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BFT 52 answers


mikeweil

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The theme of this 52nd Organissimo Blindfold Test was Jazz and Afro-Cuban Rhythm.

It was not simply Latin rhythm: all grooves here were definitely Cuban, track 5 straying the farthest from a traditional Cuban dance rhythm, but the characteristics were still there. I hate the over-simplification the term "Latin" implies - it does not do justice to the widely differing traditions south of the USA border that each are a musical cosmos of their own, with at least two of them (Cuba and Brazil) being just as complex as the African-American music world in the US.

As the great Cuban tumbadora player Luis Miranda (a member of the fantastic rhythm section of the Machito Orquesta from the late 1940's who also played with Cal Tjader for a year) said:

To clarify that even further, the arranger had to adapt to our rhythm, not the other way around. This is the true LATIN JAZZ! (Okay, even he uses the term ... many musicians do, but that doesn't make it more accurate.)

I quote him because I am convinced that the rhythm is the center of the music, and to progress, jazz must seek to explore new rhythmical worlds, the Cuban being one of the most developped. There has been a mutual fascination between jazz and Cuban musicians from the 1930s that continues to this day. I tried to select some more recent examples to show the different mixtures of jazz or jazz-like improvisation with Cuban rhythm - some only sounds like jazz, but can be perfectly explained without any jazz influence! I also wanted to include some musicians that you wouldn't expect in such a context while avoiding the household names of the scene.

# 1 - Maria Rivas: Night And Day (Cole Porter, Spanish lyrics by Maria Rivas). CD Muare (Angel Falls Records AFR 1101, 1998)

Maria Rivas vocals; José Rodriguez tp; Domingo Pagliuca tb; Julio Flores ss; Evencio Villamizar as; Horacio Mogollón ts; Dino Nugent p; Gerardo Chacón el-b; Gerardo Rosales cga; Antonio Rondón bgo; Alberto Naranjo timbales, drums, arranger.

Recorded August-October 1996, Miami

519SVFDGDHL._SS500_.jpg

Maria Rivas is Venezuela's # 1 singer. I once ordered a CD of her (Café Negrito) along with some Cal Tjader items 'cause it was a cheap sellout item and reportedly audiophile, but the voice and attitude caught me more than the sound. Her CDs are hard to find, as the US labels she worked with are all out of business, but used copies can be found on Amazon (who misspell this CD "Maure"!) or GEMM.

If you like this track, this CD is for you. I find it magnificent, the poetic Spanish lyrics comparing the sound of the rain on the roof with that of drums, the scatting, her rhythmic precision - she surely enchanted me. When I heard this track the opener of this BFT was chosen. Very nice arrangement by Alberto Naranjo, a great drummer who worked with Irakere and is a leading musician of Venezuela. A true synthesis of jazz and Cuban music.

http://www.mariarivas.net/

http://www.sincopa.com/jazz/artists/maria_rivas.htm

# 2 - Edward Simon: Colega (Simon). CD Edward Simon (Kokopelli Records KOKO 1305, 1995)

Mark Turner ts; Edward Simon p; Larry Grenadier b; Adam Cruz d; Milton Cardona cga.

Recorded April 1&2, 1995, Manhattan Center Studios, New York City.

edsimon_edsimon.jpg

Another musician from Venzuela! Simon's father was a great folk singer, and he grew up between folklore and his classical piano studies - the latter is the reason for his beautiful touch on the piano. He adopted jazz equally well after movin to the US and turned into one of the best pianists between modern jazz and Latin stylings on the scene. This CD was his debut as a leader, while he was still a member of Bobby Watson's band. I wondered if anybody would recognize Mark Turner here ...

Cardona is one of the main figures on the Cuban/Puerto Rican scene in New York. Sometimes I find him bland, but he plays fine solos here.

http://www.edwardsimon.com/

# 3 - Don Grolnick: Rojo y Negro (Grolnick). CD Medianoche (Warner Bros. 9 46287-2, 1996)

Michael Brecker ts; Dave Valentin fl; Don Grolnick p; Mike Mainieri vib; Andy Gonzalez b; Don Alias timbales, perc; Steve Berrios d, bgo, perc; Milton Cardona cga.

Recorded at Power Station, New York, probably 1996.

medianoche1_cov.jpg

This gets my vote for most overlooked Cuban Jazz album of the 1990's! Grolnick didn't live long after the session, the label had no artist to promote the record and after a rather limited first pressing they deleted it. It's a beautifully conceived album, with arrangements carefully crafted and muscians handpicked like on his two preceding Blue Note albums. I wouldn't have expected Grolnick to go Cuban - who would? But he turned in one of the nicest CDs in the genre. This includes cleverly chosen tunes by others (incl. Andrew Hill's "Catta"!) and fine originals. I ordered this through Jazz Corner and to my surprise got the CD with a handwritten note from Don's wife! (I have no idea whether she still has some copies.)

