Chora Baião
Antonio Adolfo
AAM Music
Artistic voices don’t just appear out of nowhere; even the most original and innovative musicians were influenced by someone. With such a vibrant emphasis upon creativity in jazz, we tend to forget this fact when discussing established artists. Connecting influences to an artist is much easier when they are near the beginning of their careers. At that point, they’re likely to more blatantly reflect the impact of their role models within their performance, clearly showing us their influences. Artists that have spent more time refining their craft don’t necessarily reveal their influences as clearly. They’ve spent ample amounts of time studying numerous important musicians and mixing different pieces of each role models musicality into something new. These artists have also gained the experience to make confident and informed artistic choices that guide their music in new directions. Their influences still sit deeply inside their musicality, it’s just not as clearly apparent. Pianist Antonio Adolfo has spent a lifetime refining his craft, but takes the opportunity to reflect upon two important influences in Brazilian music, Guinga and Chico Buarque, on the wonderfully conceived Chora Baião.
Focusing Upon Music From Guinga
Adolfo focuses a number of performances on the repertoire of Guinga, a Brazilian composer with a significant body of work. Drummer Rafael Barata and percussionist Marcos Suzano jump into a charging baião groove on “Dá O Pé, Loro,” soon joined by the full band with a tense vamp that leads a memorable melody. Adolfo references the melody with clever melodic and phrasing variations that lend a bluesy jazz edge to his improvisation. Guitarist Leo Amuedo flies into a fluid solo that builds in dynamic through flurries of rhythmic intensity. An understated series of arpeggios from Adolfo leads the full rhythm section into “Nó Na Garganta,” where they wrap the melody in a flowing samba. Barata’s brush work grounds the piece with a solid sense of swing and light texture, allowing both Adolfo and Amuedo to build gorgeous statements. The two musicians trade ideas over extended sections, creating strong melodies that play upon the rich depth of the harmony. Suzano delivers an impressive up-tempo pandiero performance on “Di Menor,” before the band jumps into a racing melody. Adolfo and Amuedo deftly wrap their instruments around some virtuosic lines, playing the complex melody with a fiery intensity. Both musicians take fantastic solos that bring the same type of energy into an improvisational context that highlights the song’s lively spirit. The rhythm section plays with a spacious approach behind the melody on “Catavento E Girassol,” while Adolfo and Amuedo sensitively work their way through the introspective line. Things start to pick up as Adolfo attacks his improvisation with a lyrical grace and assertive rhythm, making a strong statement. Amuedo follows Adolfo’s lead with a quick but impressive solo, flying over the rhythm section with defined dexterity. Adolfo and his group provide a wonderful picture of Guinga on these performances, highlighting the composer’s relationship to both Brazilian styles and jazz.
Placing A Distinctive Stamp Upon Music From Chico Buarque
The group uses other tracks to place their distinctive stamp upon another important Brazilian composer, Chico Buarque. A chordal vamp guides the group towards a beautifully scatted melody from vocalist Carol Saboya on “A Ostra E O Vento.” The pianist approaches the waltz with a gentle respect, revisiting pieces of the melody with subtle variations before handing the spotlight to Amuedo. The rhythm section pushes forward with a stronger pulse behind the guitarist, who compliments the intensity with virtuosic flights of notes and a focused melodic direction. Adolfo and Amuedo freely work their way through a beautifully understated introduction on “Gota D’Água” before the group drops into a bossa nova for Adolfo’s luscious melodic reading. Applying the same sensitivity and insight, Adolfo walks into his improvisation with an attention grabbing sense of thought and feeling behind each note. The rhythm section fades into the background as bassist Jorge Helder takes a wonderfully lyrical improvisation captures the gentle feel of the song and melodic beauty. There’s a chilling grace to Adolfo’s free reading of the melody on “Morro Dois Irmãnaos” that captures the essence of his take on Buarque. As the pianist moves into his improvisation, he creates more movement, but never looses sight of the song’s essence, always taking time to choose notes carefully. The rhythm section responds gorgeously to Adolfo’s every move, building with him and giving his plenty of space to interpret liberally. There’s an interesting intersection of ideas on “Você, Você” as the group interprets a tune made in collaboration between Buarque and Guinga. The rhythm section provides a light groove behind Saboya, whose breathy vocals add a rich mystery and beauty to the performance. Adolfo and Amuedo both take turns improvising on this piece, musically commenting upon the tune’s moving feel. The group approaches Buarque’s work with a deep respect and creative vibrancy, showing the composer’s rich influence upon their playing.
