Jazz

Miguel Zenon - Alma Adentro: The Puerto Rican Songbook (2011)

2015-10-07T15:49:01Z

Miguel Zenon - Alma Adentro: The Puerto Rican Songbook (2011)


1. Juguete
2. Incomprendido
3. Silencio
4. Temes
5. Perdon
6. Alma Adentro
7. Olas y Arenas
8. Amor
9. Perfume de Gardenias
10. Tiemblas

Miguel Zenon - saxophone
Luis Perdomo - piano
Hans Glawischnig - bass
Henry Cole - drums
+
Guillermo Klein - conductor
Nathalie Joachim, Domenica Fossati, Julietta Curenton - flute
Romie De Guise-Langlois - clarinet
Carol McGonnell - bass clarinet, clarinet
James Austin Smith - oboe
Brad Balliett - bassoon
Keve Wilson: English horn
Jennifer Kessler,David Byrd-Marrow - French horn

When so-called "Latin jazz" comes up in conversation, music or musicians connected to Cuba or Brazil are usually the topic of conversation. While it's true that Afro-Cuban stylings, bossa nova beats and sizzling samba numbers seem to dominate in this umbrella category, they're only the tip of the iceberg that is the music of Latin America. Thankfully, some important jazz musicians are helping to broaden the rest of the world's view on what Latin America has to offer. Pianist Danilo Perez has connected the dots between music from his native Panama and jazz, and alto saxophone star Miguel Zenon is doing the same thing for Puerto Rico.

While calling somebody a "star" in jazz might seem like an oxymoron, when considering the lower-than-deserved profile of the genre on the national and international stages, Zenon fits the bill like few others. As of the recording of this 2011 album, Zenon, only in his early thirties, has already carved out a place as one of the defining saxophone voices of his generation. Having already received a Guggenheim Fellowship and MacArthur Fellowship (a.k.a. the "genius grant") at such an early age, some feel that he has been wrongfully fast-tracked in a genre where the experience of elders is usually prized over the enthusiasm and creative spirit of youth; but his solo albums and continuing work with the SFJAZZ Collective, as the only remaining charter member of that groundbreaking group, have confirmed how deserving he really is of all of the positive press, awards and honors that have been thrust upon him.

While Zenon has put out a few albums that don't touch on his heritage, Alma Adentro: The Puerto Rican Songbook is his third effort, following Jibaro (Marsalis Music, 2005) and Esta Plena (Marsalis Music, 2009), in promoting a fusion of Puerto Rican traditions and modern jazz ideals. While those earlier efforts were original affairs which tied Puerto Rican folkloric traditions into Zenon's compositional mindset, this album is about bringing Zenon's voice and originality into new arrangements of classic songs from his native country. Composers like Sylvia Rexach, Rafael Hernandez, and Bobby Capo receive their due here, as Zenon salutes their contributions to the Puerto Rican Songbook.

While this album doesn't match its predecessor—Esta Plena—in the rhythmic vibrancy category, it surpasses it in terms of musical scope, power and sophistication. Zenon brought Guillermo Klein on board to write arrangements for the ten-piece woodwind and brass ensemble that joins with the saxophonist's quartet, and the results are mesmerizing. Klein uses the large group to magnify the power of Zenon's horn lines ("Silencio"), create a harmonic haze ("Alma Adentro"), and accompany him in classy fashion during straightforward moments of musical clarity. Zenon's playing can be tender and romantic ("Amor"), or lithe and feisty ("Alma Adentro"), but his ideas always serve the song, and Klein's arrangements fit him like finely tailored suits.

While the large ensemble plays a big part in this ten song production, Zenon's connection to the members of his quartet is equally important. Zenon and bassist Hans Glawischnig seem to have a special bond together, as demonstrated during their duologue during "Temes," while drummer Henry Cole provides the sparks that help these songs catch fire. Pianist Luis Perdomo covers the harmonic middle ground, balancing things out between bass, horns and Zenon, as he helps to flesh out a complete picture of this music by filling in the spaces with just the right amount of sonic support.

