By Don Macica –
Jazz is, at its best, ever evolving and in the moment. You need to bring a ton of skill and creativity to the table, but once the meal is served, the conversation really begins, elevating what was notes and words on paper into the realm of the spirit.
That’s the context in which I caught the March 24th performance of the Roy McGrath Quintet’s work in progress, Julia al Son de Jazz, at Segundo Ruiz Belvis Cultural Center in Chicago’s Hermosa neighborhood.
The suite of original (with one exception.. more on that later) Latin jazz compositions take their inspiration from the life and poetry of Puerto Rican activist and poet Julia de Burgos. The idea was first commissioned by SRBCC last summer for an outdoor performance at the park named after de Burgos that’s part of The 606, an urban trail that stretches for a few miles through a handful of Chicago neighborhoods, reaching Hermosa at its western end. Saxophonist McGrath, seizing the opportunity, immediately starting writing new songs instead of falling back on standards and familiar tunes. A crack assemblage of Chicago’s top Latin jazz musicians was quickly put together and actress Rossanna Rodriguez was tapped to recite de Burgos’ poetry.
That initial project took place on a sunny fall Saturday, and though promoted ahead of time, it served more as an unexpected and delightful curiosity to people strolling, biking and rollerblading the trail. That could have been the end of it, but McGrath, it turns out, was only getting started.
He continued writing over the winter and workshopped a version of the project at Sabor a Café, a Colombian restaurant and intimate music venue, in early February. In that informal performance, McGrath himself handled the poetry, and, um, he’s not a bad reader for a saxophone player. Still, you could hear new ideas and arrangements continue to be fleshed out. McGrath had already agreed to present Julia al Son de Jazz at SRBCC in March, and he needed to work things out in front of an audience, which is essential for jazz. The audience will let you know what works and what doesn’t.
Armed with what he learned at Sabor a Café, he put together the band for last week’s performance, which included pianist Edwin Sanchez, drummer Jean-Christophe Leroy, bassist Freddy Quintero and conguero Victor Junito. And, thankfully, actress and writer Veronica Rodriguez Gotay handling the poetry recitatives.
A quick word about Segundo Ruiz Belvis Cultural Center: It’s an absolute gem. In addition to providing a full slate of cultural and after-school programs for the neighborhood and wider Chicago community, the space itself is gorgeous in a funky, loft inspired way: Exposed brick walls covered with Puerto Rican art, groovy mid-century modern furniture, a nice antique bar off to one side, and great sight lines for its large stage. One of their youth programs is the Arawak’Opia dance and music ensemble, and these bright and talented kids performed a short set before McGrath took the stage.
Julia al Son de Jazz now opens with a solo recitation of a de Burgos poem, Rio Grande de Loiza, carefully setting the tone for what is to come. The band then kicks into a mid-tempo groove with a gentle keyboard flourish, supporting an original English language poem by Abner Bardeguez that honors Julie de Burgos (sort of a mini-biography/introduction). McGrath pays close attention to his band, directing them even as he plays. The saxophonist is well on his way to becoming a respected player in jazz, equally adept in straight-ahead as well as Latin idioms. I caught him last January covering John Coltrane’s Blue Train in its entirety, and he and his straight-ahead ensemble did a great job honoring ‘Trane’s spirit. McGrath takes chances and goes to inventive places with his horn.
Roy McGrath was born and raised in Puerto Rico, yet inspired to pursue jazz by Coltrane and Miles Davis. He brings his boricua heritage to his writing, but jazz is the primary language. Various strains of folkloric and popular Puerto Rican sounds are interwoven into his Julia compositions, never more apparent than when he invited Arawak’Opia to join the band to add a solid bomba foundation to the introduction to one of the songs. They nailed it.
The rhythm and cadence of Julia de Burgos’s poetry inspire as well, and it is very apparent that the music is fully integrated into the words and vice-versa. This isn’t poetry with jazz, but poetry and voice as one more essential instrument in a cohesive ensemble arrangement.
The one tune not written by McGrath was Rafael Hernández’ Los Carreteros, which he introduced by saying he learned it in choir long before he ever picked up a saxophone. But, like Miguel Zenón on his Puerto Rican songbook album Alma Adentro, McGrath put his own writing and arranging skills to work in adapting it for de Burgos’ poetry.
Julia al Son de Jazz is still a work in progress. The Chicago Park District will be presenting it three more times around the city this summer, and each performance will come with much valued rehearsal time. As with the Sabor a Café performance, McGrath will take what he learned at SRBCC to continue development with the eventual aim of recording it for an album.
I’ll be in the park, and I’ll be first in line to buy the album when it comes out.
All photos by Don Macica
About the author: Don Macica is the founder of Home Base Arts Marketing Services and a contributing writer to several online publications, including Agúzate and Arte y Vida Chicago. He is the author of Border Radio, a blog about music, migration and cultural exchange.