It can be argued that Cuba has produced more innovative pianist/composers per capita than any other country on earth. A distinctly syncopated Cuban style emerged out of the blending of European classical music seasoned with African rhythms in the late nineteenth and early twentieth century. Perhaps the most famous composer of this era is the orchestra leader Ernesto Lecuona, who wrote the classic tune Siboney, among many others. By the 1940s jazz was flavoring the stew along with a more overt reference to rhythms of African origin, leading to the development of mambo. When the descarga scene, marked by lengthy improvisational jam sessions, emerged in the 1950s, pianists Peruchín and Bebo Valdés often were often leading the band. It’s a tradition that continues to this day in the person of young pianists like Alfredo Rodríguez and Harold López-Nussa.
In between those early days of mambo and the emergence of this new generation, however, there are two pianists who tower over the rest.
Bebo Valdés’ son Chucho emerged in the 1970s as a founding member of the groundbreaking Irakere, arguably one of the best and most influential bands to emerge from post-revolution Cuba. The group, which also included trumpeter Arturo Sandoval and saxophonist Paquito D’Rivera, might very well be called Afro-Futurist today in the way that they combined deeply spiritual Afro-Cuban rhythms to forward thinking jazz and electric rock band energy. Chucho Valdés kept Irakere going after Sandoval and D’Rivera left Cuba for the United States, but he also grew as a solo artist and leader of several jazz ensembles, moving over to acoustic piano as his main instrument.
Meanwhile, another pianist from a musical family, Gonzalo Rubalcaba, was growing up listening to Valdés and Irakere. In the 1980s, he formed Grupo Proyecto, one of several young fusion bands inspired by the pioneering Irakere. By the end of the decade, Rubalcaba also turned to acoustic piano and was soon part of a trio that included American jazz giants Charlie Haden and Paul Motian (later Jack DeJonette). He made his international debut in 1991 with the album Discovery: Live in Montreaux. That album was put out by the legendary jazz label Blue Note, who also released Chucho Valdés’ U.S. debut Solo Piano the same year.
Both pianists went on to stellar jazz careers that nonetheless have the heartbeat of Cuba at their center, regardless of whether they are playing solo, small ensemble or big band dates. Both have proved adept at the two-piano format. Chucho’s 1998 duet album with his father Bebo, Juntos para Siempre, is a gorgeous masterpiece that stands as a testament to what can happen when you get two Cuban pianists in a room together.
On February 23, that room will be the stage at Symphony Center when Gonzalo Rubalcaba and Chucho Valdés, two brilliant pianists and composers with a historic relationship within the Cuban piano tradition, present Trance, a collaboration that explores the profound spiritual connection at the very heart of Cuban music. Expect an open-ended, respectful conversation between two friends whose mutual admiration for each other leads to careful listening and thoughtful response, adding as needed until ultimately they almost speak as one.
And lest you think this will be some laid back recital, be assured that there will be plenty of sonic fireworks from these master musicians. After all, their hearts beat to the rhythm of Cuba.
Chucho Valdés & Gonzalo Rubalcaba: Trance Friday, February 23 at Symphony Center, Chicago Tickets at cso.org.
If you’ve ever been to a festival or event in Chicago’s Puerto Rican community where artists are selling merchandise, you have likely encountered photographer Elías Carmona and his work. The images that he captures are compelling, detailed and, above all, profoundly humanistic. The subjects are often people, but there are also non-animate objects that tell their stories as well.
Carmona has an exhibit opening at the Humboldt Park Boathouse Gallery this Friday, February 16 (it was originally scheduled for last week, but one of Chicago’s capricious winter storms literally blew away those plans) entitled Humboldt Park: People and Community. I reached out to Carmona with a few questions about him and his work.
DM: Are you self-taught or did you study photography? If the latter, where?
EC: Yes. I’m a self-taught photographer. I became interested in cameras and as a teenager while working during summer at my uncle’s fonda in Santurce. I went to Rahola (a popular camera store) when I was 16 and got my first camera. By that time I had a friend that was studying photography and he gave me my first lessons. Later on, I was attending the University of Puerto Rico where I worked as a photo lab technician at the university library and also the assistant photographer at a horse racetrack. Later I was able to work for a few photo studios as a lab technician and that gave me the opportunity to learn and expand my knowledge in the field.
DM: Your work had a documentary and photo journalism aspect, but it is also can be artful and carefully composed. What has influenced this direction?
EC: The work of the photographer Jack Delano, definitely his work gave me a lot of inspiration. [Ed. note: Delano was an American photographer working for the Farm Services Administration who went to Puerto Rico in 1941. He returned in 1946 on a Guggenheim Fellowship, then stayed permanently and spent the next 40 years as a photographer, documentary film maker and composer.] Another person was Axel Santana. He was the director of the University photo lab and also the son of one of the master photographers on the Island.
DM: When and at what age did you move to Chicago? Why did you move here?
