Pay Attention

 It's back in the writer's chair for me again.  The fracture in my left arm is healing and it does not hurt to type. So much music has collected on my desk and desktop since the beginning of April, and much of this music is stellar!  

When flutist, composer, and arranger Jamie Baum assembles her Septet+, she always has an important story to tell. The group's fifth album (including the first album, 2003's "Moving Forward, Standing Still" released on OmniTone Records which is credited only to the Septet)  and fourth for Sunnyside Records, "What Times Are These", is most definitely a Pandemic-inspired recording. Ms. Baum came off the road in March of 2020 and, like her contemporaries, her performance slate was wiped clean. As the early weeks of the shutdown wore on, she found that Bill Moyers has created a site ––  billmoyers.com/spotlight/poetry-for-the-pandemic-2/   –– where the composer found a treasure chest of poems that spoke to the conditions of the day.  She collected a group of poems and began composing melodies and arranging the pieces for her larger ensemble.  The results, a 10-piece program, are impressive for its wide focus, the excellent music, and the various voices (Ms. Baum, Mr. Finlayson, Aubrey Johnson, KOKAYI, Sara Serpa, and Theo Bleckmann) who bring the words (and sounds) to life. 

Photo: Lisa Hagen Glynn

There's so much to digest here. Start with the music. The album opens "In The Light of Day", Luis Perdomo's insistent one-note surrounded by percussion until the French horn of Chris Komer plays a melody before leading Jeff Hirschfield and the rest of the ensemble in.  Ms. Baum takes the first solo followed by the crisply-executed notes of the trumpet. Then, the next cut, "To Be of Use", introduces the poetry of Marge Piercey (born 1936) –– the leader reads the text while Sam Sadigursky's clarinet and Perdomo's piano dance beneath her.  After the poem, the music slowly tiptoes in before a change in tempo introduces a melody that leads to a powerful guitar solo from Brad Shepik.  Listen below and pay attention to the excellent electric bass work of Ricky Rodriguez as well as the overall arrangement. 

Perhaps the most surprising track is "Sorrow Song" that blends a poem by Lucille Clifton (1936-2010) with the Hip Hop-influenced rhythms and words of KOKAYI.  While the original poem is from 1988, the words are sadly relevant today with the thousands of children dying In Israel and Gaza. While the rhythms and powerful voice pull you in, there are also strong solos from Ms. Baum, guitarist Shepik, and drummer Hirschfield, the last solo framed by the singer and the wordless vocal of Aubrey Johnson. I would be remiss not to mention the excellent vocal work of Sara Serpa and Theo Bleckmann, both in helping the listener understand the intention of the poetry and in the sensitivity of their vocal work.

All seven poems are by women (besides two from Ms. Piercey and one from Ms. Clifton, there are two pieces from Adrienne Rich plus one each from Tracey K. Smith and Naomi Shihab Nye) –– the Moyers' website offered Ms. Baum multiple choices but the ones on the album are the ones that fit her music the best.  What fascinating music and intelligent arrangements! Take your time with this 75-minute program, savor the performances, find your experiences or those of your loved ones or even a reason to change how you live your life in the words, and imagine a better world built upon this music.

For more information, go to https://jamiebaum.com/projects/septet-plus/. To hear more and to purchase the album, go to https://jamiebaum.bandcamp.com/album/what-times-are-these.  

Here's a piece based on a poem by Marge Piercey:

Personnel:

Jamie Baum - flutes, spoken word
Jonathan Finlayson - trumpet, spoken word
Sam Sadigursky - alto saxophone, clarinet, bass clarinet
Chris Komer - French horn
Brad Shepik - guitar, singing bowls
Luis Perdomo - piano, Fender Rhodes
Ricky Rodriguez - bass, electric bass guitar
Jeff Hirshfield - drums
Theo Bleckmann, KOKAYI, Sara Serpa, Aubrey Johnson - vocals
Keita Ogawa - percussion

