The new album Impacto Cubano by Carlos Del Puerto and Impacto Cubano was a pretty meaningful musical find for me. He has long been one of my favorite bass players, mostly through his work with Irakere. I always thought that Del Puerto managed to be supportive while always injecting his bass lines full of personality and character. I don’t think that’s an easy task; especially in a band like Irakere. The massive amount of musicality that made up that band is astounding - the wide variety of folkloric and popular styles, the maniacal horn lines, the extended arrangements, and then Chucho Valdes himself (wow, what a piano player . . . that’s another whole blog in itself). In a setting like that, it seems you either gum up the sound by overplaying or just get out of the way and play as simple as you can. Del Puerto wouldn’t stand for either, so he injected a variety of techniques, articulations, and unique bass lines in order to support the band using his own voice. I always saw that as the sign of a true bass artist, and I’ve listened to him a lot over the years. He left Irakere in the late nineties, and I didn’t hear a whole lot from him until I found his website about a year ago. It announced this album, but as hard as I tried, I couldn’t track it down. Earlier this week, it popped up on iTunes, and its been in a constant rotation ever since.

The repertoire in this album represents a great cross section of Latin Jazz and Cuban dance music, all arranged through unique and musical ideas. Throughout the album we hear Cha-Cha-Cha, Danzon, Bolero, Afro-Cuban 6/8 and Salsa, spiced with a dash of Timba. The variety helps keep the album moving forward and gives the musicians some diversity to inspire their statements. And they do take these styles in different directions. Del Puerto and pianist Alexis Bosch move the Cha-Cha-Cha “Frenesi” forward by breaking out of the standard rhythmic patterns and playing unison lines, which are broken at times by a mutation into a funk groove. Both “De Tu Sonrisa Vivo” and “Alegrate Juan” benefit from breakdowns with coros lead by sonero Joaquin Moré backed by the rest of the band members. The wind section comprised of saxophonist César Lopez, flautist Grethel Del Puerto, and Miguel Valdez on trumpet plays some rhythmically intriguing and virtuosic lines, slightly reminiscent of Irakere. You can see the marks of some great arranging here - the way that the three are voiced makes you think of 5 or 6 people. Overall, it’s a great listen from beginning to end.

In typically musical fashion, Del Puerto often takes the supporting role on this album, letting the sidemen shine through many features. The standout soloist on the album would have to be Del Puerto’s former Irakere band mate, saxophonist César Lopez. His frenetic solo on the Del Puerto composed Afro “Munalongo” jumps into the upper range of the alto sax with creative rhythmic ideas and virtuosic runs. This is just one of the many masterful solos he offers up throughout the album. Pianist Alexis Bosch also adds a good deal of momentum to the album, both as a soloist and rhythm section player. His montunos walk that edge between tipico cool and timba hyperactivity, resulting in an unstoppable forward motion. You can hear the way he lights a fire under the rhythm section with his syncopation in his extended solo on “Tu Y Yo”. Miguel Valdez reflects a combination of Cuban fire and Miles Davis infused phrasing with thoughtful solos on “Chinchorrero” and “Munalongo”. Flautist Grethel Del Puerto, the bandleader’s daughter proves that talent runs in the family with her beautiful tone and precise execution. Drummers Amhed Ponce and Eliel Lazo take the spotlight in a solo drum duel “Pas De Deux”. This is all moved forward by the inventive and energetic vocals of sonero Joaquin Moré, a singer well deserving of his famous surname. Throughout the album, you really get the sense of a musical band, giving and taking the forefront, always making the right choices to make the best possible music.

The glue that holds the album together of course, is the leader and bassist Del Puerto. Playing a combination of electric and baby bass, his lines remain creative and supportive. At times, he will play traditional bass patterns - you can hear a bass line straight out of the fifties on the Cha Cha Cha “Ahora Serémos Felices”. Then, you will hear something totally different, such as the bass taking over the montuno during a breakdown section of “Alegrate Juan”. During improvisations, you can hear subtle rhythmic variations that complement the soloists’ melodies or textural colors like harmonics adding to the overall color. As a listener, you really have to listen for these elements - but that’s the beauty of it all. It moves the music forward and creates an unmistakable Carlos Del Puerto thumbprint without getting in anyone’s way. The album’s last song, “My Syncopated Love” opens with a bass solo by the leader, and if there is any doubt about Del Puerto’s musicianship at this point, it disappears after this solo. It is classic Del Puerto - melodic, rhythmic, flowing, and logical - a solo you want to hear again and again.

This is one album that will stay in my iPod rotation for a while. It contains many of the elements that I love in a collection of music - a balance between jazz and dance music that does not sacrifice the integrity of either genre, artistic statements made by world class musicians, and an emphasis on musicianship over flash. For me, that equals a lot of inspiration - my only concern would be that we hear more! Del Puerto’s musicians traveled from Cuba to join him in Finland for a series of concerts and this recording. Unfortunately, there is no word there about further performances or recordings. Let’s hope that this situation changes and music brings this group together again - we could use more album of this quality!

Internet Links:
Carlos Del Puerto
Impacto Cubano

Stumble it!