Risa Negra
Arturo O’Farrill
Zoho Music
As a term, the word “Latin Jazz” builds distinct expectations around our listening experience; the describes the music’s basic essence, but it also labels the experience with a narrows conception of the musical content. In a listener’s mind, the term immediately separates the style apart from more traditional swing or jazz fusion, letting us know that we’ve stepped into another world. It implies the use of jazz harmonies and improvisation with Latin rhythms flowing in the foundation. The rhythm structure might emanate from Cuba, Brazil, Peru, or Colombia; but whatever the case, the label screams that we will hear a steady diet of traditional Latin rhythms. While the term might help some listeners find their way into specific music, it doesn’t always aptly describe a musician’s perspective on their art. Creative music always comes from a starting point, and that might be Latin rhythms, swing, or funk. Creative musicians are not limited by their starting points though; in fact, their musical foundations serve as liberating elements. They stand upon their backgrounds and explore, searching for connections between artistry, cultural ideals, and stylistic aesthetics. These artists provide an exciting ride – when we expect a Cuban rhythm, we might hear swing, funk, or modern avant-garde. They challenge our perception of stylistic labels and force us examine our beliefs about a genre. Most importantly, these musicians break the labels, force us to think, and inspire us to look at the music in a new way. Pianist and composer Arturo O’Farrill challenges our perception of the word “Latin Jazz” on Risa Negra with a broad and modern collection of pieces.

Exploring Distinctly Modern Possibilities In Latin Rhythms
O’Farrill stands proudly upon his traditional foundation with several pieces that explore the distinctly modern possibilities inherent in Latin rhythms. O’Farrill segues from a contemplative unaccompanied solo into a frantic montuno on “One Adam 12 Mambo,” cueing the band into a forceful melody over a driving son montuno. Alto saxophonist David Bixler winds slippery bebop lines through the moving chords before O’Farrill races over the band with running phrases and rich chordal colors. The drummers accompany bassist Boris Kozlov who moves interesting melodies through the range of his instrument until O’Farrill leaps into a montuno behind percussionist Roland Guerrero’s explosive improvisation. O’Farrill introduces a rhythmically interesting bass line which clicks into place behind an up-tempo son montuno and a quick modern melody on “Blue State Blues.” The track transitions into an engaging meeting of the minds as Kozlov’s electric bass trades phrases with a classy acoustic sound from Ricardo Rodriguez. The track opens into a powerful jam session as saxophonist Ivan Renta, trumpet player Jim Seeley, O’Farrill, and Guerro all provide enthusiastic statements, filled with conviction and style. An edgy and active bass line readily intertwines with an energetic melody on “No Way Off,” creating a tense feeling among the band. Bixler eases into an improvisation, bringing the band to a calm momentarily, while Seeley jumps strongly into his solo with a bluesy growl. O’Farrill develops a lush and colorful backdrop with sparse lines in the upper register, taking his time to build his idea into a masterful statement. These songs grow out of O’Farrill’s native element, but they never stall in it, keeping a lively and modern perspective on the style.

Displaying A Wide Outlook On Jazz
The group displays a wide outlook upon the idea of jazz with strong compositions from a variety of band members. Drummer Vince Cherico swings with a smoldering laid-back feel on Bixler’s “The Darkness Is My Closest Friend,” while the composer travels through the spacious melody accompanied by Seeley. Bixler brings the band to a boil with passionate improvised phrases between arranged interludes with Seeley. The band creates dramatic contrast, coming to a whisper behind O’Farrill who inspires avid interaction until the group shrinks again during a potent statement from Kozlov. O’Farrill leaps into a repeated montuno on Fender Rhodes over Cherico’s funk backbeat on Bixler’s “Goat Check,” while the wind players plow through an angular melody. Seeley rides the rhythm section’s addictive funk with a modern bop attitude, until Bixler pushes the momentum even more with a sweltering combination of rhythmic intensity and twisting phrases. The soft tone of O’Farrill’s Fender Rhodes provides an interesting contrast to his driving melodies, leading into a quick attention grabbing solo from Kozlov, filled with over-the-top funk. O’Farrill establishes a quick waltz, which Cherico attacks with an assertive swing feel on Seeley’s “Ceviche,” bubbling underneath a twisting melody. Careful phrases provide a distinct contrast in O’Farrill’s statement, which he cleverly crafts into steadily rising series of ideas. Seeley improvises over the moving foundation with a fiery hard bop aesthetic, paving the way for an Elvin Jones inspired album highlight solo from Cherico. These tracks find the group stretching into other areas of jazz, showing a broad perspective and solid skills across the spectrum of the genre.

