Intimidades del contrabajista cubano Jorge Reyes

Acaba de salir al mercado en formato de DVD el Concierto Intimidad

Escrito por Ricardo Alonso Venereo |

Edicion, adaptacion y comentarios de Toni Basanta desde Fairfax, EUA

El destacado contrabajista presentó un nuevo trabajo publicado por la casa discografica cubana Bis Music .

HISTORIA DE COMO SURGIERON ESTAS INTIMIDADES

En el año 2014, el contrabajista JORGE REYES  realizó el concierto titulado Intimidad, en la Sala Covarrubias del Teatro Nacional.

Hoy, ese mismo concierto acaba de salir al mercado en formato de DVD, publicado por la casa discográfica cubana Bis Music, de Artex, S.A., que en diciembre próximo cumplirá 25 años de labor.

Según el periodista y crítico Pedro de la Hoz :

“Desde el contrabajo JORGE REYES ha pensado toda la música. Respeta y cultiva la función del instrumento como uno de los pilares de la base rítmica en la mayoría de las especies de las músicas populares de los pueblos de nuestro hemisferio, desde el Jazz hasta el Tango, pasando por nuestros Sones y Boleros, y domina  la técnica de ejecución en los usos de la música clásica occidental”.

Ese dominio en la ejecución de un instrumento tan importante en la música, el contrabajo, es  el hilo conductor de este DVD, en el que se hizo acompañar por varias voces e instrumentistas del patio y de Iberoamérica, todas mujeres, y por tres valiosos amigos que siempre le han acompañado en otros  proyectos y presentaciones.

“Intimidad, dice REYES,  fue un concierto que quise regalarle a la mujer cubana, sobre todo a aquellas que tenían que ver con el arte. Por suerte para mí tuve la colaboración de artistas de talla internacional. Se que el camino escogido fue escabroso, pero estoy  feliz de haberlo realizado. Se demoró un poco, pero es que no quería que se me quedara  fuera ningún detalle”.

Entre las mujeres que JORGE REYES  reunió se encuentran las cantantes cubanas Bárbara Llanes (Drume negrita y Quirino con sus tres), Luna Manzanares (Mercedes y 20 años), Melvis Santa (Tú mi delirio),  Eva Griñán (Ojos Malignos),  Beatriz Márquez (Obsesión), la violinista Tanmy López (La Lupe y Cubana de Pura Cepa), la flautista Niurka González (en Irlandaise y Fugase) y la pianista Xiomara Montero (Habanera del Ángel).

Ademas de MUSICA, las INTIMIDADES acuden a la voz de la poetisa Nancy Morejón (en Análisis de la melancolía y Piedra Pulida).

De la arena internacional intervienen la cantaora española Verónica Sobrinos (Bolerenco), la argentina María Paz (Creo y Temporales), y la brasileña Ana Luiza (A voz).

El  elenco  recibio  el respaldo de los pianistas Alejandro Falcón y Jorge Aragón, y del percusionista Oliver Valdés.

Desde Variaciones para Contrabajo D-A «SRD», por el propio JORGE REYES, con el cual se inicia el DVD Intimidad, hasta la despedida con las OCHO mujeres participantes en la inmortal pagina Quiéreme mucho, de GONZALO ROIG,  cada corte merece  ser  disfrutado con detenimiento.

Así lo aconseja el propio protagonista, quien asegura no haber sentido antes tantas sensaciones y emociones en un solo concierto, las cuales, dice, le gustaría compartir hoy con  el público cubano y mundial.

Mi comentario

Ahora, NO puedo esperar por mucho tiempo, a tener  la posibilidad de ver este nuevo aporte de JORGE REYES a la Musica de Cuba, y por supuesto, presentarlo en mis programas en la radio y la television de VERMONT.