Slowly but steadily, pianist and composer Marta Sanchez is making her music heard. The native of Madrid, Spain. Ms. Sanchez began her career in her native country leading a trio and quartet plus working as a sideperson in various projects.  A Fulbright Scholarship brought her to New York City in 2011 to study at NYU. Soon, she organized her own Quintet, recording three albums for Fresh Sound New Talent and 2022's brilliant "SAAM (Spanish American Art Museum)" for Whirlwind Recordings.  Her latest recording, and first for Intakt Records, is "Perpetual Void" –– the 11-song program, all composed by the pianist, feature her interactions with the rhythm section of bassist Chris Tordini (Steve Lehman, Tyshawn Sorey) and drummer Savannah Harris (Aaron Parks, Joel Ross). I saw the Trio perform in late March of this year at Firehouse 12 in New Haven, CT (see picture below) and can tell you that they are a dynamic ensemble in person.

Photo: The Author

Judging by the song titles ("Prelude to a Heartbreak", "The Absence of People You Long For", and "Prelude to Grief"), one might think the music is dark and foreboding or a set of mournful ballads. But, in an interview with Ms. Sanchez, she denied that she was writing from a "dark place" or that the music was a form of catharsis.  What much of it is is powerful, rhythmic, and demanding of your attention. "3:30 AM" does refer to a bout of insomnia the composer had been dealing with yet the music flies with a joy and power that belies any harsh feelings.  Because the music has several hairpin changes, the Trio has to really be paying close attention to each other and it shows here. Mr. Tordini and Ms. Harris are locked in from the beginning of the song and have a dynamic interaction before the piece returns to is opening theme. Listen below to "The Absence of People You Long For", pay attention to each instrument and their relationship to the melody and rhythm. No matter where you drop the needle on the album, the Trio is engaged and the music is open for the listener to engage with the musicians.

"Perpetual Void" does throw a new spotlight on the music and musicianship of Marta Sanchez as it's her first international release in a trio setting. Technically, she's an excellent pianist yet her melodies often "sing" while her solos show power and delicacy when called for. Her work on this album with Chris Tordini and Savannah Harris stands out and one hopes they continue to move in new directions.

For more information, go to https://www.martasanchezmusic.com/.  To hear more and to purchase the album, https://intaktrec.bandcamp.com/album/perpetual-void. 

Listen to "The Absence of People You Long For":

Saxophonist and composer David Murray (born in 1955) seemingly burst on to the Black Music Scene in the mid-1970s and has been a major voice ever since. From his work with the World Saxophone Quartet to his Octet to bands led by James "Blood" Ulmer, Jack DeJohnette and others, his fiery and bluesy playing never fails to excite audiences around the world.  Over the past several years, he's been working with a quartet that features pianist Marta Sanchez, bassist Luke Stewart, and drummer Russell Carter.  After a late Fall 2023 European tour,  the Quartet finally got the opportunity to go into Hardstudios in Winterthur, Switzerland, in November –– the results can be heard on "Francesca" (Intakt Records).  If you're a David Murray fan, rest assured. This is an impressive collection of tunes, all but one of the eight tracks a Murray original.

The title track opens the program. Dedicated to Murray's wife, Dr. Francesca Cinelli Murray, the music is a fast waltz with the warmth of the saxophonist's emotions heard in the opening melody and wide-ranging solo that follows. Ms. Sanchez colors the background as the rhythm section push the music forward.  Listen below to "Ninno", play it loud and feel how the music dances atop Carter's drums and Stewart's bouncing bass lines.  Feel the swing elements, listen to how the pianist supports and responds to the saxophone's melodies, then sit back for Murray's powerful tenor solo. Ms. Sanchez does not try to match the leader's intensity but she really dsigs into her solo blending melody and rhythms with her partners. One imagines this is the kind of music that brings an audience to its feet when played in concert.  

Photo: Martine Barrat

Murray's bass clarinet playing is featured on two tracks. "Shenzen", named for a Chinese city north of Hong Kong, has a quiet opening and a handsome melody. The mellow bass clarinet sound is supported by drummer Carter's mallet-driven drum work, a dancing bass line, and Ms. Sanchez's impressionistic piano chords and counter-melodies.  The piano solo contains tinges of McCoy Tyner in the glistening high notes runs.  Later in the program, the leader pays tribute to A.A.C.M. founder and collaborator Muhal Richard Abrams with his interpretation of pianist Don Pullen's "For Richard".  The waltz-line rhythms leave room for fine solos by Murray, Ms. Sanchez, and Stewart , all with smart interactions from Carter.

