Marooned/Aislado
Papo Vazquez and the Mighty Pirates
Picaro Records
“There are two kinds of music. Good music, and the other kind.” In today’s increasingly complex world of Latin Jazz, Duke Ellington’s famous quote rings true like never before. A modern Latin Jazz concept embraces so many elements that finding a common ground between all artists has become virtually impossible. The Latin side of the equation now regularly encompasses Cuban, Brazilian, Peruvian, Puerto Rican, and Argentinean musical traditions, to name a few. The jazz influence integrates bebop, free jazz, fusion, hard bop, and more. Considering that each of these musical directions hold their own sub-sets and corresponding aesthetics, artists have an endless variety of possibilities at their disposal. An intelligent discussion of an artist’s work needs to focus upon the artistic components that place the music in either of Duke’s two categories and then analyze stylistic elements. The “good music” generally stands apart – Papo Vazquez and The Mighty Pirate Orchestra demonstrate this on Marooned/Aislado with a set of music that offers rich artistic depth over an authentic blend of jazz and Puerto Rican genres.

Using Bomba and Plena As The Backbone of His Approach
Vazquez integrates the heartbeat of traditional Puerto Rican music, bomba and plena, into several jazz compositions. The wind players outline the powerful bomba sica foundation with a rhythmic melody on “Happy To Be Here.” Alto saxophonist Bruce Williams builds tension through high register squelches while Vazquez concentrates on sparse and poignant phrasing to create his statement. Tenor saxophonist Willie Williams immediately tackles his improvisatory space, filling the void with quick runs, quirky articulations, and a screaming tone. Vazquez and percussionist Juan Guiterrez engage in an open conversation until the full rhythm section bursts into an up-tempo plena on “El Batallon.” After an impressive exchange between the three percussionists, Vazquez leads the complete wind section into a chaotic free improvisation that creates an exhilarating wall of sound. Pianist Zaccai Curtis and bassist John Benitez provide a dramatic dynamic contrast as they trade inspired improvisatory phrases. A rhythmic vamp over a bomba foundation, combined with long and twisting lines results in a frenetic feel for “Race Against Time.” Vazquez captures this feel in his improvisation, aggressively taking his trombone into treacherous territory. Willie Williams follows Vazquez’s lead with a hair-raising series of notes, and percussionist Anthony Carrillo develops an intense and traditional solo. The arrangement garners significant attention here, forcing the band to execute a long series of complex parts while supporting a long line of soloists. These songs recognize the backbone of Vazquez’s musical approach, the combination of jazz with bomba and plena.

Showing Range Through Additional Puerto Rican Genres
Other songs utilize additional Puerto Rican musical traditions, creating unique Latin Jazz mixtures. Vazquez improvises freely over rich chordal textures on “Aguinaldo Pa’ Dico y Caneco,” leading into a traditional melody, complemented with jazz harmonies and intertwining lines. Vazquez, trumpeter Nelson “Gazu” Jaime, and trombone player Reynaldo Jorge each take short solos, playing against the understated rhythmic feel. Carrillo asserts himself on an attention grabbing bongo solo, finding an appropriate spot for virtuosity within the subtle feel. The orchestra captures the elegant feel of a traditional danza on “Buenos Dias,” while adding subtle jazz harmonies. This short statement of the melody speaks volumes about the band’s sensitivity and Vazquez’s arranging abilities; the performance presents a gentle sound, not commonly found among a Latin Jazz big band. The deep tone of Benitez’s bowed bass underlies Vazquez’s rubato melodic introduction on “Julia Jibarita,” until the rhythm section begins a bolero rhythm. After Vazquez eloquently phrases the main melody, Curtis streams long ideas through the chord changes. As the melody closes, the rhythm section jumps into a double time feel and the winds enter, allowing Vazquez to end the song with a rousing solo. These songs present different sides of Puerto Rican music and offer the orchestra an opportunity to showcase a more delicate side of their musicality.

Applying Massive Musicality Across Various Styles
Some tracks step outside the Puerto Rican tradition, emphasizing other musical genres. Benitez passionately attacks an unaccompanied, blues inflected solo on the introduction to the Charles Mingus tribute “Pa’ Mingus.” The straight-ahead swing and rhythmic vitality of the melody leads propels the ferocious bebop intensity of Ralph Bowen’s tenor sax solo. After strong solos by trumpet player Freddie Hendrix and baritone sax player Jason Marshall, Vazquez and Benitez both channel the assertive and unique approach so often associated with Mingus. Brazilian ago-go bells and surdo combine with a Barril de Bomba, finding a crossroads between samba and bomba sica on “Bomba a la Hermeto.” Willie Williams utilizes the extreme high range of his instrument to play rhythmic figures, building into intense non-stop barrages of notes. The band quiets for Curtis, but he quickly pushes the dynamic higher with offset rhythms and chromatic sequences. The percussionists fit a bomba yuba’ beneath a shuffle drumbeat, leading into a laid-back Basie influenced melody on “Blue Ray.” Vazquez proves himself fluent in swing phrasing with a muted solo, while trumpet player Walter White comfortably navigates a series of fine tuned ideas. Alto saxophonist Robert Landham drives the band into a powerful response with blues drenched phrases and high register screams. These songs demonstrate Vazquez’s ability to apply his massive musicality across a wide range of approaches.

Collective Artistry As A True Strength
While Vazquez’s organic approach to blending traditional Puerto Rican genres with jazz traditions shines as a rich concept on Marooned/Aislado, it functions as a foundation, not a defining factor; the strength of the collective artistry rises as the album’s true strength. Vazquez’s compositions and arrangements reflect a thorough rhythmic understanding and a rich harmonic writing style. As an improviser, he has the ability to express himself in a variety of settings, while making clear connections to the jazz lineage. The pure momentum of the Mighty Pirate Orchestra ensures a massive sound, but they show much more than just power. The ensemble brims with musicality, creating subtle dynamic shadings and a consistently unified sound. The group is bursting with an overload of strong soloists that confidently assert their personalities. When the album ends, it escapes categorization as jazz, Latin Jazz, or Puerto Rican Jazz; it simply falls under the heading of good music in Duke’s two-sided equation, and in the world of contemporary Latin Jazz, it stands as great music.

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