EC: I moved to Chicago in August of 2007, when I was 34 years old. I had established a connection with the Humboldt Park community in 2004 while visiting during the summers to participate in presenting my work with other artists from the Island during the Puerto Rican festivities. Then I had the opportunity to work in the photo documentation of the community of Humboldt Park and at the community high school (Dr. Pedro Albizu Campos High School).
DM: Much of you work centers on the island of Puerto Rico and its cultural manifestations in Chicago, but you’ve also included images from Chiapas, Mexico. Is there a larger idea at the center of your work?
EC: The human condition, the beauty of nature, the displacement, how culture can unify, the humor, seeing the past in the present day…. That is what I try to capture and show with my work.
DM: Your Instagram and Facebook feeds have some great images as well, and I know you were recently in Jamaica. Most of these are shot on an iPhone. Is that sort of a sub-genre of photography? Are you after anything different with these than your more formal works?
EC: Thanks. I have been using the iPhone for a little more than a year and I opened my Instagram account at about the same time. I’m a late bloomer to this idea of immediately of posting images using social media platforms. And yes, I’m fascinated by the possibilities this gives to the photographer to showcase their work. I’m now in the process of digitizing the negatives of the images I took while still living in Puerto Rico that were shot on film from the early 90s to mid-2006.
I went to Jamaica on a family vacation. While there, I had the chance to walk around and take photos using my phone and doing some “study.” Using a phone instead of a camera provides a certain discretion and doesn’t call attention at all. But, yes, I’m always curious to catch an interesting image that shows what I see in the moment.
All images courtesy of Elías Carmona
Humboldt Park: People and Community, Photos by Elías Carmona. Humboldt Park Boathouse Gallery, 1301 N. Sacramento Avenue, Chicago. Opening reception February 16 at 6PM (Facebook event link). The exhibit will be up for two weeks.
Up until a few years ago, Brett Benteler was one of the elite Latin jazz bass players in Chicago. In 2015, though, he moved to New York City to further his musical ambitions. Before he did so, he told bandleaders and club owners not to worry: He knew a guy.
It was right around then that I started seeing this kid playing funky yet intricate electric bass guitar with bands like Roy McGrath’s Latin Sextet, Eric Hines & Pan Dulce and others. As it turns out, a newly arrived to Chicago Freddy Quintero was that guy.
Since then, I’ve seen Quintero play with several more bands, including the Chicago Afro-Latin Jazz Ensemble, James Sanders & Conjunto, the Humboldt Park Orchestra, the Luciano Antonio Quartet and even supporting the New York/Colombian singer songwriter Gregorio Uribe on a solo trip to Chicago sans his Big Band. This Thursday, the young Venezuelan bassist takes another step forward by joining Cuban pianist Chuchito Valdés for a four-night stand at Chicago’s legendary Jazz Showcase.
When I said “kid” above I was not exaggerating. Quintero moved to Chicago in 2015 at the age of 19 and I was seeing him play shortly after that. I finally got a chance to talk with him a bit last summer, and I followed that conversation up this week with a few more questions. How did this kid become fully integrated into Chicago’s Latin and salsa scene in just a couple of years?
“I first came to Chicago because, while attending a music seminar in 2012, I met a group of musicians that were part of a program called ‘The Abreu Fellowship’ from the New England Conservatory, and one of these musicians helped me to find a full-tuition scholarship at North Park University,” says Quintero. “However, I could not come to Chicago during that time due to many reasons, and not being able to speak English was the most crucial. Three years later my father sent me to Chicago to study English at an ESL program with the intentions of getting back the offer from NPU, but the scholarship was not available anymore.”
Quintero continues, “I didn’t know anyone when I moved to the city besides that one person that I kept in touch with from North Park University. When I arrived to Chicago, they sent me an invitation to participate in a meeting where I met Brett Benteler, and I would say that everything started right after that. I got my first gig subbing out for Brett with a Latin jazz band called Contrabanda. I remember being super nervous because I thought that we were going to have a rehearsal or at least they would send me the sheet music, but it never really happened. Nonetheless, I think I did a good job. After the gig, I made some connections with the musicians who later invited me to sit in with a salsa band at Sabor a Café. A couple the months later, Benteler moved to New York City and he decided to leave all his gigs with me. I believe this is how more people started to call me to play with them. First, they would say that Brett recommended me. Then, they would just ask if I was available to play with them, and I guess this is when I realized that I must have been doing something good and that I was already part of the music scene in Chicago.”
I’m curious as to how someone so young made such an impression on Benteler and other musicians, so I ask Freddy about growing up in Venezuela. “My formal music education started when I was twelve years old in my hometown Punto Fijo, Venezuela. I was very fortunate to be part of El Sistema (Venezuela’s internationally renowned national music program) where I had the opportunity to perform with different orchestras and conductors for several years until I decided to move to the United States. My education within El Sistema was strictly classical. The instrument that I chose to play was the upright bass, and I remember being the only child playing that huge instrument at my nucleo, which is what the El Sistema programs are called around the country.”
