Interview: Travels with Monsieur Periné


By Don Macica –

Bogotá, Colombia’s capital city, is where it all comes together. Like urban centers everywhere, it attracts people from both rural areas and smaller towns. It is where traditions meet and are fused with energy and experimentation to become something new.

In 2007, university student Catalina Garcia, who was studying anthropology, met Nicolás Junca and Santiago Prieto, a pair of aspiring musicians enthralled by French gypsy jazz. She joined the duo as a singer and they began playing informally for friends at parties, weddings and other gatherings. Catalina was studying French as well, so her language skills and the duo’s musical direction were a perfect fit. Thus was born Monsieur Periné, likely the world’s first and only Colombian gypsy jazz band.

They began performing professionally a few years later. In 2012 they recorded and released their first album, Hecho en Mano, and began to attract attention beyond Colombia. Their second album, Caja de Musica, featured an expanded musical palette and was produced by Eduado Cabra, whom you may know better as Visitante of Calle 13.

“When we recorded our first album, we still hadn’t performed much outside of Colombia.” I’m speaking by phone with Catalina Garcia during a break in rehearsals for a North American tour that will bring them to Thalia Hall in Chicago this Wednesday, March 22. “Our songs were limited a bit by that, although we brought in other Latin influences like boleros. So what we were doing mostly was blending French gypsy jazz with Colombian folkloric sounds, especially in percussion.”

Garcia continues, “That album gave us a chance to tour outside of Colombia and we used those travels as a journal of ideas and impressions when we started working on Caja de Musica. We were very lucky that Eduardo Cabra noticed us and offered to produce, because he had done considerable traveling throughout Latin America to explore those sounds for Calle 13. It was a good fit, and he was a big help in bringing those instruments in and building the songs.”


The results were successful artistically and commercially. You can still hear the gypsy jazz influence on Caja de Musica, but now it is (if I could use a cooking metaphor) a broth to which several other spices and ingredients have been carefully added, resulting in a pan-Latin sancocho where reggae riddims overlay French strumming and jaunty Venezuelan clarinets sit alongside Argentine charango, all of it filtered through Monsieur Periné’s sunny sound.

It was a sound good enough to earn Monsieur Periné a Latin Grammy for Best New Artist in 2015. The band, which has grown to 8 members, is just now beginning to compose songs for its follow up. “We’ve now toured both Europe and North America,” says Garcia. “We’re reaching audiences that aren’t necessarily fans of Latin American music, and we’re meeting and learning from them. We are really excited to be coming back to the United States because there are people from different nationalities and backgrounds that identify with our music. It’s a beautiful place to play.”

The final stop on Monsieur Periné’s 2016 tour was at Pilsen Fest, where they wowed a large audience late into the night, blowing past the curfew that usually closes down street festivals at 10pm. Live, their music takes on yet a third dimension, as they play lengthy instrumental build ups to their songs and follow with extensive soloing in their midsections. Somehow, they make traditional Colombian rhythms one with Benny Goodman’s Sing, Sing, Sing.

It’s great, then, that the first stop on this tour is back in Pilsen, just a bit down 18th Street at the crown jewel of Chicago’s mid-sized music venues. They’ll likely road test some new songs, as they hope to begin recording the new album in June. Garcia tells me that they are working with collaborators on the new songs.  “We did all the composing on our first two albums by ourselves, but this time we want to work with other artists that we admire. Some of them are Colombian, but some are also from other parts of the world. We are looking for ways to learn from other kinds of music than ours. We want to continue to enrich our sound.”
_________

Monsieur Periné with Dos Santos Anti-Beat Orquesta and Los Gold Fires
Wednesday, March 22, 8PM at Thalia Hall, 1807 S. Allport, Chicago
Tickets at thaliahallchicago.com

Agúzate interview: Miguel Zenón’s Típico


By Don Macica –

Beginning with Jibaro in 2005, Puerto Rican saxophonist Miguel Zenón has conceived and recorded a series of albums built on the Puerto Rican experience. Both Jibaro and 2009’s Esta Plena explored folkloric sources, while 2014’s Alma Adentro interpreted classics from the golden age of Puerto Rican songwriting by such luminaries as Rafael Hernández, Sylvia Rexach and Pedro Flores.  2014 saw the remarkable Identities are Changeable, which based its compositions not on musical sources, but interviews with Puerto Ricans born in the mainland United States that explored their sense of identity.

