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.
Much has befallen (emphasis on "fall') since the previous post. Now I have two fractures to heal! Still listening to plenty of music but writing is slow and cumbersome. Here's a sampling of what I was working on between the two accidents.
Unless you have paid no attention to Black American Music over the past decade-plus, the name Luke Stewart should be quite familiar. The bassist has worked with David Murray, Wadada Leo Smith, Nicole Mitchell, the late Jaimie Branch, Marshall Allen, and so many more. He leads several different ensembles including the Exposure Quartet, Heart of the Ghost, and the Remembrance Quintet as well as co-leading Irreversible Entanglements. He also leads Silt Trio, an ensemble featuring tenor saxophonist Brian Settles, and drummers Trae Crudup or Chad Taylor. The Trio's 2020 debut, the self-released "No Trespassing" did not carry the Silt Trio monicker, has Crudup on drums, and sounds like a totally improvised set. 2022's Cuneiform release, "The Bottom", features Taylor and showsw three voices working as one, not beholden to any one style and also displaying Stewart's ear for melody – the songs are not "blowing tunes" but composition and free improvisation often reside in the same pieces.
Silt Trio's new recording "Unknown River" (Pi Recordings) is made up of four tracks recorded in Tempo House studios in Baltimore, MD, and three recorded live in Trinosophes, a cafe/ performance space in Detroit, MI. The studio tracks open the album with Crudup in the drum chair (he's also worked with saxophonist James Brandon Lewis). Listen below to "Seek Whence", the opening track – the bass and drums lay down a "tight" groove and the underappreciated Settles delivers the melody then creates a solo that is his response to both that melody and the rhythmic drive. "Baba Doo Way" follows and it's easy to see where the tune got its title. Doesn't take long for the Trio to move up and away from the melody into a frenetic, at times, improvisation that shows how deeply they listen to each other plus the strength of the bass lines to allow Crudup to explore poly-rhythmic pathways.
Photo: Luciano Rossetti
The three live tracks open with "Amilcar" and Taylor announces his presence from the get-go with the powerful solo that introduces the track. Two minutes in, Stewart joins in, his powerful bass work introducing Settles and a thunderous solo, arguably his most exciting and impressive of the album. Stewart taes the peace to its finish with a throbbing solo which leads into the nearly 13-minute opus "Dudu". The bowed bass, the steady beat, and Settles playing slow melody lines creates a drone. Three minutes in and there's a shift in dynamics, the tempo picks up, the tenor and bass lines flutter and skitter around each other as the drums sit out. As Settles and Stewart continue their improvisatory dance, Taylor returns and the intensity begins to climb. Soon, the three musicians are firing on all cylinders withg Settles riding the rhythmic headwinds created by the bass and drums.
"Unknown Rivers" may refer to the numerous underground water sources that fill our lakes, bays, reservoirs, and oceans or, more to the point, to the rivers of music that course through the musicians bodies as they are creating in real time. Luke Stewart Silt Trio creates fascinating music on this, their third album, and one imagines they must thrive in the concert/ club setting. If you're a fan of saxophone trio music, this album ranks up there with Sonny Rollins' "Freedom Suite", with Air's "Air Time", andMatana Roberts, Josh Abrams, & Chad Taylor's "Sticks and Stones", arguably my favorites.
There's a delightful new recording from percussionist-composer Samuel Torres. Titled "A Dance for Birds", Torres has created a nine-movement suite of music for the Latin Chamber Ensemble that features the members of his Sextet plus the Bergamot String Quartet.
Here's the video for "The Song" with graphics created by Colombian visual artist Diego Pombo:
Ernesto Cervini is one busy person, leading several ensembles, playing as a sideman, running his publicity company, touring, and helping to raise a young family. One of his ensembles is the sextet Turboprop and their new recording is, arguably, its best. "A Canadian Songbook" (TPR Records) is a seven-song program featuring two interpretations of two Canadian "pop" songs, two Cervini originals, one from Turboprop trombonist William Carn, and one each from friends Allison Au and James Hill.
Here's the group's take on The Barenaked Ladies "When I Fall":
Turboprop is:
Tara Davidson - Alto Saxophone Joel Frahm - Tenor Saxophone William Carn - Trombone Adrean Farrugia - Piano Dan Loomis - Bass Ernesto Cervini - Drums
Even without a new release from the Maria Schneider Orchestra (coming in 2020), 2018 and 2019 have been banner years for large ensemble music. Over the next two posts, we'll explore eight albums released in the last several months or coming out in the next few weeks.