When I point out that he is obviously not making his reputation as a classical musician in Chicago, Quintero tells me “El Sistema helped me a lot with my music reading and basic concepts of theory, so it was a very smooth transition by the time I decided to play the bass guitar. Although my formal education was classical, on my own time I would play rock with a band I had, and years later a group of friends and I gathered to create what it was the first big band in the history of my city, the Falcon Latin Jazz Big Band. I would say that jazz was one of the last genres that I ended up discovering and I feel it was sort of magical. The first recording I remember listening to was Spain by Chick Corea from his album Light as a Feather. After that I just wanted to keep digging to find new jazz artists.”
Quintero cites several artists as influences, from classical composers to rock, salsa and jazz bands, including over a dozen bassists from across the musical spectrum. When I ask him how he views himself, he states “I consider myself as a musician that is capable of playing different styles of music and enjoying all of them at the same time. I grew up in a house listening to Venezuelan music every morning, Pop, Rock, Funk and R&B in the afternoon, and Latin music at night. So, this is how I see myself, as a musician with no limits. “
Quintero is grateful for the strong foundation that El Sistema provided him, and credits it for his success so far. “I was very fortunate to be part of El Sistema because I believe that most of the musicians that come from that music program have a strong foundation in discipline, respect, perseverance, humility, and musicality that sometimes is really hard to find in others. In my personal opinion, this is really the only way I was able to be introduced to people like Victor Garcia and his band the Chicago Afro-Latin Jazz Ensemble, where I have learned and I keep learning every time I have the opportunity to perform with them.”
In addition to all of this performing, Freddy is finally back at school as well, majoring in Music Education at Northeastern Illinois University.
Quintero appreciates the unique quality of the music scene in Chicago, saying “You never know when you are about to play with a famous or really good musician because there are no boundaries, meaning that the only mission is to play the gig, not to discuss who has more gigs, or a bigger house, you know? This is why I strongly believe that preparation is everything.”
That brings us to playing with Chuchito Valdés. “Working with an artist such as Chuchito has been a blessing. Just recently I had the honor to play with him at Yoshi’s, a legendary jazz club located in Oakland, California. When he called me to do that gig, I couldn’t believe it. For the same reason, I am extremely grateful that someone like Chuchito trusts in the work that I do. Hopefully we will keep touring the US, and this is going to be just the beginning of something bigger.”
So, I ask him, what can we expect from this weekend’s Chuchito Valdés shows?
“I would say that the music will lean towards both jazz and Latin directions and probably some funk, too. The drummer for the gig will be Luis Prieto Rosario. He is an amazing drummer and a great timbalero.”
Chuchito Valdés Trio with Freddy Quintero and Luis Prieto Rosario
Jazz Showcase, January 25-28. Two shows nightly plus Sunday matinee jazzshowcsase.com
Drummer Henry Cole is well known in the jazz world. The native of Mayagüez, Puerto Rico has recorded and toured with the likes of David Sánchez, Gary Burton and the 90 Miles project, and he is a permanent member of the Miguel Zenón Quartet. He’s lived in New York City for more than a decade, where he’s active in the city’s rich jazz scene, but when he turns his attention to his own projects, he finds inspiration back home on the Island.
His first album as a leader, Roots Before Branches, was a sprawling collection of funk rhythms, spoken word, folkloric percussion and jazz horn lines that all swirled around Cole’s inventive and powerful drumming. The band was called the Afrobeat Collective because of the loose jamming structure inspired by Fela Kuti’s work in the 70s and 80s. Their December 2012 Mayne Stage show in Chicago (it was presented as part of Agúzate’s Afro-Caribbean Improvisational Music Festival) was a concert highlight of that year.
Cole and his band, the 14-piece band Villa Locura, create what Cole calls Interstellar Puerto Rican Funk. “Villa Locura are inspired by my land and the things I miss when I’m away from my roots, away from the coast of Puerto Rico, the feeling of not having to rush and not feeling stress at all, just joy,” says Cole. “At the same time, there is a global influence on the sound, just as African music inspired Cuban and Puerto Rican folkloric music and that in turn became a basis for mambo and son, which then gave rise to Latin jazz and later salsa when it reached New York.”
Cole and I spoke a few weeks ago as he was preparing to release El Diablo, the first single from sessions that he and Villa Locura recorded at New York’s famed Electric Lady Studios. Those sessions produced over a dozen tracks that will eventually be released as an album entitled Simple. Cole gathered an international cast of musicians at Electric Lady, many from the jazz world, but also percussionists from Puerto Rico and Cuba. Villa Locura, like the Afrobeat Collective, is a large ensemble, and here, too, there is space for the musicians to jam and build the songs together.
