|
News Alert: Portrait in Rhythms was recently pre-nominated in two catagories: "BEST LATIN JAZZ ALBUM" & "BEST ENGINEERED".
LP artist Chembo Corniel and his band Grupo Chaworo don’t let up for a moment on this high-energy release on Chembo’s own label, Chemboro Records with special thanks to to the able assistance of Steve Wilson, Carla Cook, Ray Vega and Mario Rivera,
The first thing you hear is a squeaky tight two-bar ensemble pattern with three pushes in the first measure, which, incidentally, defines the 3-2 clave for this piece. Chembo and Grupo Chaworo are clearly having fun. Chembo seems to be encouraging his entourage to stretch out and take chances. And so it is that from track one, "Chemboro", we’re treated to the ferocious interplay between Chembo on tubadoras/shakere and Vince Cherico on drumset. Dynamics dip for an inventive solo by Tino Derado. All the while, upright bassist Yunior Terry secures the bottom end while Ivan Renta soars on sax.
Speaking of which, on track two, "The Age of Pisces", the initial sax strains allude clearly to Coltraine, while the subsequent ensemble work is as fiery as the legendary horn man’s famous 1965 ensemble, this time recast in fusion mode with a firm Latin foundation. Just as Renta proves a probing tenor player, Chembo stirs it up in the rhythm section, ensuring the pace is hot.
A little more grounded, Café Mario" is languid until the tempo increases and Mario Rivera takes a flute solo. Tino Derado is playful on piano, teasing us along as he works his solo before yielding to John Walsh’s trumpet break.
Curious as the butterfly is the composition "Papillon" with its six to the measure theme, with its anticipated lead in starting the last note of the previous bar. Before the song draws to a conclusion, "Papillon" has traversed several movements or, at least, changes of dynamics and feel.
Another of Chembo and David Fernandez compositions, "Nuevo Bieke", aside from its compelling horn theme, features the leader’s stirring percussion, this time with Ruben Rodriguez on bass and Willie Torres on guiro. Derado’s piano solo generates magic inside the song form while flirting with boundaries. Meanwhile, Cherico moves easily from bomba to swing.
"Inocencia" is a plaintive plea, expressed on accordion by Derado. It could have been a traditional tango, based on the general pulse and lyrical line, but it becomes a contemporary jazz tango thanks to Chembo’s tumbadoras and Cherico’s dancing ride.
Chembo’s melodic conga line draws us into "Primera Rumba", a tune that Oscar Hernandez arranged. It’s up-tempo and relentless. After stating the theme, a piano bridge generates excitement, peppered with Chembo’s congas, and then, like a horse out of the gate, we’re right into the solo section. Ivan Renta mixes it up on the tenor sax, poking and nudging, until the dynamics dip for Derado’s piano solo. With Cherico’s Turkish ride cymbal sound providing an airy cushion, he motors on to the montuno, during which Chembo turns in his hottest, most inspired solo yet.
And now we move to the song that you may hear on light jazz radio, "After the Dance". It features the vocals of Carla Cook in what may be a familiar line in this Marvin Gaye penned cover: "I want you and you want me, so why don’t we get together after the dance?" This version works well in Latin mode, with the vocal interjecting the theme between solo sections, sometimes playfully comping instead of stating literally the melody.
"Adios Mongo", Chembo’s ode to the late Mongo Santamaria, begins with stark congas and some of the nimblest finger work you’ll hear from a conguero. Chembo’s tuning is exact and his articulation startling, all perfect audible on tape (or Pro Tools). This masterful percussionist is obviously no stranger to the mic’. Immediately preceding the end, he playfully performs the traditional "call to the races", a humorous interjection, probably just as Mongo would have wanted.
And for the last number, we’re deep into African vocal tradition, at least until the one-minute mark. Then it’s a sax driven theme, legato in nature. This is "Nadya" and it’s a slow burner. The groove ever so gradually builds until 5:25, when the African vocals reassert themselves, joined by a luxurious full chorus. In the background, the percussion begins to climb in tempo and intensity until the vocals drop out and Chembo takes it home with percussion alone, fading live off the floor. It’s very satisfying end to an album that serves up music for the heart, soul, and intellect, never dwelling on the obvious.
|
