Arturo O'Farrill & Chucho Valdés Familia

Arturo O'Farrill & Chucho Valdés
Familia: Tribute To Bebo & Chico
Motema Music

Bebo Valdés and Chico O'Farrill, along with Machito and Mario Bauzá, were major innovators of Afro Cuban jazz. On this double CD collaboration, there sons, Arturo and Chucho, along with grandsons, Adam and Zack O'Farrill and Jesse and Leyanis Valdés, play tribute in a wonderful celebration of original music, with a "dazzling display of musicality and striking musicality" to quote executive producer Kahir Sehgal.

The first CD features Bebo and Chico with the Afro Latin Jazz Orchestra or six spectacular performances starting with a joyous merengue the two composed, "Bebochicochuchoturo," opens with Arturo's cadenza, ending with Chucho's cadenza, with brilliant solos from both as well as blazing trumpet from Jesse Ricardo Anduz, set against a brilliant orchestration and the surging rhythms. The title of Arturo's "Three Revolutions" refers the three generations of the families and the revolutionary musical environments they were affected by and affected. It is the most experimental composition employing atonalism, delayed resolution and free improvisations with Arturo and Chucho dazzling in their respective solos with the swirling horns and vigorous percussion adding to the fireworks here.

While the rest of this first disc is of a similar level, one takes note of the elegant, soaring melody and scrumptious harmonies of "Ecuación" that Bebe composed (with lovely trumpet from Seneca Black); Chucho's tribute to his father "Tema De Bebo" which provides a view at the contrasting, brilliant piano styles of the two leaders; Chico's, "Pianitis," that Machito commissioned Chico to write for his son that opens sonorously before a rhythmic explosion before returning to a melodious conclusion; and "Fathers, Mothers, Sons Daughters," that Arturo composed and includes solos from among others Adam O'Farrill , and Leyanis Valdés (whose solo is for Arturo the highlight here) with Zack O'Farrill guesting on drums.

The second disc features the Third Generations Ensemble, a slightly smaller ensemble (a big little band) than the Afro Latin Jazz Orchestra centered on Adam & Zach O'Farrill and Leyanis & Jesse Valdés. Adam contributed "Run and Jump," a bouncy original with a bass ostinato and some swirling clarinet from Ernesto Vega. Jesse wrote, "Recuerdo," dedicated to his grandfather and with a lovely theme that showcases Leyanis lyrical pianistic touch along with the mellow trumpet of Kali Rodríguez-Peña. After another melodious clarinet solo from Vega, Jesse then solos. Zack's "Gonki Gonki," referring to a phrase his father used to describe to his mother gigs he often played, is a lively performance with a scintillating opening piano solo from Leyanis along with a robust tenor sax solo from Chad Lefkowitz-Brown and trumpet fireworks exchanged between Kali Rodríguez-Peña and Jesus Ricardo Anduz on a terrific contemporary composition.

There are sublime solo performances by Arturo and Chucho in honor each other's father, followed by a highly spirited small ensemble performance led by Arturo and Chucho of Bebe's "Con Poco Coco," with Adam's trumpet and a very percussive rhythm section with Gregg August impressing on his bass solo. The album closes with "Raja Ram," composed in part by producer Sehgal and inspired by Gandhi and an arrangement of a favorite tune of Gandhi in part looking at his own heritage. It features Arturo on piano and Anoushka Shankar (daughter of Pandit Ravi Shankar) on sitar who adds her own brilliant contribution. Sehgal notes that he and Arturo have dreamed of recording in India so this might be a hint of a 'future adventure.' It is an intriguing close to a remarkable recording.

I received my review copy from Motema Music. This review originally appeared in the November-December Jazz & Blues Report (Issue 375). Here Arturo O'Farrill & Chucho Valdés perform "Three Revolutions."

Rodrigo Y Gabriela and C.U.B.A. Take Us To Area 52

Until listening to Area 52 by Rodrigo Y Gabriela and C.U.B.A. (ATO Records) I was not familiar with the acoustic guitar duo Rodrigo Y Gabriela. Listening to this disc I discovered that they initially were playing in a thrash metal band in their native Mexico. Going to Europe, they busked as an acoustic guitar duo, rooted in flamenco style and playing a wide range of material that included covers of metal and Led Zeppelin, although I must admit I have not heard their prior recordings.

This album, produced by Peter Asher, has them with by jazz pianist Alan Wilson who had a decade ago given them a jazz salsa recording with latin rhythms. Along with Wilson, they engaged some Cuban musicians to lend their rhythmic feel to this project. These musicians are the Cuba Universal Band Association from which C.U.B.A. derives. Prominent among these musicians Feliciano Arango Noa on bass and the percussion of Otto Santana Selis,

The intent was to redo songs from their two prior recordings However, after recording in Cuba, they felt they could add more guitars and also added some rock flavor to get away from a strictly traditional Cuban, and Latin sound. They also brought in some guest collaborators for this purpose as well which had pre-production and production in several countries. It is this fabulous mix of material, artists and performances that immediately captured my attention and led to my enthusiasm about the many pleasures to be heard here.

Cuban rhythms greet the duos opening guitar figures for San Domingo, with Wilson’s piano helping establish the mood as the horns and strings add to the heat while its one of the tracks that Gabriela experiments with a way way pedal. Samuel Formell Alfonso, of the great band, Los Van Van, is guest drummer on this exhilarating ride. Hanuman was a composition inspired by Carlos Santana and on these reworking Rodrigo added some electric guitar to his flamenco playing on a number that certainly evokes the great guitarist set against some horns and violin in the arrangement with some interesting flute from Jorge Liliebre Sorzano. The drumming of John Tempesta (of White Zombie fame) adds to the rock flavor over the hot afro-Cuban grooves.

An undeniable factor to the duo’s success is there unique mix of various traditions and style. On Ixtapa, after Wilson’s sedate opening followed by the acoustic guitar lead to state the theme , followed by a brief segment featuring percussion before a new movement joined by Anoushka Shankar on sitar who takes an extended, intensive solo followed by the vibrant flamenco styled guitars of the leaders on a mesmerizing performance. Carles Benavent guests on bass (with Noa on second bass) and Carlota Teresa Polledo Noriega guests on vocal for 11:11, with its mercurial tempo and more exquisite playing from the two (including a solo by Rodrigo on a Fender lap steel guitar) driven along by the brilliant rhythm section. Noriega takes her vocal during the closing moments with C.U.B.A. chanting in chorus as the performance fades. Other highlights include Master Maqui, on which the Le Trio Joubran add ouds to the mix of percussion and horn and Diablo Rojo, with the fiery rhythms and stunning flamenco accents of the guitars of Rodrigo & Gabriela as the horns add their brassy counterpoint.

In addition to the nine performances on the CD, this comes with a DVD containing a fascinating documentary discussing the recording of this album. This recording has been a revelation and this writer has already ordered one of their earlier recordings being impressed by this recording. Also, Rodrigo Y Gabriela will be touring North America this spring (http://www.rodgab.com/tourdates.html) including dates at Massey Hall in Toronto, Radio City Music Hall in NYC, Warner Theatre in Washington DC and the New Orleans Jazz & Heritage Festival. If I was going to be at JazzFest this year, they would be my must see act no matter what act (and it would not matter if it was Trombone Shorty or Bruce Springsteen) might be on at the same time.

My review copy was provided by a publicist for the release. Here is a video of the two performing.