Second Chance
Hector Martignon
Zoho Music
Everyone deserve a second chance in every aspect of their musical life; in fact, these return opportunities are an important piece of our development. We’re imperfect being by nature; we seldom get things absolutely right the first time. We simply need to learn from our mistakes, so when another chance arrives, we are prepared to seize the moment. In between these different junctures, growth and reflection are necessities that will make or break our second attempts. We need to take all available options to grow as a person, musician, or artist, working diligently to move forward. This might involve technical practice, explorations of new musical styles, or simple discussions with peers; whatever the method, our focus needs to be forward motion. Reflection allows us to look back upon the missed opportunity and analyze the issues surrounding our actions. As we grow, we can reflect from multiple perspectives, continually broadening our understanding of ourselves. Even when we capture magical moments with our first attempts, growth and reflection open possibilities of new interpretations and discoveries on a second visit. These are essential elements in music that distinguish between good and great artists; second chances become expressive opportunities that a great artist will turn into unforgettable events. Pianist Hector Martignon explores this idea masterfully on Second Chance, revisiting a number of pieces from a new perspective and reflecting upon his life with original compositions.

Taking A Second Look At Several Songs
Martignon revisits a collection of songs recorded earlier in his career, taking a second look at them. The pianist establishes a slow and soulful montuno on “Guaji-Rita,” leading into a sultry melody sharpened with carefully placed rhythmic accents. Saxophonist Xavier Perez takes a phrase from the melody and cleverly develops it into a thoughtful statement that grows more intense through interaction with the rhythm section. A brief melodic interlude leads into an improvisation from Martignon, who pushes the band forward with a keen melodic sensibility and syncopated passages. A down tempo vamp from Martignon leads into an understated melody shared between Perez and bassist Armando Gola on “She Said She Was From Sarajewo,” until the rhythm section pushes things into high gear with a funky seven beat groove. Gola displays a brilliant ability to develop improvisational melodies, emphasizing an emotional underpinning in his phrasing with expressive articulations. Martignon moves the band into a higher dynamic with an enthusiastic statement full of forward motion, until drummer Ludwig Alfonso jumps into an impressive rhythmic display over the seven beat cycle. A blistering unison phrase from Martignon, Perez, and harpist Edmar Castaneda sends the band into a racing joropo rhythm on “Coqueteos” as the trio romps through an upbeat melody. Perez energetically winds through the six beat structure with a nimble fluidity, leading into a quick statement from Martignon, who smartly wraps jazz infused lines over the changes. Castaneda assertively spins arpeggios through the chords, and after a quick return to the melody, he joins Martignon and percussionist Samuel Torres in a wildly inspired three way conversation. Martignon’s return to each of these pieces garners impassioned performances that show a mature familiarity and refined musicality.

A New Perspective On Diverse Songs
Martignon takes pieces from a variety of different musical worlds and provides a new perspective upon them with distinct arrangements. Torres provides a steady 6/8 groove on congas until the group joins him for a lush melodic reading on “Hatari,” a Henry Mancini composition that intrigued Martignon as a child. The pianist reflects the song’s open feeling with sparse improvised phrases that grow in length and energy into a captivating statement. Trumpet player John Walsh attacks the airy setting with sharp rhythmic phrases that wander into a lyrical improvisation from Gola that demands attention. An uptempo vamp from Martignon sets the foundation for a rhythmic melody on João Bosco’s “Bala Con Bala,” while the rhythm section assertively alternates between baião and samba. Both Walsh and Perez take inspired improvisations, winding bop tinged lines through the energetic rhythmic foundation. Vibraphonist Tim Collins and Martignon use smart thematic development to push the song to a higher dynamic and then trade fours with Afonso before guitarist Vinny Valentino rides the momentum into a frenetic climax. A ferocious groove sends the band roaring into an aggressive version of the jazz standard “Alone Together,” providing a distinctly different take on the tune. Alfonso storms into a driving swing rhythm behind Martignon, who brings his improvisation to a boil with a bold inertia, until Perez flies through a shifting rhythmic foundation with a modern jazz flair. Bassist Edward Perez builds a memorable statement with rhythmic tension and solid melodies before Martignon stampedes into a powerful montuno behind Torres’ virtuosic conga solo. As Martignon explores each of these pieces, he views them with a new perspective, encouraging us to see them anew.

Reflecting Through Original Compositions
The group explores a collection of new Martignon compositions that allow him to reflect on second chances in his life. A funky swagger leads the group into a catchy melody with a bluesy edge from Perez and Collins on “Second Chance,” while the rhythm section quiets. Perez attacks the mellow funk of the rhythm section with a slew of jazz melodies, connecting each one together with a logical progression. Collins leans upon melodically memorable lines to ground his solo before racing into long rapid groups of running notes that build the momentum. A rhythmically askew series of chords leads the group into an open melody over a 6/8 feel on “Andrea,” which comes alive with intertwining lines from the bass and piano. Perez glides into his improvisation with an easy swing phrasing, allowing him to work into rhythmic tension with tighter phrasing that drives his solo forward. Martignon moves into his improvisation with grace and style, floating over the rhythm section with a fluid sense of jazz phrasing and lyricism. Perez and Martignon delicately present a repeated melodic phrase over Torres’ conga on “Abre Los Ojos,” letting the band dynamic grow into a forceful idea through texture and tension. Martignon takes his time exploring his improvisation over a floating groove, carefully developing his ideas into a masterfully coherent statement. After a quick return to the melody, Martignon leaps into an upbeat montuno, allowing Perez to stretch out over the section’s playful mood. Walsh and Perez weave intertwining lines through a moody texture on “A Long Farewell,” setting a serious and somber tone. The rhythm section quiets to a thin ballad feel behind Martignon, who elegantly glides through flowing arpeggios and gorgeous melodic lines with a tender confidence. Gola explores the full range of his instrument with a rich improvisation that resonates with lyrical beauty against the rhythm section’s sparse backdrop. These pieces provide some personal insight into Martignon, who uses these composition to reflect upon his life.

Growth, Reflection, & Maturity In Second Chance
Martignon liberally applies the full extent of his mature musical vision on Second Chance, making his return visits to songs and ideas a major success. Through his career as both a band leader and sideman, Martignon has consistently displayed high level musicianship; in a sense, he had nothing to prove with each second chance. Martignon understands the value of growth and reflection though, and his return to each piece shows a distinct artistic maturity. His choice of repertoire that resonated with him earlier in life allows space for reflection, a necessary process. As he looks at each song from a new perspective, we get some insight into Martignon as a person, learning about his personality through defined musical choices. His piano playing serves as the basis for this exploration, and it leads us on the journey with a bold strength. Martignon plays with a confident power, employing vast technical abilities, insightful musicality, and a connection with diverse styles. He leads his band with definition and flexibility, guiding them through structures, but giving them the opportunity to explore. Gola and Alfonso both act as key players in the group, providing an unflappable groove and creative solos. Torres and Castaneda make stunning appearance on the album, popping out of the group as stellar musicians dedicated to making rich statements within Martignon’s music. All these outstanding musical pieces reflect upon Martignon’s mature artistry, shown fully on Second Chance, guaranteeing a continual evolution as Martignon tackles future opportunities.

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Check Out These Related Posts:
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Album Of The Week: Yaoundé, Samuel Torres
Weekly Latin Jazz Video Fix: Edmar Castaneda
Spotlight: Bridges, Cheimi Nakai & Emmanuel Bizeau

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