All turn in fine solos, and the rhythm section features some of the most reliable players on the scene. Too sad that three of the players here are no longer with us: Grolnick, Brecker, and Alias ... Dave Valentin's own CDs are not my cup of tea, but he's a great soloist here. I wondered why nobody recognized Brecker ...

http://www.dongrolnick.com/

# 4 - Uri Caine: Time Will Tell (Caine). CD Toys (JMT 514 022-2, 1995, reissued on Winter & Winter)

Dave Douglas tp; Gary Thomas ts; Uri Caine p; Dave Holland b; Ralph Peterson d; Don Alias cga, perc.

Recorded March 1995, Sound on Sound, New York City.

cd140.jpg20060417230423_uricainetoys.jpg

This is the farthest we go from traditional Cuban rhythm on this compilation. Caine wrote a clever construction of parts of different lengths, throwing in a measure of 7/4 for breaking up the rhythm. This is how I could invision the future of Latin/African inflected jazz. That part where Douglas and Thomas play lines in different meters is great.

It could get my vote for overlooked hidden Latin jazz track of the 1990s - there is only one other track with Alias on the disc, which is more or less a tribute to Herbie Hancock. Alias is one of the few percussionists with enough flexibility to navigate a groove like here. My hat is off! (I feel proud that I talked to him many many years ago when he was gigging Germany with Stone Alliance.)

http://www.uricaine.com/

# 5 - Ron Carter: Que Pasa (Carter). CD When Skies Are Grey (Blue Note/Somethin' Else 7243 5307542 2, 2000)

Stephen Scott p; Ron Carter b; Harvey Mason d; Steve Kroon perc.

Recorded 1999? New York?

ron%20carter%20-%20when%20skies%20are%20grey.jpg

When I wrote a comment on this on the Blue Note website I called this the cutest montunos you will ever hear. Carter's affinity for Brazilian music is well-known, but here he turns to a Cuban concept, with a subtlety worthy of the Modern Jazz Quartet. The weakest spot on the album is Steve Kroon, who quickly runs out of ideas and doesn't tune his bongos properly - perhaps he was too much in awe in such fast company. Mason has a great playing concept for everything - I think he's a genial drummer. His jazz chops are hardly taken notice of - I started a thread on his last CD as a leader, which is a great trio album, but seemingly nobody from the board bought it besides me.

Stephen Scott plays very well on this album - he turned out to become one of the best in the Hank Jones / John Lewis line of jazz pianists, and the way he navigates lyrical jazz piano among those Cuban grooves is very nice!

I'm kind of shocked nobody recognized one of the most recorded jazz bassists!

# 6 - Hilton Ruiz: Michael's Mambo (Ruiz). CD Manhattan Mambo (Telarc CD-83322, 1992)

David Sanchez ts; Hilton Ruiz p; Andy Gonzalez b; Steve Berrios d; Ignacio Berroa timbales; Giovanni Hidalgo cga; Joe Gonzalez shekeré; Charlie Sepulveda & Papo Vazquez, perc.

Recorded at BMG Studios, New York City, April 28, 1992.

72956.jpg

I included this as a tribute to the late Hilton Ruiz, one of the first in the 1970's to navigate suberbly in both styles. I saw him live with Rahsaan, and was delighted to see that he turned to his Latin heritage later in his career. All players here are top names on the scene, Giovanni Hidalgo having a reputation of being the fastest hands on the congas - he sent a whole generation of conga players back to woodshedding!

The piece itself is a simple descarga - the Cuban equivalent to a jam session: set up a rhythm and let 'em blow!

# 7 - Roberto Juan Rodriguez: Guahira (Rodriguez). CD El Danzón de Moises (Tzadik TZ 7158, 2002).

David Krakauer cl; Mark Feldman v; Marcus Rojas tuba; Ted Reichman acc; Brad Jones b; Roberto Juan Rodriguez, Susie Ibarra d, timbles, perc.

Recorded in New York, probably 2001.

7158.jpg

The great Cuban bass legend Cachao encouraged Roberto Juan Rodriguez to write his own music - the results are two fascinating CDs referring to the hidden Jewish heritage in Cuban music. This is hilarious music! The Guajira groove (a Cuban peasant dance/song genre) here is as dry as it gets. I love this!

Rodriguez was of course a member of the Cubanos Postizos which feature a similar dry humor.

http://www.robertojuanrodriguez.com/home.html

more later ....

Edited by mikeweil
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Finally, the remaining tracks revealed - sorry to be so late, but a very bad cough that's still not gone completely and the Christmas preparations took most of my energy.

