Manuel Valera New Cuban Express Big Band José Martí en Nueva York

Manuel Valera  New Cuban Express Big Band
José Martí en Nueva York
Greenleaf Music

Cuban-born pianist Manuel Valera leads his New Cuban Express Big Band in a marvelous song cycle inspired by José Martí, the famed Cuban writer and independence hero. "José Martí en Nueva York" features Valera's original music based on nine poems from Martí's seminal 1891 collection, "Versos Sencillos." As Kabir Sehgal observes in his album notes, this book was one "Martí wrote during his fifteen year stay in New York as a journalist, as he helped to fund the ongoing struggle for independence in Cuba. The poems address a range of political and societal issues."

For this recording, the New Cuban Express Big Band consists of (VOICE): Camila Meza, Sofia Rei (TRUMPETS): John Walsh, Brian Pareschi, Michael Rodriguez, David Smith, Alex Norris (REEDS): Michael Thomas, Roman Filiu, Joel Frahm, Charles Pillow, Andrew Gutauskas (TROMBONES): Matt McDonald, John Yao, Andy Clausen, Jeff Nelson, and (RHYTHM SECTION): Manuel Valera, Alex Goodman, Ricky Rodriguez, Jimmy Macbride, Samuel Torres, Mauricio Herrera.

This album is a wonderfully orchestrated, sung, and played recording of these poems. While I am not fluent in Spanish, the vocals by both Camila Meza and Sofia Rei are captivating with the clarity and purity of their voices and immaculate phrasing set against the luxurious musical settings Valera provides. Furthermore, he develops each of the seven tracks with shifts in tempos and orchestral colors. The opening "Odio La Mascara Y El Vicio," begins as ballad spotlighting Mesa's vocal before transitioning into a more heated instrumental passage. The transitions in tempos and musical temperature are seamless. In addition to her ardent also, there is Andy Clausen's impressive, smoldering trombone solo.

Sofia Rei is as engaging a vocalist as shown on "Es Rubia, El Cabello Suelto," with the brass and reeds riffing against each other over a tropical rhythm. This recording is music for one's feet and one's head. One can easily imagine dancers filling a dance floor while Alex Norris' trumpet is spotlighted on a lyrical solo. Many of the members get to display their talents and be part of the marvelous ensemble playing. For "Por Sus Ojos Encendidos," the leader's piano is in the spotlight along with the trumpeter, Michael Rodriguez. Among other delights, Joel Frahm's husky tenor sax and David Smith's trumpet are featured on the spirited medley of "Yo Quiero Salir Del Mundo / Yo Pienso Cuando Me Alegro."

With all the superb singing and playing, Andrew Gutauskas's barreling baritone sax and Valera's piano solo on "Si Quiere Que De Este Mundo," are favorite moments on this outstanding recording. The performances are so genuine and naturally sung with the New Cuban Express Big Band's exquisite backing making for truly sublime listening.

I purchased this recording.  Here is a selection from the CD which is available from Greenleaf Music on bandcamp.

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.

Chick Corea The Spanish Heart Band

Chick Corea
The Spanish Heart Band – Antidote
Concord Jazz

This new Chick Corea album with his new band is simply terrific. Corea's piano and keyboards are supported by his 8 piece band that includes flamenco guitarist Niño Josele; saxophonist/flutist Jorge Pardo; bassist Carlitos Del Puerto; trumpeter Michael Rodriguez; trombonist Steve Davis, drummer Marcus Gilmore; percussionist Luisito Quintero; and the fiery footwork of flamenco dancer Nino de los Reyes. Also heard is the great vocalist Rubén Blades and gifted singers Gayle Moran Corea and Maria Bianca.

Corea states that his "genetics are Italian but my heart is Spanish. I grew up with that music. This new band is a mix of all the wonderful and various aspects of my love and lifetime experience with these rhythms that have been such a big part of my musical heritage." It is a heritage that gets off with the volcanic opening title track with Blades joyfully singing as well as giving Josele and the horns a chance to solo. Corea himself dazzles on acoustic piano and electric keys, while the arrangement and layering of the horns, piano, and guitar add to the joyous fire here.

