March 6 at 7 PM; cover is a little steep, $30, but he’s worth it. In fact, the show actually might sell out, so advance tix are a good idea.
His 2017 solo album Over the Rainbow – streaming at Bandcamp – is a good introduction. It’s a mix of live and studio takes including both originals and classics from across the Americas. John Lewis’ Django proves to be a perfect opener, Dominguez building a lingering intro until he he adds subtle Spanish rhythm, a series of tasty, slithery cascades and finally some deviously muted syncopation. Likewise, he takes his time with Cuban composer Eliseo Grenet’s Drume Negrita, reinventing it as a balletesque strut rather than playing it as salsa, with a meticulous, downwardly ratcheting coda.
There are a couple of Monk tunes here. Evidence is amusingly tricky, switching back and forth between “gotcha!” pauses and a sagely bluesy insistence that swings just enough to keep it from being a march. Interesingly, Dominguez plays the more phantasmagorical Monk’s Dream a lot more straightforwardly, at the exact same tempo, with spiraling exactitude.
From its spring-loaded intro, to the clenched-teeth intensity of Dominguez’s drive through the first verse, to a bracing blend of cascade and pounce, the real showstopper here is an epic take of Violeta Parra’s Gracias A La Vida. He brings a similar, majestically circling intensity and then some trickily rhythmic fun to Cuban composer and frequent collaborator Marta Valdés’s Hacia Dónde.
The gorgeous take of Los Ejes De Mi Carreta, by Argentinean songwriter Atahualpa Yupanqui, simmers over catchy lefthand riffage, then grows more austere until Dominguez takes it out with a stampede.
His two originals here are dedicated to his kids. Mantreria shifts through intricate spirals, clever echo effects to saturnine, anthemic proportions and then back again. Marcel has a striking, steady, wistful yearning before Dominguez indulges in some boogie-woogie before shifting in a triumphantly gospel-flavored direction.
There’s also a ditty from the Wizard of Oz – no, it’s not If I Only Had a Brain.
Claudia Acuña’s Rich, Lyrical New Album Turns Out to be Worth a Decade-Long Wait
Claudia Acuña is revered in the New York jazz scene as one of the most unselfconsciously soulful and mutable singers around. She bridges the gap between North American jazz and South American balladry better than just about anyone, equally skilled in both English and Spanish. But she’s also a hell of a songwriter. Her new album Turning Pages – which hasn’t hit her music page yet – features seven originals along with a standard and another by her mentor, Abbey Lincoln. It’s Acuña’s first album as a bandleader in ten years, and it was worth the wait. She’s playing a four-night stand at Birdland to celebrate this Feb 6-9, with sets at 7 and 10; you can get in for as little as $20.
Lowlit by Pablo Vergara’s broodingly gleaming piano, Yayo Serka’s elegant drumming and Carlos Henderson’s terse bass, the album’s opening track, Aguita de Corazon is a masterpiece. Acuña’s voice is cool and nuanced yet plaintive, working the increasingly haunting twists of the lyrics with a subtle wallop. On harmonica, guest Gregoire Maret plays the solo of his life, a comet trail of angst to mirror the vocals.
Then Acuña flips the script with Hey, an insistent empowerment ballad that mashes up 70s clave soul with trippy, stainless-countertopped 90s acid jazz, guitarist Juancho Herrera adding an incisive, funky edge. Her luxuriantly bittersweet remake of Jimmy Van Heusen’s But Beautiful is spacious yet propulsive, driven by Serka’s syncopated, clickety-clack snare work. Henderson’s sinuous soloing and Herrera’s resonant jangle.
Acuña brings back the darkly pensive atmosphere in Tres Deseos (Three Wishes), awash in Serka’s waves of cymbals and malletwork and Vergara’s translucent, neoromantic phrasing. The moon imagery – a persistent trope here – in the next track, Futuro is more carefree, lit up by Herrera’s incisive flares over a pulsing quasi-reggae groove. His Arabic-tinged solo is just short of savage, and the album’s instrumental high point.
Lincoln’s Bird Alone has all kinds of neat, unexpected touches: Vergara’s coy chirps, Herrera’s spare, plaintive but powerfully present chords and a world-weary vocal that echoes both the writer and Sarah Vaughan. Silencio is anything but quiet, Herrera’s gritty flamenco-inflected lines driving the song to a harrowing peak with Acuña’s vocalese paired against Vergara’s ominously glittering rivulets.
Home, a duet with Herrera, is a gospel tune with some unexpected, sunny slide guitar. Those gospel echoes remain in thee album’s closing cut, Tu Sonrisa (Your Smile), its Mexican ranchera-inflected sway the closest thing to carefree here. It’s early in the year, but this is the best album of 2019 so far.
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