Born in Urbana, Illinois, and raised in Milwaukee, WI, trumpeter Brian Lynch began playing at a young age and apprenticed in the band of pianist Buddy Montgomery. Before moving to New York City from San Diego, CA, in late 1981, Lynch also played with saxophonist Charles McPherson. Once he got to the Big Apple, he started to work in groups led by Horace Silver and Toshiko Akiyoshi and in the final edition of Art Blakey's Jazz Messengers as well as spending 20+ years as a member of the Phil Woods Quintet. Lynch has a simultaneous career playing Latin Music, starting in 1982 with Angel Canales, with vocalist Hector LaVoe, and a long-standing gig with Eddie Palmieri. He's conducted workshops throughout the world plus has been on the faculties of NYU, Long Island University, and currently serves on the faculty of the Frost School of Music at the University of Miami.
Lynch has recorded numerous albums for labels such as Criss Cross, Sharp Nine, Venus Records, Cellar Live, and since 2009, has released six albums on his own Holistic MusicWorks label. His new albums combines his love of Latin music, big band jazz, and, especially, reading. "The Omni-American Book Club: My Journey Through Literature In Music" (HMW) takes its name from a 1970 essay by Albert Murray (1916-2013) and features a 19-piece band plus guests (see "Personnel" below) playing nine pieces (plus two "extended version") composed and arranged by Lynch. Each song is dedicated to two writers, activists, and/or educators – the extensive liner notes talk about each dedicatee and the particular book or books that inspired Lynch.)
Photo: Andrea Canter
It is nearly impossible to choose which songs to focus on since each one stands out. Drummer Dafnis Prieto is in the "driver's seat" for the opener "Crucible For Crisis" (for David Levering Lewis and W.E.B. DuBois) – the music will make you jump out of your chair (or just shake the windows of the car as you speed down the highway. There are powerful solos from Prieto, flutist "Maraca" Valle, and Lynch over the delightful rhythm section plus pay close attention to how the drummer pushes his fellow musicians to the boiling point as they bring the song to a close. "The Trouble With Elysium" (for Naomi Klein and Mike Davis) turns the spotlight on David Liebman and his expressive soprano saxophone. Kyle Swan is the drummer here and he keeps the rhythms percolating as does pianist Alex Brown; Liebman gets into a musical conversation with tenor saxophonist Gary Keller that nearly steals the show. Regina Carter and Lynch take the lead on "Affective Affinities" (for Ned Sublette and Eric Hobshawn), the only true ballad on the album. Especially delightful is when the two mesh their musical voices and then, as the rhythm section kicks the music up a notch or two, the violinist and trumpeter start trading quick solo lines. As baritone saxophonist Mike Brignola leads the reeds back in, Ms. Carter flies above the band, dancing all the way.
There's so much music (nearly two hours over two CDs) on "The Omni-American Book Club", such a good ensemble, impressive writing, first-class soloists, and a reminder American music has deep roots in the numerous communities around the country and the world. The blend of blues, jazz, funk, Latin, Afro-Cuban, and more is so attractive plus the distinctive trumpet sounds and attack of Brian Lynch is powerful and so alive. Highly recommended!!
Brian Lynch Leader, Trumpet, Compositions and Arrangements
Tom Kelley: Alto Sax (lead), Soprano Sax, Flute David Leon: Alto Sax, Flute, Clarinet Gary Keller: Tenor Sax, Soprano Sax, Flute, Clarinet Chris Thompson-Taylor: Tenor Sax, Clarinet Mike Brignola: Baritone Sax, Bass Clarinet
Dante Luciani: Lead Trombone Carter Key: Trombone Steven Robinson: Trombone John Kricker: Bass Trombone
Michael Dudley: Lead Trumpet Jean Caze: Trumpet Jason Charos: Trumpet Alec Aldred: Trumpet
Alex Brown: piano Lowell Ringel: bass Boris Kozlov: electric bass (three tracks) Kyle Swan: drums (six tracks) Hilario Bell: drums (four tracks) Murph Aucamp: percussion Little Johnny Rivero: percussion (two tracks)
Guest Artists:
Dafnis Prieto: drums ("Crucible for Crisis")
Orlando "Maraca" Valle: flute ("Crucible for Crisis")
Donald Harrison: alto saxophone ("The Struggle Is In Your Name" - two versions)
Regina Carter: violin ("Affective Affinities")
David Liebman: soprano saxophone ("The Trouble With Elysium")
Jim Snidero: alto saxophone ("Tribute To Blue (Mitchell)")
Saxophonist and composer Remy Le Boeuf is having a particularly productive 2019. In May, Outside In Music issued his debut album as a leader "Light as a Word" (a quintet date) and five months (November 1), SoundSpore Records is releasing "Remy Le Boeuf's Assemble of Shadows", his first venture into large ensemble writing and arranging. If you are a fan of Maria Schneider's elegant melodies and intellectual as well as emotional arrangements, this is an album for you. With 18 "regular" band members plus two special guests (see "personnel" below), the music draws you in and does not let go, in fact resonates long after the final track fades away.