Showing Influence Through Original Compositions
In a fitting tribute to both musicians, Adolfo includes several of his own compositions that complete the circle of influence. A strong melodic flourish fades into Barata’s strong groove on “Chora, Baião,” which provides the foundation for Adolfo intense melody. The pianist rides his rhythm section’s churning groove through his improvisation, creating lines full of melodic strength and rhythmic power. A tense interlude leads into Amuedo’s solo, where he increases the density of his lines into a smart and memorable statement. A series of band kicks quickly sends “Chicote” into high gear, sailing into a lively melody from Adolfo over a cooking baião. The pianist transitions into an energetic improvisation filled with rhythmic vitality, which Amuedo follows with a powerful statement of his own. The full band disappears into a wash of cymbals as Barata skillfully constructs a colorful drum solo that builds upon melody as much as it does rhythm. Adolfo makes a solid statement about his artistic personality with a dramatic and engaging solo piano piece entitled “Chorosa Blues.” The pianist uses his deep knowledge of phrasing and intuitive ability to expose his inner thoughts through combinations of melody and harmony that sparkle with beauty. Adolfo’s compositions form a great bookend to the album, showing the artistic identity that he has created upon his influences.
A Stunning Vision Of Influential Musicians
Adolfo and his group deliver a loving and insightful tribute to two masters of Brazilian music on Chora Baião, interpreting the influence of their work with creativity and knowledge. The repertoire choices contain some wonderful examples of compositions from both Guinga and Buarque, and the musicians work through them with an intimate familiarity. The group does more than just play these tunes in traditional fashion though; they infuse them with a healthy dose of jazz and make them serious vehicles for improvisation. With every piece, the group displays a sensitivity to the dual roots of Brazilian music and jazz, but they also show a keen awareness to the high level of musicianship within the band. Adolfo plays with a stunning gift for melodic creation and interpretation, playing each note thoughtfully and purposefully. He fills each piece with lush layers of harmony and supports his band members with rich chordal integrity. Amuedo shines as a stellar soloist with a lyrical voice and deep harmonic knowledge. His interplay and tight melodic work with Adolfo form the backbone of the CD. Saboya’s presence adds a wonderful diversity to the recording, adding a distinctly different texture. With all of this powerful musicality in place, Adolfo has created a stunning vision of Guinga and Buarque on Chora Baião, sharing his influences and opening the door for others to discover their amazing compositions.
———- Track Listing:
1. Dá O Pé, Loro (Guinga)
2. Nó Na Garganta (Guinga)
3. Chora, Baião (Antonio Adolfo)
4. Você, Você (Guinga & Chico Buarque)
5. A Ostra O Vento (Chico Buarque)
6. Chicote (Antonio Adolfo)
7. Chorosa Blues (Antonio Adolfo)
8. Gota D’Água (Chico Buarque)
9. Di Menor (Guinga & Celso Viáfora
10. Catavento E Girassol (Guinga & Aldir Blanc)
11. Morro Dois Irmãos (Chico Buarque)
———- Musicians:
Antonio Adolfo – piano ; Leo Amuedo – guitar; Jorge Helder – double bass; Rafael Barata – drums; Marcos Suzano – percussion; Carol Saboya – vocals (4, 5)
Dafnis Prieto recently was honored as a 2011 MacArthur Fellow, being recognized for excellence in his artistic pursuits. From his studies in Cuba to his professional work in New York, Prieto has always been a musician committed to outstanding artistry and pushing the limits of his creative energy. This cutting edge attitude has led to a burst of Latin Jazz excitement, but not in the standard ways that one might expect. Prieto has shown himself to be a technically astounding drummer, an inspired bandleader, an edgy avant grade musician, a supportive sideman, and a genre bending composer that has contributed to jazz, Latin music, modern classical settings, and more. The money that comes with the MacArthur Fellowship is meant to fund future creativity, which they assume will follow the path of Prieto’s high artistic standards. In this series, we’ll be exploring the different facets of Prieto’s outstanding career that led to this honor. Last week we examined Prieto’s work as a bandleader and his performances as a sideman. Today we’re going to investigate some of Prieto’s contributions to various projects as a composer.
———- Dafnis Prieto As Composer
For anyone familiar with his recordings as a bandleader, Prieto’s skills as a composer are no secret. His albums consist exclusively of original compositions, and they all overflow with his unmissable artistic personality. For many artists, this would be the telling piece of their artistic identity – the total strength of their compositional power would go into their own albums. Prieto’s skills as a composer reach far beyond his albums though, liberally touching different instrumentations and genres. His training in classical music left Prieto with a solid foundation in ensemble writing, allowing him to stretch out beyond the traditional boundaries of Latin Jazz. He’s taken advantage of that ability, contributing original compositions to ensembles both in and outside of the Latin Jazz world.