The album closes with two more powerful examples of this fine ensemble's ability to blend melody, rhythms, and dynamic variations to create an inviting and exciting sound.  "Free Mingus" has yet another fine melody line but be sure to pay attention to how the bass and drums push the song forward. Stewart's lines push and pull at the frames of the song but never lose their way while Carter's drums suggest funk, swing, and more.  Ms. Sanchez's solo is quite impressive and the bass spot shows just how melodic and expressive Stewart is.  The final track, "Cycles and Seasons", is, at times, bouncy and bright as well as powerful and cyclonic. Murray's tenor displays his trademark swagger and power as well as how he locks in with the rhythm section.

Over the course of five decades of transcending genres and creating powerful Black Music, David Murray remains at the pinnacle of Creative Music. He's been mentoring young musicians for many years but this quartet, comprised of young veterans, is, arguably, his best working group in many years.  Play this album often and marvel at how tight yet "loose" this music can be, then hope he brings this Quartet to a venue near you so that you can "feel" these sounds moving through your body and mind!

For more information, go to https://davidmurray.xyz/.  To listen to and purchase the album, go to  https://intaktrec.bandcamp.com/album/francesca.

Take a look and give a listen to "Ninno":

Thanksgiving Day 2024; Two Alto sax-Piano duos + One Quartet

 

Been absent from this blog for two months but not for a lack of great new albums but more so for being much too busy. Teaching coillege freshmen as I do is more fun than work; when you add to that the stresses of Middle East War and the horrors perpetrated in the name of freedom, music becomes a much-needed escape but writing does not seem to be enough.

Still, it's Thanksgiving Day in the United States, a day for remembering how lucky many of us are. We have a roof over our heads, food to eat, time to read, the ability to walk most streets without fear, heat in our domiciles, lights in our living areas, and, for some, vehicles to take us out into the country.  Today is a good day to get away from the bluster of candidates, especially who treat democracy as a toy to throw in the trash when it displeases, people who flaunt their wealth, shoot off their mouth, point fingers, and make promises to sweep personal freedoms under a big rug.  

Tomorrow, the news will still be bad, the bluster will return yet we have the power to make the world less of a scary place by celebrating and protecting our freedoms, by staring hate in the eyes until it blinks and slinks away. Set an example of doing good and maybe, just maybe others will join you. No matter their religion, gender, political persuasion, we should all understand compassion and how to practice compassionate caring.  Can't hurt to try––the music is always there to fall back onto.

Photo: Jimmy Katz

I've spent a lot of time recently falling back on the music of two saxophonists, Miguel Zenón and Andrew Rathbun. In the case of the former, he has two new duo albums, one with long-time Quartet member pianist Luis Perdomo (pictured left) and the other with friend and duo pianist Dan Tepfer (pictured below).   Perdomo came to the United States from his native Venezuela in 1993 and by the end of that decade, was playing in groups led by Ravi Coltrane and soon became as founding member of Zenón's Quartet.  The pianist and saxophonist both have a love for the folkloric and popular of their home countries (Zenón is from Puerto Rico), both have a love for melody as well as rhythmical variations, and both are brilliant improvisers.  The music created and arranged for the Quartet has travelled a wide swath of territory over the course of 10 albums, winning numerous awards and lavish praise from critics and reviewers around the world.

Six months into the Pandemic, the duo went into the Jazz Gallery in New York City and recorded a program of songs from the Bolero era, a musical style that began in Cuba in the 1890s and, during the 20th Century, spread throughout the Caribbean and Latin America.  Upon its January 2021 release, "El Arte Del Bolero" (Miel Music) was celebrated not only for its musicality but for its gentle persuasions and splendid playing.  Three years later, the duo reconvened in a recording studio with the expression "to play songs we know and love" (Zenón). "El Arte Del Bolero; Volume 2" expands upon its predecessor by expanding its repertoire with songs from Mexico, Panama, and Venezuela.  The seven-song program is a true delight, especially when the duo moves beyond the melody to create fascinating solos. Listen below to "Paula C.", to how how Zenón caresses the melody as Perdomo creates a quiet symphony beneath him.  As the alto saxophonist dances into solo, the pianist is so playful, whimsical at times, beneath the flowing sax but never losing the pulse.  "En La Soledad" (from the fertile mind of Puerto Rican composer Tito Rodriguez: 1923-73) may remind some John Coltrane's "Central Park West" especially due to the rubato feel.  It's a lovely ballad that kisses one's heart.

