Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Stunningly Eclectic Singer Sofia Rei Radically Reinvents Violeta Parra Classics

Conventional wisdom is that if you cover a song, you either want to do it better than the original, or make something completely different out of it. The latter usually makes more sense, considering that if a song is worth covering at all, the original is probably hard to beat. Merle Haggard as shambling free jazz; Gil Scott-Heron as hard bop; Pink Floyd as dub reggae – all of those unlikely reinterpretations ended up validating the outside-the-box creativity that went into them. On the brand-new album El Gavilan (The Hawk), streaming at Bandcamp, pan-latin singer Sofia Rei – who’s never met a style she was afraid to tackle – puts a brave new spin on the songs of Chilean icon Violeta Parra. The Argentine-born songstress is currently on tour; her next New York concert is this coming June 2 at 8 PM at the Neighborhood Church, 269 Bleecker St. at Morton St. in a duo with the incomparable, more atmospheric Sara Serpa, her bandmate in John Zorn’s Mycale a-cappella project. The show is free.

On one hand, artists from across the Americas have covered Parra. On the other, it takes a lot of nerve to reinvent her songs as radically as Rei does. The album’s opening number, Casamiento de Negros begins as a bouncy multitracked a-cappella number, like Laurie Anderson at her most light-footed; Ribot tosses off a tantalizingly brief, Hawaiian-tinged slide guitar solo. It’s a stark contrast with Parra’s allusive narrative of a lynching. 

Parra’s stark peasant’s lament Arriba Quemando El Sol is a march, Ribot opening with an ominous clang, then echoing and eventually scorching the underbrush beneath Rei’s resolute, emphatic delivery. It’s akin to Pink Floyd covering Parra, but with more unhinged guitars and more expressive vocals. She does Una Copla Me Ha Cantado as a starlit lullaby, killing softly with the song over Ribot’s spare deep-space accents.

Her wryly looped birdsong effects open a pulsing take of Maldigo Del Alto Cielo that rises to swoopy heights, spiced with wisps of backward masking, a curse in high-flying disguise. By contrast, the muted, bruised pairing of Rei’s vocals with Ribot’s spare chords gives La Lavandera the feel of a Marianne Dissard/Sergio Mendoza collaboration as it reaches toward a simmering ranchera-rock sway.

Rei makes a return to atmospheric art-rock with the lament Corazón Maldito, Ribot rising from shivery angst to menacing grey-sky grandeur, Rei parsing the lyrics with a dynamic, suspenseful, defiant delivery like Siouxsie Sioux without the microtones. 

The album’s epic title track clocks in at a whopping fourteen minutes plus, opening with atmospherics and Ribot taking a rare turn on acoustic, warily and airily. From there he switches to electric for cumulo-nimbus, Gilmouresque atmospherics behind Rei’s frantically clipped, carnatically-influenced delivery, following Parra’s anguished tale of abandonment.

The ambient Enya-like concluding cut is Run Run se Fue pa’l Norte, an apt song for our time if there ever was one, echoing with more Pink Floyd guitar from Los Tres‘ Angel Parra, Violeta Parra’s grandson. Whether you call this art-rock, jazz, or state-of-the-art remake of Chilean folksongs, it will leave you transfixed, especially if you know the originals.

It’s open to debate if the Trump administration would let an artist like Rei into the country these days, considering his commitment to kissing up to the non-Spanish speaking lunatic fringe.

May 8, 2017 Posted by | avant garde music, jazz, latin music, Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , | Leave a comment

Thrills and Dynamism from the Transatlantic Ensemble at Steinway Hall

From this perspective, crowds at concerts have been even more sparse than usual since the election. Monday night at the new Steinway Hall just around the corner from the Town Hall, a surprisingly robust turnout for an early weeknight got to witness a thrilling, dynamic performance by the Transatlantic Ensemble: clarinetist Mariam Adam and pianist Evelyn Ulex, joined by a couple of similarly electrifying special guests, Lara St. John on violin and JP Jofre on bandoneon.