“Song For Chico” Song For Chico
Arturo O’Farrill & The Afro-Latin Jazz Ensemble
Pianist Arturo O’Farrill has made a point of commissioning pieces from young composers for his stunning big band, and this track brought Prieto’s distinct compositional voice into the group’s repertoire. Written for Chico O’Farrill, Prieto does a great job of balancing traditional Cuban music forms associated with the elder O’Farrill and the more modern sensibilities more commonly used by the drummer. There’s a beauty and drive to the piece that The Afro-Latin Jazz Ensemble grabs with a passion, delivering an amazing performance. Prieto plays the big band like a fine instrument, bringing out lush textures, rhythmic intricacies, and the intensive fire hidden in this type of ensemble. He makes plenty of space for the group’s fine improvisers as well, integrating diverse solo sections into the piece that showcase the ensemble’s wealth of talent. Prieto brings the band to life with a fitting tribute to one of the music’s most important voices and leaves us with a desire for more big band writing from the drummer.
“Echo-dimensions” Timbrando
Meridian Arts Ensemble
The Meridian Arts Ensemble constructed Timbrando with the idea of exploring Latin flavored music in a brass quintet setting, so they enlisted the help of Prieto on this track. Hs contribution didn’t necessarily fit the stereotypical image of Latin music, but it certainly showed the possibilities of the genre when you think outside the box. The brass ensemble dances around the rhythmic assertion of the drum kit with a classical elegance, hitting jagged corners at every turn. The group plays around rhythmic structures, but never falls into them in a traditional sense, making the piece even more fascinating. There’s stunning displays of brass virtuosity and gorgeous examples of pristine tone as well as distinctly modern approaches to harmony and melodic construction. If you look hard enough, you can relate this piece to
Cuban music, but it’s far from obvious; you’ll find a broad collection of Prieto’s musical interests. It’s an intriguing example of Prieto’s writing in a distinctly different context that pushes the limits of any genre.
“Claveteando” Building
The Ethos Percussion Group
Jazz fans around the world will quickly attest to Prieto’s skills as a drummer, but even the most rabid followers would be surprised by his composition for The Ethos Percussion Group. Prieto combines his knowledge of South American and Caribbean rhythms with his experience in the colors of symphonic percussion here, building a piece that walks between worlds. Written for an extended collection of percussion instruments, the piece makes a rapid fire race through a number of different rhythmic languages across its ten minute span. Afro-Cuban rumbas explode into existence only to abruptly stop after a few measures, followed by slight references to Brazilian samba. Coloristic sections filled with cymbals, triangles, and temple blocks give the composition a symphonic edge before falling into a churning songo feel. Despite the neurotic changes in style and genre, there’s an intriguing logic to the piece that begs for a full listen. This is smart percussion writing that takes the listener on a journey through several cultures, but also frames that trip in an educated perspective. Any drummer familiar with Prieto’s work needs to hear this work, but any listener is going to find the beauty in this work – its a brilliant collection of ideas.
“Against The Law” Birds Of A Feather
Caribbean Jazz Project
Prieto contributed to this Caribbean Jazz Project album as a drummer, but injected more of his personality into the mix with this great composition. The piece opens with a number of edgy breaks that slice the groove into countless pieces without ever killing its momentum. When the rhythm section falls into a rumba underneath the stuttering melody of Dave Samuel’s vibraphone, they find themselves working through a number of complex rhythmic figures. Solo cycles send the group into steady grooves, exploring straight ahead son montuno, Afro-Cuban 6/8, and more, highlighting the group’s outstanding improvisers. This isn’t a chance for the group to relax though; Prieto constantly intersperses game changing interludes and background lines. The group responds with an enthusiastic zeal, grabbing the challenges proposed by Prieto’s writing and pushing the limits of their musicianship. This is a classic Prieto composition that explores the idea of dual tradition and embraces the nature of modern musicality.
———-
This is a sampling of Prieto’s work as a sideman; he’s recorded consistently over the last several years resulting in numerous unforgettable albums. We’re celebrating Prieto’s career and his recognition as a MacArthur Fellow all week, so join in the conversation. What are your favorite Prieto performance as a sideman? Let us know in the comments!
A band is more than a vehicle for making music; it’s the starting point for the spread of ideas and culture. When a group of people make music together as a band, they succeed by sharing a common artistic aesthetic. They take the time to nurture that idea and help it grow by putting the best of their individual musicianship into a greater whole. The formation of a concept and the creation of cultural expression happens with the band, but it’s not the end of the story; in fact, it’s just the beginning. Once a band has developed a distinctive thought, each individual band member shows the world their own take upon the concept. Solo projects shed new light upon the idea that blossomed within a band and lead towards further evolution. That artistic ideal will only become more in-depth and more interesting when individual members interpret it through their unique perspective. When they lead a new group through the inner workings of this artistic concept, they are spreading the idea out into the world and sharing it with a new collection of musicians that will carry it even further. This experience strengthens the original band too; when they come back together, their ideas will only be more fully formed. Bands create ideas and help them mature while the individual members take those ideas into the world.
