I Talking Now
Luis Bonilla
Planet Arts
Any Latin Jazz artist with a substantial background has multiple sides to their personality and different projects reveal these sides in varying degrees. Sometimes the artist shows subtle shadings in the course of a phrase or an improvisational approach. While they may remain in a Caribbean or South American context, shades of bebop or swing might peek through their ideas. When other musicians in the ensemble are sensitive to the artist’s various interests, they can encourage exploration with accents or style changes. From here, the artist and their ensemble choose how far to push these explorations through music. Some artists prefer the safer world of implication, showing shades of their personality, but never quite indulging it. Others take the more personal route and expose themselves through blatant dips into multiple styles and risky improvisations. These artists often push this envelope even further, writing daring compositions that integrate their many musical perspectives while leaving room for extensive personal expression. The resulting music provides an exciting thrill ride and an edgy sensation that connects artist and audience on a strong personal level. Trombonist and composer Luis Bonilla boldly travels through his broad musical personality on I Talking Now, an adventurous collection that combines Latin Jazz, swing, funk, free improvisation, and more.

Latin Rhythms As A Starting Point
Bonilla uses Latin rhythms as a starting point for several compositions, often continuing into diverse directions. Colorful cymbal work from drummer John Riley opens into a richly arranged flowing melody on “No Looking Back” before a driving son montuno pushes the main theme into high gear. The band makes an abrupt switch into a slow funk behind Bonilla’s improvisation, allowing him to attack the song with sharp jabs and rough repeated phrases. Riley and bassist Andy McKee fly into an up-tempo swing as saxophonist Ivan Renta and pianist Arturo O’Farrill trade phrases ripe with running bebop licks and Riley tears into an exciting solo. A spacious 6/8 groove leads into a serious and somber melody from Bonilla and Renta on “Triumph,” as the two musicians fill the gaps with a free sense of phrasing. The two musicians end the melody with a short free improvisation, setting the stage for McKee and Riley, who engage in an open conversation. The song extends into a collective improvisation full of electronic sounds and unconventional ideas, leading the song into a floating conclusion. Bonilla boldly introduces the main groove on “Luminescence” with a powerful line before Renta grabs the melody with a strong conviction. The rhythm section shifts between swing and son montuno behind Bonilla, Renta, and O’Farrill, who each provide commanding statements full of bop, clave, and integrity. The texture thins as McKee grabs the spotlight with a fluid and expressive solo that leads into a quick improvisation from Riley. These songs find Bonilla and his group comfortably working through Afro-Cuban grooves and fluidly building relationships to other styles.

Revealing A Softer Side
Bonilla reveals a softer side on two tracks that explore different settings. Bonilla and Renta float through a lush melody while the rhythm section provides colorful textures on “Closer Still.” The rhythm section relaxes into a medium tempo ballad as Bonilla expressively wraps rapid lines around Renta’s slippery background part. O’Farrill creates a delicate sound as he reaches into the high portion of the piano before building texture and motion in a skillfully constructed statement. A gospel tinge fuels O’Farrill’s Fender Rhodes on “Elis” as Bonilla and Renta carefully place a memorable melody over a jazz waltz. O’Farrill’s strong technique and keen sense of melodic development light a fire beneath the mellow sound of his instrument, pushing his improvisation into a clearly defined climax. Bonilla boldly creates a melodically strong improvisation through intelligent thematic development, leading the group into an aggressive funk groove for Renta’s soulful solo. These pieces showcase a different side of Bonilla’s compositions, inspiring new performance approaches from his musicians.

Building Upon A Swing Foundation
A number of pieces grow from a traditional jazz foundation into long and exciting compositions, drawing yet another perspective from the musicians. A long and racing melodic phrase drives the group into a wildly up-tempo theme on “I Talking Now,” setting a break neck pace for the tune. The group charges into a furious swing rhythm, allowing Renta and Bonilla to deliver aggressive solos against Riley’s interactive drumming. O’Farrill drives an impressive stream of non-stop notes through his improvisation before the rhythm section falls into a heavy funk for McKee’s bluesy statement. The group freely improvises over a relaxed swing feel on “Uh, Uh, Uh . . .” until Bonilla and Renta leap into a rhythmic melody over a swing foundation. The rhythm section pops between a rumba feel and an up-tempo swing as Bonilla and Renta trade ideas. The two musicians push each other with an assertive exchange, leading into a series of angular breaks for an enthusiastic improvisation from Riley. A swung backbeat steadily churns forward through “Fifty Eight” as Renta and Bonilla move from a floating melody into a straight line. Bonilla begins his improvisation with sparse ideas over a jagged groove, building off the highly involved rhythm section momentum. O’Farrill follows with a staggering statement that grows into a mass of dissonant tension, pushing the band into a crazed frenzy. These pieces connect Bonilla to a traditional swing background, but they never confine him to it, as he moves through a variety of original ideas.

A Smart And Passionate Artist With Substantial Depth
Bonilla delivers an exciting musical statement on I Talking Now, pasting together his vast musical landscape in an assertive and coherent vision. A fearless composer, Bonilla finds ways to bring together the most diverse musical pieces into a logical setting that instigates inspired performances. Each song is a stylistic mash-up as Bonilla jumps from genre to genre; his pieces forego genre barriers, simply creating mood and expression. In many ways, Bonilla avoids perfection, preferring a raw and improvisational setting that bubbles with improvisational interaction. The musicians apply a determined attitude to capture this feel intelligently; everything about Bonilla’s recording screams with a bold presence. Even when he displays his softer side through ballads, he has a very strong personality that shines with individuality. His band consistently provides support and inspiration with outgoing performances that match Bonilla’s approach. They play with reckless abandon, but at the same time, there’s always an intelligent and thoughtful undertone to their performance. Renta resonates with a strong and defined voice that serves as the perfect companion to Bonilla’s playing. O’Farrill creates a wild storm throughout the album with interactive rhythm section work and aggressively musical solos. The substantial depth of Bonilla’s musical personality fuels the addictively exciting performance on I Talking Now, revealing a smart and passionate artist that demands attention.

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