The group’s raison d’etre is to expand the range of serious concert music beyond the usual parade of dead white guys. Lots of ensembles are doing this, but few more excitingly than this semi-rotating cast. Adam got to treat the crowd with her joyous, technically challenging leaps and bounds as the group bookended the program with a couple of Paquito D’Rivera pieces, Benny@100 – a tribute to famed jazz clarinetist Benny Goodman – and a pulsing Venezuelan-flavored waltz.

In between, Ulex explored a similar dynamism and nuance. She’s one of the pianists Steinway selected to record for their digital player piano, the Spirio, which not only plays the notes but with a very close approximation of an individual player’s touch and phrasing. With the Spirio, you have your choice of your favorite music along with a variety of interpretations. If there’s no room in your apartment or your budget for such a big piece of equipment, the Steinway label has just put out the Transatlantic Ensemble’s new album Havana Moon – streaming at Spotify – whose release the group was celebrating.

The premise of the album, Adam revealed, was to celebrate the work of some of the group’s favorite composers from their global circle. The night’s biggest thrill ride was a tango by Miguel del Aguila, whom Adam described as “impetuous,” and she wasn’t kidding. Ulex attacked the tune with both graceful precision and unleashed passion as Adam provided cleverly dancing counterpoint, and St. John added her own high-voltage flurries and spirals. The group hit a similar peak later on when joined by Jofre for a rousing performance of his composition Primavera, which came across as more of a wild midsummer festival on the Argentinian pampa.

Del Aguila’s Silence, as Adam averred, was hardly silent: a requiem, it gave her the evening’s lone opportunity to cut loose in an anguished torrent of notes, and she made the most of it. The duo also elegantly parsed the subtleties of D’Rivera’s neoromantically-tinged Habanera, a wistful Roaring 20s Parisian waltz by Villa-Lobos and a surprisingly astringent, modernist lullaby by Jofre.

November 19, 2016 Posted by | classical music, concert, jazz, Live Events, Music, music, concert, New York City, review, world music | , , , , , , , , , , , , , , , , | Leave a comment

The Gregorio Uribe Big Band Air Out Their Mighty, Slinky Cumbia Sounds at Two Shows This Coming Week

The Gregorio Uribe Big Band are one of those groups whose music is so fun that it transcends category. Is it cumbia? Big band jazz? Salsa? It’s a little of all that, and although it’s a sound that draws on a lot of traditions from south of the border, it’s something that probably only could have happened in New York. For more than three years, the mighty sixteen-piece ensemble has held a monthly residency at Zinc Bar. They’ve also got two enticing upcoming shows: one at Winter Jazzfest, on their regular home turf at twenty minutes before midnight on Friday, January 15 (you’ll need a festival pass for that), and also at about 10:30 PM on January 18 as part of this year’s South American Music Festival at Drom. That lineup, in particular, is pretty amazing, starting at 7:30 PM with magically eclectic singer (and member of Sara Serpa’s dreamy Mycale project) Sofía Rei, slashingly eclectic Pan-American guitarist Juancho Herrera and band, singer Sofía Tosello & innovative percussionist Franco Pinna’s hypnotic new folk-trance duo Chuño, then Uribe, then the psychedelic, surfy, vallenato-influenced art-rock groovemeisters Los Crema Paraiso and extrovert percussionist Cyro Baptista’s group at the top of the bill sometime in the wee hours. Advance tix are $20.

Frontman Uribe leads the group from behind his accordion, and sings – it’s hard to think of another large ensemble in New York fronted by an accordionist. Those textures add both playfulness and plaintiveness to Uribe’s vibrant, machinegunning charts. The group’s debut album, Cumbia Universal – streaming at Sondcloud – opens with Yo Vengo (Here I Come), with its mighty polyrhythmic pulse between trombones and trumpets, all sorts of neat counterpoint, and Uribe’s accordion teasing the brass to come back at him. They take it doublespeed at the end.  ¿Qué Vamos a Hacer Con Este Amor? (What Are We Going to Do with This Love?) is a funny salsa-jazz number spiced with dancing exchanges of horn voicings, a duet between Uribe and chanteuse Solange Pratt. She has lot of fun teasing him in his role as a chill pro, trying to resist her temptations.

