“There are two kinds of music. Good music, and
the other kind.” In today’s increasingly complex world of Latin
Jazz, Duke Ellington’s famous quote rings true like never before. A
modern Latin Jazz concept embraces so many elements that finding a
common ground between all artists has become virtually impossible.
The Latin side of the equation now regularly encompasses Cuban,
Brazilian, Peruvian, Puerto Rican, and Argentinean musical
traditions, to name a few. The jazz influence integrates bebop, free
jazz, fusion, hard bop, and more. Considering that each of these
musical directions hold their own sub-sets and corresponding
aesthetics, artists have an endless variety of possibilities at
their disposal. An intelligent discussion of an artist’s work needs
to focus upon the artistic components that place the music in either
of Duke’s two categories and then analyze stylistic elements. The
“good music” generally stands apart -
Papo Vazquez and The Mighty Pirate
Orchestra demonstrate this on
Marooned/Aislado
with a set of music that offers rich artistic depth over an
authentic blend of jazz and Puerto Rican genres.
Using Bomba and
Plena As The Backbone of His Approach
Vazquez integrates the heartbeat of traditional Puerto Rican music,
bomba and plena, into several jazz compositions. The wind players
outline the powerful bomba sica foundation with a rhythmic melody on
“Happy To Be Here.” Alto saxophonist Bruce Williams builds tension
through high register squelches while Vazquez concentrates on sparse
and poignant phrasing to create his statement. Tenor saxophonist
Willie Williams immediately tackles his improvisatory space, filling
the void with quick runs, quirky articulations, and a screaming
tone. Vazquez and percussionist Juan Guiterrez engage in an open
conversation until the full rhythm section bursts into an up-tempo
plena on “El Batallon.” After an impressive exchange between the
three percussionists, Vazquez leads the complete wind section into a
chaotic free improvisation that creates an exhilarating wall of
sound. Pianist Zaccai Curtis and bassist John Benitez provide a
dramatic dynamic contrast as they trade inspired improvisatory
phrases. A rhythmic vamp over a bomba foundation, combined with long
and twisting lines results in a frenetic feel for “Race Against Time.”
Vazquez captures this feel in his improvisation, aggressively taking
his trombone into treacherous territory. Willie Williams follows
Vazquez’s lead with a hair-raising series of notes, and
percussionist Anthony Carrillo develops an intense and traditional
solo. The arrangement garners significant attention here, forcing
the band to execute a long series of complex parts while supporting
a long line of soloists. These songs recognize the backbone of
Vazquez’s musical approach, the combination of jazz with bomba and
plena.
Showing Range
Through Additional Puerto Rican Genres
Other songs utilize additional Puerto Rican musical traditions,
creating unique Latin Jazz mixtures. Vazquez improvises freely over
rich chordal textures on “Aguinaldo Pa’ Dico y Caneco,” leading into
a traditional melody, complemented with jazz harmonies and
intertwining lines. Vazquez, trumpeter Nelson “Gazu” Jaime, and
trombone player Reynaldo Jorge each take short solos, playing
against the understated rhythmic feel. Carrillo asserts himself on
an attention grabbing bongo solo, finding an appropriate spot for
virtuosity within the subtle feel. The orchestra captures the
elegant feel of a traditional danza on “Buenos Dias,” while adding
subtle jazz harmonies. This short statement of the melody speaks
volumes about the band’s sensitivity and Vazquez’s arranging
abilities; the performance presents a gentle sound, not commonly
found among a Latin Jazz big band. The deep tone of Benitez’s bowed
bass underlies Vazquez’s rubato melodic introduction on “Julia
Jibarita,” until the rhythm section begins a bolero rhythm. After
Vazquez eloquently phrases the main melody, Curtis streams long
ideas through the chord changes. As the melody closes, the rhythm
section jumps into a double time feel and the winds enter, allowing
Vazquez to end the song with a rousing solo. These songs present
different sides of Puerto Rican music and offer the orchestra an
opportunity to showcase a more delicate side of their musicality.
Applying
Massive Musicality Across Various Styles
Some tracks step outside the Puerto Rican tradition, emphasizing
other musical genres. Benitez passionately attacks an unaccompanied,
blues inflected solo on the introduction to the Charles Mingus
tribute “Pa’ Mingus.” The straight-ahead swing and rhythmic vitality
of the melody leads propels the ferocious bebop intensity of Ralph
Bowen’s tenor sax solo. After strong solos by trumpet player Freddie
Hendrix and baritone sax player Jason Marshall, Vazquez and Benitez
both channel the assertive and unique approach so often associated
with Mingus. Brazilian ago-go bells and surdo combine with a Barril
de Bomba, finding a crossroads between samba and bomba sica on
“Bomba a la Hermeto.” Willie Williams utilizes the extreme high
range of his instrument to play rhythmic figures, building into
intense non-stop barrages of notes. The band quiets for Curtis, but
he quickly pushes the dynamic higher with offset rhythms and
chromatic sequences. The percussionists fit a bomba yuba’ beneath a
shuffle drumbeat, leading into a laid-back Basie influenced melody
on “Blue Ray.” Vazquez proves himself fluent in swing phrasing with
a muted solo, while trumpet player Walter White comfortably
navigates a series of fine tuned ideas. Alto saxophonist Robert
Landham drives the band into a powerful response with blues drenched
phrases and high register screams. These songs demonstrate Vazquez’s
ability to apply his massive musicality across a wide range of
approaches.
Collective
Artistry As A True Strength
While Vazquez’s organic approach to blending traditional Puerto
Rican genres with jazz traditions shines as a rich concept on
Marooned/Aislado
,
it functions as a foundation, not a defining factor; the strength of
the collective artistry rises as the album’s true strength.
Vazquez’s compositions and arrangements reflect a thorough rhythmic
understanding and a rich harmonic writing style. As an improviser,
he has the ability to express himself in a variety of settings,
while making clear connections to the jazz lineage. The pure
momentum of the Mighty Pirate Orchestra ensures a massive sound, but
they show much more than just power. The ensemble brims with
musicality, creating subtle dynamic shadings and a consistently
unified sound. The group is bursting with an overload of strong
soloists that confidently assert their personalities. When the album
ends, it escapes categorization as jazz, Latin Jazz, or Puerto Rican
Jazz; it simply falls under the heading of good music in Duke’s
two-sided equation, and in the world of contemporary Latin Jazz, it
stands as great music.