The seven-song program opens with two longer pieces, "Strata" and "Honeymooners" before launching into the "Assembly of Shadows Suite", a five-part, 28-minute, story in sound. When you spend time with this music, several elements stand out. First, the melodies are excellently constructed, with themes and counterpoint shared by various members of the ensemble. Even the "I: Introduction" to the "Assembly of Shadows Suite", which clocks in at 83 seconds, the entire band, with the exception of the drums, plays melody lines. There are moments throughout the Suite that hearken back to the music of Aaron Copland. Like Maria Schneider's music, the solos grow out of the melody and do not overstay their welcome. While Le Bouef is the leader, his voice is often just part of the ensemble. Play special attention to the work of guitarist Alex Goodman; note his solo on the title track and he is supported first by just the rhythm section the by the delightful splay of colors from the reeds and brass. Trumpeter Phillip Dizack steps out of the brass section for the next solo and his clear times and well-articulated notes stay out against the background.
Make sure to pay attention to the lovely cover photo (Levi Mandel) – to these eyes and ears, it's the visual interpretation of the music. The stunning intensity of "IV: Transfiguration", a striking piece of music, has the mood of sitting on the top of a hill and watching the sun rise. The light tone of the leader's alto sax paired with the thicker sound of the baritone sax (Carl Maraghi) plus the section arrangements hearken back to Claude Debussy and Duke Ellington. That mood is carries over to "V: A Light Through the Leaves" most certainly inspired by standing at a distance away from the stand of trees and watching the morning (or evening) sun move through the trees.
If you're looking for a big band "blowing" session, "Remy Le Boeuf's Assemble of Shadows" is not for you. However, if it is music with heart, soul, emotion, sensitivity, and delightful melodies, listen here. That's not to say there aren't impressive solos (check out Le Boeuf's soprano spotlight on "Honeymooners" – don't miss the section near the end that sounds like Wayne Shorter's solo on Steely Dan's "Aja"). It's important to note that two of the three producers are composer and arranger Mike Holober plus author/Navy veteran/bassist/investment banker Kabir Sehgal (who is the co-producer of the Brian Lynch Big Band and the Samuel Torres album). Brilliant sound, brilliant music, this album will delight you over many listens.
Conductor: Gregory Robbins Woodwinds: Remy Le Boeuf (Alto Sax, Soprano Sax, Flute, Alto Flute), Anna Webber (Flute on one track), Ben Kono (Tenor Sax/Clarinet), Vito Chiavuzzo (Flute, Alto Sax), John Lowery (Tenor Sax/Clarinet), Carl Maraghi (Bari Sax/Bass Clarinet) Trumpets: John Lake, Tony Glausi, Philip Dizack, Matt Holman Trombones: Eric Miller, Natalie Cressman, Isaac Kaplan, Jennifer Wharton, and Nick Depinna (trombone overdubs on three tracks) Guitar: Alex Goodman Piano: Martha Kato Bass: Matt Aronoff Drums: Peter Kronreif Percussion: James Shipp
"Alegria" is the Spanish word for joy and happiness – it can also mean recklessness. It is also the title of the fourth album by master percussionist Samuel Torres and, judging by the music, the first two meanings are most apropos. 10 musicians, most of whom live and perform in New York City, make up the band. Sounds like they're having the time of their lives. Right out of the gate, "Salsa, Jazz Y Choke" dances forward on the power of Torres and drummer Pablo Bencid. "Choke" is modern take on salsa that became famous in 2008, a mix of traditional rhythms with the more modern sound of house music and reggaeton. The rhythm is so infectious throughout the song which features strong solos from trombonist Marshall Gilkes and pianist Luis Perdomo plus a short but powerful break from the leader.
Photo: Diego Almanza
The rhythmic adventure rarely lets up throughout the album. "Barretto Power"; this track, a blend of Latin and "boogaloo"influences (from New York City). explodes out of the speakers with great excitement, egged on by the electric bass of Ruben Rodriguez and the two percussionists. Ivan Renta's baritone solo is a fiery statement and Bencid's thundering drums helps take the tune out. The one exception to the rhythmic adventures is "Bolero Para Raquel", a lovely ballad with shivering sax fills, long trumpet lines, and a handsome solo from tenor saxophonist Joel Frahm. Back to the rhythm as the title tune bounces forward, has a hummable melody, and truly makes you want to dance. A fleet yet sweet alto solo from Will Vinson precedes a delightfully exploratory solo from Perdomo. The pianist feeds off the rhythm section and rolls along above the brass and reeds interjections.
