In 2013, at the great salsa festival “Salsa al Parque” in the city of Bogotá, I had the privilege of listening to one of the most emblematic salsa legends of all times, Rubén Blades. He is synonymous with passion, feeling, catchy sound, smart lyrics and commitment to the musical community and society. After the break-up of Blades and Seis del Solar, thousands of fans wondered when and how Rubén would make a comeback to the stage with other musical bands. Seis del Solar has been considered a gem in the industry for its contribution to the evolution not only of salsa but also to Latin jazz. This group was part of the particular and unique sound Blades created, a stamp that distinguished them among dozens of musical projects around the world. But life continues, the magical world of music continues too so a genius like Rubén continues contributing his talent to the world scene. The first thought that came to my mind that day as I watched Rubén Blades was “What an orchestra Blades has!”, answering any of the doubts that many of us had for years when Ruben stopped his career to work as Minister of Tourism in his beloved Panama.

Followers were not disappointed by the Panamanian singer-songwriter because his comeback was warranted in terms of music. Mr. Blades entrusted his arrangements and instrumental accompaniment to one of his compatriots, Roberto Delgado, a talented bass player, singer and composer who studied at Conservatorio de Musica de Bellas Artes in Mexico and the Golden West College of Huntington Beach, California. From the time he was a young musician, Mr. Delgado has created several musical projects including Grupo Alma Joven (1973), Orquesta Fantasía (1978), Grupo Experimental de Latin Jazz (1985), Orquesta de Pedro Azael (1986), Grupo Kristal (1988), Grupo Fiebre (1989), Cutito Larrinaga (1991) and Orquesta Cimarrón (1993) among others. He has also worked with great figures in the world of Latin music like Cheo Feliciano, Luis Perico Ortiz, Ismael Miranda, Tito Nieves, Yolanda Rivera, Angel Canales, José Alberto el Canario just to mention a few.

Son de Panamá is the new work of Rubén Blades, as usual, this album is full of profound lyrics where the listener can appreciate poetry and commitment as Blades has shown during his career as a composer and singer. In this project some themes from previous albums have been included like “Las calles” (The Streets), “Ojos de perro azul” (Blue Dog’s Eyes), “Vino añejo” (Matured Wine), and “La Caína”. Great songs that Blades and Delgado’s orchestra bring again with great energy and pure mastery in musical interpretation. The perfect example is the mythical “Ojos the perro azul”, a piece recorded in the album Agua de Luna (Moon Water) with the band Seis del Solar: in this song, the basic arrangement of Oscar Hernández is kept but Mr. Delgado proposes a version where the brass takes a leading role enhancing the sound of this unforgettable theme. Another song to mention is the beautiful interpretation of the “Vino añejo”, a melody included in La Rosa de los Vientos and composed by the Panamanian Roberto Cedeño. Delgado and his orchestra reinvigorate this classic with catchy vibraphone lines, powerful brass sessions and an unparalleled team of singers that enhances the entire piece, giving the listener a new and renovated sound that goes perfectly with the tremendous feeling that Rubén Blades put into it.

From other composers, Blades recorded some themes for the first time including the bolero “Me recordarás” composed by the Cuban Frank Domínguez, and three songs written by Panamanian composers; “Otra canción de amor” (Rómulo Castro), “Teresa Batista” (José Calderón), and “Perdón” (Omar Alfanno). To match the title of this work, several songs on this new album, created by Panamanians, were included as a way to pay tribute to the music of Blades’land.

Creativity is part of Mr. Blades’life. This album could not be recorded without some original compositions by this legend. “Caín”, “Parrhesia”, “Olaya”, and “En esa casa” (In that house) are the new songs on Son de Panamá. Of these four new pieces, three of them are about the typical and profound ideas about life and society that Rubén discusses in their interpretations: “Caín” talks about how to make amends after doing bad things to others based on the biblical story of Caín and Abel. “Vive el arrepentimiento” (feel regret) is a moving phrase that has the ability to evoke tears and reflection, this phrase makes the listener vitally move while they cry the reflection. “Parrhesia” could be identified as the masterpiece of this album, a sincere composition where Mr. Blades reflects on the contradictions of human beings with respect to the political decisions made by the “richest” and most “powerful” countries over other nations. Fascinating and smart lyrics are the poetic framework of Son de Panamá, an exquisite musical project which has the stamp of the committed, brave and brilliant Ruben Blades.

Track List – Las calles; Caín; Ojos de perro azul; Vino añejo; Parrhesia; Me recordarás; Olaya; La Caína; Otra canción de amor; En esa casa; Teresa Batista; El perdón; La caína.

Personnel – Roberto Delgado: bass and voice; Luis Enrique Becerra: keyboards; Juan Carlos “Wichy” López: trumpet; Francisco Delvecchio: trombons; Carlos Pérez Bidó: timbales; Juan Berna: piano; Marcos Barraza: congas; Raúl “Toto” Rivera: bongó, campana, güiro and maracas; Ademir Berrocal: drums; Carlos Ubarte: sax baritone.