Integrating Diverse Stylistic Elements
A number of pieces stretch the conception of Latin Jazz through the integration of several stylistic elements. The group aggressively attacks a series of short sharp phrases on Adam O’Farrill’s “Crazy Chicken,” traversing shifting time signatures. The rhythm section falls into an open airy feeling behind Adam O’Farrill’s melodically inventive trumpet solo, landing in an Afro-Cuban 6/8 groove underneath Renta’s racing melodic lines. Arturo O’Farrill plays off the 6/8 feel with a Tyner-esqe modality before Rodriguez and drummer Zachary O’Farrill both construct smart improvisations around the groove. There’s an elegant interplay between piano, flute, violin, and bass on “Tabla Rasa: El Salon Cubano,” that sets a contemplative mood on the first part of this extended work. Rodriguez’s up-tempo bass line thrusts the group into clave, setting the stage for an energetic melodic statement from flautist Cecilia Tenconi. Seeley explodes into the piece with a lively improvisation that reflects the band’s enthusiastic drive and pushes them to the next level. A steady drone lies underneath a violin improvisation from Heather Bixler, heavily influenced by Indian music on “Tabla Rasa: Tintal Tintal Deo,” leading into a rapid pulse and stylistically consistent melody. The band disappears as tabla player Badal Roy takes center stage with a spacious solo that slowly builds into a steady pulse, accompanied by a vocal rhythmic language. The group slowly re-enters over Roy’s unique groove, coalescing around an intelligent improvisation from Seeley, and eventually building into an explosive climax. The group brings a variety of interesting stylistic elements into a Latin Jazz setting with these pieces, stretching the boundaries of the style in fascinating directions.

Shattering Labels And Expectations
O’Farrill extends the boundaries of Latin Jazz into several different stylistic directions on Risa Negra, delivering a bold artistic vision that looks beyond the music’s standard label. He includes a healthy dose of Cuban inspired rhythmic structures, but at the same time, he freely integrates funk, swing, bluesy ballads, and Indian music. At first glance, this unique blend of musical worlds seems disparate, but in O’Farrill’s hands, the connections seem apparent and the musical collection makes sense. His broad compositions never seemed forced; in fact, each diverse direction seems like a natural extension of his musical personality. He guides his group through this broad tapestry with an enthusiastic vigor, leaping at the opportunity to explore new musical ideas. This addictive passion for the music radiates wildly from his piano playing, as he creates thoughtful improvisations that range from quiet colorful textures to raging flights of rapid notes. His band members leap out of the recording with an equal commitment, delivering outstanding performances. Both Seeley and Bixler stand apart as bold improvisational personalities, asserting themselves with class and style in each solo. Cherico and Kozlov fuel each setting with an unbelievable momentum and stylistic integrity, grounding the band, but also pushing them to new heights. The inclusion of several guest artists, including Roy and O’Farrill’s sons Zachary and Adam fuels the pianist’s broad vision and expands the group’s overall sound. O’Farrill’s collection of diverse ideas culminate in an outstanding musical mix on Risa Negra, shattering labels, expectations, and beliefs, and leaving us with a simply astounding artistic statement.

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Check Out These Related Posts:
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