El Avispao (The Cheater) isn’t about infidelity – it’s a bouncily sarcastic commentary on the corruption that plagues Latin America, with a sardonic tv-announcer cameo and faux fanfares from the brass. The intro to Goza Cada Dia (Enjoy Yourself) has one of the most gorgeous horn charts in years, expanding into individual voices as it goes along: there are echoes of Memphis soul, Afro-Cuban jazz and classic 70s roots reggae, but ultimately this is Uribe’s triumph. Ruben Blades duets with the bandleader on the album’s title track, a jubilant mashup of Caribbean and Pacific coastal cumbia, with a dixieland-tinged solo from Linus Wynsch’s clarinet and a more wryly gruff one from baritone saxophonist Carl Maraghi.

¿Por Qué Se Ira Mi Niño? portrays the anguish of losing a child – Uribe’s native Colombia has a higher infant mortality rate than this country, perhaps three times worse. Matt McDonald’s brooding trombone underscores the sadness of the vocals on the intro, then the band takes it toward salsa noir territory. The soca-flavored Caribe Contigo offers upbeat contrast, anchored by stormy brass and capped off with sailing clarinet. Welcome to La Capital, a bustling Bogota street scene, brings to mind the psychedelic lowrider soul of early 70s War, Ignacio Hernandez’ guitar sparkling amid the endless handoffs among the horns.

The cumbia cover of the Beatles’ Come Together is just plain hilarious – and the way the original vocal line gets shifted to the brass isn’t even the funniest part. The album winds up with the unexpectedly bristling, hi-de-ho noir cumbia jazz of  Ya Comenzó La Fiesta (The Party Starts Here). Crank this in your earphones as you try to multitask, but expect people to be looking at you because you won’t be able to sit still.

January 10, 2016 Posted by | jazz, latin music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Psycho Mambos with Gato Loco Saturday Night at BAM Cafe

Gato Loco got their start putting a punk-jazz spin on classic old Cuban son and mambo styles, with low-register instruments: baritone and bass sax, tuba, bass and baritone guitar, among others. Snice then, they’ve expanded their sound with a rotating cast of characters: it wasn’t long before they’d added originals to their set. They had long-running residencies at the old Bowery Poetry Club and the late, lamented Zirzamin. Since then, gigs have been somewhat fewer and further between, especially since frontman/multi-saxophonist Stefan Zeniuk is so highly sought after as a sideman. It’s never exactly certain just what Gato Loco lineup is going to show up, but it’s a safe bet that their gig this Saturday night, November 21 at 10 PM at BAM Cafe will be a party.

Their most recent show at another frequent haunt, Barbes, was this past June, where they were joined by a hotshot Strat player along with Tim Vaugn on trombone, Tuba Joe, Ari F-C on bass and the brilliant Kevin Garcia (also of another similarly estimable noir band, Karla Rose & the Thorns) on drums. They opened with an agitatedly pulsing chase scene of sorts that rose to a wailing, enveloping forestorm as the rhythm went completely haywire along with the rest of the band, faded down into cinders and then sprang up again in a split second. Zeniuk’s ghostly bass sax mingled with lingering, reverbtoned Lynchian licks from the guitar as the slow, slinky second number got underway, then shifted shape into a warmly moonlit tableau before rising toward macabre Big Lazy territory. From there they segued into a dark clave groove, Vaugn punching holes in the sky, Garcia tumbling elegantly in the background as the horns joined forces, terse and somewhat grim as they went way down low. The careening, axe-murderer sprint to the finish line was one of the most exhilarating moments of any show anywhere this year – and probably one of the loudest ever at little Barbes.