Each was progressively more complex than the previous. Jibaro was simply a quartet. Esta Plena added additional percussion and Alma Adentro utilized a string ensemble. Identities was a big band album. At the core of all four, though, was Zenón’s quartet. The title of his brand new album, Típico, might lead you to believe that it is a continuation of this conceptually themed series, but it is instead a more purely musical project that takes as its starting point the core experience of that working quartet since 2005: pianist Luis Perdomo, Henry Cole on drums and bassist Hans Glawischnig.

“The title ‘Típico’ refers to something that is customary to a region or a group of people or something that can be related to a specific group of people. And when I was writing the music, I was thinking about the music that identified us as a band.”

I’m speaking with Miguel Zenón by phone as he is preparing to take the quartet to California for the first leg of a Típico tour that will bring him to Chicago’s Jazz Showcase March 9-12.


“I wanted to go back to that initial idea of just writing something for the band and focusing on the things that I feel the band can do well and use the record as a showcase for that.” Zenón continues, “The way we usually put records together, even when there are large ensembles or conceptually bigger projects, they all start with the quartet. The other elements are added to that, but when we go out on tour it’s usually just the quartet again. So this time, when putting this record together, I thought about the music as not just the first layer of a bigger project, but with the band itself as the main attraction.”

In a few of the album’s tracks, sounds and ideas initially created by individual band members figure in the new compositions.  On “Corteza”, Zenón based the melody on a Glawischnig’s bass solo first heard on Esta Plena. “Entre las Raíces” started with a Luis Perdomo piano solo on his album Awareness, while “Las Ramas” takes its starting point from figures that drummer Henry Cole has developed over the years that include his Afrobeat Collective album Roots Before Branches.

I ask Zenón if it’s fair to say that Típico is a more purely musical record. “There definitely isn’t a grand concept on this record. I wanted to do something that was more reflective of our experience as a band. If there’s a concept at all, it’s modern music written for a specific group of players that have developed a language together that we use to communicate with each other and create something that we can communicate to a listener.”

The idea of communicating to a listener interests me. Zenón’s music is quite intricate and carefully planned, but as a listener I’m not thinking about complex time signatures or harmonic cadences. If anything, music provokes a human response, be it pleasure, thoughtfulness, serenity, etc.  I tell Zenón this and ask him to comment on the dynamic between composer, player and listener.

“When I’m putting music together, I’m trying to do it out of a place of truth and an honest representation of who I am. So it really needs to be ‘me’. A lot of things that we do start as ideas or systems or exercises, technical things, but then you want to put that in a context where it relates to a listener. There’s a balance needed between an intellectual level and a more human, sentimental point of view if it’s going to reach someone else besides us. My process is a slow one of putting together various ideas and conceptual things, but then I look for ways to add elements to the mix so I can communicate to other people. “

The ‘típico’ of Típico is this culture that exists within the Miguel Zenón Quartet, and not a reference to a geographical region. The compositions themselves have their origin in Zenón’s experience as both an observer and participant in this culture, with few obvious outside points of reference. There are sonic moments that jump out at me: The studio layering of multiple saxophone and bass lines that open “Ciclo”; a simple and very human whistle that opens the increasingly complex variations of “Las Ramas”; 30 seconds or so of in the pocket vamping from drummer Henry Cole in “Corteza”; the delicate intro to “Cantor”.

None of these compositions are likely to bring to mind Latin music. There are, however, two tracks that do conjure this feeling, one deliberately and the other, I believe, naturally flowing out of Zenón’s Puerto Rican heritage.

