Charlie Sepúlveda & The Turnaround
Charlie Sepúlveda
Turnaround Records
Inspiration is a funny thing; it always stems from a source, but the root of those sources spread far and wide. Most musicians have an artistic passion that serves as a primary source of inspiration. They can return to their passion repeatedly and continue to find knowledge, ideas, and creative insight. Other sources of inspiration sit in the background of a musician’s life, popping into the forefront in less frequent intervals. The artist remains regularly aware of these sources, but may not be interested in everything that it has to offer. Other sources of inspiration are less predictable and result from moments of complete spontaneity. Something catches a musician’s fancy, sticks to them like glue, and translates to an artistic statement. When one of these sources triggers inspiration, it can be a magical thing. A skilled artist driven by a strong sense of inspiration can be unstoppable, producing memorable output on a high level. Trumpet player Charlie Sepúlveda reveals several sources of inspiration on Charlie Sepúlveda & The Turnaround, a stunning set of Latin Jazz driven by Sepúlveda’s wide range of interests.

Translating Inspiration Into Original Compositions
Sepúlveda draws upon his diverse sources of inspiration to present a group of original compositions. A twisting melody based on a repeated riff sends the rhythm section jumping between a scorching songo rhythm and up-tempo swing on “Mr. Jazz.” Saxophonist Norberto Ortiz enthusiastically wraps bebop phrases around clave-driven ideas until Sepúlveda builds from short rhythmic phrases into long and developed lines. The rhythm section quiets for vibraphonist Felipe Fournier’s energetic solo before exploding into a driving groove for conguero Gadwin Vargas’ improvisation. Sepúlveda conjures images of Miles Davis with spacious muted trumpet lines over an addictive funk foundation on “Si Tú Sabes.” His improvisation winds understated lines through the groove, heavily contrasted by Ortiz’s extroverted and sometimes dissonant statement. Pianist Eduardo Zayas brings the song back down to a steady simmer, building into a melodic solo from bassist Gabriel Rodríguez. A strong bomba groove pushes “Bomba Pa’ Carmen” forward while Sepúlveda, Fournier, and Ortiz weave through an intertwining melody. Fournier leaps into an extended solo after the melody, drawing upon syncopated phrases and harmonic tension to develop his idea. Sepúlveda creates a subdued statement, full of space, that leads fluently into Zayas’ finely constructed improvisation. Sepúlveda’s smart and diverse compositions serve as an important resource for the band, inspiring fine performances from the musicians.

Traditional Jazz Artists As A Major Source Of Inspiration
Sepúlveda draws upon compositions from several traditional jazz artists, who clearly serve as a major source of his inspiration. An aggressive timba influenced montuno opens Lee Morgan’s “Something Cute,” transitioning smoothly into the classic hard bop melody. Sepúlveda reveals a Morgan influence with a melodic thematic development, eventually giving way to an engaging solo from Fournier. The band leaps into a swing feel, giving Ortiz and Zayas the opportunity to honestly display their honed bop chops before moving back into a Latin groove for a riveting exchange between Vargas and drummer Raúl Maldonado. Zayas provides a gentle reading of the melody on Herbie Hancock’s “Chang’s Song,” cleverly exchanging phrases with Rodríguez. Sepúlveda enters with a restatement of the melody, showing an ability to shape a melody with dynamics, phrasing, and a good deal of taste. As Sepúlveda opens the original line into a series of variations, the band responds actively, building the texture and accenting Sepúlveda’s performance. The rhythm section storms through a ferocious son montuno rhythm as Sepúlveda, Ortiz, and Fournier travel through the long and interesting melody on Freddie Hubbard’s “Gibraltar.” Sepúlveda contrasts the rhythm section with short licks and plenty of space, while Ortiz streams long lines full of fiery intensity. Zayas develops his statement with moving sequences and harmonic tension before moving into a driving montuno for a dynamic solo from Vargas. These tracks make a strong case for traditional jazz and its influence upon Sepúlveda; his creative arrangements show a deep knowledge and connection to the style.

Drawing Upon a Broad Spectrum of Sources
Sepúlveda gives us insight into the reach of his inspiration as he draws upon a variety of sources for repertoire selections. An assertive cha cha cha rhythm provides a surprisingly fresh take on Stevie Wonder’s “Don’t You Worry About A Thing,” pushing the pop standard firmly into the Latin Jazz world. Ortiz cleverly manipulates the melody into an intensive string of notes, while Fournier draws upon the percussive nature of his instrument to build his solo into a frenzy. Sepúlveda slowly connects short phrases into larger rhythmic ideas, giving way to an engaging solo from Zayas, full of creative personality. A raunchy wah wah effect gives a distinct blues feel to Sepúlveda’s trumpet as he interprets the melody to Mike Lee’s “Mo Better Blues” over a swung funk backdrop. Moving into an improvisation, Sepúlveda boldly bends notes and uses a wah mute to fall into an undeniable blues mode. Ortiz follows Sepúlveda’s lead with a soulful statement until Rodríguez displays his able solo chops with a long melodic improvisation. The rhythm section hits sharp attacks as Vargas burst directly into a solo on Rodríguez’s “Caribeño,” until the wind players twist through the angular melody. Sepúlveda winds through the changes with bold conviction, while Ortiz charges through the song with aggressive ideas. The rhythm section moves into a no-holds barred montuno, pushing the song to another level of excitement as Vargas and Maldonado trade incendiary solos. Sepúlveda makes smart repertoire choices here, moving beyond his standard sources for inspiration, and exploring other worlds.

Sepúlveda As A Source Of Inspiration
Sepúlveda taps into many sources of inspiration on Charlie Sepúlveda & The Turnaround, translating that energy into magical music. Sepúlveda obviously carries a strong background in traditional jazz, which serves as a primary source of inspiration for him. Yet he doesn’t stop there; like any good artist, Sepúlveda allows himself to find inspiration in a myriad of sources. From Stevie Wonder to fusion-era Miles Davis, Sepúlveda acts like a sponge for creative energy. His openness to inspiration and his broad ability to pull these ideas into the Latin Jazz world lead to a highly charged recording. Sepúlveda pulls all these sources together into fine compositions that provide ample opportunity for self-expression. In the end, Sepúlveda and his concept serve as a source of inspiration to his band members. The band plays with a sense of direction and passionate conviction that drive the album. They act both as a support system for Sepúlveda’s concept and a springboard for new ideas. Charlie Sepúlveda & The Turnaround resonates with energy, making it a must-hear experience; if you grab the opportunity to listen, you’ll most likely find it to be a major source of inspiration.

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