From there the band went epic, making a slow, big-sky highway theme out of a wistful Gulf Coast folk-inspired tune, slowly elevating to a lively, scampering fanfare, then down again, Vaugn pulling the rest of the group along with a long, tightly unwinding staccato solo. The low instruments’ murky noir sonics contrasted with the guitarist’s spare, sunbaked blues  and Memphis soul lines as the next number got underway, Zeniuk finally signaling with a snort that it was time to build another funeral pyre on top of the serpentine groove. The best song of the night was a gloomy bolero, played in a dynamically shifting vein as Sergio Mendoza might have done it, featuring a muted trumpet solo, another pyrotechnically noisy interlude and an unexpected, clickety-clack dixieland outro. Name another band with as many flavors as these crazy cats.

November 19, 2015 Posted by | concert, jazz, latin music, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

A Lively, Richly Arranged New Big Band Album and a Smalls Show from Emilio Solla

Pianist Emilio Solla writes colorful, rhythmic, ambitiously orchestrated music that could be called latin jazz, but it’s a lot more eclectic and global in scope than your basic salsa vamp with long horn solos. Like his music, Solla is well-traveled: born in Argentina and now in New York for the past decade after a long stopover in Spain. His new album Second Half with his brilliant nine-piece ensemble La Inestable de Brooklyn – streaming at Spotify– draws equally on Piazzolla-inspired nuevo tango, Brazilian, Spanish Caribbean and American jazz sounds. Solla and his mighty group have a show this Sunday, May 7 at 4:30 PM at Smalls; cover is $20, and you get a drink with that.

The band comprises some of the more adventurous jazz players in New York: Tim Armacost on saxophones and alto flute; John Ellis on tenor sax, flute and bass clarinet; Alex Norris on trumpet, Ryan Keberle on trombone; Meg Okura on violin; Victor Prieto on accordion; Jorge Roeder on bass and Eric Doob on drums. Much as the title of the opening track, Llegará, Llegará, Llegará, implies that there’s something just around the corner, it’s a nonstop series of bright, incisive, alternating voices over a galloping, samba-tinged groove, a real roller-coaster ride, as lush as it is protean.It’s especially interesting to hear Solla’s original here, compared to the blistering cover by bagpiper Cristina Pato, which is practically punk rock by comparison.

The second track, Chakafrik has a brass-fueled Afro-Cuban flavor subtly spiced with accordion and violin and more of those intricately intertwining, polyrhythmic exchanges of riffs from throughout the group. The Piazzolla-inspired Para La Paz brings the volume and tempo down somewhat, but not the energy, lit up by warmly lyrical solos from tenor sax and trumpet up to a big, lush crescendo.

The first part of Solla’s epic Suite Piazzollana (his Spanish group Afines did the second) takes a bouncy folk theme in all sorts of directions: how do you say dixieland in Spanish? Tierra del sur? From there, Solla builds a long, exploratory piano solo, then the band take a judicious, rather tender interlude, Norris’ resonant trumpet paired against Okura’s uneasy staccato violin. The long build out from there makes the group sound twice as large as it is, with their constant exchanges of riffage.

Esencia sets bright, hefty newschool big band textures over an altered clave beat, Solla’s rather droll, vamping second solo kicking off a big, rapidfire, bustling coda. American Patrol is a jovial blend of Mexican folk and New Orleans swing – when the quote from the cartoon comes in, it’s impossible not to laugh. Raro, a bustling, cinematically swinging number, edges toward the noir, with more tasty trumpet-violin jousting and a very clever switch from dancing, staccato brass to brooding nuevo tango orchestration. The last track is Rhythm Changed, another very clever arrangement, with its understated polyrhythms and uneasy harmonies from throughout the band circulating through a pretty standard midtempo swing tune. Throughout the album, the performance is tight and driving but also comfortable: this crew obviously has a good time playing this material, and it’s contagious. Not what you might expect from a group who call themselves “The Brooklyn Unstable.”

