Azucar de Amor
Kat Parra
Patois Records
Success in the Latin Jazz world relies upon the depth of an artist’s musical concept and the substance of the their performance. A deep concept involves a wide range of influences while a substantial performance requires a complete study of these different directions. Some artists show depth without substance, displaying a superficial connection to several styles. Other musicians possess substance without depth, providing an in-depth yet narrow glimpse into one genre. In either situation, an uneven balance diminishes the artist’s output; high quality music requires both elements. Kat Parra radiates with depth and substance on Azucar de Amor, displaying a rich artistic grasp on a wide array of influences.

A Deep Connection to Both Jazz and Cuban Music
Parra’s deep connection to both jazz and Cuban music shines through her interpretations of several standards. Wayne Wallace’s contemporary salsa arrangement breathes new life into Stanley Turrentine’s “Sugar,” complimenting Parra’s powerful vocal. A brief bomba interlude brings the group into Parra’s lively pregones, highlighting her strong improvisational skills. Flautist John Calloway provides a rhythmic solo, leading back into Parra’s creative vocal work. Wallace’s trombone introduces a bolero version of “Misty,” full of harmonic and rhythmic alterations. The sparse arrangement spotlights Parra’s jazz interpretations, revealing her experience with the genre. Wallace provides jazz melodic ideas and an assertive rhythmic element into his improvisation, creating a musical highpoint. Middle Eastern drums and Parra’s sliding vocals lend a distinctly different feel to Dizzy Gillespie’s “A Night In Tunisia.” Ray Vega’s bursts into an energetic trumpet solo, leading the group into a salsa feel. Short solo fills from percussionists Michael Spiro and John Santos transition into a driving timba foundation that inspires a more aggressive approach in Parra’s pregones. Parra’s skilled performances and creative interpretations on these songs reveal a deep connection to both jazz and Cuban music.

A Substantial Cuban Dance Music Background
Some songs showcase Parra’s substantial Cuban dance music background, adding depth through jazz influences. Pianist Murray Low’s addictive montuno coupled with Parra’s quick lyrics on “Quitate La Queta” conjures a connection to the Cuban group Los Van Van. Vega’s muted trumpet solo allows him to play aggressively without overwhelming the song’s subtle feel. He engages Parra in a funky call and response, setting the stage for an inspiring coro-pregon section. A delicate interplay between Calloway and violinist Anthony Blea opens the danzón “Canción Con Todos,” leading into a heartfelt vocal from Parra. The coro provides a supportive harmony as the band moves into the song’s cha-cha-cha section, forcefully driving Parra’s vocal. Intertwining lines from Calloway and Blea highlight Wallace’s strong arranging skills, adding a creative interlude. The relentless groove of Low’s montuno pushes “Pedacito De Mi Vida,” accenting Parra’s vocal with authority. A mambo leads into a short but potent statement from Blea, giving way to Parra’s pregones. Low delivers an energetic solo, skillfully stretching the time with polyrhythms. Parra assertively navigates each song, displaying a close connection to Cuban dance music and an ever-present jazz connection.

Moving Outside Cuban Influences
Parra’s expansive musical range on songs outside the Cuban influence provides significant depth to her repertoire. “Por La Tu Puerta” draws upon Sephardic influences, brimming with Middle Eastern percussion and shifting time signatures. Parra elegantly executes the melodic line, adding a dignified classical quality to her tone. Low provides a spacious solo building momentum into Masaru Koga’s soaring flute solo. Raul Rameriz opens “Un Grito” with a subdued Peruvian Lando rhythm on the cajon, complimented by Rick Vandivier’s guitar. Parra adds distinct accents to her phrasing, emphasizing the genre’s strong points while maintaining her personal touch. A short break allows Rameriz to improvise on the cajon until a funky bass break leads back into the vocal. “Feed My Desire” opens with Parra’s Portuguese vocal, Vandivier’s chordal solo, and an assertive samba rhythm. Parra successfully integrates English lyrics utilizing stylistically appropriate phrasing and a supportive arrangement. Pianist Jovino Santos Neto contributes a gracefully understated solo while Vandivier tastefully fills the spaces. Parra proves her ability to move beyond Cuban influences and create substantial performances.

An Exciting Musical Experience
Parra gracefully touches several genres and delivers powerful performances on Azucar de Amor, showing both depth and substance. Her comfort with Cuban, Peruvian, Brazilian, and Sephardic Jazz reflect a comprehensive study that leaves her free to interpret and improvise. Parra’s commanding vocals drive the album; she alters her approach slightly with each genre, but her powerful presence always remains consistent. Detailed and exciting arrangements from both Wallace and Low add color to the recording, supporting Parra’s concept and adding authenticity to every stylistic change. The rhythm section displays knowledge in each new musical direction, driving the music into exhilarating levels without overwhelming Parra. Each soloist brings their personal approach into the forefront, providing improvisatory energy and diverse voices. Parra’s wide range and skilled performances raise Azucar de Amor beyond a simple album; instead the depth and substance of Parra’s abilities deliver an exciting musical experience.

———
Click here to have these posts delivered via email. Or, click here to subscribe to the full text RSS feed and never miss another post!

Stumble it!