El Diablo was written over 60 years ago by the legendary Puerto Rican songwriter Rafael Hernández, but Cole’s version was inspired by a recording of it found on Ray Barretto’s 1973 Fania album Indestructible, and it features the same lead vocalist from that record, Tito Allen. What Cole has done with Villa Locura is to locate the DNA that both the original Hernández and Barretto recordings share: The folkloric Puerto Rican bomba rhythm, then build the track back up from there.
The result is a churning and very funky track that retains the contours of Barretto’s horn arrangement and Allen’s vocals (which have aged into a rougher but deeply expressive timbre) but sounds almost entirely different due the corp of bomberos laying the foundation, Cole’s inventive use of the drum kit and twin electric guitars that alternately play in and around the melody. It finds time for a sizzling Fender Rhodes solo from Luis Perdomo before the horns come wailing back in. Meanwhile, Allen’s vocal improvisations are the sound of a man having the time of his life.
It’s definitely not salsa.
“My love for Diablo starts with my love for Ray Barretto which comes from studying my idol Giovanni Hidalgo,” says Cole by way of explaining his choice of El Diablo as the first release from Villa Locura. “If you study Ray Barretto, Indestructible is perhaps the first thing you’ll learn. If you play percussion, that timbale solo on (the song) Indestructible and all of Barretto’s conga solos are something that you’ll memorize and imitate. Ray Barretto is a master and Indestructible is his masterpiece.”
When I note that Indestructible and the prime years of Fania were over by the time he was born, Cole schools me on the huge ongoing presence of that music. “If you are connected to Puerto Rican culture and its music, you just can’t avoid Fania… the original Fania is for Latin music what Blue Note label is for jazz. Some music stays new forever. Same thing happens with all of Cortijo’s albums with Ismael Rivera.”
On equal footing with Fania in El Diablo is the 4-person percussion section that drives the tune. Three of them are Puerto Ricans playing bomba (among them is Beto Torrens, who you might recognize from last year’s critically lauded album by ÌFÉ, IIII + IIII) while the rhythmic accents come from a Cuban rumba tradition.
I ask Cole about folkloric traditions where he grew up. “Mayagüez is one of the most important cities of Puerto Rico regarding bomba and plena and at some point all major artists in popular music in Puerto Rico and in New York were from Mayagüez. So my background is very, very rich and powerful. But,” he adds, “when I was a kid I didn’t know that. I was playing ska and all types of rock and Latin jazz. It was later on while I was in San Juan that I started exposing myself to folklore and I discovered that I have a profound love for it. Then I realized that some of the most important folkloric figures in Mayagüez studied with my family and that some of the younger exponents were even friends of mine!”
I note that Villa Locura and his previous band, the Afrobeat Collective, share many similarities, even some of the same members, so I ask Henry about the difference. “Having ‘afrobeat’ in the name of the group was causing confusion, as many people regarded that word as a style of play, a specific sound and pattern, whereas my intent was one of spirit. While it’s true that I was referencing Fela, I wasn’t copying him, because the Puerto Rican element was very important too. The name Villa Locura immediately takes my music out of the Afrobeat box. Fela is still an influence, but it’s not as obvious now. I’ve brought more of a Puerto Rican identity to the fore, and that identity represents the Mestizo culture that I am a part of: a mix of indigenous, African and European.”
Henry and I turn our discussion to the recording of El Diablo and other songs to still be released from Simple. Specifically, I want to know why he chose Electric Lady Studios, the facility created by Jimi Hendrix in 1970 that has since become one of the legendary recording studios in the entire world. Was Cole looking for the spirit of Hendrix?
“No, that wasn’t it,” says Cole. “Residente was recording there and I was playing on some tracks for his new album. I visited Studio A and the smaller upstairs studio the day before to check out their drums. And I immediately thought to myself, ‘Wow, this is a Temple. This is where I want to record my music!’ I was not going for the brand, the name or even the equipment. I went to see some drums and I just felt the space… It talked to me. I felt the space welcome me.”
Our conversation concludes as Henry needs to head to a rehearsal. He’s back home in Puerto Rico for a Villa Locura show at El Boricua in Rio Piedras, and there are also a couple of things to do to get El Diablo ready for release the day before the show. He’s rolled out something of his own self-designed Kickstarter campaign, hoping that sales of downloads and related merchandise like t-shirts and art prints will bring in money so that the rest of the Simple sessions can be mixed and released as a full-fledged album. The sessions were also filmed for a planned documentary. Henry played a few rough audio mixes for me, so trust me when I say, after hearing El Diablo, you are going to want to hear more.
Downloads can be purchased from villalocura.com, and there are autographed CD copies of Roots BeforeBranches available for sale as well. And just think of how cool you’ll look in one of those SIMPLE tank tops this summer!
It has been far too long since Puerto Rican saxophonist David Sánchez has released any new music under his own name.
It’s not that he hasn’t kept busy since Cultural Survival came out in 2008. He was one third of the Ninety Miles Cuban project along with vibraphonist Stefon Harris and trumpeter Christian Scott that toured heavily for a few years. He’s turned up as a guest on several excellent albums, and he tours regularly, swinging through Chicago at least once every year or two.