Guests – Eduardo Pineda: piano; José Ramón Guerra: congas; Mayito Travieso: tres; Medoro Madera: voice.

Released – 2015
Label – Rubén Blades Productions
Runtime – 63:00

It is apocryphal that you can take the Colombian out of the Cumbia, but you can never take the Cumbia out of the Colombian. Thus the now-Austrian-based Colombian bassist Juan García-Herreros has been endowed with the infinite beauty of Colombian rhythms even as he bends and stretches these and melding them with the swirling and swaggering Afro-Caribbean rhythms, and further, with the exciting elasticity of jazz. Mr. García-Herreros’ music has a leaping quality to it; not unlike a gazelle, intoxicated with the smell of spring rain. He does not give the impression of being in a hurry himself, but rather lays the foundation for enriching the complexity of the music. Of course Mr. García-Herreros is also a sublime rhythmist, fed on a heady mix of Colombian—indeed all Latin American music, including Afro-Caribbean as well as folkloric traipsing in the dancing figures he creates on his considerably enhanced bass guitar. The music on Normas rings with such a fanciful and a rigorous adherence to the paths that bring about the changes and contemporaneity to the music, which is established by a culture of sound.

Much of this is recorded in “Huellas,” a chart that means “footprints” begins to trace a fabulous path through the jungle, awake with bird calls and the rustle of spring, announced by the wind rushing through the leaves. The majesty of the music is further established by the bright and resonant notes hammered out on the balafon by Mamadou Diabate. Brass and woodwinds add a certain softness and voluptuous texture to the harmonic tapestry, further supported by the strings of the 12-string guitar. All this as Mr. García-Herreros cuts a swathe through the melody and builds up the piece until an uncredited synthesizer masquerading as a pipe-organ takes over to build on the musical magisterium. This is a perfect introduction to the propulsive nature of “Impulso Interno,” where that other magician from Colombia, Héctor Martignon plays in counterpoint with the guitarist, Conrad Schrenk. The triangulated contrapuntal harmonics are established almost as soon as Juan García-Herreros enters the music roaring on his bass guitar.

It might seem that pianist Héctor Martignon does not have the kind of role that enables him to make his customary stellar presence felt, but then along comes “Cuerpo Y Alma,” a deeply moving song that is made so by the ponderous bass clarinet of Klaus Dickbauer and Mr. Martignon soon joins in the fracas fulfilling his potential as one of the most poignant players of that grand instrument. He is also omnipresent on “Som I Serem.” This is probably one of the most breathtaking compositions among all of the music on this album, due in no small part to Mr. Dickbauer and Mr. Martignon. Other contributions come in the form of conguero, Roberto Quintero, whose energy is infectious. The West African contingent in the form of percussionists Djakali Kone and Mamadou Diabate also bring much musicality in the colours they employ via their various instruments. But in the end it is the Snow Owl, Juan García-Herreros and his ubiquitous bass guitar that makes the melodies more breathtaking, the harmonies more texturally exquisite and the rhythmic energy more powerful throughout this rather beautiful album.

Track list – Señor C.P.; Huellas; Impulso Interno; Cuerpo Y Alma; Som I Serem; Touched; Hearts of Ether.

Personnel – Juan García-Herreros: electric contrabass guitar; Jonathan Powell: trumpet (1, 2, 3, 6, 7); Héctor Martignon: piano; Conrad Schrenk: electric guitar (3); Klaus Dickbauer: bass clarinet (4); Abdoulaye Dembele: percussion (2); Djakali Kone: percussion (2); Mamadou Diabate: balafon, percussion (2); Roberto Quintero: percussion (1, 2, 3, 5, 6, 7); Alexander Wladigeroff: trumpet, flugelhorn; Daniel Mesquita: 12-string guitar (2); Stoyan Yankoulov: drums; Jeremy Powell: tenor saxophone.

Released – 2013
Record Label – Inner Circle Music
Runtime – 1:03:00

_{Playlist – Juan García-Herreros – Snow Owl: Normas}

As part of the Royal Conservatory 2012-2013 Season, ¡Qué Rica Cuba! Series, Cubano Be, Cubano Bop: Poncho Sánchez and his Latin Jazz Band featuring Christian Scott took place on Saturday, March 9, 2013 at Koerner Hall in Toronto.

It was quite a magnificent closing to the lively series, which also presented Jane Bunnett and The Spirits of Havana (featuring Hilario Durán and David Virelles) with Special Guest Chucho Valdés and Afro-Cuban group Iya Iré; Alex Cuba, and an electrifying double bill with the Alfredo Rodríguez Trio and Tiempo Libre.