Felicidades,

Toni Basanta

http://www.wwpv.org

http://www.mmctv15.org

http://www.lcatv.org 

 

 

 

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Rodney Barreto : “Si no fuera la bateria fuera el baloncesto … “

Entrevista realizada por Ana María Domínguez Cruz

Edicion, adaptacion y comentarios de Toni Basanta desde Fairfax, Vermont, EUA

Los discos  Sentimiento  de Francis del Río (2002); 

Goza pepillo de Interactivo (2005);  A diario de Telmary Díaz (2005);

Amor y música  de Kelvis Ochoa y Descemer Bueno (2008);

Di que piensas de Tania Pantoja (2007)

No Guitars Allowed   de Elmer Ferrer (2009);

Acrílico de Dayani Lozano (2009);

Haciendo Historia  de Alexander Abreu & Habana de Primera (2011);

No es el Fin  de Carlos Varela (2009);

Border Free  de Chucho Valdés (2013);

Mis Duetos  de Beatriz Márquez  (2016)… son algunos de los discos que pueden mostrar el trabajo del versátil  baterista cubano RODNEY BARRETO. 

R.B. :  “Si no fuera la batería, fuera el baloncesto. Pero primero estuvo la música, siempre”
 
RODNEY tiene una ejecución precisa, impecable, y de ello pueden dar cuenta los especialistas en música, tanto en el Hip Hop, el Jazz, la Musica Bailable  o la Nueva Trova.

Lo importante para mí, en este dialogo, es destacar que pone su alma en el momento preciso.

Su sonrisa amplia, su disfrute pleno, su interacción  con otros  músicos, y sobre todo esa capacidad fecunda de saber colocarse en diferentes géneros.

Si no hubiera sido la música, hubiera sido el deporte.

R.B. “Si no fuera la batería, fuera el baloncesto. Pero primero estuvo la música, siempre”.

No podía ser de otra manera. La música le corre por las venas, es el primer antecedente familiar del que no puede desprenderse.

R.B. : “Fui atrevido siempre, desde que era estudiante. Tocaba  en el Club de Jazz La Zorra y el Cuervo, iba a los Concursos Jojazz, y estaba siempre muy activo. Por eso el cantante Isaac Delgado me llamó, me había visto tocar y en su banda estuve un tiempo.

“Después empecé a querer ser músico de session,  grabación. Luego trabajé con el guitarrista Elmer Ferrer, participé en el disco de Interactivo,  y así me han ido apareciendo otras  cosas con diferentes músicos.

“Lo que más me gusta de mi vida como musico,  es que no me he privado de experimentar todas esas sensaciones que te da tocar diferentes géneros. No puedo escoger uno solo, si me lo preguntas”.

“Nunca haría música clásica porque la respeto mucho. Tendría que estudiar muchísimo horas y horas frente a un tímpani  y a un xilófono. Pero no creo, que lo intentare, porque yo tenía claro antes de entrar al Conservatorio Amadeo Roldán que yo no sería músico clásico, aunque esa es la formación que se privilegia”.

“Hace poco grabé con unos ingleses que le hicieron un disco a Eliades Ochoa, fuera de su música habitual,  fue como un experimento, y tuve que tocar vibráfono. Pensé en mi maestro Roberto Concepción, quien se empeñó tanto en que yo me esforzara en ese instrumento. Fue duro para mí realizar esa grabacion con Eliades Ochoa”.

“Ya te contaba, 

Como estudiante llegas a la escuela y crees que comenzarás a tocar el instrumento que te motiva. No es así. Estudias percusión clásica desde todos los instrumentos, timbal, tumbadora y batería.

“Pero yo no recibí mi primera clase de batería hasta tercer año de Nivel Medio, y gracias a mi tío JULIO BARRETO que me había dejado la suya, ya yo tocaba para ese entonces”.

“En realidad, depende mucho de uno, de las posibilidades que tengas para tener el instrumento y de la dedicación que pongas después para aprender “en la calle” con más rigor”.

“Y estudiar,

no dejar de estudiar nunca, porque ¿sabes qué sucede también ?

