Samuel Torres Alegria

Samuel Torres
Alegria
Blue Congo Music

The latest album by Torres, the Columbian percussionist/composer/bandleader. About this CD, his fifth, Torres says "Alegria, which means "happiness" or "joy," presents eight original compositions that captivate and inspire." He elaborates, "in these somewhat dark and divisive times we need light and joy, and we need to share these things with each other to combat hate. On this project he has assembled a band of Michael Rodriguez & Alex Norris (trumpet & flugelhorn); Marshall Gilkes (trombone); Will Vinson (alto & soprano saxophones); Joel Frahm (tenor & soprano saxophones); Ivan Renta (baritone saxophone, bass clarinet & flute); Luis Perdomo (piano & Fender Rhodes); Ruben Rodriguez (electric bass), and Pablo Bencid (drums). Torres himself plays (congas, bongos, kalimba, log drum, cajon, maracas llanera, djembes, talking drum, güiro, timbal, tambourine, clave, shekere, shakers & EFX.

Torres not only has quite an ensemble assembled, but his compositions inspired the superlative performances. Among the eight stirring performances are "Salsa, Jazz y Choke," which certain will get pulses elevated. Salsa Choke is a Pacific Columbian urban music style that incorporates a Cuban pilon groove. There are excellent solos from trombonist Gilkes, pianist Perdomo, and Torres on congas, along with the punchy, spirited ensemble playing. Then there is "Barretto Power," A boogaloo dedicated to Torres' hero Ray Barretto with ear-catching solos from Ivan Renta on the baritone sax and drummer Bencid. "Little Grasshopper" is a feature for Torres on the Kalimba. It has a simple melody over a 6/8 rhythmic pattern with more fine ensemble playing. In addition to Torres on kalimba, the selection features Renta's lyrical flute. The title track is a spirited Cumbia which Torres also states has "elements of South American indigenous music." There are ebullient solos by pianist Perdomo and alto saxophonist Will Vinson here.

The other performances on "Alegria" are similarly full of high energy as well as scintillating solos and ensemble playing. Samuel Torres and his ensemble have put forth some top-notch Latin Jazz.

I received a review copy from a publicist. Here is Samuel Torres recently performing "Barretto Power" at Dizzy's in NYC.

Fran Vielma and His Venezuelan Jazz Collective Tendencias

Fran Vielma and His Venezuelan Jazz Collective
Tendencias
Papelon Records

Vielma, is a Venezuelan composer, arranger, educator and a multi-percussionist specializing in Venezuelan rhythms and drums. Vielma also leads the ‘Venezuelan Jazz Orchestra,’ and is a producer/teacher of a biannual jazz seminar at The Andes University in his home country. On this recording he is joined by his Venezuelan Jazz Collective that features some of the most important Venezuelan and Latin American players of NY jazz scene like Luis Perdomo, Michael Rodriguez, Miguel Zenon, and Pablo Bencid.

Fran Vielma says about his music, "As a percussionist, I am drawn to the rhythmic elements of Venezuelan and Caribbean music that are full of African heritage. The nuance and variety of classical and world music styles, as well as the freedom of jazz, have constantly nurtured my performance, making me think as a real-time orchestrator, improviser, and an active seeker of sonic textures. These elements allow me to accompany and interact with other players, and to highlight passages or sections that a piece of music entails."

This opens with the invigorating "Monk En Aragua," one gets impressed by the clean, spicy horn lines as well as the thunderous percussion. There is a terrific bass solo from Roberto Koch as well as superb piano (Either from Luis Perdomo or Cesar Orozco) followed by Miguel Zenon's alto sax and then a percussion solo from Vielma. "Cereal De Bobures" may be a bit mellower as the horns are heard over the Rhodes piano with Michael Rodriguez's trumpet featured on a relaxed, tuneful solo that floats over the rhythm before a vocal chorus takes this performance out. The title track has a brisk tempo as well as featuring Angel Subero's wooly trombone set against a cleaver horn arrangement before a percussion solo set against a repeated piano riff. Jeremy Bosch's vocal is at the center of "Pasaje Del Olvido," while Koch's bass solo opens and sets the table for "Hubbardengue," with its airy Rhodes piano and Rodriguez's melodic trumpet.