Saxophonist Laura Andrea Leguía has been a core member of Gabriel Alegría’s Afro-Peruvian Sextet since it’s creation in 2005, and she’s currently in the process of sharing her perspective on that sound with the world. As a collaborating solo voice alongside Alegría’s trumpet, Leguía has developed a rich sense of melodic interpretation and a strong improvisational voice within the multi-cultural world of Afro-Peruvian Jazz. Her distinctive solo performances on such tunes as “El Sur” and “El Mar” from the group’s debut release Nuevo Mundo provided a rich contrast to Alegría. Playing with the group on a regular basis in Tutuma Social Club as well as leading her own groups helped Leguía develop herself as a composer and improviser. When the group returned with their sophomore album Pucusana, her performance on tunes like “Piso 19″ and “My Favorite Things” exploded off the CD. It was only a matter of time before Leguía took the reigns as a leader, and she’s on the verge of releasing her debut album Saxofón Criollo. This recording places a greater showcase upon Leguía’s skills as a composer, allowing her to shape her perspective upon the Afro-Peruvian Jazz approach that she has formed with Alegría’s group. Leguía currently has a Kickstarter campaign in place to support the release of Saxofón Criollo that has met the minimum goal – so we’ll be seeing this album in December! You can still support the further promotion of the album with a pledge – that information can be found HERE. It will be fascinating to her the evolution of Afro-Peruvian Jazz with Leguía making her presence known as a composer, performer, and bandleader.
After displaying such excellent musicianship with Alegría’s Afro-Peruvian Sextet, Leguía holds great promise as a bandleader, so the anticipation for Saxofón Criollo grows. While we’ll undoubtedly hear some of the elements that has made the Afro-Peruvian Sextet’s take on jazz great, Leguía is sure to put a unique spin on it that can only come from her point of view. In honor of the upcoming release of Saxofón Criollo, today’s Weekly Latin Jazz Video Fix is dedicated to Leguía. The first clip features the saxophonist taking on a new role as vocalist on a track from her album, “Eva.” The next video finds Leguía in a wonderful duet with dancer Antonio Vilchez on the Afro-Peruvian tune “Alfonsina Y El Mar.” The last scene places Leguía in a performance with Alegría and the Afro-Peruvian Sextet at Tutuma Social Club. Check out these videos and you’ll see a picture of an intriguing artist with a whole lot of potential – enjoy!
———- Laura Andrea Leguía & Trio Performing “Eva”
Laura Andrea Leguía & Antonio Vilchez Performing “Alfonsina Y El Mar”
Laura Andrea Leguía With Gabriel Alegría’s Afro-Peruvian Sextet
———- SUPPORT LAURA ANDREA LEGUIA’S KICKSTARTER CAMPAIGN
Laura Andrea Leguía’s Kickstarter campaign supports the release and promotion of her debut release as a leader, Saxofón Criollo. It promises to be a great release, so head on over and support this upcoming album. There are different levels of support, ranging from $10 to $500, and each one comes with a gift for your contribution. You can get all the details, watch a video, and make your contribution to the campaign HERE.
———-
Do you have a video to contribute to satisfy our weekly Latin Jazz video fix? If so, send it in – it’s time to feed our addiction. I’m looking for live performances, from any context. I’ll most likely be posting one video per week, but if you’ve got another idea, let’s talk. So come on Latin Jazz videographers, musicians, and fans – let’s share some of our memorable videos! Get my contact info HERE.
Dafnis Prieto recently was honored as a 2011 MacArthur Fellow, being recognized for excellence in his artistic pursuits. From his studies in Cuba to his professional work in New York, Prieto has always been a musician committed to outstanding artistry and pushing the limits of his creative energy. This cutting edge attitude has led to a burst of Latin Jazz excitement, but not in the standard ways that one might expect. Prieto has shown himself to be a technically astounding drummer, an inspired bandleader, an edgy avant grade musician, a supportive sideman, and a genre bending composer that has contributed to jazz, Latin music, modern classical settings, and more. The money that comes with the MacArthur Fellowship is meant to fund future creativity, which they assume will follow the path of Prieto’s high artistic standards. In this series, we’ll be exploring the different facets of Prieto’s outstanding career that led to this honor. Yesterday we examined Prieto’s work as a bandleader; today we’re getting into his performances as a sideman.
———- Dafnis Prieto As Sideman
Once Prieto hit the shores of the United States, musicians across the country recognized his massive abilities and called upon him as a sideman. His skills as a drummer alone would cause any bandleader to hire Prieto immediately. He has an awe inspiring technical control over the instrument that he renders with complete musicality and taste. He understands Cuban music intimately, but he’s not limited to it – he swings like a madman and can easily fall into modern styles. At the same time, Prieto is much more than a simple beat machine; he plays with a compositional perspective and an urgency that completely changes the music. He always fulfills the bandleader’s vision completely, but he’s not afraid to push the limit at the same time. Prieto is a musician that can support but also push his peers into new territory, a fact that has made him an invaluable sideman.
