HECTOR CONTRERAS & HIS LATIN JAZZ ENSEMBLE (2006)
Afro-Cuban/Jazz music with a strong Brazilian influence
Hector Contreras - Piano & Keyboards
Raul Pineda - Drums & Timbales
Rigoberto Lopez - Bass
Walter Valencia - congas, Bongos & Percussion
Serafin Aguilar - Lead Trumpet & Flugelhorn
Arturo Solar - Trumpet & Flugelhorn
Frank Fontaine - Tenor, Soprano-sax & Flute
Brendon Mc Mullin - Trombone
EMILIE'S GARDEN MUSIC PRODUCTIONS
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Review by Frank Villafañe for www.vinilemania.net
Hector Contreras & His Latin Jazz Ensemble is an excellent recording of a world-class latin jazz ensemble. Chock full of no less than 14 great numbers, there is something here to please every latin jazz aficionado out there. As the title indicates, this is the first latin jazz release of a certain Hector Contreras, pianist and bandleader, and his ensemble. No stranger to the idiom, Hector has been composing for quite some time, and has amassed a collection of over 200 compositions. As if that weren’t enough, Hector also happens to compose New-Age instrumental music as well, and currently has released two New-Age CD’s (although they are not included in this review – for more on Hector’s New-Age offerings, please go to www.emiliesgarden.com).
The CD opens with a ditty called Firehouse, and it is indeed a “fiery” up-tempo little number. Hmmm…since the CD was recorded at Firehouse Studios in Pasadena, it stands to reason this is a “thank you” to the recording staff there. Well, the song opens with a nice percussive turn-around before the beat gets established, and it keeps up a frenetic pace throughout the entire tune. Lots of brass licks, solos, and general percussive mayhem - nice opening.
La Perla Del Caribe begins with Hector playing a beguiling 6/8 pattern that sounds almost like a 50’s “golden oldies” reprise…until the full percussion enters playing standard afro-cuban rhythm. Once the brass state the opening bars of the melody, any resemblance to a 50’s style “doo-wop” song is completely erased. Able solo work by Danilo Lozano and Frank Fontaine make this tribute to Puerto Rico a very enjoyable experience.
Tu Y Yo is a beautiful ballad and showcases Hector’s lyrical compositional style at its best…and his piano work ain’t bad, either! This happens to be my favorite number from the CD, and is worth listening to over and over (interestingly, Hector wrote this melody for his Father). Hector opens the song with a very poignant classically-phrased piano solo, followed shortly by Arturo Solar playing a plaintive wail on flugelhorn. Hector takes a very tasty solo and then leads the song down into a slow, grinding guajira, while Arturo solos (on the trumpet) around Hector’s haunting riff. And what a solo – Mr. Solar definitely cooks. Hector & Company come back to the ballad with the restating of the bridge, and ending on the guajira chord progression…perfect!
Inner Spirit starts with a brass trio al aire, not unlike Duke Ellington’s “Mood Indigo”, and is an introspective call to the “silent inner voice” inside waiting to be heard. This song reminds me of Herbie Hancock’s “Maiden Voyage”, and evokes a stong emotional feeling…one of meditative soul-searching. Hector is the only soloist here, and he seemingly cuts loose, allowing his “inner spirit” to speak, if you will.
The curiously titled Fantasy of Shell is an up-tempo, in your face wake-up call that seems to say, “Hey! Enough of this pensive mood stuff!”. Delightfully uncomplicated, its built around a couple of simple chord progressions, and just swings along at its own pace, oblivious to everything else. Hector lets his brass solo here, and both Serafin Aguilar and Frank Fontaine step up to the plate and do him proud. A swinging little piece, composed when Hector was all of 19!
Its All Good starts with a piano obligato, and soon develops into a full-out latin funk-fest. Rigoberto Lopez bops along with a fretless(?) bass that just lends itself to the overall funkiness. Hector and Rigoberto rock on a montuno break, while the brass provide some nice fluid lines in contrast. Hector takes a nice solo on a tine-style electric(?) piano (close to but not quite a Rhodes). Finally, the song ends on a series of brass stabs.