June 3, 2015 Posted by | jazz, latin music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Miguel Zenon Explores Multimedia Jazz and Nuyorican Identity on His Majestically Insightful New Big Band Album

It’s never safe to nominate anybody as being the very best on a given instrument – unless maybe it’s something obscure like the contrabass clarinet. As long as Kenny Garrett’s around, it’s especially unsafe to put an alto saxophonist at the front of that pack. But it is probably safe to say that no other alto player has been on as much of a creative roll as Miguel Zenon has been lately. His sound, and his songs, can be knotty and cerebral one minute, plaintive and disarmingly direct or irresistibly jaunty the next. His latest album, Identities Are Changeable (streaming at Spotify), explores the complexities of Nuyorican heritage with characteristic thoughtfulness and verve. He and his longtime quartet – pianist Luis Perdomo, bassist Hans Glawischnig and drummer Henry Cole – have a a rare Bronx show coming up on March 20 at 7:30 PM at the Hostos Center Theater, 450 Grand Concourse, 2/4/5 to Grand Concourse/149th St. Tix are very reasonable, $15/$7.50 stud/srs.

It’ll be especially interesting to see how Zenon handles the music from the new album onstage, not only because it’s a big band album but that it’s a mix of jazz and spoken word. The ensemble opens with De Donde Vienes (i.e. “where you from?”), which sets a pastiche of Zenon’s friends and family explaining their sometimes tangled roots over a lively, circularly vamping backdrop. The title track begins the same way, a discussion of cultural identity and assimilation set to a more skeletal vamp, which then builds to a bright, trumpet-fueled largescale arrangement. Zenon finally makes his entrance on a dancing yet pensive note, aptly depicting the New York/Puerto Rico dichotomy that sometimes pulls at Nuyoricans. Perdomo follows with one of his signature glistening interweaves before the brass brings back a tense balminess, a storm moving in on Spanish Harlem.

My Home, another big band number moves from shifting sheets of horns into a moody, syncopated clave lit up by more carefree Zenon phrasing behind the snippets of conversation and finally a majestic, darkly pulsing coda. Same Fight, an elegantly but intensely circling big band waltz offers some fascinating insights on commalitities between Nuyoricans and American blacks: “If I didn’t speak Spanish, people would assume I was African-American,” one commentator relates. A somewhat more sternly rhythmic variation, First Language, follows, with some deliciously interwoven brass and Tim Albright’s thoughtfully crescendoing trombone solo

Second Generation Lullaby bookends a starkly dancing bass solo with a more lavishly scored, warmly enveloping variation on the initial waltz theme. The most salsafied track is Through Culture and Tradition, mixing up high-voltage bomba and plena rhythms and riffage into a large ensemble chart that’s just as epically sweeping as it is hard-hitting. Zenon closes with a relatively brief outro that brings the album full circle. What might be coolest about the entire project is that all the talking isn’t intrusive and actually offers a very enlightening look at how cultures in New York both blend and stay proudly true to their origins. It’s a sweet album from Miel Music (sorry, couldn’t resist).

November 16, 2014 Posted by | jazz, latin music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Elio Villafranca Brings His Blazing Original Afro-Cuban Grooves Back to JALC

Eclectic, intense Cuban pianist Elio Villafranca & the Jass Syncopators have made Dizzy’s Club at Jazz at Lincoln Center pretty much their home in NYC. They’ve got another weekend stand coming up June 13-15, with sets at 7:30 and 9:30 PM. The lineup is pretty much the same as their last stand here, the notable change being Steve Turre on trombone and his signature conch shells in place of trumpeter Terrell Stafford. Which probably means more time in the spotlight for saxophonist Vincent Herring, always a good sign. Here’s what they sounded like in the room about eighteen months ago:

“You might think from their name that Elio Villafranca & the Jass Syncopators play New Orleans second-line marches, or hot jazz from the 20s. In actuality, that’s just how the word for their music is pronounced in Spanish. Last night at Jazz at Lincoln Center, the Cuban pianist and his allstar lineup romped through an expert and exhilarating blend of salsa and hard bop with richly melodic interludes and the occasional plunge into third-stream sounds. That’s been a common trait among Cuban pianists practically since the days of Ernesto Lecuona – at least those evil conquistadors left one good thing on the island, the “classical tinge,” to twist a Jelly Roll Morton phrase. Much as that is one of Villafranca’s signature characteristics, this show was all about the party: watching the couples sit and sway rapturously with the lights of Manhattan glimmering from high across the park, it was surprising that there wasn’t anyone other than guest dancer Mara Garcia undulating up there with the band.