———-
De La Habana A Nueva York
2010
Bobby Carcasses
Prieto sits among friends on this album, as he reunites with several top Cuban musicians of his generation to support the legendary vocalist and trumpet player Bobby Carcasses. The group’s playing moves somewhere between traditional Latin dance music, contemporary timba, and improvisatory jazz, keeping the proceedings fiery. Playing behind Carcasses’ well-known vocal approach, Prieto grooves with a powerful feel, flawlessly executes jaw dropping breaks, and turns the album into an unforgettable blur of energy. Behind the soloists, Prieto cuts loose, pushing and prodding them into unending fits of tension and release, imbuing the recording with an undeniable jazz sensibility. When Prieto gets the rare drum solo, he explodes into a display of personality and virtuosity, stealing the show. There’s a loose and joyful foundation to the album, making De La Habana A Nueva York a fantastic place to get a full sense of Prieto’s value as a sideman.
Spirit Of The Moment
2007
Michel Camilo
Pianist Michel Camilo can capture the attention of any audience with his massive musicality, addictive passion, and mind-boggling virtuosity; in other words, he’s the perfect musical foil for Prieto. Playing in a trio with Camilo is not a task for the meager, but Prieto proves to be up to the task at every level. His towering groove pushes the pianist to new heights at every turn, adding another layer to the music. Prieto plows through the complexity of Camilo’s compositions without blinking an eye, matching the ease shown by the pianist. With these two pieces in place, Prieto keeps his sights clearly focused upon interaction with Camilo, engaging in a lively conversation. Whether playing over the medium swing of “My Secret Place,” the Cuban flavored odd time signature of “Hurry Up And Wait,” or the Coltrane-esqe fire of “Repercussions,” Prieto communicates with Camilo at every turn, giving the music color and life.
The Source In Between
2007
Elio Villafranca
One of Prieto’s contemporaries from Cuba, pianist Villafranca uses this album to explore the territory between jazz and Cuban music, a task specifically suited to Prieto’s skills. The set sounds more like modern jazz, stemming from Villafranca’s rich harmonic palette and contemporary improvisatory approach as well Prieto’s Tony Williams influenced drive. It’s the fine details of the language that both Prieto and Villafranca speak that makes this combination unforgettable. The nuances of Villafranca’s phrasing – even over a distinctly jazz setting – speak volumes about his relationship to Cuban music. A drummer raised on a menu of North American jazz wouldn’t catch the subtleties of Villafranca’s playing, but Prieto is all over it. The improvisational conversation between the two musicians is amazing, breathing an engaging vibrancy into an already strong collection of music.
La Perfecta II
2002
Eddie Palmieri
Legendary pianist Eddie Palmieri has long walked the line between dance music and jazz, a balancing act that he continues on La Perfecta II with Prieto’s help. There are two distinct repertoires on the album – a salsa set that calls upon classic Palmieri compositions from the sixties and new jazz oriented pieces. The rhythm section duties on the salsa piece fall upon Palmieri’s traditional group while Prieto fill the drum chair on the jazz tunes. Palmieri’s New York edge is a different musical approach than we generally associate with Prieto, so it’s fascinating to hear him playing drum kit in this context. On most pieces, he fits in perfectly among the percussion, complementing the edgy groove with a strong presence and occasional burst of improvisation. The trio piece “Apeiron” calls upon Prieto’s avant-grade background and his artistic personality brings out different sides of Palmieri’s renown musicianship. It’s a strong meeting of the minds where Prieto shows the flexibility and musicality to support a clearly defined sound.
———-
This is a sampling of Prieto’s work as a sideman; he’s recorded consistently over the last several years resulting in numerous unforgettable albums. We’re celebrating Prieto’s career and his recognition as a MacArthur Fellow all week, so join in the conversation. What are your favorite Prieto performance as a sideman? Let us know in the comments!
Dafnis Prieto recently was honored as a 2011 MacArthur Fellow, being recognized for excellence in his artistic pursuits. From his studies in Cuba to his professional work in New York, Prieto has always been a musician committed to outstanding artistry and pushing the limits of his creative energy. This cutting edge attitude has led to a burst of Latin Jazz excitement, but not in the standard ways that one might expect. Prieto has shown himself to be a technically astounding drummer, an inspired bandleader, an edgy avant grade musician, a supportive sideman, and a genre bending composer that has contributed to jazz, Latin music, modern classical settings, and more. The money that comes with the MacArthur Fellowship is meant to fund future creativity, which they assume will follow the path of Prieto’s high artistic standards. In this series, we’ll be exploring the different facets of Prieto’s outstanding career that led to this honor.