The album closes with "Anga", another lively dance tune set to a fiery Afro-Cuban rhythm. The trumpets ride above the reeds on the theme leading the way for trumpeter Alex Norris to take the first solo followed by the raucous baritone sax of Renta who trades phrases with trombonist Gilkes. Not surprisingly, after their impassioned dialogue, the leader gets the final solo over the dancing piano and electric bass, adding a call-and-response with the brass and reeds before Torres brings the piece to a rousing close.
Looking for party music, sophisticated party music? Enjoy lively solos amid intelligent and creative arrangements? Grab a copy of "Alegria" and let Samuel Torres and his nine associates rock the house. The neighbors might complain but the dancers understand!
Michael Rodriguez + Alex Norris (trumpet, flugelhorn)
Marshall Gilkes (trombone)
Will Vinson (alto and soprano saxophones)
Joel Frahm (tenor and soprano saxophones)
Ivan Renta (baritone saxophone, bass clarinet, flute)
Luis Perdomo (piano, Fender Rhodes)
Ruben Rodriguez (electric bass)
Pablo Bencid (drums)
Samuel Torres (congas, bongos, kalimba, log drum, cajon, maracas, djembes, talking drums, güiro, timbal, tambourine, clave, shaker,shakes, EFX, all compositions and arrangements)
Here's the band playing the title track (recorded live this week – 10/29/19 – at Dizzy's Coca-Cola in NYC):
"Ragmala" (Meta Records/BRM) is a sprawling, entertaining, and fascinating three LPs/ two CD set that combines the talents of two large ensembles, Go: Organic Orchestra and Brooklyn Raga Massive. The album, a hair under two hours long, is the brainchild of percussionist/conductor and composer (he composed 18 of the tracks and co-wrote the other two) Adam Rudolph. His 20-song program unites 38 musicians plus two guests to play music that peacefully obliterates the borders between American music, North and South Indian musics, and North African music. There are moments that blend sitar and tanpura (an Indian stringed instrument used to create a drone) with the driving drums of Hamid Drake plus tablas, mrdangam, and African drums. Add to that trumpets, trombone, French horn, saxophones, bassoon, clarinet, a string section, harp, guitars, electric bass, flutes, and voice and the music suddenly becomes indescribable. Classical? Jazz? World Music? yes, and more.
Photo: Adrien Tillman
What Rudolph and company have created is a world symphony, one that reminds listeners the blues and jazz that grew out of New Orleans and other Southern regions as well as the Carnatic music of India have its roots in the emotional interactions of religions, worship, and families. Also, the rhythms that percolate throughout the album, whether they be thunderous drums or the flow of the voices, bring us together no matter our race, beliefs, and politics.
There are so many amazing moments on this recording, moments when the ensembles loud as if they are channeling Miles Davis music post "Bitches Brew", long, hypnotic drones interrupted by swatches of brass, reeds, violins, and drums of all shapes and sizes. There are moments that hearken back to discovering Ravi Shankar and ragas in the 1960s or Terry Riley in the 1970s. Start at the beginning of "Ragmala" and let it flow. Enjoy the interruptions when the vocal music changes the mood, when all the voices rise to a fever pitch then dissipate down to a whisper. Kudos to Adam Rudolph who makes the collaboration come alive, offering so many possibilities for further musical and cultural opportunities. You'll not hear a large ensemble like Go: Organic Orchestra & Brooklyn Raga Massive many times in your life – this music must make for an amazing aural adventure in a concert hall. It certainly makes for a fascinating album/ CD experience.
Jay Ghandi - bansuri Arun Ramamurthy - violin Trina Basu - violin Samarth Nagarkar - vocal Neel Murgai - rhythm sitar, overtone singing Sameer Gupta - tabla David Ellenbogen - electric rhythm guitar Abhik Mukherjee - sitar Bala Skandan - mridangam Mari Tanaka - tampura
Kaoru Watanabe - c flute, fue, noh kan Michel Gentile - c flute Sylvain Leroux - chromatic tambin, tambin, c flute Ze Luis - c and alto flute Mariano Gil - bass flute
Avram Fefer - tenor saxophone, bass clarinet Sean Sonderegger - bass and contrabass clarinet, soprano saxophone Sara Schoenbeck - bassoon Ivan Barenboim - b flat clarinet
Charles Burnham - violin Julianne Carney-Chung - violin Sana Nagano - violin Gwen Laster - violin Richard Carr - violin Stephanie Griffin - viola Leco Reis - contrabass
Graham Haynes - cornet, flugelhorn, kudu horn, bamboo vaccine Stephen Haynes - cornet, flugelhorn, solo alto, pocket trumpet, didgeridoo, conch, kudu horn Peter Zummo - trombone, didgeridoo, conch, kudu horn Libby Schwartz - french horn
Mia Theodoratus - harp Marco Cappelli - electric and acoustic guitars Alexis Marcelo - keyboards Damon Banks - electric bass
Posts