Miguel Zenon has become the de facto spokesman for the jazz possibilities inherent in the musical DNA of Puerto Rico, and Alma Adentro: The Puerto Rican Songbook is another conceptual landmark and musical milestone in his already-impressive discography. ---Dan Bilawsky, allaboutjazz.com

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Miguel Zenon - Tipico (2017)

2017-03-05T16:11:52Z

Miguel Zenon - Tipico (2017)


1. Academia
2. Cantor
3. Ciclo
4. Tipico
5. Sangre de Mi Sangre
6. Corteza
7. Entre las Raices
8. Las Ramas

Miguel Zenón - alto saxophone
Luis Perdomo - piano
Hans Glawischnig - bass
Henry Cole – drums

The vintage cover photograph on Tipico, of Puerto Rican musicians, might lead one to believe that this is a continuance of alto saxophonist Miguel Zenón's jazz adaptations revolving around his heritage and homeland. But this is not the case. On this release, he hones in on his bandmates, and the music is centered on what each individual member contributes to the ensemble, and overall sound.

His quartet for over a decade now is comprised of pianist Luis Perdomo, bassist Hans Glawischnig, and Henry Cole on drums. In an age where groups hardly stick together, this in itself is a remarkable achievement, and defines the bands exceptional cohesiveness. When not recording or touring, Zenón has been teaching at New England Conservatory, and "Academia," was inspired by his advanced students who take him to task in musical challenges.

Argentine pianist/composer Guillermo Klein, has been a frequent collaborator, band-mate in Los Gauchos, and good friend of Zenón, so the sophisticated complexity of "Cantor," is dedicated to him, and his ability to inject personal nuances into his compositions. The song opens with a mysterious tango configuration as Perdomo offers a brilliant piano path in setting up the spiraling conclusion by Zenón. In keeping with his exploration into Latin music's folkloric origins, "Ciclo," revolves around the primordial foundations of melody and rhythm; and "Tipico," delves deeper into the harmonic cadences which typically distinguishes the music of the Caribbean and Latin America. This title track incorporates a myriad of influences from the montuno on the piano, to danzas, sons and boleros, all presented with improvised bravado.

The buoyant and lyrical "Sangre De Mi Sangre," is dedicated to Zenón's daughter, and features outstanding bass work by Glawischnig, who depicts the songs softness with a fine touch. He is honored on "Corteza," composed around a bass solo from the song "Calle Calma" culled from the Esta Plena record in 2009. As each band member gets his turn to shine, Perdomo's piano leads off the free jazz oriented "Entre Las Raices," which displays a secreted avant-garde side to the pianist. Cole has been Zenón's favorite drummer for what seems like forever, and his Roots Before Branches release gets a nod of appreciation with "Las Ramas." Cole has an exclusive drumming technique that sets up the songs direction, Zenón innately weaving his sax around the intricacies of the syncopation, as they go out in style.

On this record, Zenón opted for keeping the music centered around and performed strictly as a quartet. This is his way of showing appreciation for his colleagues talents and loyalty, in light of the difficulties in keeping a band together. In Zenón's own words: "The music on this recording is inspired by the musical language we've developed together over this time. I wrote music that I felt represented us as a band and showcased the things we do well. In addition, a few of the pieces were drawn directly out of musical ideas that came from my fellow band members; I transcribed what I felt are some of their most recognizable and characteristic phrases, using these as springboards for some of the compositions." ---James Nadal, allaboutjazz.com

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Miguel Zenon Quartet - Bimhuis Radio (2015)

2016-08-04T09:00:59Z

Miguel Zenon Quartet - Bimhuis Radio (2015)


1. First Set		59:47
2. Second Set		1:09:44

Miguel Zenon – alto saxophone
Luis Perdomo – piano
Jorge Roeder – bass
Henry Cole - drums

Bimhuis, Amsterdam
Netherlands, 12.02.2015

Puerto Rican-born jazz musician Miguel Zenón knows the feeling of living between two cultures. For his current project he interviewed other inhabitants of the ‘Nuyorican community’ in ‘El Barrio’, a.k.a. Spanish Harlem, about their experiences. The music is based on their speech patterns and has become a very challenging synthesis between jazz, latin and the rhythms of the human voice.