———- Dafnis Prieto As Bandleader
As a bandleader, Prieto has worked tirelessly to find unique settings for his restless creative spirit. He hasn’t followed the standard formula of Latin Jazz repertoire anchored by Cubanized jazz standards; in fact, he hasn’t taken anything of a traditional path. Prieto’s albums have consisted completely of cutting edge original compositions that referred simultaneously to Cuban traditions, post modern jazz, and classical forms without obviously playing any of them. In addition, he has consistently experimented with new instrumental configurations and different combinations of musicians in support of his original compositions. As a result, Prieto’s work has pushed Latin Jazz in completely new directions and given rise to an influential voice full of twenty-first century potential.
———-
About The Monks
2005
Zoho Music
Prieto’s debut album as a leader turned heads across the jazz world, impressing listeners with daring compositions and bold performances. Making his first recording with a sextet, his line-up was anchored by some of the best musicians on New York’s modern Latin Jazz scene – trumpet player Brian Lynch, pianist Luis Perdomo, and bassist Hans Glawischnig. He rounded out the group with a long time collaborator from Cuba, saxophonist Yosvany Terry and violinist Ilmar Gavilon. The music moves between hard-bop fire, modern play with time signatures, nods to Cuban tradition, and an inherent rhythmic complexity and drive that explodes from the speakers. It’s clear that Prieto has a mature musical voice throughout the album, but he’s definitely defining himself as a composer. All the pieces are apparent for his future potential, they’re just in developmental stages. About The Monks is a fantastic listen though, full of vibrant musicality and creative eng.
Absolute Quintet
2006
Zoho Music
Prieto slimmed down his group to a quintet for this release, and mixed up to the personnel to great effect. Terry continued to collaborate with Prieto, but rhythm section duties became the sole realm of Prieto and keyboardist Jason Linder. Strings played a greater role in the album, reflecting Prieto’s background in classical music with Christian Howes on violin and Dana Leong on cello. Prieto shatters all expectations with this album, plunging his musicianship in a completely new direction that edges on funky fusion. The sonic texture of e rich string writing against the keyboards make guest soloist Henry Threadgill’s alto come alive on “Afrotango,” in an album highlight performance. The album centerpiece, the three movement piece “Three Day Suite” takes the group in several different directions, highlighting the inability of a listener to pigeonhole Prieto. In fact, the one steady track throughout the album is the intensity and precision of Prieto’s brilliantly colorful performance. It’s a huge step forward in maturity for Prieto that signifies his potential for future artistry.q
Taking The Soul For A Walk
2008
Dafnison Music
Prieto returned to a sextet with this album, once again altering the personnel to bring out new colors in his compositions. The strings and keyboards are gone here, in favor of a more traditional configuration. Manual Valera covers piano duties here, with Yunior Terry on bass and a full array of wind players, including Terry, saxophonist Peter Apfelbaum, and trumpet player Avashai Cohen. The compositions make full use of the bold wind colors, using intertwining melodic lines, tense harmonies, and rhythmic counterpoints. Prieto’s concept seems to hinge on the relationship between written parts and open spaces for improvisational statements, filling both areas with increasingly complete and mature ideas. Prieto reinvented himself in yet another role with this album – that of independent artist and record label owner. In complete control of both the business and artistic sides of his career, Prieto boldly takes creative risks and delivers an awe-inspiring masterpiece.
Live At Jazz Standard NYC
2009
Dafnison Music
Prieto debuted yet another configuration of musicians on this album, his Si O Si Quintet. Valera and Apfelbaum return in this configuration, accompanied by Prieto’s bandmate from Michel Camilo’s group, bassist Charles Flores. The smallest configuration to date captured on record, Prieto’s quintet delivers a highly improvisatory performance filled with inspired playing. At the same time, the composed material features some tight and virtuosic playing multiplying the power of four people into a huge sound. The drummer’s writing sounds fresh and innovative, pulling colorful harmonies out of the group and constantly playing with rhythmic evolution. A live recording made at one of the New York jazz scene’s mainstays, The Jazz Standard, the album captures all the energy and vitality of Prieto’s performances. The most mature statement from Prieto that we’ve heard, this album overflows with intelligent risk taking, skillfully crafted drama, and masterful interplay that demands repeated listens.
The evolution of jazz has always been a process driven by personality and individuality. As a result, the music’s history is ripe with important names and faces that have broke new musical ground, pushed boundaries, and ensured the survival of an often under appreciated art form. These musicians achieved an admirable goal through their musical statements – one that required an abundance of passion, unparalleled insight, unhampered creativity, and more risk than most artists take in their lives. This is a task that few musicians have the integrity to accomplish and it’s an undertaking that unfortunately even fewer people in the general public tend to remember. While these individuals will eventually move out of the spotlight, their contributions will live on through the music. As a result, we simply can’t let their names and faces fade into the background of our cultural landscape; we need to cherish their individuality and keep their personalities alive.