The lovely melody at the heart of Sangre de mi Sangre (inspired by Zenón watching his daughter play in a park) has a lyrical beauty that sounds like it could have appeared on Alma Adentro.  “I actually wrote lyrics to that melody when I first sketched it out. I was watching her play and thinking about our connection, then also thinking about my parents and how they probably felt about me when I was young,” Zenón continues, “In a sense, the version that appears on the record resulted from the same sort of process that I used on Alma Adentro – start with the melody of an existing song, then build a new arrangement from that. We’ve never played it with the lyrics, but I always think about them when I play it.”

The title track makes explicit reference to Latin folkloric music. “I was trying to capture a specific feeling of folklore, specifically this harmonic cadence that I recognize in a lot of the music I like from Latin America. I played around with this cadence a lot of different ways and combined it with different elements and rhythms. Even though it is an original composition, it evokes that folkloric sound when you hear it.”

I jokingly tell Zenón that the piano intro to “Típico” sounds like a montuno played upside down, but to my surprise he readily agrees. “That’s exactly what it is,” he says. “We’re trying to play around with it, sort of like it’s a mirage of something that’s there, but at the same time, not there. I was trying to emulate a feeling I get when I listen to that music, but not the actual music itself.”

Miguel Zenón is no stranger to Chicago. He was here twice in 2016. In the spring he presented Identities are Changeable in concert at the Logan Center and conducted a discussion and performance of its themes and sources at Segundo Ruiz Belvis Cultural Center. He returned to Chicago in early fall to perform Yo Soy La Tradición, a world premiere work for saxophone and string quartet, at the Hyde Park Jazz Festival. The Miguel Zenón Quartet, however, hasn’t been at the intimate confines of the Jazz Showcase since 2015. When I spoke to Zenón prior to that appearance, he said, “I feel honored that we have become part of the musical family at the Jazz Showcase for so many years now. (Showcase owners) Joe and Wayne (Segal) have a long history of supporting younger bandleaders, especially Latin American musicians such as Danilo Pérez and David Sánchez, both of whom have already become such an integral part of the history of the club. I look forward to performing at this great venue for many years to come.”

Better now than later.
________

Miguel Zenón Quartet, Jazz Showcase March 9-12. Shows at 8 & 10pm plus 4pm all ages matinee on Sunday. Info and advance tickets at jazzshowcase.com.

Interview with Omara Portuondo: “I’m grateful to do what I love most.”

Omara Portuondo 2014
Photo credit: Fernand Forcade

By Don Macica –

Many of us made it out to Ravinia last summer to catch the Buena Vista Social Club’s “Adiós Tour.” By this time, sadly, several of the legends who rocketed to worldwide fame in the 1990s were no longer with us, most notably Compay Segundo, Ibrahim Ferrer and Rubén Gonzáles. Still, it was definitely worth the trip up to Highland Park to revel in nostalgia one more time.

There is one member of this club, however, who not only still walks the planet, but has no intention of saying adiós: Omara Portuondo. This year finds the legendary Cuban vocalist back out on the road for her “85 Tour,” named for the birthday that she will celebrate later this month. Don’t mistake this for another nostalgia fest, though. The world tour, which comes to Symphony Center on October 21, finds her accompanied by an all-star band of first rate jazz musicians, including American violinist Regina Carter, Israeli clarinetist Anat Cohen and Cuban pianist Roberto Fonseca, whose band (Yandy Martinez, Ramsés Rodríguez and Andrés Coayo) powers the rhythm section.

The standard narrative that accompanies the BVSC phenomenon is that these amazing artists were rescued from obscurity by Ry Cooder and filmmaker  Wim Wenders. There is some truth in that, but it doesn’t apply to all of its members. In fact, Portuondo was actively performing and recording in the years immediately preceding the release of the BVSC album and movie. She has been active separately from the group in the years since as well, singing with everyone from the flamenco star Diego El Cigala to American avant-garde saxophonist David Murray and Brazilian singer Maria Bethânia.

Magia Negra
Omara Portuondo circa 1959

Omara Portuondo was kind enough to answer a few of my questions via e-mail. The following responses have minor edits for clarity.

