Samuel Torres's Three Universes in A Dance for Birds

 

Percussionist and composer Samuel Torres, a native of Bogota, Colombia, has been in the United States for 25 years during which he has played with many great jazz, Latin, classical, and popular music stars as well as with symphony orchestras around the world.  His own groups have combined rhythms from the African diaspora, Puerto Rico, Cuba, and the Southern Hemisphere of America with richly detailed melodies and smart solos.  In 2019, Torres won the Latin GRAMMY in Classical Music for his album with the Neuva Filarmonia (Colombia) – titled "Regreso", the program features two four-part suites plus an encore composed for congas and symphony orchestra. For his new project, he was inspired by the artwork of Colombian artist and Jazz promoter Diego Pombo, especially a piece that featured a human-like winged creature. Torres was inspired by the image to create a nine-movement suite "A Dance for Birds" which also takes its inspiration from the various dance styles of Central and Latin America plus the Caribbean.  The title of this post mentions "three universes" which for Torres is contemporary classical music, Afro-Latin rhythms, and jazz.

You'll hear all that and more on the recording of "A Dance for Birds" (Blue Conga Records).   Besides the leader on congas and hand percussion, the ensemble features Alex Norris (trumpet), Troy Roberts (tenor saxophone), Ahmed Alom (piano), Ricky Rodriguez (bass), and Jimmy Macbride  (drums) plus the Bergamot String Quartet – Ledah Finck (1st violin), Sarah Thomas (2nd violin), Amy Tan (viola), and Irene Han (cello).  Not sure what's more impressive – is it how the strings are integrated into the ensemble or how Torres can lead from the congas or how the music easily shifts from one piece to another?  It's fascinating how the instrumentalists interpret bird song, the call-and-response, the joy, the worry, the feeling of never really settling down, always on the move.  You, the listener, sit still and be transported to new dimensions.

The program opens with "From Stillness" which is the "daybreak" of the piece, the time of day when the world wakes up. The music moves the first stirrings of the piano, bowed bass, and cymbal slashes to the stirring of each instrument. As the piece moves into "Horizons Take Wings",  Torres introduces the melody before the music drops into a lively rhythm. Solos by Roberts and Cuban-born pianist Ahmed Alom pour out in joy while the rhythm section romps underneath. During the piano solo, saxophone, trumpet, and strings helps lead the ensemble back to the opening melody. The "breakout" dance before the abrupt finish is a true delight. 

Listen below to "Movement 7: Shall We Fly" to hear how Torres uses melody, the instrumentation, "classic" Afro- Latin rhythms (in this case, the Bambuco rhythm of Colombia), and a structured melody.  The leader's maracas solo is great fun, buzzing like flies around the sound spectrum.  

The album comes to a close with "Strength in Unison", a celebratory piece that draws on the Torres's Colombian roots. The trumpet, saxophone, and piano trade short solos while the rhythm section bounces behind them.  The main melody uses the strings in glorious counterpoint and, yes, unison to pull you up out of your seat and dancing.  

 "A Dance for Birds" is a great success, music that gives one hope and a smile in the midst of our crazy times. When Samuel Torres migrated to the United States, to a professional career that has taken to stages and concert venues around the world, he brought the rhythm and melodies of his native Colombia with him –– the world is so much better for that.  

For more information, go to www.samueltorres.com/. 

Here's "Movement VII: Shall We Fly":