Jerry and Andy Gonzalez are two Latin Jazz musicians that have symbolized risk, passion, and creative energy more than any other throughout the last several decades. Their work reflects this type of unequaled dedication to artistic integrity, and their output across recordings and live performance changed the state of the Latin Jazz world. As young musicians, they spent all their time playing jazz and digging into the history of Latin music, building the foundation for their impressive musicianship. This led to high profile sideman gigs with some of the best musicians in the genre, including Dizzy Gillespie, Eddie Palmieri, Tito Puente, and more. Not satisfied with becoming regulars upon the Latin dance scene, the two musicians pushed artistic boundaries with Grupo Folklorico Y Experimental Nuevoyorquino. Together with legendary timbalero Manny Oquendo, the brothers formed Conjunto Libre, a cutting edge dance band that integrated improvisation and jazz aesthetics. Hoping to continue their deep interest in jazz, the brothers created The Fort Apache Band, a large group that evolved into a sextet that created a completely new and free approach to Latin Jazz. Both Jerry and Andy found their way into individual projects as well, spreading the impact of their musicianship far and wide. These two musicians exerted a massive influence upon the genre and as a result, both Andy and Jerry have a legion of Latin Jazz insiders that owe them an amazing artistic debt of gratitude.
The Gonzalez Brothers will be recognized for their contributions to the Latin Jazz world this weekend with two concerts dedicated to their music from Arturo O’Farrill and The Afro-Latin Jazz Orchestra. In a program that combines pieces from various eras in the Gonzalez brothers’ careers, both Jerry and Andy will join O’Farrill and the award winning Afro-Latin Jazz Orchestra on stage. O’Farrill has worked with both Gonzalez brothers extensively, and he has translated his experience into an original composition, The Fort Apache Concerto. It promises to be two nights of music that will both look into the past and examine the future, but most importantly recognize the immeasurable impact of Jerry and Andy Gonzalez upon Latin Jazz. In anticipation of this event, today’s Weekly Latin Jazz Video Fix is dedicated to the Gonzalez Brothers and The Afro-Latin Jazz Orchestra. You’ll find four videos below; three that highlight some of the fantastic music that the Gonzalez Brothers have produced and one that shows the band that will be honoring them. It’s an exciting combination that promises to spotlight the best of the past and the present and honor two of the genre’s most important musicians; if you’re in New York this weekend, don’t miss it!
———- Jerry Gonzalez & The Fort Apache Band
Grupo Folklorico Y Experimental Nuevayorquino
Andy & Jerry Gonzalez With Conjunto Libre
Arturo O’Farrill & The Afro-Latin Jazz Orchestra Performing “Song For Chico”
———- ARTURO O’FARRILL & THE AFRO LATIN JAZZ ORCHESTRA HONOR JERRY & ANDY GONZALEZ WHEN: Friday 10/14/11 – Saturday 10/15/11 WHERE:Symphony Space
2537 Broadway
New York, NY TIME: 8:00 p.m. TICKETS: $30 – $50
———-
Do you have a video to contribute to satisfy our weekly Latin Jazz video fix? If so, send it in – it’s time to feed our addiction. I’m looking for live performances, from any context. I’ll most likely be posting one video per week, but if you’ve got another idea, let’s talk. So come on Latin Jazz videographers, musicians, and fans – let’s share some of our memorable videos! Get my contact info HERE.
/antonio adolfo chora baiao.jpg)
Chora Baião
Dafnis Prieto recently was honored as a 2011 MacArthur Fellow, being recognized for excellence in his artistic pursuits. From his studies in Cuba to his professional work in New York, Prieto has always been a musician committed to outstanding artistry and pushing the limits of his creative energy. This cutting edge attitude has led to a burst of Latin Jazz excitement, but not in the standard ways that one might expect. Prieto has shown himself to be a technically astounding drummer, an inspired bandleader, an edgy avant grade musician, a supportive sideman, and a genre bending composer that has contributed to jazz, Latin music, modern classical settings, and more. The money that comes with the MacArthur Fellowship is meant to fund future creativity, which they assume will follow the path of Prieto’s high artistic standards. In this series, we’ll be exploring the different facets of Prieto’s outstanding career that led to this honor. Last week we examined /arturo o'farrill afro-latin jazz orchestra song for chico.jpg)
/meridian arts ensemble timbrando.jpg)
/ethos percussion group building.jpg)
/caribbean jazz project birds of a feather.jpg)
A band is more than a vehicle for making music; it’s the starting point for the spread of ideas and culture. When a group of people make music together as a band, they succeed by sharing a common artistic aesthetic. They take the time to nurture that idea and help it grow by putting the best of their individual musicianship into a greater whole. The formation of a concept and the creation of cultural expression happens with the band, but it’s not the end of the story; in fact, it’s just the beginning. Once a band has developed a distinctive thought, each individual band member shows the world their own take upon the concept. Solo projects shed new light upon the idea that blossomed within a band and lead towards further evolution. That artistic ideal will only become more in-depth and more interesting when individual members interpret it through their unique perspective. When they lead a new group through the inner workings of this artistic concept, they are spreading the idea out into the world and sharing it with a new collection of musicians that will carry it even further. This experience strengthens the original band too; when they come back together, their ideas will only be more fully formed. Bands create ideas and help them mature while the individual members take those ideas into the world. 