# 8: Ray Vega Latin Jazz Sextet: Prayer of Jabez (Ray Vega). CD pa'lante (Palmetto Records PM-2079, 2001)

Ray Vega trumpet; Bobby Porcelli alto sax; Igor Atalita piano; Boris Kozlov bass; Willie Martinez drums; Wilson "Chembo" Cornell congas. Recorded October 15-16, 2001 at Maggie's Farm (Palmetto's own studio).

41AWSVDZHFL._AA240_.jpg

Puerto Rican Ray Vega is one of the newer generation of Latin musicians who navigate jazz as convincingly as Latin dance music. I chose this for its resemblance to records with Cuban percussionist on Blue Note, like Kenny Dorham's - Vega cites this as an influence. This particular track was inspired by a biblical passage in Chronicles 4:9-10.

Bobby Porcelli is a great alto saxist who can look back on a 50 years long career, staring in Tito Puente's orchestra and playing hardbop with T.S. Monk. This CD has great sound, too , as all Palmetto recordings.

See http://www.palmetto-records.com/ for a short portrait of Vega.

# 9: Donald Harrison: Slowvisor (Eddie Palmieri). CD Free To Be (Impulse IMPD-283, 1999)

Donald Harrison alto sax; Brian Lynch trumpet; Eddie Palmieri piano; Christian McBride bass; Carl Allen drums; José Claussell conga, percussion. Recorded at Clinto Studios, New York, August 18-20, 1998.

51WGM1AJ0EL._SS500_.jpg

Harrison, Lynch, and trombonist Conrad Herwig were Eddie Palmieri's horn section for several years, after the famous pianist decided he had enough of salsa vocalists and looked for a jazz horn section. It was an invaluable learning experience for all three of them - Herwig once stated in an interview, he had to learn that in such a band, everybody was a drummer, even the horn players!

The groove on this tune reminds me of some of Eddie Harris' Atlantic groove tunes - nothing spectacular, basically dance music. Palmieri turns in a great duo with McBride (great big tone!) as an intro, and then they're off - Harrison plays a nice solo.

This CD delivers a nice cross section of many styles, just like some of Eddie Harris' ....

I like Harrison a lot, his tone, his openness towards different styles, his rhythmical awareness.

I am again disappointed that nobody recognized one of the most distinctive stylists, Eddie Palmieri, that is! Shame on y'all!

# 10: John Santos & the Machete Ensemble: Chango Pachanga (Arsenio Rodriguez). CD Machetazo! ten years on the edge (Bembé Records CD 2018-2, 1998).

Bill Ortiz trumpet; John Calloway flute, tenor sax, arranger; Wayne Wallace trombone; Jeff Cressman trombone (solo); Melecio Magdaluzo alto & baritone sax; Rebeca Mauleón piano; David Belove bass; Paul Van Wageningen drums; John Santos congas, batá, timbales, bongos, bell, guiro. Recorded at Bay Records, Berkeley, California, 1991-94.

santos3.jpg

John Santos is one of the greatest percussionists from the Bay area, and his Machete Ensemble one of the best bands. Although the horn players all have lots of jazz experience, this is a Cuban band with jazzy solos. Changó is one of the orichá, deities going back to the West African Yoruba religion still practiced in Cuba and spreading over the Latin population in the US as well. (So much for the celebratory aspect of this track!) Pachanga is a Cuban dance popular in the 1960s, similar to Mambo but with easier steps. The horn lines reflect the vocal melodies sung in praise to the orichá, the rhythms are the toques asscociated with him. Note this is a tune by the legendary blind sonero Arsenio Rodriguez, one of the pioneers inventing the modern conjunto and the use of African elements in the Cuban musical heritage.

This and other great CDs of this band are available through CD Baby.

# 11: Chico O'Farrill: Delirio (César Portillo de la Luz). CD Carambola (Milestone MCD-9308-2, 2000).

Chico O'Farrill arranger, conductor; Arturo O'Farrill piano, musical director; Michael Phillip Mossman (solo open), Jim Seeley (solo muted), Jon Owens, Matt Hilgenberg, Kenny Rampton trumpets; Gary Valente (solo), Papo Vázquez, Sam Burtis, Jack Jeffers trombones; Jimmy Cozier (alto solo), Marshall MacDonald, Mike Migliore (tenor solo), Peter Brainin, Max Schweiger saxes; Andy González bass; Steve Berríos drums, timbales, percussion; Joe González bongos, bell; Roland Guerrero congas, woodblock, bell. Recorded at Clinton Recording Studios, New York, July 2000.

41FQ5S2A7RL._AA240_.jpg

This is from one of the three beautiful CDs this great arranger recorded at the end of his career for Milestone records - I selected them as Album of the Week.

What can I say? This is a classic beauty, nothing less or more. One of the greatest arrangers in jazz and Cuban music.