So when, after Sánchez announced that he and his quartet (pianist Luis Perdomo, bassist Ricky Rodriguez and drummer Obed Calvaire) were playing new material and heading into the studio next week, it was very good news. Some of the tunes were getting their first public performance. A key element of jazz improvisation is, essentially, composing on the spot, and that makes this weekend of shows something of an intense road test of the ideas that will make the final cut in the studio next week. Jazz fans could hardly ask for anything more.
The new songs are for an album to be titled Caribe, and they explore exactly that, folkloric traditions of the Caribbean, particularly from Puerto Rico and Haiti, where Miami-born drummer Calvaire has roots. Rodriguez, like Sánchez, hails from Puerto Rico and Perdomo is Venezuelan, but the thing that they share in addition to their Caribbean heritage is that they are all dedicated jazz musicians. The music they made together Thursday night demonstrated just how jazz absorbs and embraces diverse influences, and they did so with profound artistry and commitment.
This is a band certainly capable of fireworks, which they delivered handily on tunes like “A Thousand Yesterdays” and “Land of the Hills,” titled after what the French colonizers called Haiti. On these tunes and others, Sánchez temporarily set down his horn to take up a barril de bomba to underscore the folkloric foundations of the rhythm. It was the quieter moments, however, that impressed the most: “Canto” with Rodriguez’s bass intro and “Waves Under Silk,” that built on Perdomo’s repeated chords.
The David Sánchez Quartet has three more nights at the Jazz Showcase, two shows a night plus a Sunday afternoon kid-friendly matinee. If you want to explore creativity in action and gain an exclusive preview of an album to come, you’re advised not to miss it.
David Sánchez Quartet, December 14 – 17, Jazz Showcase, Chicago – jazzshowcase.com
Eddie Palmieri brought what was, for the celebrated salsa orchestra leader and NEA Jazz Master, a smallish ensemble with him to the Old Town School of Folk Music on Friday night, but the joyful noise that they made together was a testament to the power of Eddie’s playing, composing and arranging skills. When you add in the charm and personality that El Maestro carries with him always, you have the recipe for a truly special night. Mixing references to both family and his beloved Puerto Rico into the between songs commentary, Eddie engaged the audience emotionally as well as musically.
The evening opened with a solo piano meditation on Palmieri’s late wife, weaving together two compositions, Mi Novia and Life, together in her honor. From there on, though, it was time for el ritmo.
As Eddie said in last week’s Agúzate interview, the man absolutely refuses to indulge in mediocrity. He reiterated this at the show, noting that the harmonic complexities of jazz wed to the African derived rhythms of Cuban drumming are pretty much everything that’s worth doing musically. And, of course, he had a band with him that was spectacular at both.
The all-Puerto Rico rhythm section of bassist Rubén Rodriguez, timbalero Camilo Molina, conguero Vicente “Little Johnny” Rivero and El Rumbero del Piano himself absolutely killed it all night long. Meanwhile, Alex Norris’ trumpet and Louis Fouché’s alto sax burned with fire and grace.
In addition to selections from his latest album Sabiduria, the group went back to the 70s several times for recasts of classic Palmieri tunes like La Libertad Logico, Puerto Rico and Chocolate Ice Cream (written with the great Cuban trumpeter Chocolate Armenteros). Each was introduced with an anecdote from Palmieri’s life about the origins of the song. Some were humorous. Others addressed the tragic situation of Puerto Rico’s slow recovery from Hurricane Maria but also the strength, resilience and pride of the Puerto Rican people, even suggesting that it was time for the island to resume its pre-conquest name of Borikén.
All in all, it was an extraordinary night. Today, as I go back and listen to classic records like Vamanos Pa’l Monte and Sentido, I’ll also have photographer Charlie Billups‘ images from the concert to remind me of just how extraordinary it was.
Chicago is a fortunate city in that The Sun of Latin Music, El Maestro Eddie Palmieri, has visited us with various bands in tow four times in as many years. Despite the enormous expense of taking a big band on the road, the good folks at the Chicago Department of Cultural Affairs and Special Events have dug deep into their pockets not once, but twice, to bring the Eddie Palmieri Salsa Orchestra to Millennium Park. Interspersed with those huge events were a show at the deeply missed Mayne Stage with trumpeter and Simpático album collaborator Brian Lynch and a Latin Jazz Septet performance at Symphony Center.
Chicago’s hot streak continues this Friday when the intimate Old Town School of Folk Music presents the Eddie Palmieri Latin Jazz Band for two shows. The visit follows up the April release of Sabiduria, a richly textured and rhythmically exciting album featuring Eddie’s core band and a diverse cast of guest musicians ranging from Cuban violinist Alfredo de la Fé to New Orleans saxophonist (and Mardi Gras Indian Chief) Donald Harrison and the king of funky drumming himself, Bernard Purdie, who first played with Eddie on the 1971 landmark album Harlem River Drive.