The album closes with "Silencio"; composed by legendary Puerto Rican songwriter Rafael Hernández (1892-1965), the rapid-fire music belies song title and flows forward on the delightful alto solo atop the dancing piano lines. When Perdomo steps out, you can hear a touch of the New Orleans "Spanish Tinge", especially in his delightful left hand.   

"El Arte Del Bolero" is a joy from start to finish. The duo of Miguel Zenón and Luis Perdomo reminds us once again of the great music created in the Caribbean and Latin America; they do so with style, grace, and love!

For more information and to purchase the recording, go to https://miguelzenon.bandcamp.com/album/el-arte-del-bolero-vol-2.

Hear the duo play Rubén Blades' "Paula C.":

While the duo of Miguel Zenón and Dan Tepfer has not played together as long as the one reviewed above, these two musicians have improvised numerous times over the past decade-plus. Over two nights in June 2018, they got together at the Yamaha Artists Services in New York City and laid the tracks that make up their first album together. "Internal Melodies" (Main Door Music/self-released) combines the duo's love for spontaneous composition, pieces each composed for the occasion as well as a duo interpretation of "Fanfares" by György Ligeti and a sparkling take of "317 E 32nd St." by Lennie Tristano.

Tepfer is one of the more adventurous pianists of the 21st Century diving into the worlds of classical music, electronic music, and computer music. He's also  a great jazz pianist and, like Zenón, eschews labels. Together, they push each other to create music that is both mentally satisfying but also moves with grace and occasional rhythmic excitement.  The 12-song program opens with the short and totally improvised "Soundsheets" before they embark on the pianist's "The Thing and its Opposite"––after a particularly angular composed melody that the alto saxophonist reads with grace, Tepfer moves into a more ethereal mode. He steps aside and Zenón dances forward alone, phrases building on top of each other without losing sight of the original melody. They return together to the opening melody yet the music feels somewhat lighter. The pianist also composed the title track. The melody has a lightness to it, especially in how Zenón plays through it. Tepfer picks up on that with a solo that hints at Beethoven in how it unfolds gently, steadily building the intensity without overwhelming the mood.

Listen below to the saxophonist's "La Izquerida Latina Americana", to how Tepfer creates a martial rhythm with his left hand before Zenón introduces the melody.  There is a seriocomic feel to the music without falling too hard into either camp.  Zenón's "Centro de Gravedad" is a gentle ballad with a lilting melody line underscored by a mix of powerful chords and gentle piano trills. Tepfer's solo has a flamenco feel, his articulated notes giving the music a sense of drama.  The saxophonist also brought "La Libertad" to the duo; it, too, is a handsome ballad and both musicians create heartfelt solos. 

The album closes with the Tristano classic plus another spontaneous piece "Freedrum".  The former is a delightful romp, the duo bringing out the dancing quality of the rhythm and melody.  The final track combines Tepfer's piano "percussion" with Zenón's playful melody for a short but spirited finish to a wide-ranging program. "Internal Melodies" goes in many directions over the course of an hour but Dan Tepfer and Miguel Zenón never lose their way.  Their musical conversations can be serious or light-hearted; all told, this music is generous in spirit and a delight to listen to!

For more information and to purchase, go to https://dantepfer.bandcamp.com/album/internal-melodies. 

Hear the duo play Zenón's "La Izquerida Latina Americana":

Although alto saxophonist and composer Andrew Rathbun has been recording and touring since the late 1990s, he's still gets recognized a "Rising Star" in recent Downbeat Critics Polls. That's a nice honor but he has created music that needs to be heard by more people. The Toronto, Ontario, Canada native has recorded impressive music for labels such as Fresh Sounds New Talent Records, Origin, Centaur, and SteepleChase.  Along the way, he has collaborated with pianists Ran Blake, Jeremy Siskind, and Gary Versace, flugelhornist Kenny Wheeler, drummers Billy Hart, Michael Sarin, Bill Stewart, and Jeff Hirshfield, among others.  