# 12: Pancho Quinto: Bolero En Medio Del Carnaval (Enrique Fernández/Octavio Rodíguez). CD Rumba Sin Fronteras (Riverboat Records TUGCD 1031, 2003).

Pancho Quinto batá; Octavio Rodríguez batá; John Santos batá; Miguel Miranda batá; Alexander Nápoles bells; Enrique Fernández all saxes.

Recorded at different studios over a number of years.

41KP3YA6JQL._SS500_.jpg

Ironically, to make this recording took several years. The basic tracks were recorded on one day during Pancho Quinto's 1998 tour through the US - he was over 80 at the time, if I'm correctly informed. Several years later he was able to complete the album with some overdubs. This includes some of the wierdest Cuban grooves I have heard in my whole life! This is way beyond the rhythmic comprehension of most jazz drummers.

The title is self-explanatory for a connoisseur of Cuban music: A bolero is a melodic ballad - played here by the soprano sax - and the reference to carnaval applies to the rhythm patterns, which are all typical for Cuban carnival dances, but played here on the sacred drums of the santería, the batá - usually they are played on drums called bokú, sounding much like congas but in conical shape and of lighter build to carry them around by a neck strap, and gallétas, narrow bass drums, and metal percussion. So this is a romantic ballad among the hectic drumming of carnival - even the background sax choir plays a rhythmic accent shared by bass drums and dancers alike. If you want to hear some high level Cuban drumming go for this - very amazing stuff. Omar Sosa has a guest appearance on a few cuts. Pancho Quinto's other CD is just as great, by the way. Here's a photo of this old master:

208-400x500.jpg

# 13: Miguel Angá Díaz: Dracula Simon/Round Midnight (?/Monk-Williams-Hanighan). CD Echu Mingua (World Circuit WLWCD 071, 2005).

Since I have only a promotional copy of this I was sent for reviewing I don't have the complete credits; Miguel Angá Díaz plays a set of several conga drums here.

51GM988611L._SS500_.jpg

One of the greatest percussion talents to come from Cuba in the last decades, Miguel Angá Díaz was unexpectedly found dead in his Barcelona appartement in August, 2006 - he died from a heart attack. He was only 45 and had just released his first CD as a leader, which covers a variety of styles, almost to the degree of obliving his identity. But somehow it was a stunning debut making the percussive world curious for more, so the news of his passing was quite a shock.

Not everybody among you seemed to recognize the melody of Round Midnight played on a set of tuned conga drums.

# 14: María Rivas: Swing Con Son (Billo Frometa). CD Muare Angel Falls Records AFR 1101, 1998)

see credits of track # 1 for details.

The title of this track could be the motto of this BFT Swing and Són, the US and the Cuban genre.

I find this singer is marvellous: Notice how she quotes Bud Powell's Parisian Thoroughfare at the beginning of her scat solo.

Well, this is it. Thanks much for participating. I sincerely hope this inspired you to dig a little deeper into the world of Cuban rhythms.

Edited by mikeweil
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  • 3 weeks later...
  • 1 month later...

I'm giving this BFT another spin, having forgotten all about it during the Christmas season and my own BFT. I forgot how much I enjoyed this the first time around, and now that the answers are posted, well..... thank God my birthday's coming soon, as quite a few discs have just made the gimme list!

With y'alls kind indulgence, I'm gonna comment on tracks as I go along.

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# 1 - Maria Rivas: Night And Day (Cole Porter, Spanish lyrics by Maria Rivas). CD Muare (Angel Falls Records AFR 1101, 1998)

Maria Rivas vocals; José Rodriguez tp; Domingo Pagliuca tb; Julio Flores ss; Evencio Villamizar as; Horacio Mogollón ts; Dino Nugent p; Gerardo Chacón el-b; Gerardo Rosales cga; Antonio Rondón bgo; Alberto Naranjo timbales, drums, arranger.

Recorded August-October 1996, Miami

519SVFDGDHL._SS500_.jpg

Maria Rivas is Venezuela's # 1 singer. I once ordered a CD of her (Café Negrito) along with some Cal Tjader items 'cause it was a cheap sellout item and reportedly audiophile, but the voice and attitude caught me more than the sound. Her CDs are hard to find, as the US labels she worked with are all out of business, but used copies can be found on Amazon (who misspell this CD "Maure"!) or GEMM.

If you like this track, this CD is for you. I find it magnificent, the poetic Spanish lyrics comparing the sound of the rain on the roof with that of drums, the scatting, her rhythmic precision - she surely enchanted me. When I heard this track the opener of this BFT was chosen. Very nice arrangement by Alberto Naranjo, a great drummer who worked with Irakere and is a leading musician of Venezuela. A true synthesis of jazz and Cuban music.

http://www.mariarivas.net/

http://www.sincopa.com/jazz/artists/maria_rivas.htm

Wow, she's just as beautiful as her voice! IMO, she looks a lot like Nicole Kidman! During the scat section, she sounds just like Ella, which really threw me the first time. And I don't usually enjoy scat singing!

