¿Quieres recibir una notificación por email cada vez que Bosquesonoro escriba una noticia?
WAYNE WALLACE LATIN JAZZ QUINTET
''TO HERE FROM THERE''
(USA, 2011) @
Influenciado por la musica de Charlie Parker, Nat "King" Cole, y Oscar Pettiford, gracias a su padre quien le mostró este camino, Wallace iniciaría una senda que se vuelve difusa entre el jazz y el latinjazz, pues sus inicios son marcados por gente como Sly Stone and the Family y Santana. Greg Adams of Tower of Power, todos ellos hicieron parte del Club de jazz juvenil en la escuela, ademas de tener la influencia del sonido de James Brown (1960 - 70), sin embargo el trabajar de la mano de Pete Escovedo, the Machete Ensemble y el Conjunto Céspedes, le abrió la perspectiva latina, tanto asi que buscó la oportunidad de estudiar musica afrocaribeña en la Escuela Nacional de artes de la Havana Cuba.
Esta experiencia le abrió todo un universo de posibilidades musicales que lo inquietan y lo conllevan a interesarse mas por el latinjazz.
San Francisco-area trombonist Wayne Wallace is known for his Grammy-nominated forays into Afro-Cuban music, and on the surface, To Hear From There is another Latin jazz album. But mixed with the danceable, percussion-heavy rhythms and exuberant melodies, with a touch of melancholy, are complex, improvised solos that would delight even a jazz purist.
The improvised give-and-take between pianist Murray Low and percussionist Michael Spiro, at the beginning of Tito Puente's classic "Philadelphia Mambo, " is as angular and free-sounding as any advanced bop solo, while Wallace's growling, bottom-heavy yet quite melodic improvisations on most of the tracksâ€”particularly his own "Descarga en Blue" and J.J. Johnson's "Lament"â€”are like tone poems that wind around the main melody with the facility of any bop trombone master. His own unique sound is a cross between such Cuban masters of the instrument as Generoso Jimenez and modern day proponents like Curtis Fuller.
Bassist David Belove's imaginative yet logical flights bring a modern sensibility to traditional folk tunes like "Ogguere, " and a tinge of rock to originals like "Le Escuela." Meanwhile, Low, with his Jaki Byard-like genre-crossing and cerebral playing, shines on "Bebo Ya Liego" and the trombone-heavy "Serafina Del Caribe, " where Wallace is joined by three other practitioners of the horn.
Having penned six out of the eleven pieces, Wallace's compositional skill is also on display, although it is sub-par to his superior instrumental musicianship as his melodies, despite differences in time signatures, are somewhat similar, tending to blend into one another.
The quintet's heartbeat is the dual percussion of Spiro and drummer Paul van Wageningen, who provide flawless rhythmic support, occasionally taking solo honors. Cuban vocalist Bobi Cespedes adds flavor of authenticity, with her song "El Manicero" accompanied by Low's classically influenced piano, while Kenny Washington's scatting and smooth tenor bring a swinging touch to Juan Tizol's "Perdido."
With its handsomely designed mini LP package, immaculately mastered sound and combination of Latin rhythms and creative improvisations Wallace has created a delightful album of Afro-Cuban music that, despite its occasional compositional monotony, is a highly enjoyable and rewarding record.
Trombonist, Wayne Wallace is very probably one of the most melodic players on his instrument. And although he might inhabit a somewhat narrow rangeâ€”eschewing the very high registerâ€”he is also one of the most expressive trombone players today. His husky tone is one of a kind and gives his playing tremendous character. Moreover, he is one of the few players who comfortable in virtually every idiom and this is something unique as it enables him to extend his playing with subtle changes in rhythmic accents and phrasing. As someone who loves simply to dance around the melody of the songs he plays interminably he is able to create a seemingly endless stream of linear inventions around the melodic lines. He darts ahead and draws down as he plays behind the melody at other times and his variations are full of unparalleled surprise throughout.
On his celebrated album, To Hear From There (Patois Records â€“ 2011 â€“ Kate Smith Productions/Braithwaite & Katz Communications) Wallace leads his extraordinary quintet on a superlative musical journey through the lively waters of the Afro-Caribbean ocean often raising the harmonic bar several notches with the help of the incredible pianist, Murray Low, who appears to have the energy and invention that is every match for the trombonist. It is an almost mystical union of souls and almost every song bursts with the elasticity and unforgettable engagements that trombonist and pianist brings to bear on the music as they pursue each other from chorus to chorus. Low also has that elusive rhythmic sense, what is known in Afro-Caribbean music as "tumbao" with a left hand that electrifies the rhythms of "son" as he ebbs and flows through songs like "IBebo Ya Llego!" as well as in the thick fluidity of "Descarga En Blue".
The character of the music on charts such as "Ogguere (Soul of the Earth)" and "Yemaya (The Seven Seas)" also suggests the absolute reverence with which Wallace approaches his music. In many respects that belies a deep connection with his African roots. There is also a ground swell of emotion in Wallace's playing that caps the sensuous and dancing tone that seems to emerge from a deeply aching or joyous soul that simmers when playing JJ Johnson's beautiful "Lament" and leaps ecstatically on songs like "La Escuela" and "Serafina Del Caribe". His mood draws in the other players like a gilt-edged magnet and thus the percussionists, Paul van Wageningen and Michael Spiro shine as does the sinewy bass of David Bedlove. Vocalist, Kenny Washington lights up the eternal beauty of Juan Tizol's "Perdido" and makes it quite his own as does that force of nature, vocalist Bobi Cespedes, who also ignites the lyrics of "The Peanut Vendor (El Manicero), " which has been done so often yet is made new on this album. Wayne Wallace has earned many accolades for this album and judging by the performance all are richly deserved.
Track Listing: La Ecuela; Serafina Del Caribe; Perdido; Los Gatos; Descarga En Blue; Ogguere (Soul of the Earth); Lament; The Peanut Vendor (El Manicero); Yemaya (The Seven Seas); ¡Bebo Ya Llego!; Philadelphia MamboPersonnel: Wayne Wallace: trombone, Wagner's tuba; Murray Low: piano; David Belove: bass; Michael Spiro: percussion; Paul van Wageningen: trap drums; Kenny Washington: vocals; Bobi Céspedes: vocals; Jeff Cressman: trombone; Natalie Cressman: trombone; Dave Martell: trombone.