What stands out for this listener is that, since his earliest recordings, Andrew Rathbun has been an excellent composer. He certainly can improvise as impressively as his contemporaries but telling a story with his music is just as important. For his latest SteepleChase recording, "Speed of Time", he's joined by Gary Versace (piano), John Hébert (bass), and Tom Rainey (drums).  While the majority of eight-song program was composed during the Pandemic, this music is written with these musicians in mind, as a group project.  The title track kicks off the album––it's got a funky rhythm, a well-drawn melody, and strong solos from the leader and the pianist.  Rathbun quickly dances away from the melody, creating a playful interaction with the rhythm section pushing up the intensity until Versace takes over building his far-ranging solo off Rainey's herky-jerky rhythms. 

Photo: Domenic Gladstone

The leader plays both tenor and soprano saxophones for the insistent up-tempo jaunt that is "Widen the Doorway".  Versace's solo, at the onset, keeps turning back on itself but soon bounces forward atop the insistent work of Hébert and Rainey. The leader's tenor solo opens unaccompanied and then he jumps upon the rhythm section. More reed overdubs on "Still a Thing"; this time, the soprano leads the way on the melody (although the solo is again on tenor) with the rhythm section creating quite a funky rhythm.  

The soprano is featured on the ballad "Wandering"––in the liner notes, Rathbun pays tribute to the late Wayne Shorter, particularly the "human cry" that the great musician often employed in his playing. There's a sense of urgency in the rhythm section but the deliberate pace never wavers. Excellent solos from pianist and bassist precede the leader's spotlight where Rathbun shows but never overdoes the Shorter influence.  More soprano can be heard on "Velocity Unknown", a fascinating piece in an odd time signature (9/4). Rainey's delicate cymbal dance decorates behind the opening bass solo. Rathbun enters two minutes with his own delicate sound. Every time you think the music will erupt, the quartet gathers themselves and continue their gentle journey forward. The power in this piece comes from Rathbun's powerful solo as well as Versace's impressive improvisation.

"Speed of Time" closes with "Tooth and Nail", an insistent work powered by the active drumming. The piece opens with short exposition from Rainey joined quickly by the tenor sax.  After the quartet push their way through that long introduction, the music jumps forward with the drums and bass stoking the fire for the impressive tenor and piano spots.  This particular track sounds even better at a higher volume, the drums shaking the speakers.

Andrew Rathbun keeps "rising", keeps getting better as a composer and musician––this album is yet another fine example of his musicality and creativity.

For more information, go to https://andrewrathbun.com/. 

Here's the title track:

The Recuperation Playlist (Part 1)

Life is often wild and crazy with all sorts of mayhem right outside your window, on your screens, and in your ears.  When the craziness moves indoors and becomes personal, one looks for escapes to give a sense of normalcy. We saw that in the pandemic where virtual concerts, streaming movies, and myriad television shows became even more of the "norm".  

On a personal level, my life got crazy this Summer with the need for Open Heart Surgery in July and, just this past week, contracting a case of COVID.  I thank the Doctors, Physicians Assistants, and nurses for their care over these past few months. I thank the higher powers for the music that has gotten me through the surgery, illness, and continued recuperation.

Haven't posted much but I have been listened to a lot of great music. Now, I plan to make several posts about the best of those albums (in no particular order).

As far as I am concerned, any new release by Miguel Zenón is cause for joy.  Since his debut album as a leader (in 2002), he has grown as a composer, arranger, and alto saxophonist. The native of San Juan, Puerto Rico also spent 14 seasons with the SF Jazz Collective and has recorded with a slew of artists from Kurt Elling to Charlie Haden to Fred Hersch to Antonio Sanchez and many more.  His long-tenured quartet includes pianist Luis Perdomo, bassist Hans Glawischnig, and drummer Henry Cole, all of whom save Cole (who joined the ensemble in 2006) is as impressive as any working group playing today!