Is that Jose Rodriguez the same one who played on those Tjader records of the 50's? Or am I just mixing up names?

Edited by Big Al
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# 2 - Edward Simon: Colega (Simon). CD Edward Simon (Kokopelli Records KOKO 1305, 1995)

Mark Turner ts; Edward Simon p; Larry Grenadier b; Adam Cruz d; Milton Cardona cga.

Recorded April 1&2, 1995, Manhattan Center Studios, New York City.

edsimon_edsimon.jpg

Another musician from Venzuela! Simon's father was a great folk singer, and he grew up between folklore and his classical piano studies - the latter is the reason for his beautiful touch on the piano. He adopted jazz equally well after movin to the US and turned into one of the best pianists between modern jazz and Latin stylings on the scene. This CD was his debut as a leader, while he was still a member of Bobby Watson's band. I wondered if anybody would recognize Mark Turner here ...

Cardona is one of the main figures on the Cuban/Puerto Rican scene in New York. Sometimes I find him bland, but he plays fine solos here.

http://www.edwardsimon.com/

I like this track, but I've never been crazy about this kind of engineering/miking (not sure I'm conveying the right message), and I'm not sure I would buy this album. But this track is nice enough! :tup

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# 3 - Don Grolnick: Rojo y Negro (Grolnick). CD Medianoche (Warner Bros. 9 46287-2, 1996)

Michael Brecker ts; Dave Valentin fl; Don Grolnick p; Mike Mainieri vib; Andy Gonzalez b; Don Alias timbales, perc; Steve Berrios d, bgo, perc; Milton Cardona cga.

Recorded at Power Station, New York, probably 1996.

medianoche1_cov.jpg

This gets my vote for most overlooked Cuban Jazz album of the 1990's! Grolnick didn't live long after the session, the label had no artist to promote the record and after a rather limited first pressing they deleted it. It's a beautifully conceived album, with arrangements carefully crafted and muscians handpicked like on his two preceding Blue Note albums. I wouldn't have expected Grolnick to go Cuban - who would? But he turned in one of the nicest CDs in the genre. This includes cleverly chosen tunes by others (incl. Andrew Hill's "Catta"!) and fine originals. I ordered this through Jazz Corner and to my surprise got the CD with a handwritten note from Don's wife! (I have no idea whether she still has some copies.)

All turn in fine solos, and the rhythm section features some of the most reliable players on the scene. Too sad that three of the players here are no longer with us: Grolnick, Brecker, and Alias ... Dave Valentin's own CDs are not my cup of tea, but he's a great soloist here. I wondered why nobody recognized Brecker ...

http://www.dongrolnick.com/

Well, that shows you how much I'm paying attention: I didn't realize Grolnick and Alias had passed away. :(

Is the rest of this album as lovely as this song? I love this kind of groove! The vibes and the flute add a real nice color to this song!

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# 4 - Uri Caine: Time Will Tell (Caine). CD Toys (JMT 514 022-2, 1995, reissued on Winter & Winter)

Dave Douglas tp; Gary Thomas ts; Uri Caine p; Dave Holland b; Ralph Peterson d; Don Alias cga, perc.

Recorded March 1995, Sound on Sound, New York City.

cd140.jpg20060417230423_uricainetoys.jpg

This is the farthest we go from traditional Cuban rhythm on this compilation. Caine wrote a clever construction of parts of different lengths, throwing in a measure of 7/4 for breaking up the rhythm. This is how I could invision the future of Latin/African inflected jazz. That part where Douglas and Thomas play lines in different meters is great.

It could get my vote for overlooked hidden Latin jazz track of the 1990s - there is only one other track with Alias on the disc, which is more or less a tribute to Herbie Hancock. Alias is one of the few percussionists with enough flexibility to navigate a groove like here. My hat is off! (I feel proud that I talked to him many many years ago when he was gigging Germany with Stone Alliance.)

http://www.uricaine.com/

This one was nice, but had the same kind of engineering qualities as track 2. Also, there seems to be a prominent use of this kind of inverted crash cymbal (I have no idea what it's called) that I generally don't care for, and this track is no exception. Minor quibbles, though; overall a nice track!

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# 5 - Ron Carter: Que Pasa (Carter). CD When Skies Are Grey (Blue Note/Somethin' Else 7243 5307542 2, 2000)

Stephen Scott p; Ron Carter b; Harvey Mason d; Steve Kroon perc.