Throughout the night’s early set, Villafranca for the most part eschewed flashy soloing in lieu of an endless groove, whether that be a frequently polyrhythmic salsa slink – Villafranca is one of the most rhythmic pianists anywhere – with straight-ahead swing, a couple of detours into rumbling Puerto Rican bomba and a long, fiery mambo at the end. Locked in with the tumbling piano, tenor saxophonist Greg Tardy alternated between hard-driving flights and warm melodicism and a wryly smoky bourdoir jazz interlude toward the end of the bomba tune. Trumpeter Terrell Stafford blasted through bop grit with rapidfire glissandos and trills…and a descent into genial blues at the end of his last solo, when he’d taken it so high that there was nowhere else to go. Alto saxophonist Vincent Herring served as a powerful foil to all the goodnatured wailing, adding a biting, sometimes haunting, modally-fueled gravitas. Bassist Carlos Henriquez held to a purist, terse groove – and took one of the night’s most memorable solos, voicing a horn. Drummer Lewis Nash seemed to be having the most fun of anyone up there as he swung through conga riffs, artful clave variations that leaned on the off beat, and a jovial bounce that was all the more powerful for its simplicity.

Augmenting the rhythm was an excellent two-man team of congas and bongos, Puerto Rico’s Anthony Carrillo and the Dominican Republic’s Jonathan Troncoso. The attractively lyrical opening number, Incantations, had Villafranca staking his claim to nimble, hair-raising polyrhythms. The band bookended a brightly pouncing, riff-driven tune with dark streetcorner conga breaks, following with a song ‘dedicated to politics,’ A Great Debater, Villafranca driving its insistence to a clamoring crescendo followed by a playful Nash solo. They wound up by taking a new, untitled bomba tune and swinging it with bisected, lyrical/frenetic solos from the horns, and then the big mambo at the end where Villafranca finally took off for the upper registers with a breathtaking tumbao assault: as cruelly as he hit the keys, the groove never wavered. It was every bit as adrenalizing to watch as it must be to dance to.”

June 5, 2014 Posted by | jazz, latin music, Live Events, Music, music, concert | , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Epic Majestic Grandeur at the Apollo Saturday Night

“I’ve played for Presidents and heads of state,” pianist/composer Arturo O’Farrill told the audience at his show uptown last night, “But headlining the Apollo on a Saturday night is the greatest honor of all.” In a torrential, towering performance of new material and reinvented classics, O’Farrill summoned the ghosts out of the rafters of the legendary Harlem jazz shrine and conjured up new ones in a blaze and rumble of sound true to his band’s name. The Afro-Latin Jazz Orchestra pulse and roar along on African beats, through melodies that transcend the typical Spanish Caribbean repertoire, a cast of some of New York’s best jazz players delivering the thundering majesty of a symphony orchestra. That’s their main gig; their other one, when they’re not winning Grammies or playing for Presidents, is supplying the New York public school system with instruments so that kids can grow up playing this music. How cool is that?

This concert had two centerpieces, O’Farrill’s Afro-Latin Jazz Suite as well as the Afro Cuban Jazz Suite written by his dad Chico O’Farrill, a paradigm-shifting composer and bandleader from another era. With its gale-force swells, pregnant pauses and momentous force, the new one often referenced the old one, but overall was a lot more robust. The old one started out as a schmaltzy ballad but soon took on variations that revealed the intro as a not-so-subtle parody of north-of-the-border blandness, through permutations that ranged from the baroque to the absolutely noir, to close the concert on a surprisingly subdued note.
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Another centerpiece – this one the marauding, intense title track from the band’s forthcoming album The Offense of the Drum – began as a sarcastic faux military march and shifted artfully into a triumphant salsa jazz theme. No matter how much the powers that be try to contain the clave, it always wins. O’Farrill wrote it as an exploration of how the drum has been used throughout history as a weapon in the arsenals of both the oppressors and the freedom fighters – and in current New York history, to call attention to how drum circles in public places have been outlawed.