Sabiduria expertly covers everything from Afro-Cuban roots music to New Orleans second line funk, all under the wide umbrella of Latin Jazz. When salsa took a turn into slick corporate vapidity in the early 90’s, Palmieri refused to go along for the ride, instead concentrating his formidable talents as a composer, arranger and pianist into jazz and producing the frankly amazing Palmas in 1994. La Perfecta II in 2002 was something of a return to classic salsa, charanga, and mambo in honor of the 4oth anniversary of his groundbreaking debut as a bandleader, but it, too, was graced with tremendous jazz improvisers given plenty of room to do their thing. Simpático won a much deserved Grammy for best Latin Jazz Album in 2007.
That was followed by a long period of studio silence until filmmaker Bobbito Garcia asked him to contribute music to Doin’ It In the Park, his documentary on New York street basketball, in 2012. Three tunes from those sessions made it to Sabiduria. We have the visionaries at Ropeadope Records to thank for adding nine more and making them all widely available.
Core musicians from these sessions (Vicente “Little Johnny” Rivero congas, Camilo Molina timbales, Louis Fouche alto sax) will be joined by trumpeter Alex Norris and bassist Ruben Rodriguez at the Old Town School shows.
Eddie Palmieri was kind enough to answer a few of my questions when I reached out to him last week.
Don Macica (DM) – I’ve read that you turned to jazz because it’s hard to land salsa gigs, but I also know that you studied the jazz greats along with the Cuban greats when you were coming up in the 50s. Do you have a preference? What do you consider yourself as an artist?
Eddie Palmieri (EP) – I have always been a leader of Orchestra Dance Bands. The writing was on the wall in the early 90’s when the (salsa) genre changed regarding true dance music. The structures were changed to emphasize the vocalist and the tension and resistance needed in the arrangement were abolished. Salsa Romantica or Salsa Sensual became the popular sound and personally I will never succumb to musical mediocrity.
So, Latin Jazz was the mission. In 1994 I became a Governor in the New York Chapter of NARAS and I was able to become a driving force for the Academy to recognize and open up a category. I consider myself a sincere musical student. The playback of my discography does not lie.
DM – Sabiduria feels a little bit like a career summation, albeit a very adventurous one. There’s great jazz, but also some very pure Afro-Cuban stuff and the title track is a fat slice of jazz-funk that recalls Harlem River Drive. Is there any separation between these genres in your approach?
EP – Sabiduria, in my opinion, is the greatest “Latin Jazz” recording ever! The personnel that my son Eddie Palmieri II put together and produced was outstanding. Like I said earlier I have always loved musical extensions throughout my career.
DM – What was the inspiration that brought Donald Harrison to Sabiduria?
EP – Donald Harrison has always been a part of this family since Palmas in 1994. We love him dearly and not only is he a great musician but a great human being.
DM – At the age of 80, where do you get your energy and creativity? What does the future hold for Eddie Palmieri?
EP – Getting stronger every day! Chocolate Armenteros, the great Cuban trumpet player, said “When you get to the age of 50 you start counting by ones”, so I am only 30 years old with 60 years of musical and bandstand experience!
Eddie Palmieri Latin Jazz Band: Eddie at 80 – Friday, October 27, 7:00 & 9:30pm. Old Town School of Folk Music. Tickets at oldtownschool.org
For the last couple of decades, musicians from Chicago have placed the city squarely on the national musical map with their community based, multi-discipline artistic approach. It is perhaps most evident in hip-hop, where Chance the Rapper and Jamila Woods continue a legacy established by Common, Rhymefest and Kanye West.
Meanwhile, a parallel Latin scene has slowly developed, and the fruits of many years efforts are starting to pay off. Dos Santos Anti-Beat Orquesta broke first in 2013 with their aggressive cumbia/chicha sound and thoughtful sociopolitical manifesto, making a strong case for the groove as an agent of social change. Their sound has since evolved to more of a pan-Latin rock reflective of its member’s Mexican, Panamanian, Puerto Rican and Texan backgrounds.
Now, ¡ESSO! Afrojam Funkbeat, who have been on the scene for almost as long, are making their move. They scored a SXSW gig earlier this year, then followed it up by opening for the legendary Café Tacvba at Taste of Chicago this summer. Now they have released their second album, Juntos, and are in the midst of an eighteen-date national tour.
ESSO might just be the band the country needs in these dark days of the Trump presidency. Like Dos Santos, the diversity of the band’s members contributes to its sound and message, with Mexican, Puerto Rican, Irish, Italian, Jewish, Colombian and African American backgrounds. The group also has two female members, adding another important perspective to the mix. A diverse cast of guest musicians, MCs and DJs further fills out the sound of Juntos.