Muy pocas personas escriben para la percusión. Te escriben todo lineal, o te dan la música para que la saques de oído. Para el drums,  sí hay escritura, aprendí mucho con los pianistas Alexis Bosch y Gonzalito Rubalcaba,  y  tambien con el maestro Ruy Lopez-Nussa, gran baterista,  pero no es habitual, que te escriban la musica para bateria o la percusion en general”.

 DRUMS LA HABANA

“Drums La Habana” fue partir de la presencia e inspiración de mi maestro Roberto Concepción. 

Oliver Valdés y yo hicimos una demostración a manera de clases magistrales de cómo se estudia la batería en el país.

Para incluirlo en el audiovisual con fines didácticos,  Unimos a Tony
Rodríguez y a Robertico Carcasses en el piano, a Carlos Miyares en el saxo tenor, a Juan Carlos Marin en el trombon,  a Yandy Martínez y a Feliciano Arango en el bajo, para tener  un grupo acompanante para cada uno de nosotros”. 

“La grabación fue en los Estudios Abdala en el 2009 y es el primer DVD que se graba en CUBA  que tiene como protagonista a la percussion, y en especial a LA BATERIA”.

“Tengo mi propio proyecto hace como dos años. No lo he podido grabar porque he estado muy ocupado con otros músicos, pero creo y quiero que a finales de noviembre sea posible. Pienso titularlo  Embarretinado,  ya sabes, jugando con el apellido (risas) …

“Solo pretendo demostrar lo que representa la batería para mí y ser un baterista cubano”

“Si no conoces lo que es CUBA toda, desde lo folclórico hasta lo más actual, no puedes tocar como un baterista cubano, aunque interpretes un cover de los 60. La batería no es un instrumento nuestro,  pero ya hay elementos que nos identifican,  y los defiendo”.

Chick Corea and Steve Gadd join forces in Fusion

Chick Corea and Steve Gadd in Fusion

Written by Abigail Church  January 22, 2018

Edition, adaptation and comments by Toni Basanta from Fairfax, Vermont, USA

With this reunion symbolized by Chinese ButterflyChick Corea and Steve Gadd don’t just set their solid friendship in stone, but rekindle the flame of the JAZZ FUSION  with Funky tendancies from the 70s – when the genre was reigning;  both for the best and for the worst, by the way…

For the occasion, the pianist and the drummer have gathered together a strong cast with guitarist and singer Lionel Loueke, saxophonist and flautist Steve Wilson, bass player Carlitos Del Puerto and percussionist Luisito Quintero.

The first time that Corea and Gadd’s paths crossed was in 1965, when the former briefly joined Chuck Mangione’s band, in which the latter was performing.

In the 10 years that followed, Corea became one of the most influential keyboard players and composers of his generation.

At the same time, Gadd was quickly recognized as a big name in the drum community, astounding Paul Simon and Steely Dan among others.

In 1972, Chick Corea decided to transform his group RETURN TO FOREVER, with which he had until then explored the richness of Latin and Brazilian music, into a JAZZ ROCK BAND  of which Steve Gadd became the first drummer.

His numerous commitments as a studio musician would prove incompatible with the long tour planned by the band, which didn’t prevent him from later taking part in the recording of several of Corea’s albums such as The Leprechaun released in 1976, My Spanish Heart, a brilliant blend of Electric Jazz and Latin rhythms (whose echo can be heard throughout Chinese Butterfly) and Three Quartets in 1981, a profound shift in Corea’s composing career.

When the two musicians finally meet up in Chick Corea’s studio in Florida at the beginning of 2017, the alchemy was once again immediate, propelling the composer into a creative frenzy that quickly gave birth to two tracks, Like I Was Sayin’ and Gadd-zooks.

I’ve always enjoyed composing music for a band, and hearing what Steve would do with my compositions”, explains Chick Corea.

“When we started playing those two tunes together, it felt so good that we started to talk about putting a band together.

Though he’s credited as the only composer of most of the 8 tracks of the album, Corea maintains that the record is the result of teamwork and that it would never have seen the light of day without Gadd’s rhythmic sensitivity.

It’s a co-creation, the pianist insists. I write the compositions, and STEVE  puts together the form of the rhythm, which is the backbone of the band.