Recorded 1999? New York?

ron%20carter%20-%20when%20skies%20are%20grey.jpg

When I wrote a comment on this on the Blue Note website I called this the cutest montunos you will ever hear. Carter's affinity for Brazilian music is well-known, but here he turns to a Cuban concept, with a subtlety worthy of the Modern Jazz Quartet. The weakest spot on the album is Steve Kroon, who quickly runs out of ideas and doesn't tune his bongos properly - perhaps he was too much in awe in such fast company. Mason has a great playing concept for everything - I think he's a genial drummer. His jazz chops are hardly taken notice of - I started a thread on his last CD as a leader, which is a great trio album, but seemingly nobody from the board bought it besides me.

Stephen Scott plays very well on this album - he turned out to become one of the best in the Hank Jones / John Lewis line of jazz pianists, and the way he navigates lyrical jazz piano among those Cuban grooves is very nice!

I'm kind of shocked nobody recognized one of the most recorded jazz bassists!

Wow, this one is very nice! I'll be honest: I would never have guessed this was Ron Carter.

I like the percussionist on this track, I dig the subtlety of his rhythms. And to be honest, I wouldn't know if a bongo was tuned properly or not! :) (Every now and then, I get asked to play the bongos at church (how's THAT for a scary thought?), and I've never tuned them or noticed if they needed to be tuned. Ah, well, I guess this is why I play bass! :g)

Again, is the rest of this album like this tune, or is this the fluke? This might be one to get!

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# 6 - Hilton Ruiz: Michael's Mambo (Ruiz). CD Manhattan Mambo (Telarc CD-83322, 1992)

David Sanchez ts; Hilton Ruiz p; Andy Gonzalez b; Steve Berrios d; Ignacio Berroa timbales; Giovanni Hidalgo cga; Joe Gonzalez shekeré; Charlie Sepulveda & Papo Vazquez, perc.

Recorded at BMG Studios, New York City, April 28, 1992.

72956.jpg

I included this as a tribute to the late Hilton Ruiz, one of the first in the 1970's to navigate suberbly in both styles. I saw him live with Rahsaan, and was delighted to see that he turned to his Latin heritage later in his career. All players here are top names on the scene, Giovanni Hidalgo having a reputation of being the fastest hands on the congas - he sent a whole generation of conga players back to woodshedding!

The piece itself is a simple descarga - the Cuban equivalent to a jam session: set up a rhythm and let 'em blow!

Hilton Ruiz! I don't know much about him, but the few things I've heard from him I've really enjoyed! (I think I have him on a Christmas compilation, lovely playing there) When did he pass away?

This one's a serious foot-stomper (forget toe-tapping), kinda reminds me of "Mongorama" from Los Ritmos Calientes! May have to get this one, too!

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# 7 - Roberto Juan Rodriguez: Guahira (Rodriguez). CD El Danzón de Moises (Tzadik TZ 7158, 2002).

David Krakauer cl; Mark Feldman v; Marcus Rojas tuba; Ted Reichman acc; Brad Jones b; Roberto Juan Rodriguez, Susie Ibarra d, timbles, perc.

Recorded in New York, probably 2001.

7158.jpg

The great Cuban bass legend Cachao encouraged Roberto Juan Rodriguez to write his own music - the results are two fascinating CDs referring to the hidden Jewish heritage in Cuban music. This is hilarious music! The Guajira groove (a Cuban peasant dance/song genre) here is as dry as it gets. I love this!

Rodriguez was of course a member of the Cubanos Postizos which feature a similar dry humor.

http://www.robertojuanrodriguez.com/home.html

Oh now, I LIKE this!!! Fiddler on the Red Sea! (sorry, that was the best pun I could come up with) Tevye would have a fit! I wish I'd had this song when our church did Fiddler on the Roof, it would've made for nice intermission music (or the wedding scene :g). Goes on a little too long, though; it made it's point after about four minutes, didn't need another repeat of the strings interlude. Ah well, again, minor quibble.

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# 8: Ray Vega Latin Jazz Sextet: Prayer of Jabez (Ray Vega). CD pa'lante (Palmetto Records PM-2079, 2001)

Ray Vega trumpet; Bobby Porcelli alto sax; Igor Atalita piano; Boris Kozlov bass; Willie Martinez drums; Wilson "Chembo" Cornell congas. Recorded October 15-16, 2001 at Maggie's Farm (Palmetto's own studio).

41AWSVDZHFL._AA240_.jpg

Puerto Rican Ray Vega is one of the newer generation of Latin musicians who navigate jazz as convincingly as Latin dance music. I chose this for its resemblance to records with Cuban percussionist on Blue Note, like Kenny Dorham's - Vega cites this as an influence. This particular track was inspired by a biblical passage in Chronicles 4:9-10.

Bobby Porcelli is a great alto saxist who can look back on a 50 years long career, staring in Tito Puente's orchestra and playing hardbop with T.S. Monk. This CD has great sound, too , as all Palmetto recordings.

See http://www.palmetto-records.com/ for a short portrait of Vega.