Between them, they’ve been raised on everything: Afro-Caribbean folkloric music to be sure, but also R&B, house, funk, hip-hop, jazz and a healthy dose of DJ dance floor beats. All of this comes to bear in their music. Songs are supported by lively and intricate polyrhythmic percussion and there are flashes of electric guitar, but most tracks exude a gently insistent groove reminiscent of the down-tempo global excursions of groups like Thievery Corporation. The rhymes come out of the conscious rap movement of poetic persuasion, not nihilistic despair. The horn arrangements are jazzy.
That’s not to say that this is some kind of easy listening music. The music is built for the dance floor, not the VIP lounge. Electronic beats and squiggles help that along, but the overall sound is organic, and underneath the smooth exterior are real roots and genuine commitment. Lyrically, songs address the contradictions of urban life faced by immigrant communities, but also love and the virtues of coming together to face them. There’s real fire to this music, albeit with an incandescence that smolders rather than blazes. It pulls you to the dance floor, not pushes.
ESSO reaches back beyond the Caribbean to Africa and skillfully blends those motherland elements into its rhythmic sancocho. Fela’s Afrobeat can be felt in some songs, but so does the jùjú music of that other giant of Nigerian music, King Sunny Ade, as well as the loping guitars of Ghanaian highlife.
Playing spot the influence is a lot of fun with this album, but each of them are smoothly integrated into a band sound that is uniquely theirs. I have a few favorite tracks, and you’ll no doubt have yours, but this collection of 13 songs is best consumed whole from beginning to end, like a good meal among friends.
The second weekend of World Music Festival Chicago is upon us. We’ve already seen some great music downtown and around the city, but there is more to come. A fairly recent addition to the Fest, the Global Peace Picnic, takes place this Sunday afternoon, September 17, adjacent to the Humboldt Park Boathouse in the cultural heart of Chicago’s Puerto Rican community. Despite its prime location in the highly active park (on any given Sunday you can find softball games, traditional food trucks and lively family parties scattered throughout the park’s 219 acres), the Picnic, now in its third year, wanted to do more to attract locals. Department of Cultural Affairs and Special Events (DCASE) staff members and Fest organizers David Chavez and Carlos Tortelero worked out a plan with this objective in mind.
One of the first decisions that they made was to program a headliner from Puerto Rico, and they have found a great one in La Tribu de Abrante. But we’re getting ahead of ourselves just a bit.
Unlike a lot of the “world music” acts that tour the U.S., Puerto Rican artists tend not to be represented by the handful of U.S. based booking agencies that specialize in music from beyond our borders. This could be because the island is not, technically, beyond here because of its colonial status. Secondly, there is a rich music scene on the island that enjoys immense popularity both there and among its Diaspora, but remains nearly invisible to the rest of the world. This, of course, is related to the first point made above in that there is little U.S. based infrastructure for marketing their music to radio and press tastemakers.
DCASE needed a direct pipeline to the island, and they found one in Segundo Ruiz Belvis Cultural Center (SRBCC), an organization that has been bringing the best of Puerto Rico to Chicago for several decades. With the help of a few foundations and sponsors, SRBCC has stepped up the pace in the past year or so, presenting artists like Leró Martinez, Orquesta el Macabeo, Pirulo y la Tribu, Chalí Hernández and acoustic “unplugged” shows with new global sensation ÌFÉ. They’ve done this while simultaneously showcasing the best of Chicago’s folkloric Afro-Caribbean scene and music from other sister countries, like the legendary Septeto Nacional Ignacio Piñeiro from Cuba.
SRBCC, in turn, has forged a partnership with the The 606, the pedestrian and bike trail that cuts through Logan Square, Wicker Park and Humboldt Park. Artists that perform or conduct workshops at SRBCC often can be found the same weekend along the several small parks adjacent to the trail.
All of this comes together for this year’s World Music Festival and Global Peace Picnic. First of all, there is headliner La Tribu de Abrante. We’ve been in love with them ever since we watched them stroll through the streets of Santurce in their first YouTube video for Dale pa’ la Calle a couple of years ago. The band is led by Hiram Abrante, a deeply rooted percussionist who has been playing since the age of 5. The Loiza (one of Puerto Rico’s most African-influenced towns) based group weds folkloric bomba rhythms (if you stripped away everything else, what’s left is pure bomba) to a reggaeton feel and hip-hop attitude. Unlike most reggaeton artists, though, Tribu keeps it primarily acoustic, only adding electric bass and a horn section. To these ears, it’s reminiscent of a New Orleans brass band: rhythm, horns, voice and, above all, energy.
Tribu will conduct a percussion workshop at 11AM on Saturday morning at SRBCC. On Sunday morning at 11AM, musicians and artists from AfriCaribe, Buya, Chicago Cuatro Orchestra, and Seneke will gather at the parks along the 606 for performances and family workshops before embarking on A Walk with Peace and Music toward each other on the trail. They’ll meet up at the Humboldt Boulevard overlook with Los Pleneros de Don Segundo and the entire group will head for the Boathouse around 1:30 pm, just in time for the beginning of the Global Peace Picnic at 2PM.