The legendary conguero and bandleader brought his Latin Jazz Band and special guest Christian Scott (via New Orleans) on trumpet, to celebrate the legacy of Dizzy Gillespie and Chano Pozo. Sánchez pays tribute to these two giants of jazz and Afro-Cuban music on his album Chano y Dizzy!, released in 2011  on Concord Picante. For those of us who thought this was the first time we had Mr. Sánchez performing in Toronto, he recalled being in town long time ago, at the now extinct Bermuda Onion Jazz Club on Bloor St.

On the evening of March 9, 2013, the Orishas descended upon Koerner Hall, allowing us mortals to experience an amazing performance. Poncho Sánchez, his band and very special guest took us for a historic musical ride, offering some original tunes and fresh new versions of compositions that have become part of the Jazz/Latin Jazz and Afro-Cuban songbook. As soon as the band got on stage they opened up with “Promenade,” a song penned by trombonist and musical director Francisco Torres, setting up the mood for the night. From the very first note the audience was in for a treat. Sánchez’s masterful command is impacting and his sound is magnificent. A medley dedicated to Master timbalero Willie Bobo came after. It included two of Bobo’s greatest hits: “Fried Neck Bones” and “Spanish Grease.” The next performance was a medley of Chano and Dizzy’s most cherished compositions: “Tin Tin Deo,” “Manteca” and “Guachi Guaro,” featuring the young lion Christian Scott, who moves and twists his body while blowing his horn in a very expressive manner. He becomes one with his signature trumpet (that goes by the name of Katrina), a  hybrid instrument that looks like a combination of trumpet and cornet,  definitely inspired by Dizzy Gillespie’s signature curved horn. A heartfelt rendition of “Con Alma” ensued, and closing the first set, “Son Son Charari,” a classic hard salsa composition written by Roberto Angleró from Puerto Rico.

As it is customary in this venue after the intermission, artistic director Mervon Mehta sits down with the performing artist for a brief chat/interview. Poncho Sánchez talked about his beginnings and his musical career. He recalled his impressions and anecdotes about Chano Pozo and Dizzy Gillespie and stressed their historic importance for jazz and Afro-Cuban music. Right after, the band engaged on another killer set, grooving through Jerome Kern’s  “Yesterdays,” the very danceable Sánchez /Torres’ composition “Ven Pa’ Bailar” (Come to Dance) and returning on stage, Christian Scott, who showed off his chops again, blowin’ hard on “Groovin’ High,” proving why he’s been heralded by JazzTimes magazine as “Jazz’s young style God.” Next the notes of “Nocturna,” a song by Brazilian artist Ivan Lins, slowed down the pace, just to return with the last song of the night, a scorching salsa number, “Prestame Tu Corazón” (Lend me your heart). The audience got encouragement to dance on the corridors and wherever possible.  After a standing ovation the band came back on stage for an encore, closing the concert for good on a high-note. A previous request from someone in the audience, which Mr. Sánchez joked it would be a $700 request (per person), was actually fulfilled, throwing an arousing, funky version of Herbie Hancock’s “Watermelon Man,” a song that would become a signature tune for one of the greatest Afro-Cuban congueros of all times, Maestro Mongo Santamaría.

With more than 35 years of illustrious career, Poncho Sánchez is a Grammy Award-winning artist. He was recently recognized with a well-deserved Life-time achievement award during the latest edition of the Latin Grammy Awards. His sound has at the same time a vintage and contemporary feel, a funky, soulful and danceable approach that is unmistakably his. His band is like a well-oiled machine, very tight indeed. As a bandleader he allows plenty of space for his band mates to shine, resulting in superb performances that keep the audience gasping in awe and exhilaration, asking for more.

Poncho Sánchez and his Latin Jazz Band members are: Poncho Sánchez, congas, chékere, campana & leader; Francisco Torres, trombone & musical director; Joey De Leon Jr., timbales; Rob Hardt, saxophone; Ron Blake, trumpet; Andy Langham, piano; Angel Rodríguez, bongos, chékere, campana; Tony Banda, bass

Amazing timbalero Tiki Pasillas (Marc Anthony’s band member) replaced Joey De Leon Jr., and a pleasant surprise, our very own Roberto Riverón (from Toronto via Havana), a member of Jane Bunnett’s “Spirits of Havana,” replaced bassist Tony Banda. Although the band didn’t have time for a proper rehearsal, Riverón performed at his best, proving why he’s considered one of the best Cuban bass players nowadays. Just for the record, Sánchez and his band were supposed to arrive in Toronto on the evening of Friday, March 8^th, but they got stranded in a small town in New York due to some airline’s conflicting schedule. On Saturday morning they couldn’t get on a plane either and had to rent two vehicles to drive to Toronto, where they arrived in the afternoon. The lack of rehearsal was not noticeable at all. Thank you Mr. Sánchez and Koerner Hall for a memorable musical evening.

Poncho Sánchez Latin Jazz Band
Featuring Christian Scott
In Concert at Koerner Hall, Toronto
Photos by Atael Weissman