Dafnis Prieto recently was honored as a 2011 MacArthur Fellow, being recognized for excellence in his artistic pursuits. From his studies in Cuba to his professional work in New York, Prieto has always been a musician committed to outstanding artistry and pushing the limits of his creative energy. This cutting edge attitude has led to a burst of Latin Jazz excitement, but not in the standard ways that one might expect. Prieto has shown himself to be a technically astounding drummer, an inspired bandleader, an edgy avant grade musician, a supportive sideman, and a genre bending composer that has contributed to jazz, Latin music, modern classical settings, and more. The money that comes with the MacArthur Fellowship is meant to fund future creativity, which they assume will follow the path of Prieto’s high artistic standards. In this series, we’ll be exploring the different facets of Prieto’s outstanding career that led to this honor. Yesterday we examined /bobby carcasses de la habana a nueva york.jpg)
/michel camilo spirit of the moment.jpg)
/elio villafranca source in between.jpg)
/eddie palmieri la perfecta 2.jpg)
Dafnis Prieto recently was honored as a 2011 MacArthur Fellow, being recognized for excellence in his artistic pursuits. From his studies in Cuba to his professional work in New York, Prieto has always been a musician committed to outstanding artistry and pushing the limits of his creative energy. This cutting edge attitude has led to a burst of Latin Jazz excitement, but not in the standard ways that one might expect. Prieto has shown himself to be a technically astounding drummer, an inspired bandleader, an edgy avant grade musician, a supportive sideman, and a genre bending composer that has contributed to jazz, Latin music, modern classical settings, and more. The money that comes with the MacArthur Fellowship is meant to fund future creativity, which they assume will follow the path of Prieto’s high artistic standards. In this series, we’ll be exploring the different facets of Prieto’s outstanding career that led to this honor./dafnis prieto about the monks.jpg)
/dafnis prieto absolute quintet.jpg)
/dafnis prieto taking the soul for a walk.jpg)
/dafnis prieto live at jazz standard nyc.jpg)
The evolution of jazz has always been a process driven by personality and individuality. As a result, the music’s history is ripe with important names and faces that have broke new musical ground, pushed boundaries, and ensured the survival of an often under appreciated art form. These musicians achieved an admirable goal through their musical statements – one that required an abundance of passion, unparalleled insight, unhampered creativity, and more risk than most artists take in their lives. This is a task that few musicians have the integrity to accomplish and it’s an undertaking that unfortunately even fewer people in the general public tend to remember. While these individuals will eventually move out of the spotlight, their contributions will live on through the music. As a result, we simply can’t let their names and faces fade into the background of our cultural landscape; we need to cherish their individuality and keep their personalities alive. 
Jerry and Andy Gonzalez are two Latin Jazz musicians that have symbolized risk, passion, and creative energy more than any other throughout the last several decades. Their work reflects this type of unequaled dedication to artistic integrity, and their output across recordings and live performance changed the state of the Latin Jazz world. As young musicians, they spent all their time playing jazz and digging into the history of Latin music, building the foundation for their impressive musicianship. This led to high profile sideman gigs with some of the best musicians in the genre, including Dizzy Gillespie, Eddie Palmieri, Tito Puente, and more. Not satisfied with becoming regulars upon the Latin dance scene, the two musicians pushed artistic boundaries with Grupo Folklorico Y Experimental Nuevoyorquino. Together with legendary timbalero Manny Oquendo, the brothers formed Conjunto Libre, a cutting edge dance band that integrated improvisation and jazz aesthetics. Hoping to continue their deep interest in jazz, the brothers created The Fort Apache Band, a large group that evolved into a sextet that created a completely new and free approach to Latin Jazz. Both Jerry and Andy found their way into individual projects as well, spreading the impact of their musicianship far and wide. These two musicians exerted a massive influence upon the genre and as a result, both Andy and Jerry have a legion of Latin Jazz insiders that owe them an amazing artistic debt of gratitude.