2001... wasn't that when the whole "prayer of Jabez" fad was running rampant here in the States? I'd like to think that their choice for a song title was truly "inspired," as opposed to jumping onto the coattails of a religious fad; this song is truly inspired! This sounds a lot like Tony Williams band from the 90's (documented on the Tony Williams Mosaic Select).

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# 9: Donald Harrison: Slowvisor (Eddie Palmieri). CD Free To Be (Impulse IMPD-283, 1999)

Donald Harrison alto sax; Brian Lynch trumpet; Eddie Palmieri piano; Christian McBride bass; Carl Allen drums; José Claussell conga, percussion. Recorded at Clinto Studios, New York, August 18-20, 1998.

51WGM1AJ0EL._SS500_.jpg

Harrison, Lynch, and trombonist Conrad Herwig were Eddie Palmieri's horn section for several years, after the famous pianist decided he had enough of salsa vocalists and looked for a jazz horn section. It was an invaluable learning experience for all three of them - Herwig once stated in an interview, he had to learn that in such a band, everybody was a drummer, even the horn players!

The groove on this tune reminds me of some of Eddie Harris' Atlantic groove tunes - nothing spectacular, basically dance music. Palmieri turns in a great duo with McBride (great big tone!) as an intro, and then they're off - Harrison plays a nice solo.

This CD delivers a nice cross section of many styles, just like some of Eddie Harris' ....

I like Harrison a lot, his tone, his openness towards different styles, his rhythmical awareness.

I am again disappointed that nobody recognized one of the most distinctive stylists, Eddie Palmieri, that is! Shame on y'all!

I'da never guessed Palmieri, don't know enough about him to make a solid guess. Kinda takes a while to get going, but boy when it gets going.... get down!!! Yes, I can definitely hear a kind of "Listen Here"/"Sham Time" groove going on here!

Speaking of Conrad Herwig, I'm kinda surprised you didn't include anything by him on your BFT! Shame on YOU! :g:P

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# 10: John Santos & the Machete Ensemble: Chango Pachanga (Arsenio Rodriguez). CD Machetazo! ten years on the edge (Bembé Records CD 2018-2, 1998).

Bill Ortiz trumpet; John Calloway flute, tenor sax, arranger; Wayne Wallace trombone; Jeff Cressman trombone (solo); Melecio Magdaluzo alto & baritone sax; Rebeca Mauleón piano; David Belove bass; Paul Van Wageningen drums; John Santos congas, batá, timbales, bongos, bell, guiro. Recorded at Bay Records, Berkeley, California, 1991-94.

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John Santos is one of the greatest percussionists from the Bay area, and his Machete Ensemble one of the best bands. Although the horn players all have lots of jazz experience, this is a Cuban band with jazzy solos. Changó is one of the orichá, deities going back to the West African Yoruba religion still practiced in Cuba and spreading over the Latin population in the US as well. (So much for the celebratory aspect of this track!) Pachanga is a Cuban dance popular in the 1960s, similar to Mambo but with easier steps. The horn lines reflect the vocal melodies sung in praise to the orichá, the rhythms are the toques asscociated with him. Note this is a tune by the legendary blind sonero Arsenio Rodriguez, one of the pioneers inventing the modern conjunto and the use of African elements in the Cuban musical heritage.

This and other great CDs of this band are available through CD Baby.

Wow, whatta groove!!! For me, the real fireworks start with Cressman's trombone solo; can't explain it, just that the groove gets so deep in the pocket!!! Another foot-stomper from start to finish!

Love the name of the band: Machete Ensemble!!! :D

Edited by Big Al
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# 11: Chico O'Farrill: Delirio (César Portillo de la Luz). CD Carambola (Milestone MCD-9308-2, 2000).

Chico O'Farrill arranger, conductor; Arturo O'Farrill piano, musical director; Michael Phillip Mossman (solo open), Jim Seeley (solo muted), Jon Owens, Matt Hilgenberg, Kenny Rampton trumpets; Gary Valente (solo), Papo Vázquez, Sam Burtis, Jack Jeffers trombones; Jimmy Cozier (alto solo), Marshall MacDonald, Mike Migliore (tenor solo), Peter Brainin, Max Schweiger saxes; Andy González bass; Steve Berríos drums, timbales, percussion; Joe González bongos, bell; Roland Guerrero congas, woodblock, bell. Recorded at Clinton Recording Studios, New York, July 2000.

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This is from one of the three beautiful CDs this great arranger recorded at the end of his career for Milestone records - I selected them as Album of the Week.

What can I say? This is a classic beauty, nothing less or more. One of the greatest arrangers in jazz and Cuban music.

My God, this is gorgeous! May have to get these! The only Chico I'm familiar with is the 2-CD Verve Cuban Blues. Jack Jeffers on trombone! Nice to see he was (is?) still active. Yeah, definitely gonna have to get all three of these at some point. Man, I just can't get over how lovely and lilting this piece is! Many MANY :tup's!!!