In my music, rhythm is everything – if the music doesn’t have the right emotion and rhythm, it can’t live.

It’s a sincere complicity that gives birth to an album filled with emotion and virtuosity.

It’s worth noting that PHIL BAILEY,  the great falsetto from the original cast of Earth, Wind & Fire, makes a strong appearance on this record which is in phase with its cover, where the instruments of the different members are arranged to form a butterfly : two pianos form the wings, the drums the head and the thorax.

MY COMMENT

CHICK COREA has created what is considered today to be a distinctively AMERICAN SOUND IN JAZZ.

I can remember with entire satisfaction today, the first time I listened to the album FRIENDS in the 1900s, which also featured drummer extraordinaire  STEVE GADD and bassist EDDIE GOMEZ, among other Rock Jazz Fusion founding celebrities.

In recent years, I have received 4 albums and a DVD led by  Doctor STEVE GADD with his own band,  recording landmark compositions  of his band mates and bringing to light others by Keith Jarret and Abdullah Ibrahim for BFM Jazz label.

In FUSION, COREA and GADD evoke our nation’s vast landscape.

I am still braining how critics say that JAZZ IS NOT A MUSIC of the majorities,  when these MASTERS have never stopped bringing mindfulness compositions that captivate multi-generational audiences.

THERE MUST BE SOMETHING WRONG in the mind of certain “critcs”.

Toni Basanta

The Cuban Bridge on the radio where I always play JAZZ at WWPV 92.5 FM “The Mike” the Saint Michael’s College Campus station  in Colchester, Vermont, USA

http://www.wwpv.org

The Cuban Bridge on television @ MMCTV Channel 15 in Richmond, Vermont, where I always present JAZZ played from beginners to pros 

http://www.mmctv15.org

HAVANA FAIRFAX CONNECTION @ LCATV Channel 15 in Colchester, Vermont, USA, where we have contributed 90% to host Vermont local bands live, mainly ROCK players,  but there’s always JAZZ in the Mix,  like a Live Show by  City Rhythm Orchestra from Philadelphia in New Jersey, feat. Joey DeFrancesco. !!!!!

http://www.lcatv.org

To watch our TV shows feel welcomed to find us through VIMEO.COM

WWW.VIMEO.COM/MMCTV

WWW.VIMEO.COM/LCATV   

Rolling Stones bassist Darryl Jones relishes 25 years with The British White Boys who also play The Blues

Edition, adaptation and comment by Toni Basanta from Fairfax, Vermont, USA

Miles Davis rarely asked Darryl Jones to play bass a certain way. Usually, the late Jazz Master preferred to tell Jones how not to play, with one basic instruction:

Don’t get stuck repeating the things you know to make yourself comfortable”.

“He was cutting off these avenues, so that I would come up with something new,”

said Jones, who was with Davis from 1983 to 1985.

“I remember one time, I just decided, ‘The old man just doesn’t know what he’s talking about.’

Over a few gigs, I started reverting back to the lines I’d been playing. He looked at me and went,

‘Well, damn, if you have to play that, go ahead.’

“I thought I was flying under the radar, but he heard everything.”

Jones, 56, no longer worries much about that criticism. For the past 25 years, he has been the bassist for the Rolling Stones.

Jones, who spent most of the ‘80s as the go-to bassist for touring superstars, working with Sting and Madonna, started his career on Chicago’s South Side.

His father was a Jazz fan and drummer, his mother liked Soul music, and Darryl initially took drum lessons. Once he spotted a bass-playing neighbor, he bought a Paul McCartney-style Hofner bass, mastered the instrument and studied at Chicago Vocational High School. He played in school bands and started gigging at 14 with local musicians, many of whom were family friends.

“A lot of times, it was my mother who took me to the gigs,” he recalls by phone from Seattle, where he was preparing to perform with Davis’ nephew, Vincent Wilburn Jr., in a tribute act called the Miles Electric Band.

“I had parents who trained me very  well and I knew not to get into trouble.”