His latest release on Miel Music, his 15th as a leader or co-leader, is "Musica De Las Americas", a recording that illustrates how "American music" is an on-going fusion of elements from all corners of the American continent (North, Central, South and the Caribbean) and is tied to the rhythms that traveled in slave ships from Africa but also to the indigenous tribes the Spanish discovered when they arrived in the 15th Century.  Zenón composed all the pieces, not only giving the listener a stunning listening experience but also infusing this music with history. For instance, the opening track "Tainos y Caribes", tells the tale of two indigenous tribes who live in peace in the Caribbean and northeastern South America respectively who were wiped out within several decades after the arrival of the Conquistadors.  The powerful music, built upon the the polyrhythmic attack of Cole plus the thunderous piano and thrumming bass, paints a portrait of vibrant societies. 

Photo: Jimmy Katz

Four of the eight tracks feature guest percussionists. The silky smooth "Navegando (Las Estrellas Nos Guian") adds the five-person Los Pleneros De La Cresta who add not only exciting rhythms but also vocals to the story of the Indigenous tribes that traveled the waters of the Caribbean and Atlantic in handmade boats following the stars.  Percussionist Paoli Mejias pairs with Cole to create a vibrant backdrop for the powerful "Opresión y Revolución" (listen below), which draws on elements of Haitian Voodoo music to tells its story of uprising and self-rule (though the Haitians have paid an extremely steep price ever since). Victor Emmanuelli brings the Bomba drum (barril) into "Bambula", a song that illustrates how the drum the song is named for created a rhythmic pattern that once can hear in musical styles of Cuba, the Caribbean, Central America, New Orleans, and today's reggaeton. "Antillano" closes the album, celebrating the Antilles with young conga master Daniel Diaz helping to propel the playful bounce and sway of the music. 

Throughout "Musicas De Las Americas", Miguel Zenón and the band play with fire, abandon, and joy.  They build off each other's lines and emotions to create music that stands out for its spontaneity, celebrating the many and varied cultures of the American continent.  This is music played by a band that deserves to be seen and heard in person––go to https://miguelzenon.com/ to find out more and see where this most accomplished ensembles is appearing.  You'll also see that the saxophonist is playing with other ensembles over the next few months, all of which looks exciting. If you don't get out to see them, this wonderful new album will brighten your life!

Here's the Quartet with percussionist Paoli Mejias on "Operesión y Revolución":

Photo: Anna Yatskevich

Pianist and composer Pablo Ablanedo moved to the United States from his native Argentina in the early 1990s to attend the Berklee College of Music in Boston, MA. After graduating, he stayed in the US forming an Octet in 1999 filled with New York City-based artists to play his original music.  Like his fellow Argentine Guillermo Klein, his music fuses influences from his homeland with the Black Creative Music he has come into contact over his 25+ years since moving. Over the course of four albums, Ablanedo has impressed listeners and reviewers with his ability to make music jumps with originality.

In 2019, Newvelle Records brought Ablanedo back into the studio with most of the musicians who helped to create his 2001 debut album "From Down There" for a follow-up.  The results, "Christeza", was issued as part of the label's Fifth Season and now is available as a download from the label's Bandcamp page (see below).  Take a look at the personnel––many have gone on in the two decades since uniting for the first album to have international careers as both leaders and sideman.  One thing that stands out for this listener is the immediacy of Ablandeo's compositions, whether it's the percussive ballad "La Señal" that opens the eight-song program (the digital version has a "bonus track") or the playful call-and-response of "Karmavaleando" or the gentle swaying of "Winter Variations" (note how the intensity picks up throughout the piece), the melodies and the rhythms are well-defined and build off each other.