The percussive heavy, "A Modo Patanemeño," places the spotlight on pianist Orozco, while the closing "Miel De Cayena," is a duet between Vielma and pianist Perdomo with interesting shifts in tempos and dynamics in this engaging musical conversation. It concludes a superb recording with an excellent band, superior compositions and superb soloing.

I received as a download from a publicist. This review appeared in the May-June 2018 Jazz & Nlues Report (issue 378). Here is a video of "Monk En Aragu."

Bassist Ben Wolfe led a terrific quartet at the Greenwich Village club, Smalls, for some hot music recorded for the club’s SmallsLive label as part of its Live at Smalls series. Joining Wolfe were pianist Luis Perdomo, trumpeter Ryan Kisor, saxophonist Marcus Strickland and drummer Gregory Hutchinson. They are heard on nine originals by the leader who shows himself to be quite the composer as well as bassist.

There is an ambience of classic Blue Note sessions from the sixties from the opening Block which evokes some of the Wayne Shorter and Herbie Hancock Blue Note Recordings from when they were in Miles Davis’ band on which Freddie Hubbard replaced Miles. Some outstanding playing from Kisor followed by Perdomo on this and Wolfe and Hutchinson are terrific with Strickland playing with fire. For the Great Sonny Clark has a nice loping feel and a very appealing theme with Wolfe taking the initial solo, followed by Kisor’s in a brassy, melodic vein and then a short fiery burst from Strickland with Perdomo contrasting with fluent, lyrical playing. Telescope is another bouncy hard bop number which has Strickland taking the initial solo with some strong playing that exhibits his individualistic sound and his ability to craft a solo. After Kisor and Perdomo have their features, Hutchinson takes concise, and exciting, solo.

A short, lovely ballad I’ll Know You More, opens with Strickland stating the theme displaying a warmth in contrast to more aggressive playing elsewhere as Hutchinson’s cymbals accent his deliberate playing. Czech Mate displays a Thelonious Monk flavor as Kisor and Strickland (employing the bottom register of the tenor) state the theme and Wolfe takes successive choruses before the horns take this out. Coleman Cab opens with a lengthy bass solo prior to the full band entering with interesting horn voicings and an outstanding solo from Perdomo.

The Trade, a brief duet between Wolfe and Hutchinson, is the final selection that concludes this superb recording. This is a recording I have been listening to repeatedly over the past couple weeks and one I am sure I will be returning to in the future. One can purchase this from SmallsLive directly as a CD or just a download (CD purchases include downloads) or from other vendors.

This was a purchase. Here is Ben Wolfe as a member of a different, but terrific, band.

Hans Glawischnig's Panoramic Jazz

New York based bassist Hans Glawischnig has certainly come along way from his Graz, Austria beginnings. He has attended Berklee, the Manhattan School of Music and in 1995 took the bass seat in Bobby Watson’s Urban Renewal followed by a stint with Maynard Ferguson, before he was invited to join Ray Barretto’s New World Spirit Ensemble Jazz followed by engagements with Pacquito D’Riviera, David Samuels and Bobby Sanabria along with performances with Billy Harper, Richie Beirach, Billy Hart, Joe Locke, Steffon Harris, Claudio Roditi, Brian Lynch, Phil Woods and Claudia Acuna to name a few. and his first album as a leader was Common Ground for Fresh Sounds/New Talent in 2003.

Now Sunnyside has just issued his latest release as a leader, Panorama. On his nine compositions he is joined by such well known artists as pianists Chick Corea, and Luis Perdomo; drummers Johnathan Blake, Antonio Sanchez, and Marcus Gilmore; saxophonists David Binney, Miguel Zenon and Rich Perry; and guitarist Ben Monder. Zenon (in whose band Glawischnig) is present on four of the performances which have a pretty wide cast. Zenon’s sax dominates the opening Line Drive, with his clean tone and marvelous invention followed by the impressive Perdomo’s piano while the leader’s bass anchors the proceedings and drummer Blake imaginatively keeps pushing the tune along while adding his own accents.