Otherwise, the blaze of the brass and the unexpected and very rewardingly ever-present, fat pulse of Gregg August’s bass fueled a mix of material that edged toward the noir. The orchestra reinvented Pablo Mayor’s Mercado en Domingo as a torrid cumbia, as psychedelic as anything you could imagine. The opening number, O’Farrill’s Vaca Frita, echoed Gil Evans with its dips from angst-ridden sunset burn to elegantly moody trumpet and alto sax solos over a spare, somber backdrop from just the rhythm section. Ageless piano sage Randy Weston led the band through a richly dynamic take of his African Sunrise, holding it down with the stygian lowest registers of the piano while guest Lewis Nash drove it with a clenched-teeth intensity from behind the drum kit, guest tenor saxophonist Billy Harper livening it with several expansive but steel-focused solos. The four-piece percussion section rose and fell from thunderous to suspenseful. And Chris “Chilo” Cajigas delivered a brilliantly excoriating, historically rich hip-hop lyric tracing hundreds of years of Latin American immigration, endless exploitation yet ultimately a distinctly Nuyorican-flavored triumph over all of it, set to the darkly jubilant backdrop of Jason Lindner’s They Came.

The only drawback was the addition of a guest turntablist on a handful of numbers, which created the kind of effect you get where one radio broadcast is competing with another. In this case, it was the jazz station plagued with interference from the hip-hop station just up the dial. This band swings like crazy, and the poor guy wasn’t able to keep up. Things like this happen when a nonmusician gets thrown up onstage with players of this caliber. Hip-hop and reggaeton have given the world thousands of brilliant lyricists, but, aside from maybe Yasiin Bey, not a single noteworthy musician.

May 11, 2014 Posted by | concert, jazz, latin music, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Magos Herrera and Javier Limon Hold the Crowd Rapt in an Intimate Duo Show

 

Mexican singer Magos Herrera reaffirmed her presence as one of the most eclectically compelling singers in any idiom in an intimate duo performance with guitarist Javier Limon for media and a select group of friends at a Chelsea gallery Thursday night. Her previous album Mexico Azul celebrated the African roots of much of Mexican music and culture. Dawn, her new collaboration with Limon, she said, made the connection between Mexico and Spain seem “perfectly natural,” a rather brave assertion for someone whose career has advocated so strongly for the people of her native land. But it’s a quietly stunning move for her: throughout an all-too-brief, set, she and Limon enjoyed a casual chemistry but also an intense focus and commitment to finding the most subtle shades in the music.

Herrera sang in her signature, minutely jeweled contralto until finally going way up, further than you would expect someone with such command of her low register would be able to. Limon played sparingly and judiciously, letting his phrases breathe, matching the singer’s penchant for not wasting notes, which made his occasional flamencoesque flurry all the more intense. They opened the set with a syncopated tango of sorts, Herrera’s delivery managing to be both misty and disarmingly direct at once. Then they reinvented Skylark as a richly suspenseful, spaciously contemplative mood piece with hints of both flamenco and Andalucian music.

Throughout the rest of the set, Limon would sometimes shadow the vocals, following Herrera’s crescendoing, upward ascents with his own. On occasion, he’d light up a slowly swaying theme with a sputtering crescendo much in the way that Herrera would add gracefully scatting accents to bring a chorus to a gentle peak, singing in both Spanish and English. This approach maintained the flamenco influence without the cliches that so many acts who didn’t grow up with the music employ for over-the-top affect. They ended with a number that began with a rainy-day theme that wouldn’t have been out of place in the Sade catalog and then took it out almost as a march, with a series of hypnotically shifting vamps.

