Rhythms And Reeds . . . A Tribute To The Master Duke Ellington
Henry Brun & The Latin Playerz
Pulsar Records
Certain jazz artists created timeless compositions that deserve to be performed through the rest of time, but with each new presentation, we need to see the music from a different perspective. In most cases, these artists recorded their own versions of these compositions, so we know how they perceived them and how they envisioned their performance. When another generation of musicians revisit these compositions, they simply can’t attempt to emulate the composer’s performance style exactly. They need to look at these songs differently and decide how to respect the composer while integrating their own personality. At this point, an imitation of the composer really just isn’t interesting; what becomes fascinating is the younger artist’s perspective on the music. Latin Jazz artists have an advantage in this area – adding a Caribbean or South American rhythm changes the composition quickly and dramatically. This simple act of changing the song’s rhythmic basis doesn’t take the song far enough though. That’s a technical act that may speak to a cultural preference, but it still doesn’t reveal the artist’s thoughts on the compositions. The musician needs to wrap a concept around the use of Latin rhythms that displays some personality, shows some musical choices, and explains their connection to the repertoire. Percussionist Henry Brun makes a strong statement about the music of a jazz genius with his group The Latin Playerz on Rhythms And Reeds . . . A Tribute To The Master Duke Ellington by placing a number of insightful saxophone soloists over tightly arranged versions of Ellington classics.

Featuring Legendary Soloists Almario And Barnett
Brun features saxophone greats from Los Angeles and San Antonio on several tracks, collaborating with Justo Almario & Vernon “Spot” Barnett. Almario falls into a repeated phrase on flute over a moving bomba groove on “Upper Manhattan Medical Group (U.M.M.G.)” before saxophonist Gabriel “Gabe” Pintor tears into the main melody. The rhythm section bursts into a driving son montuno behind Pintor’s improvisation, sending the saxophonist into a flurry of explosive lines. Pianist Travis Davis follows Pintor with a cool intensity, mixing flowing melodies with sharp rhythmic edges and lush chord voicings. A thoughtfully constructed piano introduction from Dr. Benjamin Irom sets up Barnett’s melodic reading of “In A Sentimental Mood,” which quietly screams with personality through a carefully articulated interpretation. Barnett maintains the same smoldering fervor in his improvisation, stretching bluesy licks over the bolero with intermittent additions of fiery runs. Irom utilizes a combination of spacious phrases and carefully placed accents to spin an engaging improvisation overflowing with character. Brash chordal accents and sparse bass hits float over a son montuno groove on “Cotton Tail” until Almario leaps into the classic melody with an enthusiastic zeal. Davis displays some refined jazz chops on his statement, flying over the classic chord changes with style and ease. The rhythm section explodes into a raging groove as Almario pushes things into high gear with his powerful tone on tenor and his aggressively creative lines. Almario and Barnett contribute identifiable presences on these tracks, bringing a different side of Brun’s concept to the forefront.

Mills And Vieux As Strong Soloists And Ensemble Players
Guest saxophonists Dr. John Mills & Philippe Vieux work together on other pieces, capturing a full ensemble sound. A catchy repeated phrase from Mills’ flute and Vieux’s baritone sax gives way to an energetic improvisation from Mills on “Lover Man” before vocalist Judi Deleón delivers a commanding performance on the melody. Vieux rips into a fiery statement over the rhythm section’s propulsive force, showing a wide range and virtuosity. After a brief interlude, Mills flies into another improvisation with an impassioned vigor, scorching through quick runs and edgy rhythms. Davis sets up an understated groove over a bolero rhythm on “Sophisticated Lady” until Mills enters on tenor with a heartfelt and personal interpretation of the classic melody. Mills play around the melody liberally, as he skillfully builds into a full improvisation bursting with life. The saxophone player brings together emotive playing and clever musicality, developing a memorable solo that leaps off the recording with life. Vieux and Mills join together with Pintor for a fiercely strong presentation of the unforgettable melody on “It Don’t Mean A Thing (If It Ain’t Got That Swing)” over a burning plena rhythm. Mills screams into a ferocious intensity on his improvisation, matching the addictive groove of the rhythm section with a virtuosic flair. After an energetic interlude, Vieux bursts into the mix with the potent sound of his deep tone, leaping into blinding licks and a screeching high point on his instrument. Mills and Vieux fill out the group nicely, both as soloists and ensemble players, injecting the arrangements with character and style.

Pintor As A Valuable Asset To The Band
Pintor, the group’s regular sax player, proves himself a valuable asset on several songs that feature the core band. Davis and bassist Rafael “Ralph” Petitón establish a funky syncopated vamp over a steady cha cha cha on “Muñeca (Satin Doll),” leading into Pintor’s fairly straight-forward melodic interpretation. The saxophonist flies into his solo with a lively enthusiasm, spinning clever lines around the well-known chord changes. While the rhythm section maintains an unobtrusive and driving groove, Pintor subtly pushes the band with a rapidly increasing number of notes and angular turns around the harmony. While Davis provides understated rhythmic motion over a bolero, Pintor captures the introspective essence of the passionate melody on “Solitude.” Pintor continues to reach into the soul of the song in his improvisation with impassioned lines that sparkle with a bluesy intensity. The saxophonist rides this insightful wave of musicality into a climatic return to the melody, trading fervent ideas with Davis between melodic phrases. As Pintor tears through the melody on “Perdido,” the rhythm section responds with a tightly arranged series of responses that send the song into high gear. The group carries this energy into Pintor’s solo, which bounces around the rhythmic foundation with a clever combination of melodic ideas. A dramatic run introduces Davis’ improvisation with a commanding flurry, which he builds into an engaging statement through strong rhythmic displacement. There’s a refreshingly light feel to the group’s cha cha cha version of “In A Mellow Tone” as Pintor places the melody over only piano and congas. Pintor relishes the new setting with an enthusiastic gusto, charging into his improvisation with a rapid series of notes and a cutting tone. Davis holds a steady bass line and comping pattern in his left hand while inventing a catchy and attention grabbing solo. As each of these pieces feature Pintor, they find the group working comfortably with an adept soloist who delivers some shining performances.

An Inescapable Sense Of Personality
Brun delivers an appealing vision of Ellington’s work throughout Rhythms And Reeds . . . A Tribute To The Master Duke Ellington, sharing a collection of smart arrangements and strong saxophonists. He shapes the project around Ellington at every point, letting the guest saxophonists insert their personality into an undeniable piece of “Ellingtonia.” His choice of featured soloists reveals an insightful ear for musical personalities that hold a common vision. Almario consistently performs with a knowledgeable experience around Latin Jazz, crafting his jazz-centric ideas around the music’s rhythmic basis. Barnett appears as an extremely expressive and articulate player, filling his performance with a soulful vibe. Both Mills and Vieux explode with passionate fire in their attention grabbing solos, which they balance with solid ensemble work. Pintor leaps off the recording as a pleasant surprise, playing with a lively spirit that captures the heart of the music and speaks volumes about his own personality. For the most part, Brun stays out of the band’s way, letting the music and the soloists speak for themselves. He provides the rhythmic aspect to the music with skill and finesse, keeping the album cooking with a powerful groove. Davis emerges as a significant figure in the music, providing a number of the album’s most solid arrangements and improvising with grace and style. Rhythms And Reeds . . . A Tribute To The Master Duke Ellington provides a Latin Jazz reminder of Ellington’s greatness with a chunk of his most beloved repertoire, but it’s the inescapable sense of personality behind the performances that makes this a memorable musical experience.

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Check Out These Related Posts:
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