Don Macica – The common assumption in the United States is that your career, along with many of your colleagues in the film and album Buena Vista Social Club, was revived, even rescued by that project. It’s true that world wide fame followed it, but tell me a bit more about the years from 1967 up until the late 1990’s.

Omara Portuondo – Well, some of us were active. Actually I was invited to join the band because I was recording and they invited me to sing with Ibrahim Ferrer. I started [my career] dancing with my sister at the Tropicana, and from then I joined the Loquibamba, Cuarteto las D’aida, until the moment I recorded my first solo album in 1959, Magia Negra. I joined Orquesta Aragón in the 1970s [and] recorded albums with Adalberto Alvarez and Chucho Valdes… Some people do not know that, but I toured a lot before the success of Buena Vista.

(Editor’s Note: I did a bit of research, and there’s even more to the pre-BVSC years, including a 1983 documentary and being awarded an Alejo Carpentier Award for artistic achievement in 1988.)

DM – After over half a century of singing, what keeps you going? Has your work with younger musicians like Roberto Fonseca introduced another phase?

OP – Music is my life. It’s the source to keep going, along with my son and my granddaughter. I love what I do, and when this happens things are easier. Well, it does not mean that you have to be lazy. You have to work hard, but when things comes from your heart, people can feel it.

DM – You’ll be accompanied by a pair of incredible jazz musicians, Regina Carter and Anat Cohen, who aren’t particularly known for playing Latin music, although Cohen loves Brazilian choro. What can we expect from this collaboration and concert?

OP – Oh, I’m so excited and happy about this. For my 85th anniversary tour I wanted to invite artists that I admire and that could give a personal touch to the music. They are very talented and they understand perfectly the music connection. Your know, music is universal and we are simply enjoying so much of the reunion.

DM – Last summer’s BVSC tour was the “Adiós” tour, but you are still going strong. Any plans for retirement?

OP – Retirement? I’m just a young girl! There are some good things happening, a documentary movie, a lot of ideas, recordings… I’m grateful to do what I love most.
________

Omara Portuondo at Symphony Center. Friday, October 21 at 8:00PM. Tickets at cso.org.

Interview: John Santos, My Music is Who I Am

John-Santos
By Don Macica –

“My experience totally comes from the folkloric tradition. My grandparents on both sides were musicians. My dad’s family is from Cape Verde off the coast of Senegal while my mom is Puerto Rican. I grew up in that environment so I was listening to and playing traditional Cuban, Puerto Rican and African music at an early age.”

I’m speaking with San Francisco Bay area percussionist, band leader and educator John Santos via phone from Washington, DC, where he is making several appearances in connection with the Smithsonian Institute’s Folklife Festival. From there he’ll travel to Chicago for two Latin Jazz Festival appearances this week: A lecture and demonstration entitled My Music is Who I Am at Segundo Ruiz Belvis Cultural Center and leading the John Santos Sextet at the Humboldt Park Boathouse. Both events are presented by the Jazz Institute of Chicago.

Santos had led several bands over the course of his four-decade career. The best known of them was the Machete Ensemble, which lasted for 21 years but dissolved in 2006. That’s the group I caught at HotHouse, the South Loop venue that closed its physical doors several years ago but continues as a still vital organization with programming in various locations around the city. As it turns out, that’s the last time Santos played in Chicago until now.

“The economics of that group were really difficult,” says Santos. “It varied from 12-14 members, and a group of that size is very hard to take on the road. It was hard to get decent paying work for that many musicians. I downsized to 9 members, but even that was hard to support.”

After Machete Ensemble broke up, Santos started a quartet, which has gradually built up to the sextet that will visit Chicago this week. Besides being a top-shelf performing Latin jazz ensemble, they specialize in educational presentations from lecture/demonstrations to detailed clinics focusing on any number of relevant subjects such as composition, arrangement, rhythmic development, stylistic interpretation, studio performance, etc. Their repertoire consists of arrangements from Cuba, Puerto Rico, and the US, as well as original compositions.

The conversation turns back to the importance of tradition in Santos’ music. “After my experiences playing with my family and during my development as a professional musician, I studied all sorts of African influenced music. As a percussionist, I was drawn to the conga and batá drums, and from there to Congolese and Nigerian music. I started collecting instruments and vintage recordings. That folk tradition became a driving force in my career.”

Santos continues, “Those folkloric traditions form the basis of what I do, but then we apply that to original music using contemporary jazz harmonies and themes that talk about experiences that are relevant to what we’re living through.”

With that, our conversation moves to Santos’ educational efforts and programs, one of which he is presenting this week in Chicago. “Workshops, lectures and classes are nearly half of what I do, with performing and composing being the other half,” he notes.  “I took the title My Music is Who I Am from a dissertation by the great Latin jazz bassist Andy Gonzáles.  That title really resonated with me, so I created this presentation that talks about Afro-Latinos like myself and the way music is intertwined with our identity, history and culture. The music is an almost sacred document that tells our story in our own voices and the voices of our ancestors.” He continues, “I’ll be using a lot of historical recordings from my collection to illustrate certain themes of who we are, in our own words, and I’ll show how those same themes are relevant to our lives today. It will show how connected we are to these older traditions, but at the same time have contemporary examples that play the same role.”

It is mid-afternoon, and Santos still has one more Smithsonian Folklife panel to attend. As we are saying our goodbyes, Santos remarks, “I’m really looking forward to coming back to Chicago. I’ve done events before with Segundo Ruiz Belvis Cultural Center at the old location. I’m honored to be presenting there again and of course I’m excited to be performing at the Latin Jazz Festival. It will be great to see old friends and make some new ones.”

My Music is Who I Am, Thursday, July 14, 7:00pm at Segundo Ruiz Belvis Cultural Center, 4048 W. Armitage, Chicago. Free admission, but registration is requested. srbcc.org

10th Annual Chicago Latin Jazz Festival, Friday-Saturday July 15-16 at the Humboldt Park Boathouse. 1301 N. Sacramento, Chicago. John Santos headlines Friday at 9:00pm. Free admission. jazzinchicago.org

Agúzate Interview: Melvis Santa

Melvis 3
By Don Macica –

Melvis Santa has been a professional musician for over half of her life. At the age of 14, she and a group of friends in Havana, Cuba formed the all-female vocal ensemble Sexto Sentido. No less than Chucho Valdés called them “the best Cuban vocal quartet of the past 30 years.” After 12 years of success, she left that group in 2008 to try her hand at a solo career. She spent some time touring and recording two CUBADISCO Award-winning albums with Interactivo, a all-star fusion band in Cuba lead by pianist and composer Robertico Carcassés.

She then formed her second group, Santa Habana, that was a bit more jazz oriented, but with a pop feel permeated by deep Afro-Cuban grooves. The debut album was released internationally via the BIS label.

Meanwhile, she launched a second career as an actress, appearing in a number of short Cuban films and the full length feature 7 Days in Havana in a segment by Spanish director Julio Medem.

In other words, Melvis Santa is kind of a big deal in Cuba. Why then, in 2014, did she move to New York City?

“In Cuba, you get to a point where you are in a comfort zone. It’s a small country, so you get recognized, people like what you do. It’s very easy to forget that you have to continue to push yourself and grow. That’s what I like about New York. I have to push myself there.”

I’m speaking with Melvis after a rehearsal for her performance later that evening at Sabor a Café, and intimate music venue in Chicago, where she will present her new Ashedí Project with a hand-picked group of some of Chicago’s best jazz and Latin musicians, including trumpeter Orbert Davis, guitarist Mike Alemana, bassist Brett Benteler (who recently left Chicago for New York as well, but returned for this show) and conguero Frankie Ocasio.

20160528_225623
Steeped in Afro-Cuban tradition, Melvis is also fully immersed in the wider music world. She cites Cuban artists like Merceditas Valdés and Marta Valdés as influences, but also Erykah Badu, Billie Holiday, Shirley Horn, Rosa Passos and Ella Fitzgerald.