The music is so wonderfully played but the incorporation of the flamenco dance to open "Duende," a composition and performance of lyricism and passionate romanticism along with the interplay between Pardo's flute and the brass of Rodriguez and Steve Davis. Nino de los Reyes dancing is even more of a presence in "The Yellow Nimbus" that was initially written as a duet between Corea and Flamenco master Paco de Lucía, with the flurries of the dancer matched by Corea's piano and the responses from Josele's guitar.

"My Spanish Heart" was the title of one of Corea's most successful albums in addition to being a beautiful composition. It opens with an introductory vocal choir before Corea introduces it with stark chords as the performance builds in complexity including an enchanting Blades vocal with the horns providing a counterpoint. It is followed by a thrilling rendition of "Armando's Rhumba," with sterling solos by Davis, Pardo, Rodriguez, and Josele in addition to Corea's magnificent playing while comping for some percussive fireworks by Gilmore and Quintero.

Other performances include Paco de Lucía's "Zyryab" with its Spanish and Middle Eastern influences; the smoldering heat in the rendition of Jobim's "Desafinado" with Maria Bianca's heartfelt vocal; Corea's captivating solo piano arrangement of "Pas de Deux" from Stravinsky's ballet "The Fairy's Kiss" that weaves into Corea's original "Admiration." This fabulous recording will undoubtedly on many Best of 2019 lists.

I received a review copy from a publicist. This review originally appeared in the July-August 2019 Jazz & Blues Report (Issue 385).  Here is Chick Corea and the Spanish Heart Band at the 2019 North Sea Jazz Festival.

Carlos Henriquez Dizzy Con Clave: Live at Dizzy's Club Coca-Cola

Carlos Henriquez
Dizzy Con Clave: Live at Dizzy's Club Coca-Cola
RodBros Music

Henriquez, the bassist with Wynton Marsalis and the Jazz at Lincoln Center Orchestra for the past twenty years, leads an octet on an exciting Afro-Cuban tribute to Dizzy Gillespie that was recorded live at Dizzy's Club Coca-Cola at Jazz at Lincoln Center in late 2017. His band consisted of trumpeters Michael Rodriguez and Terrell Stafford, trombonist Marshall Gilkes, tenor saxophonist Melissa Aldana, pianist Manuel Valera, drummer Obed Calvaire, and congas/vocalist Anthony Almonte.

It goes without saying that Dizzy Gillespie helped create the 'Cubop' era inspired by trumpeter Mario Bauza and percussionist Chano Pozo. Henriquez devised the superb arrangements of Gillespie's compositions, whether bebop classics like "A Night in Tunisia" or "Groovin' High," or the Afro-Cuban classics such as "Manteca" and "Con Alma" that are performed so powerfully here.

"A Night in Tunisia" certainly gets this recording off to a hot start with Melissa Aldana and Michael Rodriguez both soloing hot against the volcanic rhythm section with a thunderous percussion segment. Muted trumpets open "Groovin' High," before Rodriguez takes off with a blistering Afro-Cuban accented solo before Henriguez displays his facility and imagination before the performance transitions into a hot mambo band romp as Almonte taking the lead vocal with the horns blasting. Like the entire recording, it is an exhilarating contemporary synthesis of modern jazz and the traditional Cuban rhythms.

Then there is the exciting performance of "Bebop," that showcases Stafford's explosive trumpet followed by Aldana's sizzling tenor sax. "Manteca" is taken perhaps at a slightly less blistering pace, but the horn ensemble explodes, and the rhythm percolates like a Yellowstone geyser with Rodriguez brilliant on trumpet here. "Con Alma" is given a lush arrangement and taken at a comfortable pace with all four horns soloing along with pianist Valera. Valera and trombonist Gilkes stand out with their romantic, lyrical playing.

"Dizzy Con Clave" is a wonderful recording by a superb band with compelling performances of the terrific inspired arrangements by the Henriquez that greatly honors the memory and legacy of Dizzy Gillespie.

I received from a review copy from a publicist. This review originally appeared in the March-April 2019 Jazz & Blues Report (Issue 383).  Here is a video of Carlos Henriguez playing "Bebop" Live From Dizzy's Club Coca Cola.

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."