Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

¿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.

July 3, 2019 Posted by | jazz, latin music, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , | Leave a comment