I rarely do much impulse buying, for better or worse. I’m usually the guy that debates over a purchase again and again before making a decision. I don’t know, I guess I’ve just never really had a ton of money to throw around. Still, when I pulled up iTunes for my Tuesday browse through the jazz section, I quickly parted with $9.99. There on the new releases was Spirit of the Moment by Michel Camilo. I didn’t know that Mr. Camilo had a new album coming out; I wasn’t even sure who would be playing on it. The only thing that I knew was that Michel Camilo throws down some serious music, and I wasn’t going to miss it.

I first came across Michel Camilo when I picked up his 1993 album Rendezvous. In reality, I wasn’t quite that interested in hearing his piano playing at that point. I had recently discovered Anthony Jackson and I was looking for anything he had recorded. I had been playing latin music for a couple of years, but I hadn’t done an in-depth study just yet. It kind of piqued a couple of interests so when I saw it in (the now defunct . . . ) Tower Records, I couldn’t resist. Later, when I got home, I put that CD and the first track, Tropical Jam, hit me like a hurricane. I sat and listened to that album straight through with my jaw on the floor. I then realized that Michel Camilo had it all - amazing chops, incredible songwriting, and a groove that just could not be stopped. As I’ve followed him through the years, I’ve seen an artist with quite a range and impeccable musicianship. From his tenure with Paquito D’Rivera to his take on Rhapsody In Blue, I’ve yet to be disappointed by Michel Camilo.

Spirit of the Moment is a return for the trio format for Mr. Camilo, with the help of bassist Charles Flores and drummer Danfis Prieto. There are a variety of rhythmic feels explored, from swing to funk, and of course some good latin rhythms. Most of the compositions are original pieces from Michel Camilo with a couple of standards thrown in for good luck. Well, the standards are actually more than after thoughts, they are full-on heavy workouts for the trio. There’s a rather tense version of Nardis with some amazing snare drum work by Dafnis and original harmonizations by Camilo. The trio explores Nefertiti with a sensitive ballad approach that allows Camilo ample room to weave through Wayne Shorter’s colorful set of changes. Then there is a mind boggling version of Giant Steps - not only does Camilo blow non-stop over the changes, but there is a variety of feel changes. It starts as a funk tune, it moves into an up-tempo swing groove, then back again. The range and ability level here is impressive, and always musical. I’ve listened to the whole album quite a few times now, and I’m still finding pieces that pull me in time and again.

Then again, this is an album that challenges me on some level. When I first listened to this album, I honestly expected more of an album based in Cuban rhythms. I’m not sure why I would think that - after all, this is an artist that has explored a good chunk of the musical spectrum. Still, I find myself a victim of the packages that we create for musical genres. I guess I just fall back on the big picture labels that we place on artists - a bad habit indeed. After repeated listenings, I find that I come back to the albums that push boundaries and shatter those expectations. I guess that I need to recognize the possibilities for good music for the get-go, regardless of the past.

With that much said, I love this album for its diversity. There are a couple of “latin” songs on this album - Spirit of the Moment is underpinned by a constant clave while Hurry Up and Wait is a funky cha cha cha. The reality though is that the majority of the album relies on straight-ahead swing. I like this side of Camilo’s paying quite a bit actually, and after listening for a while, I like this just as much as his latin playing. His harmony is a cross between Herbie Hancock and McCoy Tyner while his rhythmic approach is quite unique. Not in a contrived way at all though. He never sounds like a latin pianist playing jazz - quite the opposite actually. He swings like crazy. To round out the album, Camilo also plays with Hancock-esque funk in Just Now and a couple of moody albums. There is definitely enough to hold anyone’s attention here.

Camilo’s sidemen are definitely a highlight for me throughout the album. Charles Flores is a solid bassist, perfectly suited for the job. He shattered my expectations for the same reasons that the album’s musical direction did. Forget the intense drumming on the bass - Flores sounds more like Ron Carter than Cachao. Which is a good thing here - his walking moves the songs forward at all times and when the latin songs come up, you never doubt that he will lay down a heavy tumbao. He has a couple of great solo moments on the album as well. During Spirit of the Moment, he plays a wonderfully rhythmic solo against a solo clave laid down by Prieto. Then during Nardis, Flores moves to the bow to play with an almost symphonic approach that suits the original feel of the song perfectly. He never oversteps his boundaries and constantly supports Camilo’s playing in a tasteful way. Prieto is a consummate musician in so many ways and his presence is felt heavily throughout the album. He not only provides a serious sense of swing and a funky Cubano feel, but his interactive abilities are almost psychic. Not to mention the fact that he can color the music in so many ways, almost the way a percussionist in a symphony provides color to large scale pieces. Definitely a musician to watch.

Without a doubt, this is a strong Michel Camilo statement, deserving several listens. So feel good about that impulse buy - this one is worth it!

Interent links:
Michel Camilo
Dafnis Prieto

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