In addition to Tribu, the Peace Picnic will also have performances by the powerful Afro-Venezuelan singer Betsayda Machado y La Parranda El Clavo and the wonderful West African Tuareg musician Mdou Moctar. Taken together, this could very well be the most powerful lineup of the entire Fest.
All events are free. Miss them at your own risk.
La Tribu de Abrante Bomba Workshop. Saturday, September 16 at 11AM, Segundo Ruiz Belvis Cultural Center. Facebook link.
A Walk With Peace and Music. September 17 at 11AM, The 606 at Park 567 & Walsh Park. Facebook link.
Global Peace Picnic featuring La Tribu de Abrante, Betsayda Machadoy y La Parranda El Clavo and Mdou Moctar. September 17 at 2PM, Humboldt Park Boathouse. Facebook link.
For salsa singer Enrique Calderón, when he finally felt it was time to write and record his first single, he kept his mind focused on one very important thing: For it to be a success, people needed to dance.
That’s how it started for Calderón, a young Mexican-American from the south suburbs who could play jazz and classical music on the trumpet, when he began hitting Chicago’s salsa nightclubs in the late 1990s.
Back then, there were actually a few full time salsa spots in the city, not just clubs that occasionally offered salsa nights. Calderón’s main haunt was Tropicana D’Cache, which occupied the space that is now Concord Music Hall. He admits that the scene was attractive: The dancing, the bands, the beautiful women. “I became a pretty good dancer, winning a couple of dance contests,” says Calderón.
I asked Calderón how, being of Mexican descent, he got into tropical music. “Both of my parents were from Mexico, my dad from Michoacán and my mom from Mexico City. Both her and my grandmother were big fans of tropical music, stuff like Perez Prado, Sonora Santanera, Sonora Mantancera. Groups like that would come to Mexico City all the time. So, when I was growing up here in the States, that sort of stuff would always get played around the house.”
Still, like most kids, he was not especially fond of his parent’s music. His tastes ran toward hip-hop, house and other urban music. At the same time, though, the jazz lessons that he’d been getting left an impression, and he even privately tried singing a bit, imitating Harry Connick, Jr.
Later, when he was immersed in the salsa scene and knowing that he had a decent singing voice, he began to pester bands into letting him sing back up, finally getting a big break when Jesus Enríquez, who was huge on the Chicago scene, invited him to sing with his group. Soon enough he was singing backup with lots of local orquestas as well as national artists whenever they came to town.
He eventually formed a group named La Unica with a couple of close friends while continuing to work with national artists. But in 2004, he decided to call it quits for a while. By 2011, though, he was ready to return. He got a few higher profile band gigs with Rica Obsesión, Nabori and the Humboldt Park Orchestra. He was also doing backup vocals with a new generation of salsa singers such as Willito Otero, Kayvan Vega, NG2, Carlos Mojica, Maelo Ruiz and Frankie Negron when they came to Chicago. Finally, in 2016, he formed his own group.
Now, most salsa bands survive on doing covers of popular songs, and Calderón’s certainly fills that bill. You don’t hear too many brand new songs on salsa night. But in 2017, Calderón decided to take the next step and began working with singer Ricky Luis and Afinca’o leader Joe Mende on producing new original music.
The result is a new single, Más Tiempo, debuting this Sunday night, September 3, at the Cubby Bear’s Salsa Sunday Labor Day show. Also on the bill is Ricky Luis, a Chicago native who now lives in Los Angeles, and Afinca’o, who are also debuting a new single. So, it’s kind of all in the family, and a pretty big night for all three.
The sound of salsa has changed over the decades, and it is currently enjoying something of a back to basics moment. “That’s the sound I wanted to get on this first single,” says Calderon, “percussion and horns, kind of a classic approach. At the same time, I can’t ignore what gets the dance floor going, so there is a little bit of that romantic salsa feel, and the lyrics are about a relationship I was having at the time. People relate to it, they want to sing along, and they want to dance. Do you know how many people sing along to Yo No Sé Mañana?” Calderon asks, referring to the massive and often covered Luis Enrique song from 2009 that is a guaranteed dance floor filler.
Más Tiempo does a good job of navigating the gulf between salsa dura and salsa romántica. The arrangement is tight, with skillfully arranged horns and percolating percussion. Calderon’s voice is a little more rugged than the average crooner, and his sense of the rhythm is superb. At the same time, there is a hooky little chorus tailor-made for the audience sing along. A nice little touch comes near the end, when Calderón gives the shouted affirmation “México presente!”
Calderón is still a dancer at heart. “When I’m on stage with my band, and I notice that I’m not dancing, well, then I know it’s time for the band to bring the energy up.”
Look for a lot of energy this Sunday night at the Cubby Bear.
Salsa Sundays at Cubby Bear featuring Enrique Calderón, Afinca’o, and Ricky Luis | Sunday, September 3, 10PM (doors open 7PM) | Facebook