Taking the Soul for a Walk
Dafnis Prieto Sextet
Dafnison Music
The jazz tradition requires all performers to simultaneously act as composers, but few artists actually create honest compositions. All improvisers certainly compose spontaneously, using their knowledge base to spin new melodies over a set of chord changes. Other performers write new melodies over standard chord changes or create harmonic variations on common songs. Musicians often base original songs upon established forms, locking them into conventions that restrict their creativity. These acts all prioritize the continuation of an established tradition over the creation of something new. True composition requires an artist to respect tradition but at the same time, they must break rules to express their personal vision. This is not easy to do; musicians spend years studying musical conventions and their training guides them towards a static idea of tradition. True composers have taken the time to also study themselves and discover the sounds that best express their inner thoughts. Once they find the connections between these ideas and traditional forms, they begin down a road towards honest composition. Drummer Dafnis Prieto guides his sextet through a journey of self-expression with a collection of personal compositions on Taking the Soul for a Walk.

Innovation And Traditional Cuban Rhythms
Several of Prieto’s compositions reflect his ability to create innovative arrangements around Cuban rhythms. Each member of the sextet engages in a series of intertwining lines on “Taking The Soul For A Walk” until Prieto bursts into a jazz tinged son montuno. After a repetition of the melody, saxophonist Yosvany Terry jumps into his improvisation with a searching intensity, matched enthusiastically by the rhythm section. Pianist Manuel Valera follows with a rhythmically intricate solo that leads into a vamp for Prieto’s explosive statement. Valera performs an introspective rubato solo, leading into a sensitive danzon on “Until The Last Minute,” Prieto’s dedication to the late percussionist Miguel “Anga” Diaz. Trumpeter Avashai Cohen provides an insightful interpretation of the melody which transitions smoothly into Valera’s gentle improvisation. Bassist Yunior Terry performs a reflective solo, combining the style’s elegant feel with an expressive personal statement. Prieto displays incredible rhythmic independence in an unaccompanied solo over a 6/8 bembe rhythm on “Commandante.” The wind players boldly play a series of rhythmic variations on the main theme, separated by legato melodies from the saxophones. “Prelude Para Rosa” opens with a playful melody over a swing feel, quickly transitioning into a more serious approach over a son montuno. The melody slowly builds into a big, rich idea through repetition, contrary melodic lines, dynamic changes, and evolving harmonies. The band quiets for a thoughtfully constructed solo from flautist Itai Kriss which evolves through melodic development and interplay with the arrangement. Prieto connects to Cuban rhythms on these tracks, but the rhythmic basis serves only as a foundation; he drives the compositions with his personal vision.

Integrating Alternative Compositional Ideas
Prieto takes listeners on a more personal journey with a series of songs that integrate alternate compositional devices into his traditional format. Valera and Prieto form a foundation for Junior Terry’s solo with a single repeated note on “The Sooner The Better,” which soon builds into a dramatic interplay between the wind players. As the group returns to the single note vamp, saxophonist Peter Apfelbaum contemplatively explores the texture, building with the rhythm section into an ecstatic series of fast runs. Cohen carefully follows with short phrases that quickly grow into long strings of complex ideas. A spacious rubato drum solo fades into Apfelbaum’s freeform reading of the melody on “You’ll Never Say Yes.” The group loosely follows Apfelbaum’s lead, moving through the song’s structure without a defined time feel. The group creates an emotional highlight as Apfelbaum improvises; the lack of rhythmic structure allows the rhythm section to focus upon color, matching Apfelbaum’s mood at every turn. Valera maintains a simple Fender Rhodes vamp as Prieto improvises on “Emergency Call,” leading into a long melody full of twisting rhythmic breaks. Yosvany Terry and Apfelbaum trade ideas over a funky groove, spinning modern jazz lines with a ferocious energy. Valera contributes a short solo, bringing flowing melodic phrases into the song. Prieto embraces traditional jazz swing underneath a subdued melody on “Tell Her About Me.” Valera displays his skillful ability to swing hard in a jazz trio setting, spinning a steady string of complimentary ideas. Yunior Terry also shows his comfort in this fomat, creating a strong, meaningful statement. Prieto’s unconventional experimentations add depth to his work by finding techniques that prioritize his personal vision.

Bringing Out Strong Performances
Prieto wisely utilizes his band members’ unique abilities to help shape his sound, creating structures that bring out their strongest performances. Valera pounds menacing chords over a songo rhythm on “I Felt You Were Coming,” until a powerful groove drives the wind players into a strong melodic statement. The band transitions into an upbeat major foundation for Yosvany Terry’s solo, which progresses into a strong forward motion. Valera catches the group’s inertia quickly, jumping into a lively improvisation that quickly grows into a frenzy. Prieto creates a distinct twist to the melody on “En Las Ruinas De Su Infancia” with an askew metric combination. Cohen utilizes the inherent tension in the melody to catapult his solo into an immediate string of powerful ideas. Yosvany Terry screams into his improvisation, eventually raising the stakes with fast runs and syncopated rhythms. Cohen and Yosvany Terry introduce a winding melody on “Just Say It,” until Apfelbaum propels the song into high gear with a rhythmic melodic vamp. The melody skirts around several contrasting ideas, eventually exploding into Cohen’s aggressive solo. Apfelbaum exposes a different set of chops as he constructs a smart melodica solo that grows into a dissonant chromatic journey. The group creates an uplifting sensation on “Two Excuses” complimented by the texture of the saxophone and melodica duet. Yosvany Terry alters his approach to match the song’s different feel, starting with short ideas and developing an assertive edge. The texture thins behind Valera’s solo, giving him an opportunity to clearly present good natured and playful lines. These songs capture Prieto’s connection with his musicians, and its application in his composition.

Showing True Vision As A Composer
Prieto displays the best qualities of a composer on Taking the Soul for a Walk, blending tradition with personality and always finding a connection to his individual vision. He looks past the boundaries of tradition and applies a wide palette of approaches to express emotion range and share his thoughts. Prieto consistently prioritizes his concept that forces him to integrate new ideas, and in turn, makes his compositions powerful and self-expressive messages. Prieto never abandons tradition though; his compositional structures walk the line between history and innovation. He maintains the use of Cuban rhythms as a starting point, keeping the music based deeply in Latin Jazz. He displays an intimate knowledge of the rhythms, allowing him to mold them around his concept without loosing a connection to their origins. Prieto’s compositions serve as inspirational springboards for improvisation, and his group thrives within their structures. The musicians realize the importance of improvisation to Prieto’s overall concept, and fiercely apply their voices. They fully support the growth of Prieto’s compositions, applying strong doses of musicianship to bring them from ideas into complete statements. Taking the Soul for a Walk delivers everything that a traditional Latin Jazz promises - driving rhythms, fiery improvisations, and overall intensity; yet Prieto’s strength as a composer lifts this collection of songs into the realm of true artistry seldom seen in today’s world.

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