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# 12: Pancho Quinto: Bolero En Medio Del Carnaval (Enrique Fernández/Octavio Rodíguez). CD Rumba Sin Fronteras (Riverboat Records TUGCD 1031, 2003).

Pancho Quinto batá; Octavio Rodríguez batá; John Santos batá; Miguel Miranda batá; Alexander Nápoles bells; Enrique Fernández all saxes.

Recorded at different studios over a number of years.

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Ironically, to make this recording took several years. The basic tracks were recorded on one day during Pancho Quinto's 1998 tour through the US - he was over 80 at the time, if I'm correctly informed. Several years later he was able to complete the album with some overdubs. This includes some of the wierdest Cuban grooves I have heard in my whole life! This is way beyond the rhythmic comprehension of most jazz drummers.

The title is self-explanatory for a connoisseur of Cuban music: A bolero is a melodic ballad - played here by the soprano sax - and the reference to carnaval applies to the rhythm patterns, which are all typical for Cuban carnival dances, but played here on the sacred drums of the santería, the batá - usually they are played on drums called bokú, sounding much like congas but in conical shape and of lighter build to carry them around by a neck strap, and gallétas, narrow bass drums, and metal percussion. So this is a romantic ballad among the hectic drumming of carnival - even the background sax choir plays a rhythmic accent shared by bass drums and dancers alike. If you want to hear some high level Cuban drumming go for this - very amazing stuff. Omar Sosa has a guest appearance on a few cuts. Pancho Quinto's other CD is just as great, by the way. Here's a photo of this old master:

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How long does it take you to type these up, with all those italics and accented letters? That's quite a job, and you've done it nicely!

I really dig tunes like this: lots of percussion under one solo instrument. The choir of saxes is added flavor to an already tasty mix! Both feet are stompin here, in two different rhythms!!! :excited:

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# 13: Miguel Angá Díaz: Dracula Simon/Round Midnight (?/Monk-Williams-Hanighan). CD Echu Mingua (World Circuit WLWCD 071, 2005).

Since I have only a promotional copy of this I was sent for reviewing I don't have the complete credits; Miguel Angá Díaz plays a set of several conga drums here.

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One of the greatest percussion talents to come from Cuba in the last decades, Miguel Angá Díaz was unexpectedly found dead in his Barcelona appartement in August, 2006 - he died from a heart attack. He was only 45 and had just released his first CD as a leader, which covers a variety of styles, almost to the degree of obliving his identity. But somehow it was a stunning debut making the percussive world curious for more, so the news of his passing was quite a shock.

Not everybody among you seemed to recognize the melody of Round Midnight played on a set of tuned conga drums.

I thought this was clever, but nothing more. It just didn't move me, and seemed to struggle to find a solid rhythm.

# 14: María Rivas: Swing Con Son (Billo Frometa). CD Muare Angel Falls Records AFR 1101, 1998)

see credits of track # 1 for details.

The title of this track could be the motto of this BFT Swing and Són, the US and the Cuban genre.

I find this singer is marvellous: Notice how she quotes Bud Powell's Parisian Thoroughfare at the beginning of her scat solo.

Didn't care for this one as much as the leadoff track, but a nice way to end the BFT nonetheless!!

Well, this is it. Thanks much for participating. I sincerely hope this inspired you to dig a little deeper into the world of Cuban rhythms.

This was a very enjoyable BFT, made even moreso because of the answers. I had a tough time trying to enjoy it before I knew the answers; knowing the answers helped me to listen for stuff I hadn't heard before, making the listening experience a very enjoyable one! :tup

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# 3 - Don Grolnick: Rojo y Negro (Grolnick). CD Medianoche (Warner Bros. 9 46287-2, 1996)

Is the rest of this album as lovely as this song? I love this kind of groove! The vibes and the flute add a real nice color to this song!

It is - even the livelier numbers share this beautiful sound.

Tracklist:

1. Catta (Andrew Hill)

2. Rainsville (Don Grolnick)

3. Water Babies (Wayne Shorter)

4. Medianoche (Don Grolnick)

5. Cape Verdean Blues (Horace Silver)

6. Heart of Darkness (Don Grolnick)

7. If I ever should leave you (Loewe/Lerner)

8. Rojo y Negro (Don Grolnick)

9. Oran (Chick Corea)

10. Night Song (Strouse/Adams)

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  • 2 months later...

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Again, is the rest of this album like this tune, or is this the fluke? This might be one to get!

Sorry I forgot to answer your question! Yes, the whole album is in that type of groove!

Whenever I get to Texas, I wanna hear you play bongos in church!

You got it! :tup:excited:

Edited by Big Al
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