It was Wilburn, a Chicago drummer, who introduced Jones to the pioneering trumpeter in the first place.

“(Miles Davis) looked at me, and then looked at Vince, and he said,

‘Vince, this is a weird-looking dude,’” Jones said.

The friendly insult broke the ice, and Jones was able to stay calm while auditioning for Davis’ group. He got the job and went on to tour and record with The Miles Davis Band.

The Stones audition came in 1993.

Jones was one of a dozen prominent bassists to try out, and he had a slight edge because he had known Keith Richards through working with the guitarist’s sidemen Steve Jordan and Charlie Drayton, and singer Mick Jagger through his Sting connections.

When the Stones aren’t recording or touring, Jones concentrates on side projects such as 2012’s 3 Brave Souls, with fellow Davis-band alumni John Beasley (keyboards) and, until his death last month, drummer Ndugu Chancler, who played on Michael Jackson’s “Billie Jean.”.

Where the 3 Brave Souls were rooted in Jazz, the Darryl Jones Project looks back to the first records Jones heard as a child, including the Beatles’ “I Want to Hold Your Hand” and, of course, the Stones’ “Satisfaction”.

My comment

I knew DARRYL JONES through the film BRING ON THE NIGHT where STING was preparing for new gigs sided by  a complete AMERICAN RHYTHM SECTION.

I saw the film probably 20 times,  as in those days, I lived near LA CINEMATECA DE CUBA on 23rd Avenue in El Vedado, and there were blackouts every night after 8 pm while  in the prestigious cinematographic center was the only place where there was power.

It was an excellent opportunity to practice English, know new musicians,  learn about the history of ex The Police singer and bassist,  and specially the Music Business.

I never heard again about DARRYL JONES until some friend gifted me an album of THE STEPS AHEAD LIVE IN TOKYO where the Chicago born bassist,  plays together with Mike Stern (eg), Steve Smith (d), Mike Mainieri (vibes) and Michael Brecker  (tenor sax and EWI).

In 2012, BFM Jazz sent me a copy of 3 Brave Souls, in which I enjoyed all the Songs, but mainly, STAY where JONES is also the lead singer.

There was a visit of many ROCK and HEAVY METAL ARTISTS to Cuba a few years ago, and among them was featured JONES.  After the gig, and the amazing Havana audience, he was who suggested THE ROLLING STONES to include a visit to THE ISLAND  in their South American Tour.

On Sunday January 28, (this year 2018), I enlisted 3 BRAVE SOULS in my radio show THE CUBAN BRIDGE in a music selection that intended to highlight all the ARTISTS who wee among the Grammy Nominees in the JAZZ category, and there the 3 Brave Souls received a new and refreshing airwaves again, as keyboardist JOHN BEASLEY was competing with his MONKestra Vol 2, a Tribute to another dark magus THELONIOUS SPHERE MONK.

TODAY, reading the sad news about drummer NDUGU CHANCLER’s death, I’ll reprise that “Grammy Nominee roster list”, but now in  TRIBUTE TO NDUGU CHANCLER, who not only played with The King of POP on “Billy Jean”,  but also with Santana and George Duke,  among countless others.

Never miss a story, this and many others can always keep you in the Swing of Things.

My condolences to NDUGU CHANCLER’s family.

Toni Basanta

The Cuban Bridge on the radio

On Air since February 2010

Sundays  12 – 3 pm

http://www.wwpv.org

Walker Adams Project in The Cuban Bridge on TV !

Dear friends in the 5 continents,

I am grateful to everyone involved in this new episode.

Your beautiful and positive attitude from conception to completion has contributed to a fine product and a great experience. Without you all, it would have never been possible.
ABOUT THE WALKER ADAMS PROJECT
Walker Adams is a drummer,  multi-instrumentalist, and singer-songwriter known for his drumming with St. Vincent, Miggs, The Ludlow Thieves, and fusion bassist Percy Jones.
As a solo artist, he has released two instrumental albums and can be seen performing his original vocal and instrumental music.
 
