Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Yorgis Goiricelaya Looks Forward and Back with Afro-Cuban Music

Cuban-American bassist Yorgis Goiricelaya’s new album Elegance lives up to its title. Yet it’s just as gritty in places, setting cerebral improvisations on both classic and original songs alongside joyously rustic streetcorner soul vamps, immersed in the rich history of Afro-Cuban music yet pushing the envelope at the same time. Behind him is a hall of fame lineup of latin jazz players, among them Hilario Bell on drums and percussion, Orlando Guanche on piano (and harmonica on one tune), Aldo Salvent on tenor sax, Eddie Trujillo on guitar, Carlos Puig and Omar Peralta on trumpet, William Paredes on trombone, Reinier Guerra on drums, Eduardo Rodriguez on congas, along with with cameos by rustic Afro-Cuban group Los Herederos, pianist Osmany Paredes, Cuban sax legend Paquito D’Rivera, pianist Tony Perez and singer Issac Delgado. Such a heavyweight lineup doesn’t usually come out all at once for a single project, testament to the imagination and quality of the compositions. Latin bassists tend to be an especially melodic bunch, and Goiricelaya continues that tradition: he doesn’t waste notes, his melodic hooks are consistently strong, and it’s obvious that he was able to clearly communicate his ideas to the rest of the cast here.

Los Herederos open the album with some old-time streetcorner rhumba soul, drums and vocals hypnotizing with their tricky polyrythms. Then the full band takes Aniceto Diaz’ Rompiendo la Rutina in an unexpected and richly complex direction highlighted by D’Rivera’s expansive, carefree solo. With its bossa pulse, Annalis Elisa Suarez’ Delirios is a richly melodic song without words, Salvent’s swirling tenor delivering one of several tasty solo spots. Blue, a Goiricelaya original, is a blustery cha-cha elevated by shimmering piano from Guanche, who emerges as the MVP of this session. He quotes Chopin on a lengthy, intense version of El Manicero and adds an incisiveness that’s sometimes austere, sometimes downright aggressive throughout the rest of his tracks, notably a version of Echale Salsita where he plays against some period-perfect muted trumpet from Peralta.

Bell’s Juego de Tiempo is done as vintage 70s funk, with a playfully trippy electric guitar solo by Trujillo. The band turns Jaco Pastorius’ Teen Town into a gleefully purist big band bossa romp and rips through a bubbly, hypnotic version of Bell’s Se Acabo. After the last of Los Herederos’ call-and-response interludes, the album closes with a terse, genuinely beautiful piano-and-bass arrangement of Tony Perez’ ballad My Love. The cd comes with a DVD (subtitled in English) which chronicles the recording process, including an endless series of rap video-style cameos from the musicians which occasionally provide some insight into the music. The most interesting of these are when Goiricelaya explains how he came across Los Herideros – and when D’Rivera shows off a considerable sense of humor. Goiricelaya is currently based in Miami; this album should go a long way toward getting him the broader audience he deserves.

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January 26, 2011 Posted by | jazz, latin music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Septeto Nacional Make the Buena Vista Social Club Seem Like New Jacks

How’s this for oldschool: Septeto Nacional have been around since 1927. The current incarnation of the band made its US live debut last year; this album, Sin Rhumba, No Hay Son, their debut recording outside of Cuba, makes the Buena Vista Social Club seem modern by comparison. Their founder, bassist Ignacio Piniero (1888-1969) is credited with introducing horns to Cuban music: sin Ignacio, no hay Machito? It’s rustic, roughhewn, often joyous but also plaintive oldtime latin music. The African clave beat is there as it is in so many latin styles, but Crispin Diaz Hernandez’s deft percussion lurks behind a thicket of richly jangly acoustic guitar from Dagoberto Sacerio Oliva and tres by Enrique Collazo, spiced with Agustin Someillan Garcia’s trumpet, with Raul Acea Rivera on bass and the aptly nicknamed Eugenio “Raspa” Rodriguez on lead vocals. It’s a mix of originals along with a couple of vintage Piniero numbers in several vintage styles including son montuno, rhumba, guaracha and the sad, pretty bolero that’s the third track here – did Willie Nelson hear that before he wrote Let It Be Me?

Collazo steals the show here, particularly on the album’s best cut, El Plato Roto (The Broken Plate) and its stinging, spiky solo at the end. The catchy, sly minor-key dance number, Mueve Tu Cintura (literal translation: shake your hips) has the tres casually whipping through a long, biting series of chords at the end. And his incisive jangle drives the sassy La Mulata Rumbera (featuring an inspired vocal by guest Bertha Portuondo) and the bouncy Me Dieron la Clave (They Gave Me the Clave), with a solo that literally snarls. The Piniero tracks share a vibe that’s antique yet ahead of its time: Arrollo Cubano foreshadows what will become calypso, while Donde Andabas Lanoche (Where Did You Go Last Night) is an island take on flamenco. La Rhumba No Es Como Ayer is actually so ayer it’s not funny and it’s a fun trip back in time: what mento is to reggae, this is to salsa. There’s also the slow stately swinging bolero En Tus Ojos Yo Veo (I Look in Your Eyes), the wry El Discreto (a cautionary tale – be careful who you confide in) and the boisterous, jazzy La Fiesta de los Animales that closes the album. It’s a lot of fun and it’s out now on World Village Music.

September 14, 2010 Posted by | latin music, Music, music, concert, review, Reviews, Uncategorized, world music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment