Bueno Pá Gozar
Paul De Castro Y Su Orquesta Dengue
KIPU Records
Latin Jazz originated around the use of Cuban dance rhythms as a foundation for jazz harmonies, melodies, and improvisation, an idea that sometimes gets lost in the contemporary music scene. While early innovators stayed faithful to the music’s rhythmic traditions, the current generation of Latin Jazz artists have indulged their exploratory side extensively. In some cases, clave has taken a backseat to the creation of an improvisatory voice as musicians stretch time and alter rhythmic structures. These new ideas have been important for Latin Jazz and they have pushed the genre in new directions. At the same time, new forms of Cuban dance music have evolved, resulting in songo, timba, and more. These modern styles integrate a number of improvisatory elements and share several artistic aesthetics with Latin Jazz, offering a natural place to reconnect the two worlds. Yet very few artists chose to blend modern Cuban dance forms into Latin Jazz, largely due to a lack of familiarity with the contemporary dance styles. Musicians that strive to blend jazz and modern Cuban dance music need specialized knowledge and creative insight. When they apply these elements, the resultant music displays an exciting new approach to the genre. Pianist Paul De Castro and his band Orquesta Dengue creatively tap into timba, songo, jazz, and more on Bueno Pá Gozar, delivering an exciting set of modern, intelligent, and hip music.

Utilizing A Wide Swipe Of Modern Cuban Music
De Castro utilizes a wide swipe of modern Cuban music as the foundation for several engaging pieces. A blistering timba montuno leads into a powerful horn introduction on “Chico,” giving way to a melody bristling with vitality from saxophonist James King. A dramatic rhythm section break makes room for De Castro’s improvisation, driving the band into an unstoppable momentum. After an assertive moña, King screams into an energetic solo full of quick runs before conguero Joaquin Arteaga explodes into an exciting percussion statement. Vocalists Iris Sandra Cepeda and Nick Roman introduce “Una Miradita” with an unaccompanied coro until the rhythm section jumps into a funky songo groove, recalling Los Van Van and early NG La Banda. The singers take turns presenting the lyrics between coros before the band charges into an aggressive funk groove, moving the song into a more modern timba approach. Cepeda and Roman riff over De Castro’s persistent montuno, providing the context for an attention grabbing timbale solo from Kevin Ricard. A unison percussion break sets up a serious minor groove and a repeated coro on “Bueno Pá Gozar,” leading into a complicated melody that jumps between the winds and the rhythm section. Trombonist Jose Arellano leaps into a bold solo amid inspiring rhythm section work, playing upon the music’s syncopations, until De Castro provides a contrast through a lighter texture. The rhythm section roars into trumpet player Dan Fornero’s improvisation, matching the intensity of his high notes, building inertia into King’s climactic statement. These pieces demonstrate a solid knowledge of contemporary Cuban styles, creating some awe-inspiring music with a combination of impressive jazz performance and intricate rhythm section work.

Creatively Restructuring Jazz Standards
De Castro creatively restructures a number of jazz standards around modern Cuban music, resulting in unique mixtures of old and new. Cepeda and Roman enter with an enthusiastic coro over a vamp on “Dejite De Boberias” until the wind players jump into a catchy melody over the chord changes of “Take The A Train.” King wraps jazz tinged lines around the classic harmonies while the rhythm section maintains a steady pulse, followed by a classy solo from De Castro who combines ideas from both traditions. The coro returns over the initial vamp, trading phrases with trumpet player Sal Cracchiolo’s explosive ideas, and after a danceable mambo, Arellano exchanges energetic licks with the coro. The wind players and rhythm section engage in a sharp call and response on the melody to “Que Cosa” which culminates in a series of band kicks while drummer Tony Shogren improvises. The rhythm section shrinks behind De Castro who immediately grabs the reigns with a ferocious introductory statement before moving into jazz lines and a funky montuno. Cracchiolo tears into a driving vamp, inserting edgy licks between a repeating coro before King flies into the coda with frenzied lines. Cepeda and Roman sing a repeated phrase over the percussionists on “Azulejos” before De Castro winds running melodic lines between cutting brass hits. Guest saxophonist Justo Almario explodes into a virtuosic solo over the chord changes to “Blue Bossa,” tearing through the thick groove with nimble lines and a cutting tone. De Castro displays a close familiarity with the song, driving percussive phrases through his solo before the rhythm section bursts into a full-fledged rumba guaguanco while Arteaga quintos assertively on bongo. De Castro applies some clever arranging skills on these tunes, and it pays off as the band attacks each piece with an inspired familiarity.

Adding Diversity While Maintaining Modernity
De Castro rounds out the recording with a collection of interesting pieces that explore several different stylistic approaches. The rhythm section establishes a gentle bolero behind De Castro’s understated melodic reading on “Chinita Linda” followed by a soulful interpretation from saxophonist Lucian Nagy. As the band abruptly stops, De Castro fills with space with an active montuno, pushing the group into a double time son montuno as trumpet player Ramon Flores spins a lyrical statement. Ricard applies creative energy to his percussion solo, combining tones from congas and bongo into a fluent and engaging statement. The wind players leap directly into a memorable melody over a medium tempo son montuno on “Maestro Frank” before the group heads into a driving descarga with an energetic solo from Arellano. A break introduces an ear-catching improvisation from Almario, which benefits from his gift for melodic invention, followed by Cracchiolo, who skillfully combines tradition and technique into a musical masterpiece. Flutist Danilo Lozano enters into an album highlight improvisation with a cutting tone and an inspired collection of classic licks before De Castro closes the track with a rousing statement. The group changes gears with a quick baiao groove as De Castro pays tribute to the influential Brazilian composer on “Hermeto.” Flores plays upon the song’s bluesy tone, mixing equal bits of flash and style until Nagy twists through the funky foundation with a brash soprano sax sound. Arellano enters into his improvisation with an inspired pick-up, driving rough and percussive lines through the changes, before De Castro and Shogren both deliver inspired improvisations. These tracks add some variety to the album, while the maintaining the recording’s distinctly contemporary and creative edge.

Massive Potential And A Potent Mixture
De Castro combines jazz and contemporary Cuban dance music with musicality and integrity on Bueno Pá Gozar, showing massive potential behind the potent mixture. De Castro displays an intimate familiarity with modern world of Cuban dance music, writing complex pieces that respect the aesthetics of the style at every turn. The strength of his approach lies in his consistent dedication to jazz though, as he thoughtfully finds ways to stay true to the jazz tradition. His piano playing leads the album’s massive rhythm section work with aggressive and funky montunos that drive the groove. The rest of the rhythm section plays with the appropriate fire and passion necessary in timba, but they always maintain a keen interactive ear. King and Arellano deliver outstanding improvisations throughout the album, reflecting the group’s raw energy and their own jazz refinement. Guest artists Almario and Lozano stand apart as knowledgeable and experienced masters, supplying commanding performances filled with professionalism and tradition. De Castro brings together his musicians and compositions into an engaging musical statement both likeable and intricate, simultaneously danceable and intriguing. The powerful musical results apparent on Bueno Pá Gozar present an inspiring message to the modern Latin Jazz world about the endless possibilities behind dance oriented Latin Jazz, hopefully starting a trend that many musicians will follow.

———-
Check Out These Related Posts:
Album of the Week: Cancion Para Mi Amor, Scott Oakley Y Sus Incomparables
Album of the Week: Enclave Diaspora, Rebecca Cline and Hilary Noble
Album of the Week: Unity, Bobby Matos Afro-Latin Jazz Ensemble
Album of the Week: Bach In Havana, Tiempo Libre

———-
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!