Alto saxophonist and composer Miguel Zénon, a favorite in the Downbeat Critics Polls, manages to convince everyone with powerful, emotionally charged playing. Time and again he presents surprisingly new and innovative projects, exploring the boundaries of jazz. Last time he performed at the Bimhuis is a lineup with Indian tabla and cello. His current CD Identities are Changeable was inspired by the Puerto Rican community in New York. --- bimhuis.com

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Miguel Zenón ‎– Esta Plena (2009)

2018-11-22T15:07:32Z

Miguel Zenón ‎– Esta Plena (2009)


1 	Villa Palmeras 	7:05
2 	Esta Plena 	7:48
3 	Oyelo 	6:16
4 	Residencial Llorens Torres 	4:53
5 	Pandero y Pagode 	8:25
6 	Calle Calma 	4:38
7 	Villa Coope 	8:59
8 	¿Qué Será De Puerto Rico? 	8:01
9 	Progreso 	9:17
10 	Despedida 	6:50

Miguel Zenon - alto saxophone, background vocals
Luis Perdomo - piano
Hans Glawischnig - acoustic bass
Henry Cole - drums
Hector "tito" Matos - lead vocals, percussion (requinto)
Obanilu Allende - background vocals, percussion (segundo)
Juan Gutierrez - background vocals, percussion (seguidor)

From the fruits of winning both a MacArthur ("genius grant") and Guggenheim Fellowship in 2008, alto saxophonist Miguel Zenón, expands his clear vision of modern jazz and Puerto Rican folk music in Esta Plena. With an incisive voice, his involvement with the SFJAZZ Collective, Guillermo Klein's Y Los Gauchos and Charlie Haden's Liberation Music Orchestra is well documented, but his own recordings are what truly reflect his unique heritage and identity.

Where Zenón's Jibaro (Marsalis Music, 2005) explored the diverse folk Culture Musica Jibara (Jibaro Music), this project finds Zenón doing more research and culminating with fresh interpretations of la plena, which is described as "a by-product of Spanish Colonization, combining African rhythmic syncopations with European harmonies and melodic cadences." More simply put: the musical equivalent of the H1N1 virus, it is delightfully infectious.

Joined by an excellent quartet for more than five years consisting of pianist Luis Perdomo, bassist Hans Glawischnig and drummer Henry Cole, these new explorations exhilarate with the added bonus of an authentic plena group which includes Hector "Tito" Matos, Obanilu Allende, and Juan Gutierrez on vocals and panderos (hand-held single-head drums).

The ten tracks are split between five instrumental and five vocal, with Zenón writing the music and lyrics. A delicate tightrope is traveled as urban street music fuses with the traditional; compositions that swing and sing, lighting fires as heard in the title ("This Plena"), sweet vocal harmonies in "Oyelo" ("Listen To This!!!"), socially conscious commentary in "Que Sera de Puerto Rico" ("What Will Become of Puerto Rico?") and a tale of celebration in "Despidida" ("New Year's Eve"), as the group quotes "Auld Lang Syne" before leading into enticing vocals and music.

Everything about Esta Plena embodies excellence—memorable performances from everyone, vigorous composition, and improvisational freedom—translated by Zenón's respectful handling of the "people's music," encouraging exploration of its history and present. ---Mark F. Turner, allaboutjazz.com