The title track features Corea in a very thoughtful, lyrical vein, while Glawischnig also gets to solo, while Zenon returns on The Orchids, a performance that evokes some of the flavor of Keith Jarrett’s European Quartet recordings. Gypsy Tales, is a quintet track with guitarist Monder, saxophonist Binney and drummer Antonio Sanchez with a spacey feel, with Binney taking a probing tenor solo while Monder’s guitar is in the post McLaughlin and Abercombie approach. Set to Sea is a lovely ballad featuring the tenor of Rich Perry, while Corea returns for Oceanography, derived From How Deep Is The Ocean. Barretto’s Way, opens with nice bowed bass playing before a bit of flamenco is evoked by his bass (suggestive of David Holland here).

The rest of the album features fresh material, thoughtful and inventive playing and marvelous group interplay making Panorama a superior jazz release. Here is a youtube of Hans playing with Miguel Zenon's group with Luis Perdomo on piano.

This review originally appeared in the October 2008 Jazz & Blues Report (Issue 309). I believe I received my review copy from the publication.  

Roland Vazquez's "The Visitor" Is Superb Big Band Jazz

Composer-Arranger-Drummer Roland Vazquez has been on the scene for sometime and in the late 70s was a member of Clare Fischer’s all-star band “Salsa Picante.” Later working in New York, he attended the Manhattan School of Music, obtaining a Masters in Music and while continuing to play, lead ensembles and compose, he also started teaching at the Manhattan School. He has also taught at University of Michigan and the American Academy in rome to illustrate his experiences. His compositions have not been limited to jazz, but also chamber music, and have been performed in a number of contexts including one that was for a string quartet and orchestra. His new recording, “The Visitor” (RVCD/Roland Music) is a big band recoding that includes several of his compositions that he has been performing, but with the help of a grant from The Aaron Copland Fund For Music, he was able to get this recording memorialized in a studio and issued.

Besides composing six of the seven selections, Vazquez conducts the wonderful big band heard here. I confess not being familiar with most of the musicians on this recording. Joel Frahm on saxophones was the most familiar name but many of the participants have made a strong impression including the rhythm section of pianist Luis Perdomo; guitarist pete McCann; electric bassist James Genus; drummer Ignacio Berroa; and percussionist (also on congas) Samuel Torres. The compositions are inspired, the arrangements vital and the solos are striking.

The opening composition, “ Urantia” is taken for a mythical name for earth and after an opening section with some wonderful piano by Perdomo, both Aaron Heick on alto sax and Alex Norris on trumpet solo propelled by the Afro-Cuban rhythmic foundation laid by the rhythm section. “Thru a Window,” opens with a languid unaccompanied piano by Perdomo section before the tempo kicks up a notch with Christos Rafaelides adding coloring on the vibes with e composer’s exhilarating arrangement for the reeds and brass. There is also strong tenor from Dan Willis, soprano sax from Roger Rosenberg, and with striking percussion playing from Berroa and Torres. Torres’ percussion evokes the ocean tide coming ashore at the beginning of the title track which is a feature of Frahm’s saxophone and Perdomo’s piano. One is delighted by Vazquez’s layering of sounds and the interplay between the brass and reeds.

One might find it impossible not to be at least tapping one’s feet on “ Whirlpool” with its driving and funky latin rhythm, with Heick’s strong alto playing benefiting from the imaginative musical colors Vazquez’s has provided him. “Sevilla” is a reflection of a time in medieval Spain when their was co-existence between Christian, Jewish and Muslim communities and the inspiration of that time compared to contemporary intolerance with some exquisite playing by Perdomo. Clare Fischer’s “Guarabe’” was part of a Grammy Award winning recording, “Salsa Picante,” and this lively big band recasting serves as a fitting salute to a mentor with more spirited piano and alto saxophone, with Perdomo introducing a tempo change introducing a blustery baritone sax solo by Rosenberg followed by the horns soaring behind Norris’ fiery trumpet and to the performances exciting conclusion.

The concluding “ The Path of Change” is described as “an episodic ‘Latin rhythmic chamber jazz,’” that was more recently translated from small group to full big band orchestration and provides guitarist McCann to take the forefront with some Santana inspired playing prior to Berroa and Torres taking the spotlight as a baritone sax and responding horns provide a musical backdrop. This is a strong conclusion to one of the best big band recordings I have heard in some time. Highly recommended. This is available from cdbaby and downloadable at itunes. His website is http://www.rolandvazquez.com.


For purposes of FTC regulations, I received a review copy from the publicist for this release.