While the compositions stand out, there is brilliant musicianship throughout as well. There's a touch of Thelonious Monk in Ablanedo's introduction to "Plaisantriste" which unwinds to a delightful clarinet solo from Anat Cohen. Do also listen to the smashing support of bassist Fernando Huergo, drummer Franco Pinna, and guitarist Ben Monder.  Ms. Cohen also stands out on "Ti Mi Do" as does violinist Jenny Scheinman. There's a tinge of Aaron Copland in the deliberate melody line and chords behind the front line and pay attention how the rest of the group enters behind the soloists.  The spotlight is on Ben Monder for "Bipolarious"––after the sharp-edged intro, the guitarist dances atop the ever-intensifying rhythm.  The title track has a mysterious, rubato, opening as if getting ready to go into "Sketches of Spain", especially when trumpeter Diego Urcola takes the lead; his long-held sparse notes keeps the mystery alive throughout the piece

The digital download closes "Christeza" with a rhythmic take on Kenny Dorham's "Una Mas". The brilliant rhythm section of Pinna and Huergo lead the way with tenor saxophonist Jerome Sabbagh (the only other member of the ensemble on the track) playing the theme as well as a powerful solo.  But, it's the bass and drums that makes this track stand out.  A delightful finish to a wonder-filled album. Pablo Ablanedo does not record very often but when he does, it's so rewarding to listen.  Kudos to the great band, to the composer, leader, and pianist, and to co-producers Elan Mehler and JC Morisseau for such fine modern music!

To find out more and to purchase the album, go to  https://pabloablanedo.bandcamp.com/album/chistreza. To find out more about the leader, go to www.pabloablanedo.com/. 

Hear "Karmavaleando": 

Personnel:

Pablo Ablanedo on piano, & compositions:

Anat Cohen on clarinet,

Jenny Scheinman on violin,

Chris Cheek on tenor and soprano saxophone,

Jerome Sabbagh on tenor and soprano saxophone, 

Diego Urcola on trumpet, 

Ben Monder on guitar, 

Fernando Huergo on electric bass, 

Franco Pinna on drums, 

Daniel Ian Smith on additional saxophones on "Karmavaleando" and "Bipolarious."

The Joys of the Duo + The Rhythms Lead the Guitarist

We have more time to listen to music and it's such a relief from the headlines snd baseless accusations that fill the air every day in the United States.

Nearly twenty years have passed since alto saxophonist Miguel Zenón recorded his debut album as a leader ("Looking Forward" was issued in 2002 on Fresh Sound New Talent –– the personnel included, among others, bassist Hans Glawischnig and pianist Luis Perdomo, both of whom are still members of his Quartet (drummer Henry Cole joined in 2007).  Over that time, Zenón has matured greatly as a composer, arranger, and saxophonist. His love of the music from his homeland of Puerto Rico has been evident throughout his discography, exposing many listeners to both the folk music and the popular songs that spans many generations.

In September of 2020, Zenón and Perdomo recorded a concert in the New York City venue the Jazz Gallery that was presented online in November.  Both musicians felt that the music was so good that the concert should be shared with a larger audience. "El Arte Del Bolero" (Miel Music) features six songs, all taken from the Puerto Rican songbook of the 1940s-70s.  Richly melodic, the program flows forward on the strength of classic Puerto Rican songs, Perdomo's delightful accompaniment and Zenón's singing saxophone.  When you listen to the opening "Como Fue", it's easy to get lost in the flowing melody lines, the fine piano work, and the emotional performance.  "Alma Adentro" is not only a song that the saxophonist's loved growing up but also served as the title track of a large ensemble album Zenón released in 2011. The unaccompanied alto sax intro sets the stage for a stunning reading of the piece.  How both musicians use the occasional silence to create tension is quite amazing. 

Photo: Noah Shaye

The music on "El Arte Del Bolero" is perfect for late afternoon and evening listening –– you might even want to twirl your partner around the room. The Venezuelan-born Perdomo brought "Ese Hastio" to the session; it's a piece he first heard on a Ray Barretto album ("Rican-Construction" from 1979).  The piece features an excellent sax solo, one that covers a wide range of the alto but never loses touch with the melody. The pianist creates a rapturous solo, so rich in melodic lines and possibilities.  

The album goes from one beautiful moment to the next.  "La Vidas es un Sueño" ("Life is a Dream"), composed by the Cuban-born guitarist and composer Arsenio Rodriguez (1911-1970).  The melody line may remind some of Nat King Cole's classic "Mona Lisa" –– this version expands upon the ballad with fine, emotionally rich, solos.  

Photo: Nick Carter

Every time I listen to this music, it makes me smile.  Such a pleasure to listen to Miguel Zenón and Luis Perdomo interpret this music, making it their own while keeping in mind how these songs are an integral part of the Latin American culture, the building blocks for the music one hears today from the Caribbean as well as Central and Latin America.  "El Arte Del Bolero" will enrich your listening life and help you through darker times.