He resides in New York City,  where he plays locally, writes, produces music, and teaches. He has a performance degree from Berklee College of Music and has toured internationally.
 
Enticing the mind and compelling the booty, Walker Adams Project plays instrumental Funk, Jazz, Rock, World, and Dance Music.
 
The Berklee grad and former St. Vincent drummer leads this group of noteworthy New York City  musicians through his original compositions that feature danceable grooves and bold improvisation.
 
With frequent shows in The Big Apple and tours in New England, including performances at Burlington Discover Jazz Festival and the Rockwood Music Hall, this band seeks the spotlight and is always ready for action.
 
WALKER ADAMS PROJECT’s music is really emotional to me. It hits me every time.
Since I met them, in 2016, I’ve also been inspired by how they work their own individual projects as part of their shared dreams,  but keep the WAP steady.
 
The work itself has been their treasure, and after a few years working together, they are now selling shows at home and abroad.
(photo with the stairs, means growing up )
The powerful result is what Quintin, Evan, Yumo and Walker hold most precious : love, connectedness and legacy.
Special thanks to their families who were supporting their exhilarating presentation at Jazz on The Church Street Market Place Series.
To the audience, and to all those whose names I may have forsaken to mention.
For our final credits, I regularly use an instrumental composition of a related source to the band we are hosting in our TV show. This time,  was The AfroCuban Latin Jazz Project, a Cuban – American Band with domicile in the West Coast in a composition of pianist Guatavo Ramirez “Solamente con amor” (Only with love).
CD “Encuentro”
feat. Dany Labana (electric guitar), Juan Carlos del Portillo (electric bass), Raul Pineda (drums), Jesus Diaz (assorted percussion) and a very special guest; Bob Mintzer – the great American saxophonist, composer, educator, member of The Yellow Jackets and a sessionist-in-demand.   
Bombo Music Productions 
 
For more information about  Walker Adams Project
visit them at  http://www.walker adams.com
and make new friends through Facebook
Can also write to guitarist Quintin Zoto
quintin.zoto.music@gmail.com  
What a trip !
Toni Basanta
DJ Host

Semillas de cambio : El Joven Jazz y algo mas Parte 3

Dear friends,

It is with huge pleasure that I am bringing you more young blood artists from The Island Nation of CUBA, who are leaving a landmark today in all trends of music, either classical, Jazz, dancing and beyond.

I myself feel fortunate to be writing about CUBAN MUSIC, a place where there are so many fascinating stories to be told, that  there will never exist a risk to be running dry of fresh water and abundant material.

The latest news is that our friend and pianist DAYRAMIR VG is now part of the YAMAHA Artists’ catalogue, and that another pianist Aldo Lopez-Gavilan Junco has just finished a residency with The Florida Symphony Orchestra, and back in Havana is playing with drummer Ruy Adrian Lopez-Nussa and Las Ibeyis, the daughters of renowned Cuban percussionist MIGUEL “Anga” DIAZ,  who left us too soon, but planted the seeds of music on his growing daughters.

Even though, not born in CUBA, but with a  special  feeling for The Charanga sounds, New York City born flautist COLETTE MICHAAN has released a new album HEAVEN AND EARTH with several of the Cuban headliners in The Big Apple.

Unfolding new dreams up north,  Canadian-Havanese Jane Bunnett  hits the Grammy lists with MAQUEQUE an all-female Cuban Ensemble.

While COLETTE polishes her Charanga Swing improvisations, German violinist Gregor Huebner gives the final touches to his new EL VIOLIN LATINO album, Volume 3, The Complete Cuban Album, featuring his children and  Colombian  Edmar Castaneda with his harp.

 

 

Hope you all like to hear about this. Some of these photos speak by themselves.

Finally, thanks and very special wishes, to all involved in the evolution of CUBAN MUSIC IN THE 5 CONTINENTS.

Ache,

Toni Basanta

http://www.wwpv.org

http://www.mmcytv15.org

http://www.lcatv.org

http://www.vimeo.com/mmctv

http://www.vimeo.com/lcatv.org