Steven Kroon is not only living the dream as one of the frontline percussionist playing music in the Afro-Caribbean, Brasilian and Latin-Jazz styles, but he has also made enough beautiful music to be In Your Dreams both literally and figuratively. In the crowded world of Latin-style percussion in and around El Barrio, in New York and, indeed, in the whole of continental USA a percussionist must remain constantly in the eye of the hurricane, so to speak. Mr. Kroon may not have done enough of that on his own, but make no mistake he has travelled the world with luminaries such as Diana Krall, Luther Vandross whilst also playing in formidable ensembles on the Jay Leno Show; all this after learning at the feet of such masters as Dom Um Romao – to mention just one of his gurus. In all of this it is, indeed a surprise that he had to wait until 2016 to be recognised as a “talent deserving of wider recognition”.
However, Steven Kroon is not one to dwell on such matters for long. He has been worshipping at the altar of originality for decades and has several remarkable studio recordings to show for that. And while no one was looking he continued to create music. The result is a fascinating meta-work that creates myriad associations, resonances and new perspectives, not just between his own and others’ compositions, but also within the musical dialect that he has employed to express himself for years. In Your Dreams is his richest offering yet in terms of musicality.
Mr. Kroon’s “Crusin’” (with Oscar Hernández) and “In Your Dreams” (with Brian Carrott) move initially nimbly but soon turn into self-combusting vehicles for the broad colour-palette that he employs as he paints these two musical opuses – the latter quite the bomb. However, everywhere on this repertoire (on In Your Dreams the album, that is) Mr. Kroon brings a wonderful capacity for creating primordial energy as well as refinement to the music, even as it bursts forth from whatever instruments he happens to be playing from within his battery of percussion instruments. Overall the music throughout bedazzles, bemuses and delights the senses as only someone with such finesse as Steven Kroon can.
Track list – 1: Azulito; 2: Nature Boy; 3: I Just Can’t Stop Loving You; 4: Un Dia De Playa (A Day at the Beach; 5: Bird of Beauty; 6: Cruisin’; 7: Mi Lindo Son; 8: Another Girl; 9: The Gift; 10: In Your Dreams
Personnel – Steven Kroon: congas and percussion; Igor Atalita: piano; Brian Carrot: vibraphone; Craig Rivers: flute; Joel Mateo: drums; Ruben Rodriguez: electric bass (1, 2, 4, 6, 7); Donald “Spider” Nicks: electric bass (3, 5, 8 – 10); Ron Blake: tenor saxophone
Released – 2018
Label – KroonTune Records
Runtime – 54:73
Adrien Brandeis: Siempre Más Allá
Listening to the music of Siempre Más Allá, it certainly seems that the young French pianist, Adrien Brandeis has strengthened the belief that he is a proverbial citizen of the Afro-Caribbean universe. To be clear Mr Brandeis still loves all music and swings as hard as any pianist who loves Black American Music – that is, music that you can sing and dance to. But also continues to be beguiled by the rolling thunder of Afro-Caribbean music. The wild call of the rhythms and the joie de vivre of the questing melodies and harmonies not only appeal to his ear, but also speak to him in the hidden parts of his heart.
By his own admission Siempre Más Allá took root during three tours to Mexico undertaken under the aegis of the Fédération des Alliances Françaises du Mexique. The virtually all-Afro-Cuban repertoire of the album radiates charm at every turn. These disarmingly natural and eloquent performances bring out the music’s inherent drama and penchant for tumbao with a deft touch while indulging Brandeis’ lyrical instincts to the full. Meticulously balanced, the four quartet pieces, the trio and duo pieces feel as if they are chamber works. Brandeis’ astonishingly insightful playing is musically captivating and technically blemishless. Each phrase rings so completely true that one can’t imagine the music played any other way.
The album features Mr Brandeis and a group of very accomplished musicians. These include the celebrated Cuban percussionist Roberto Vizcaíno Guillot [on two tracks] and his son Roberto Vizcaíno Jr., Mexican drummer José Loria Triay make up the wall of percussion. The Brasilian bassist Giliard Lopes brings his distinctive veritas to the whole rhythm section. The big surprise here is, perhaps, the presence of the great Cuban Horacio “El Negro” Hernández sitting in the drum chair on La buena vibra.
Siempre Más Allá is an affirmation of Brandeis’ enduring love and natural affinity for Latin music. Not surprisingly the music seems to echo the famous Latin American phrase: “¡Que rico bailo yo!” [which, in English, exclaims: “How well I dance!”]. This is no hyperbole as the music – in its pulses and rhythms show as Brandeis traverses the rhythmic topography of the Caribbean and Latin America. Along the way Brandeis plunged into the world of changüí, the chacarera, Brasilian gaucho music and the ancient melodic thunder of bàtá drums.
From the get-go listeners will find themselves immersed in quite another world of rippling percussive grooves. The track Ek Bakam, for instance, conjures the intricate architecture; the line and flow of an epic Mayan civilisation located in the Yucatan. Narratives from the Latin world abound – often paying homage to famous traditional musicians. Pancho’s Power is one such chart inspired by the vivid world of the legendary trio Los Panchos. Brandeis gives his percussion section a lot of space when he puts the spotlight on them on Tierra de Oportunidades – a wistful memory of the pianist’s three tours to Mexico, which is also incidentally the popular provincial slogan of the Mexican state of Guanajuato. On Huachi-Huachi Brandeis digs deep into the epicurean delights of the only Latin country in North America with this song in praise of a kind of gourmet Mexican fish: the huachinango.
Brandeis then celebrates his association with percussion colourist Roberto Vizcaíno Jr. with the extraordinary music of Vizcaíno Blues, a piece unique with its exploratory chromaticisms and elegant sonorities that beautifully capture the eloquence of the percussionist in whose praise the music is written. Mindful of the fact that Vizcaíno is Cuban but makes his home in Mexico, Brandeis shapes the rhythmic and harmonic palette of the piece accordingly. On La Buena Vibra Brandeis delivers astonishing pianistic fireworks in the piece’s melodic and harmonic lines, played at a frenetic pace, to mirror the style of its dedicatee, Michel Camilo. The pianist demonstrates an authentic home-grown grasp of Cuban music as he reimages Voy a Apagar la Luz, by the legendary and late-singer Armando Manzanero, here adapted as a wistful solo piano work. Meanwhile on the dizzying ride of Humpty Dumpty the pianist pays homage to another idol: Chick Corea, by revisiting the sparkling composition of the recently-deceased piano maestro.
It is hard not to be mesmerised by this spirited and finely nuanced music artfully crafted in an album by Adrien Brandeis, a pianist who is about to take the world by storm with a recording that is going to be one of the finest by any musician located outside the Latin American sub-continent.
Tracks – 1: Huachi Huachi; 2: Alegría; 3: Pancho’s Power; 4: Ek balam; 5: Un peu d’espoir; 6: Vizcaíno’s Blues; 7: Tierra de oportunidades; 8: Humpty Dumpty; 9: La buena vibra; 10: Voy a apagar la luz
Musicians – Adrien Brandeis: piano; Giliard Lopes: contrabass; José Loria Triay: drums; Roberto Vizcaíno Jr: congas and bàtá drums. Featuring – Roberto Vizcaíno Guillot: percussion [1, 6]; Horacio “El Negro” Hernández: drums 
Released – 2022
Label – Mantodea Music Productions
Runtime – 58:25
YouTube Video – Adrien Brandeis – Siempre más allá (EPK)
YouTube Audio – Adrien Brandeis – Vizcaíno’s Blues
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