Latin Jazz Album Reviews

Latin Jazz Album Reviews: A Trio of Superbly Imaginative Visions

By Brooks Geiken

Three powerful albums showcase the imaginative visions of Arturo O’Farrill, The John Santos Sextet & Friends, and Rachel Therrien’s Latin Jazz Project.

Mundoagua Celebrating Carla Bley, Arturo O’Farrill and The Afro Latin Jazz Orchestra’s fifth record for the Zoho label, is a triumph, plain and simple. The album is divided into three sections: the first, Mundoagua, focuses on the political/global implications of water; the second is comprised of four Bley compositions entitled “Blue Palestine Parts 1, 2, 3, and 4”; the third, Día De Los Muertos, is inspired by O’Farrill’s childhood growing up in Mexico City.

In ““Mundoagua I: Glacial” the entire trumpet section struts its collective stuff. Adam O’Farrill, Rachel Therrien, Seneca Black, and Bryan Davis all take turns playing hot jazz for a decidedly cold titled song. “Mundoagua ll: Mundoagua” benefits from the cliché-free work of baritone saxophonist Larry Bustamante. Finally, during the final part, “Mundoagua lll: The Politics Of Water” a jarring version of “The Star Spangled Banner” emerges during the performance of the main composition, resulting in a chaotic musical statement.

The next section, “Blue Palestine”, consists of four Bley compositions and, given the situation of the world today, these pieces could not be more timely. Bley was a gifted and politically engaged composer, a dedicated fighter for human rights through the Liberation Music Orchestra. In these four serious compositions she has brought the dire situation in Gaza directly into the listener’s ears. In the third movement, Bley’s daughter, Karen Mantler, solos on harmonica and then beautifully states the melody on organ.

The primary riff in “Día De Los Muertos l Flowery Death” was inspired by Dizzy Gillespie and Chano Pozo’s “Manteca”. O’Farrill distorts the tune just enough to fit his own modern sensibility and it is a fascinating interpretation. The second section, “Día De Los Muertos ll La Bruja”, begins with Sergio Ramírez’s lilting acoustic guitar intro and Rachel Therrien’s muted trumpet work. O’Farrill writes in his notes that the last movement, “Día De Los Muertos lll Mambo Cadaverous,” is pure cartoon. Check out J.M. Posada’s drawings, which include dancing skeletons, and you will get the idea. A rumba rhythm precedes the entrance of the Orchestra, which proceeds to play in a jaunty, up and down manner, suggesting the jiggly movement of the skeletons.

The structure of the compositions is first rate and the Afro Latin Jazz Orchestra plays brilliantly throughout the disc. O’Farrill’s gift is to infuse his political convictions and life experiences into his music — the result is fascinating and uplifting. The orchestra members respond to his challenging arrangements with verve and virtuosity. Mundoagua Celebrating Carla Bley is an ambitious and heartfelt tribute to two great American composers.

Horizontes (Horizons), the latest disc from educator, historian, activist, and musician John Santos featuring his Sextet & Friends, starts off strong and never lets up. In fact, the first tune, “Un Levantamiento” (An Uprising) speaks directly to the rage of those protesting the inhumane treatment of the Puerto Rican people by the colonizers of the island. Toward the beginning of the track, María Cora reads a poem in English and Spanish outlining the struggles of her people. The wonderful Puerto Rican vocalist Jerry Medina infuses the lyrics that follow with passion and commitment — it is an exhilarating beginning for the record.

The bass player in the sextet, Saul Sierra, has contributed two compositions to the album, “Calzada México Tacuba” and “Yes, Yes, Sí, Pues”. He is emerging as a very interesting song writer, along with the prolific Santos. “Calzada México Tacuba” is fitting homage to the street where Sierra lived in México City. The late Jerry González (a superb trumpeter and conga drummer who performed with Conjunto Libre and The Fort Apache Band) adds his unmistakable muted trumpet style to the proceedings. On “Yes, Yes, Sí Pues” the inspiration comes from Guantánamo, specifically the traditional music and dance style called Changüí. Sextet members Marco Díaz on piano, Charlie Gurke on tenor sax and David Flores on drums and timbales enliven the tune with their formidable playing.

A tribute to the father of the incomparable conga drummer Giovanni Hidalgo, “Mañengue” (the nickname of José Manuel Hidalgo), starts off slowly and then builds to a lovely ending, provided by Gurke on baritone sax and Medina wailing on vocals.

Horizontes ends with the Santos song “Sangre Africana” (African Blood), which acknowledges Africa’s profound influence on music. Elena Pinderhughes, normally known for her superb flute work with such luminaries as Kenny Barron and Chief Adjuah (formerly Christian Scott), sings with grace and power on this track.

Santos, along with his Sextet & Friends, have once again put together a poignant political and social statement that draws on the multiple strengths of Afro Cuban music.

Two years ago, reviewing Arturo O’Farrill and the Afro Latin Jazz Orchestra’s album Santiago Brooklyn Santiago, I noticed that trumpeter Rachel Therrien was part of the band. This sparked an online investigation to check out her other recordings. I discovered she had released a CD, Mi Hogar I (My Home). This year she has released a new CD, Mi Hogar ll, and it is a very imaginative take on Latin Jazz.

A French-Canadian native, currently living in New York, Therrien assembled a fine cast of musicians to carry out her ideas; Afro Cuban Orchestra bandmates: Ivan Renta (tenor saxophone), Rafi Maíkel (trombone), the ubiquitous John Benítez (electric bass) and the Canadian duo OKAN, Elizabeth Rodríguez (violin) and Magdelys Savigne (percussion).

Therrien’s beautiful and inventive trumpet playing is in ample evidence throughout Mi Hogar ll. The heart and soul of the album are the tracks she composed, beginning with the bata-driven tune “Orun”, in which Savigne supplies the perfectly deft underpinning. In Therrien’s next song, a lively son montuno called “Back Home”, the trumpeter applies plenty of her special sonic flavoring.  “Sueños De Cambios”, a mellow bolero, benefits greatly from the piano of Danae Olano. Finally “Soucy” kicks in hard when Renta on tenor sax and Maíkel on trombone solo with gusto.

One of the high points of the album: Therrien’s tribute to two masters of Afro Cuban music, Chucho Valdés and Paquito D’Rivera, both members of the influential band Irakere. Here she takes the Valdés tune “Mambo Influenciado” and D’Rivera ‘s “Chucho” and mashes them together, resulting in “Mambo ‘Chucho’ Influenciado”. OKAN, Rodríguez on violin and Savigne on congas, make the tune build and soar.

Mireya Ramos, a fine singer and violinist, composed the last song on the album, “Beauty Free”. Ramos was seen recently in the documentary, Omar Sosa’s 88 Well Tuned Drums, playing alongside the pianist. Here she sings in English and Spanish, sharing vocal duties with Andy Rubal. The lyrics speak of opening up and liberating oneself from whatever might be holding us back.

Mi Hogar ll draws with agile skill on a wide variety of styles, from boleros to Spanish Pop. Therrien mixes them all together and lays her great trumpet sound on top, a blend that  makes this album a must-have for aficionados of Latin Jazz.

from https://artsfuse.org