Following the release of his previous album, 2008's Awake, Miguel Zenón was awarded both a Guggenheim Fellowship and a MacArthur Fellowship "genius grant," the latter alone putting half a million bucks in his pocket with which he could do anything he wanted. He used at least some of that cash to create Esta Plena, an album that expands on 2005's roots-conscious Jíbaro by linking traditional Puerto Rican plena music with modern jazz technique. In the album's liner notes, Zenón provides an in-depth explanation of the history and musical properties of plena, a folkloric style born of the poor class in a barrio in southern Puerto Rico. Its lyrics, he explains, tell of the lives and struggles of those people, and while the music has continually evolved since its inception, it still pays its respects to its roots. Here it evolves yet again as Zenón marries the time-tested form to his modern jazz sensibilities. He is a superb, dynamic alto saxophonist and a visionary bandleader, and working with a cast of ace contemporary players -- pianist Luis Perdomo, acoustic bassist Hans Glawischnig, drummer Henry Cole (all three of whom appeared on Awake), lead vocalist/percussionist Héctor "Tito" Matos, and background vocalists/percussionists Obanilú Allende and Juan Gutiérrez -- Zenón finds the place where the traditional plena and contemporary jazz, both of which share African roots, meet up and become something new together. From the fiery opening instrumental, "Villa Palmeras," through the vocal numbers, Zenón melds his well-defined melodicism with intricate rhythms and harmonies, allowing plenty of space for his fellow musicians and vocalists to contribute to the story. Perdomo, particularly, is a major factor: a masterful pianist, he virtually serves as a second leader here by co-crafting the melodic direction with Zenón. On tracks like the midtempo "Pandero y Pagode," the swinging "Oyelo," the sizzling "¿Qué Será de Puerto Rico?" (spotlighting drummer Cole), and the epic instrumentals "Progreso" and "Villa Coope," Zenón and his crew create music that is full of life, history, richness, and realness. ---Jeff Tamarkin, AllMusic Review

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Miguel Zenón – Ceremonial (2004)

2015-09-13T15:55:09Z

Miguel Zenón – Ceremonial (2004)


1.Leyenda (Silvio Rodríguez) 9:18
2.Ceremonial (Miguel Zenón) 9:45
3.Transfiguration (Miguel Zenón) 6:36 
4.Mega (Miguel Zenón) 6:48
5.A Reminder of Us (Miguel Zenón)  6:38
6.Morning Chant (Miguel Zenón) 8:15
7.440 (Miguel Zenón) 7:41
8.Ya (Miguel Zenón) 6:43
9.Great is Thy Faithfulness (Thomas O. Chisholm/William Runyan) 8:16

Miguel Zenón - Alto Sax, Percussion (2 & 3), Vocals (6)
Luis Perdomo - Acoustic Piano, Percussion (3), Fender Rhodes (4), Vocals (6), Synthesizer (7)
Antonio Sanchez - Drums, Vocals (6)
Hans Glawischnig - Acoustic Bass, Electric Bass (3), Vocals (6)
Luciana Souza - Vocals (3)
Hector "Tito" Matos - Barriles de Bomba (4), Panderos (7)

Recorded March 4-5, 2003 at Systems II, Brooklyn, NY

The young Marsalis Music label continues to produce interesting recordings with a mindset of creating music that expresses individuality as well as substance. Last year's releases featured guitarist Doug Wamble's Country Libations and Harry Connick Jr.'s instrumental Other Hours, which created fresh and progressive approaches. Alto saxophonist Miguel Zenon continues on that path in 2004 with his auspicious release Ceremonial.

A native of a San Juan, Puerto Rico, Zenon's new recording brings not only Latin persuasions but also a refined mix of contemporary, classic, and global influences. The recording begins with compositions that are melodic yet leave ample room for improvisation. Zenon's playing is in full command as he freely solos with and against diverse rhythms. His horn has a slight acidic tone that is fluid and purposed with feeling. Zenon's writing skills and influence have appeared on pianist Danilo Perez recordings and are of particular interest. Backed by a potent quartet the music is thoughtful and executed with skill and spirit.

The opener "Leyenda" begins with Zenon's warm alto voice and develops into a gradual upbeat melody that hints at things to come. "Ceremonial" and "Transfiguration" bring Latin charms by adding soulful rhythms and voices with a modern feel. The quartet is on fire on the complex and funky "Mega" with extreme percussion by "Tito" Matos, which quietly blends into the tranquil piece "A Reminder of Us."

The tour de force composition "Morning Chant" combines rigorous hard bop and spiritual chants in a unique way as pianist Luis Perdomo solos with fierceness and drummer Antonio Sanchez adds percussive highlights behind Zenon's rapid alto lines. The interesting "440" includes a contagious rhythmic pattern with some nice solo work from bassist Hans Glawischnig. The recording ends with the quartet swinging their hearts out on "Ya" and Zenon's own rendition of the hymn "Great Is Thy Faithfulness." Highly recommended. ---Mark F. Turner

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