Serenity is another pretty ballad-style bolero with flugelhorn, and an added twist…strings (or a synthesized string-like pad) as a background. Hector and Arturo Solar are the soloists. Both solos are rather subdued in keeping with the overall feel of the song, which is obviously meant to be serene…complete with wind-chimes, waterfall effects, etc. In Hector’s own words, this song “brings balance” to the CD, and is one of his more “profound” pieces…and I have to agree.
C.J. Max, named after Hector’s stint as a teacher at Central Juvenile Hall’s Maximum Security facility, is a strange title for an otherwise kickin’ latin jazz number. Hector takes a back seat on this tune and lets his sidemen solo. Raul Pineda gives up some tasty timbal licks, while Serafin Aguilar peppers the groove with his blaring trumpet; meanwhile, Frank Fontaine rocks the tenor sax. I only wish the song were longer so the soloists could develop their respective solos a bit more; otherwise, good stuff (if only his students could hear him now)!
Pasadena Cha-Cha is a swingin’ cha-cha, named after Hector’s hometown. Hector opens with a cool cha-cha montuno al aire (and again later at the bridge/mambo section). Interestingly, Raul Pineda here really swings the cha-cha with both drums AND timbales - sweet! What really makes this song tho’ (in my humble opinion) is Danilo Lozano’s flute...muy Cubaneao! Great song, but again…a little short. I would’ve loved more of Danilo’s flute swinging on top of a brass moña…but hey, just a thought - easily one of the best tunes on this CD.
Friends is another descarga type song with a songo feel where everybody solos (at least the brass anyway). Nice opening riff with a unison melody that doesn’t break out into harmony until the bridge. There is a very nice harmonized flute passage that opens the solo section with the piano playing contrapuntal open-arpeggiated chords. The brass trade solos, and here is the only trombone solo by Brendon McMullin. Danilo Lozano closes out the solo section with his flute. Nice work guys!
Un Dia En España is an up-tempo mambo that sounds nothing like España – initially. That’s not to say the tune isn’t nice…it is! Very different, with parallel fourths, minor seconds, and all kinds of harmonic minor-isms that evoke a “hint” of La Madre Patria as the song progresses. And should there be any doubt that it all comes from Spain anyway, Arturo Solar’s trumpet answers all skeptics! His solo embodies España, with all its pageantry, tradition, and flamenco flair. What else can I say but…¡Ole!
Mi Pueblo (Spanish for “My Town”) is another songo style number that reminds me a great deal of Puerto Rico. Interestingly, Walter Valencia solos here again on congas (he also soloed on La Perla Del Caribe, Hector’s tribute to Puerto Rico). Danilo Lozano again plays his marvelous flute on this song and lends an unmistakable “island” feel to the song. To change things up, Raul Pineda plays an almost “disco” drum pattern during the bridge, and Danilo Lozano again swings this tune with his upper-register solo. ¡A mi me gusta mi pueblo!
Memories of Sergio is another beautiful song that opens as a ballad with Hector playing a poignant rubato passage. It quickly becomes a guajira, while maintaining a sad, tender nostalgia. Hector’s solo is a stunning tribute to his late friend Sergio Pastora, a world-class percussionist who played with the likes of Eric Clapton and Gino Vannelli.
Samba For You is a tribute to Brazil, and is what else? A samba. The surdo and agogo are prominent throughout this song. It’s a grand sweeping carnaval in the style of Oscar Castro-Neves. Hector solos on the Rhodes and Frank Fontaine solos on the soprano-sax. The song fades out with a batucada…obregado. Hector Contreras has a little something for everyone on this CD. He’s gathered an impressive group of musicians to play all his excellent arrangements. I highly recommend Hector Contreras and His Latin Jazz Ensemble…solid gold.