And speaking of Sade, there’s been a void where that singer once reigned as the queen of artsy, sophisticated romantic chanteuses. Which would give Herrera room to take over that role, if she wanted. Obviously, she might find that limiting: she’s a more subtle and diverse singer than Sade, and her interests run far beyond romantic balladry. But she’s got the torchy delivery, plaintiveness and sense of longing. What if Herrera – or someone like her – decided to take the Mexican bolero and reinvent it as American torch song? Wouldn’t it be cool if the default boudoir music of the west was a style refined and brought to its pinnacle by Mexicans? Forget about Obama’s lip service about immigration reform: there are an awful lot of places in this country where Mexican-Americans are under fire. What a pleasant and subtle way to fight back against all that repulsiveness – and to jumpstart the reconquista. Just a thought…

April 19, 2014 Posted by | concert, gypsy music, jazz, latin music, Live Events, Music, music, concert, New York City, reggae music, review, world music | , , , , , , , , , , , , , , , | 1 Comment

Agile, Slinky Latin Jazz Cross-Pollination from Natalie Fernandez

Singer Natalie Fernandez has a genre-smashing new album out, Nuestro Tango, a collaboration with a shapeshifting band whose core is pianist Zaccai Curtis’ Insight. Curtis, a member of both Donald Harrison and Cindy Blackmon’s bands, knows a thing or two about cross-pollination. Likewise, his brother, bassist Luques Curtis, of Eddie Palmieri’s band, whose work obviously inspires this project. Fernandez, daughter of well-known tango singer Stella Milano, does a lot with a small voice, singing fluently in both Spanish and English, more animatedly in Spanish which probably makes sense since the Spanish-language numbers are livelier. Essentially, as Palmieri does so often, these tracks make Afro-Cuban jazz out of themes from further south of the border, in this case from Argentina and Uruguay. The rest of the inspired ensemble includes drummer Richie Barshay, Reinaldo de Jesus on percussion, Daniel Antonetti on timbales, Julie Acosta on trumpet, Tukunori Kajiwara on trombone, and Zach Lucas on tenor sax plus a multitude of special guests.

They open with Azabache, the first of the candombes, which gets a swinging, fat groove, a lithe Zaccai Curtis intro, a gem of a piano solo that’s far too short, a balmy horn chart…then they make a guaguanco out of it. Right there you have the band’s m.o. El Dia Que Me Quieras looks back to the famous Eddie Palmieri version but with more of a nuevo tango feel and coy, terse vocals from Fernandez. Like the first track, they swing it out with a cha-cha groove.

Adios Nonino probably isn’t the first song you might think of swinging, but Fernandez does it tenderly over an understatedly slinky beat lit up by Richard Scofano’s bandoneon. They follow it with Afrotangojazz, a vamping feature for percussion and bandoneon. Malena builds to an emotionally-charged, suspenseful crescendo – and then the percussion kicks in, and suddenly it’s a summery candombe-salsa romp. My True Love, a salsa-tinged jazz ballad co-written by the pianist and singer, gets an incisive, wood-toned bass solo and a hard-hitting break for drums and percussion.

Since this is a Curtis Brothers project (the two earned the top spot on the Best Albums of 2011 list here for their album Completion of Proof) it’s no surprise that there’s socially aware content, most vividly expressed in the elegant jazz waltz Free Me, with its moody bass solo and a thoughtful lyrical interlude delivered by hip-hop artist Giovanni Almonte Alberto Mastra’s El Viaje del Negro gets rapidfire bursts of lyrics, a brisk, poinpoint beat and a full-bore brass section. By contrast, Juan Carlos Cobian’s Nostalgias opens with eerily glimmering piano and a brooding trumpet line setting the stage for Fernandez’ wounded, angst-ridden vocals, intertwined with the bandoneon and a darkly gleaming horn chart. It’s the best and most epic song on the album. Fernandez winds it up with a torchy yet nuanced voice-and-piano version of Eladia Blazquez’s Un Semajente  It’s out now on Truth Revolution Records.

November 17, 2013 Posted by | jazz, latin music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment