CHEMBO CORNIEL - FOR THE REST OF YOUR LIFE (2007)
Wilson "Chembo" Corniel Tumbadores, batá (okonkolo), quinto, talking drum,
cajón qiunto,
shekere, clave, guataca, guiro, percussion
Ivan Renta Tenor sax, soprano sax
Ruben Rodriguez Acoustic bass
Tino Derado Piano
Vince Cherico Drums
Invited Guests: Grady Tate Vocal
Bobby Porcelli Alto sax
John Walsh Flugelhorn
John Dimartino Piano
Pedro Martinez Vocals
Lisa Maria Salb Vocals
Pedro Domech Vocals
Johanna Castaneda Vocals
Louie Bauza Batá (Iyá), cajones, palitos, shakers
David Gomez Batá (Itotele)
Jorge Maldonado Guira
more tracks can be heard on Vinilemania's Radio Channels
review by Chip Boaz - Courtesy The Latin Jazz Corner
Our expectations shape our listening experiences, even before we hear an artist’s recorded work. We anticipate certain musical genres or aesthetic approaches based on a musician’s past work or their employment by well-known musicians. We assume that a bandleader will be the primary soloist and that his or her instrument will be featured prominently. We judge unfamiliar artists on their instrument, album covers, websites, as well as promotional material; and then, before we’ve even heard the music, we decide whether that artist deserves our attention. Once we listen to a recording, our judgments constantly reflect our bias and we compare how the work aligns with our expectations. As a listening audience, we create a tough sell for an artist, as they battle our pre-concieved notions. Chembo Corniel shatters all expectations on For The Rest of Your Life with a diverse exploration of Latin Jazz approaches.
Latin Rhythms, Full of Integrity and Jazz Balance
Many tracks emphasize Latin rhythms, but they maintain complex harmonies and open forms found in traditional jazz. Bassist Ruben Rodriguez opens “Nuyorican Groove,” with a Songo bass line that leads into saxophonist Ivan Renta’s strong melody over a minor blues. Rodriguez delivers a melodic and syncopated exploration of the chords before Renta performs an intense extended solo. Pianist Tino Derado uses alternating rhythms in both hands to build excitement until the rhythm section returns to the original groove for an explosive solo from Corniel. A spacious melody glides over a Guaguanco in “Chaworó en la Calle,” eventually giving way to nimble jazz phrasing from Flugelhorn player John Walsh. Renta quickly meshes bebop melodies with intricate rhythms into a deeply involved statement before a return to the melody. The band breaks down to percussion and vocals, ending the song with an energetic pregón and exchange between congas and shekere. Derado and Rodriguez drive a colorful vamp until “Freedom Drive” moves into a rhythmic melody presented by Renta. A defined break leads into Renta’s solo that displays his ability to develop jazz tinged themes while phrasing around the clave. Derado’s improvisation creates an unstoppable forward motion through a furious series of ideas, which inspires a strong response from the rhythm section. The opening vamp returns for a series of exchanges between Corniel and drummer Vince Cherico before Renta brings the song to a close. The group revisits Emiliano Salvador’s classic “Puerto Padre,” opening with a delicate reading of the melody by Derado, Renta, and flautist Oriente Lopéz. Derado expertly shapes a personal statement both unique and respectful of Salvador’s legacy. A bold montuno leads into a Cha Cha Cha foundation for Lopéz’s rhythmic improvisation, complemented by a strong coro. Corniel shines once again through an assertive conga solo, played with fierce musicality. These tracks clearly state Corniel’s commitment to a balanced blend of Latin music and jazz, both through their rhythmic integrity and focused jazz roots.
Exploring a Jazz Emphasis
Several songs prioritize traditional jazz, highlighting improvisation and intricate harmonic movement while keeping a connection to Latin rhythms. The rhythm section introduces “Rejuvenate” with a short vamp before the band breaks into a rhythmic melody that rides over swing and Latin rhythms. Alto saxophonist Bobby Porcelli develops bebop flavored lines into an inventive improvisation which finds a comfortable flow over the swing section while showcasing fiery rhythms over the Latin rhythm. The band returns to the original vamp for a particularly inspired solo from Corniel, and then after a restatement of the melody, introduces the vamp again for a showcase of Cherico. Vocalist Grady Tate’s pure tone and expressive qualities demand focused attention as he opens “What Are You Doing the Rest of Your Life?” only accompanied by piano. Tate expertly guides the rhythm section into song, moving into a subdued mix of ballad and bolero. Porcelli emotively shapes an introspective statement until Tate returns to complete an album highlight performance. Derado provides a moody solo piano introduction on “Melodies,” before establishing a melodic vamp for the band’s entrance. Renta jumps into a short soprano sax feature before joining Derado in a short melody. Derado boldly plays a short solo, full of quick runs and emphasized rhythmic figures. The two musicians continue trading improvisations throughout the song, building an interesting interplay. Corniel exposes another side to his extensive experience on these tracks, establishing a desire to explore a variety of jazz approaches.
Deep Roots in Folkloric Music
Other tracks present a variety of folkloric rhythms, touching on traditional music of Cuba and Africa. Vocalist Pedro Martinez opens a short canto for the orishas on “Orunmila,” soon accompanied by Corniel, David Gomez, and Louie Bauza on bata. The sparse texture of the piece creates a defined mood; a strong coro accompanies Martinez while the bata follows him accordingly. Corniel and Bauza display their rumbero roots on “Sueña Negrito,” returning to the music’s root with a performance on cajones. Martinez and the coro weave a traditional song through the rhythmic texture, exposing the often forgotten beauty of rumba’s melodic content. Corniel breathes life into the song with a passionate and highly interactive quinto performance that exposes his deep love for rumba. Corniel recalls the music’s West African origins with a colorful talking drum performance over the bembe rhythm on “Moon Temple/Ochun.” Renta and Derado gently introduce a delicate melody into the song, building a stream of phrases against the talking drum. The spacious texture becomes increasing colorful until Renta and Derado fade away to expose vocalist Lisa Maria Salb and the bata drums performing a canto for Ochun. The two diverse sections of the song bridge Corniel’s complete concept pulling together the complete spectrum of Latin music and meaningful jazz qualities. The authentic performance on these tracks and Corniel’s deep investment into the folkloric traditions bring a studied and passionate side to his complete musicianship.
Moving Past All Expectations
One might expect a strong conguero to create a percussion heavy salsa-jazz album, but Corniel sidesteps that unfair judgment easily on For The Rest of Your Life with a diverse album that displays a firm connection to both jazz and Latin music. Many songs work purely as jazz performances and although they may utilize Latin rhythms, the need to classify them differently seems irrelevant. At the same time, Corniel’s Latin music roots never disappear; his technique, style, and musical choices constantly reflect his wealth of experience and in-depth stylistic knowledge. The use of several original compositions brings a unique voice to the forefront of the album, obscuring any affiliation with tired standards. His inclusion of folkloric music displays his knowledge of Latin music history and his commitment to the full breadth of the style. The performances from all the musicians reflect professionalism, creativity, and high-level musicality, which match Corniel’s thoughtful and complex concept. As Corniel reminds us with his outstanding work, expectations should be forgotten and we should simply open our ears and find new, refreshing music.
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