“New York is the best platform for a creative artist. Not only are the great living jazz artists there, but also important Cuban artists as well, like Roman Diaz [a master Afro-Cuban percussionist who made his own Havana-New York transition in 1999], a deep repository of Afro-Cuban knowledge and rhythms, who I now get to learn from first hand. Not only do I get to learn the old ways, but also the new, because in New York even traditional musicians are very open.”

I ask Melvis what the Ashedí Project is.

“Ashedí is an idea that I had. In my case, it’s a new stage in my career where I’m embracing influences from my childhood such as Afro-Cuban tradition, and connecting them with jazz and other genres of music in Cuba and the world. Ashedí is an Afro-Cuban Yoruba word that is used as an invitation. In a Yoruba ceremony, when we talk about the ashedí, it is an invitation to other practitioners to be part of the ceremony. And that’s exactly what I want to do with this project. So what you hear today, in this music, is an invitation to these particular musicians. I told them in the rehearsal, yes, look at the notes on the paper, but then play and do what you love. I’m looking for that vibe that is ashedí.”

The performance later that evening validates this approach. In rehearsal, the basic structure of each composition (almost all of them are new, although she did dip into Santa Habana for Inmensidad, a gorgeous evocation of the orisha Yemayá) was sketched out as Melvis directed from behind a piano, allowing each musician to find their way into the melody. In performance, it was quite literally night and day as the musicians found their footing. Bentler and Ocasio were subtle and effective, keeping the pulse grounded in Afro-Cuban tradition, while Davis and Alemana were given free reign to improvise and did so with incisive and sometimes spectacular solos. Depending on the needs of the song, Santa split her time between supporting the melody from the piano or out in front, where her voice and charisma riveted the audience.

20160528_232826_HDR
Santa is a very good songwriter, but two of the highlights of the evening came in what were essentially tributes to the two sides of Santa’s ashedí: An alluring duet between Santa and guitarist Alemana on Billy Strayhorn’s Lush Life and the encore, an incandescent cover of Marta Valdés’ En la Imaginación.

Orbert Davis, who is not only a trumpeter but also a composer, bandleader and founder of the Chicago Jazz Philharmonic, summed it up perfectly the next day: “It was one of the most musical nights of my life.”

The latest development in Santa’s career is joining the dynamic all-female Afro-Cuban jazz group Maqueque, led by Canadian saxophonist Jane Bunnett. Bunnett has been traveling to Cuba and working with Afro-Cuban musicians for several decades, recording the landmark album Spirits of Havana in 1989 with Yoruba Andabo, Gonzalo Rubalcaba and the very same Merceditas Valdés that Santa cites as an important influence.

“Because Jane has spent so much time in Cuba, she knew of my work with Sexto, Interactivo and of course Santa Habana. It’s almost like a family, we are very close. I am a bit older than the other members [of Maqueque], but when their singer Daymé Arocena, who was once a student of mine, left to concentrate on her solo career, Jane called me. I went to see Maqueque at the Blue Note in New York and it went from there.”

Santa tells me Maqueque is recording a new album with her, so I ask if she is recording herself.

“Moving to New York was a very big step, and I only did it two years ago. I spent the entire first year just absorbing everything and going to concerts of musicians that I had always admired. So, yes, I am thinking about recording again soon, but I am still learning and there is still a lot of work to be done, and I don’t want to rush it.”

20160528_232532
It would seem that Melvis Santa has some pretty big artistic ambitions, but is willing to take some time in getting there. The rest of us will have to be patient. Meanwhile, though, we can hope for more perfectly musical nights like the one at Sabor a Café.
___

About the author: Don Macica is a marketing consultant to the performing arts community and a contributing writer to several online publications. When not traveling, he lives a stone’s throw from Lake Michigan in Chicago’s Rogers Park neighborhood. He is the author of Border Radio, a blog about music, migration and cultural exchange.