For more information and to purchase the music, go to https://miguelzenon.bandcamp.com/album/el-arte-del-bolero. 

Guitarist, composer, painter, and educator, Gabriel Vicéns has been playing and studying music since he was 12. Born and raised just outside of San Juan, Puerto Rico, he heard all sorts of music, from his island's native "folklorico" to alternative rock to "pop" music to classical.  Vicéns studied at the Conservatory of Music of Puerto Rico, taught music at the Interamerican University of Puerto Rico, and then moved to the United States where he earned a Masters of Music degree from Queens College (NYC).  Currently, he's studying for a Doctorate of Musical Arts from Stony Brook University in the program currently run by trombonist Ray Anderson and Daria Semegen. Vicéns is also an accomplished painter, continuing his studies in New York City with Pat Lipsky.  Besides jazz, the guitarist also composes classical music, working with Carlos Cabrer and Lois V. Vierk.  

Vicéns, who has played and recorded with artists such as drummer Henry Cole, David Sanchez, Luis Perdomo, Miguel Zenón, and Rudy Royston, has issued two albums as a leader: 2011's "Point In Time" and 2015's "Days" (the latter released on Greg Osby's Inner Circle Music).  His third recording is imminent (1/15/21). Co-produced by Zenón, "The Way We Are Created" (Inner Circle) finds the guitarist leading a sextet that includes Glenn Zaleski (piano), Rick Rosato (bass), E.J. Strickland (drums), Roman Filiú (alto saxophone), and Victor Pablo (percussion including barril de bomba and panderos de plena).   While previous recordings featured percussion, the music for the new CD was written from the rhythms up.  The program is exciting, rolling forward on the playing of both Pablo and Strickland as well as the enticing melodies Vicéns created for the various folkloric rhythms.  

The shadows of John Abercrombie and early Pat Metheny easily hang over the tone of Vicéns's guitar while the melodies he writes blend myriad influences. The episodic title track opens the album with a blend of American funk (Strickland's drumming is truly in-the-pocket) and the subtle bomba rhythms of Pablo –– it took a few listens to pick out the latter percussionist but note how embellishes the playing of his rhythm section partner.  The leader really digs into his solo, alternately dancing with the rhythm section and pushing against them. Filiú's solo is more abstract as it bounces off the strong chordal work of Zaleski.  Strickland solos (it's quite powerful) before the sextet heads back to the opening theme.

Highlights include the short hand drum - guitar duet "Caribeno y Pensador", an intimate interaction with melodic guitar fragments over a steady rhythm, which leads into the high-powered "The Upcoming."  Zaleski adds a low-end repetitive melody line before Vicéns and Filiú enter to state the theme.  The pianist takes the first solo, dancing with the rhythms and setting the stage for the powerful alto sax solo. The propulsive "A City of Many Mysteries" not only highlights how creatively Pablo and Strickland interact but also features some thick, foundational, bass lines from Rosato plus more strong solos. Pablo steps forward on "Retorno", telling a percussion story over the chiming guitar chords.  The drums not only "talk" but are also insistently rhythmical.  The piece fades into the final track, "The Mystery of S.T.", a rollicking work with a call-and-response theme (guitar and alto sax), rapid fire riffs from Vicéns and Filiú, and splendid drumming plus percussion shaking the speakers.    

The temptation to talk about every track is hard to ignore but you should go to https://gabrielvicens.bandcamp.com/album/the-way-we-are-created and listen to the title track (also check the "live" version from 2017 below).  That should whet your appetite for all of "The Way We Are Created" –– Gabriel Vicéns has created a thoughtful, exciting, and powerful program, music that should sound and feel quite fine in a live setting (whenever that may come around again).  In the meantime, dive headfirst into this delightful disk! 

For more information about this impressive young artist, go to www.gabrielvicens.com/.  

Here's the live take of the opening album track –– the sextet features Vicéns and Filiú plus pianist Sam Harris, bassist Ricky Rodriguez, drummer Rudy Royston, and percussionist Markus Schwartz.