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Concert Reviews

2012 Carolina International Jazz Fest Report

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The theme for the 8th edition of the Carolina International Jazz Festival was “Carolina Swings”.

Report and Photographs by Wilbert Sostre

There are two definitions in Jazz for the word “swing”. Swing is one of the essential elements of jazz. Quoting Duke Ellington song “it don’t mean a thing if it ain’t got that swing”.

The Jazz Book by Berendt and Huessman defines swing as the “overlapping of two different conceptions of time”, the more “holistic African sense of time and the clock-based time sense of the Westerner.” “Swing gives Jazz its peculiar form of precision, which cannot be compared with any other kind of precision in European music.”

This definition of “swing” is present in all styles of jazz but must not be confused with the Jazz form or style played by the Big Bands of the late 1920’s, 30’s and early 40’s. That was the era of Duke Ellington, Count Basie and Benny Goodman.

Most of the music played in the Carolina International Jazz Festival falls into the first definition, music that can be defined as Jazz, so it swings, but the musical offering of the fest was not entirely music from the Swing era.

The students of the Carolina Arts School under the direction of Professor and Saxophonist Janice Maisonet opened both nights of the Festival. The music presented by these talented students, even though it contained elements of Latin jazz, bolero and forms of Latin music, it was the closest in style to the Swing style of the 30’s. Their repertoire included nice versions of “Sunny Side of the Street”, “There’s no greater love”, and Duke Ellington “It don’t mean a thing”. Student/Singer Dorian Andrade joined the group both nights singing this Duke Ellington classic and also did some good scats a la Ella Fitzgerald.

Julito Alvarado was the second act on this first night of the Fest. Alvarado is a trumpet player with vast experience in both, Latin jazz and salsa music. Alvarado and his group, pianist Richard Trinidad, bassist Pedro Pérez, percussionist Xavier Díaz, drummer Luis Manuel Rodríguez and trombonist Eliu Cintrón  heated up the stage with their Latin rhythms on the original compositions “Ponce Rumba”, “Cuatro Meses”, “Changes”, “Mambo Loco” and the Bebop “Vacaciones”.

Master percussionist Tito de Gracia followed with more amazing Latin jazz in compositions like “Borifunkiando”, “Songo pa tí” and a Latin version of Billy Strayhorn “Take the A Train”. De Gracia’s group lineup included, trombonist Gamaliel Gonzalez. trumpeter Fernando Marcano, saxophonist José Heredia, percussionists Raymond Rodríguez, David Rosado and Raul Rosario, bassist Ricardo Lugo, and pianist Frank Suárez.

The mellow sounds of Japanese flutist Rie Akagi closed the first night of the Carolina Jazz Fest. Akagi style can be described as smooth jazz with Latin influences. José Febres on congas, pianist Angel David Matos, bassist Israel Cedeño, and drummer Héctor Matos  accompanied Akagi on the pieces “Stone Flower”, and Mongo Santamaría’s “Afro Blue”, displaying his amazing technique on the Cuatro, a folkloric music instrument from Puerto Rico, Edwin Colón Zayas joined the group in a wondeful rendition of Antonio Cabán Vale “Verde Luz”.

One of  the second night highlights was the presentation of one of the best percussionist fromPuerto Rico, Paoli Mejías. With only drums, congas, panderos and bongos, accompanied by Jonathan Suazo on saxophone, the eclectic musical offering of Mejías contains elements of jazz fused with African rhythms and Puerto Rican folk music Bomba and Plena. Saxophonist Norberto Tiko Ortíz and bassist Gabriel Rodríguez joined drummer Raul Maldonado and Paoli Mejías to play “Fuera de Control” from the San Juan Collective (Maldonado, Ortíz and Rodríguez) new album.

Almost closing the night and the fest, trumpeter/musical director Luis Perico Ortíz and his Big Band took the stage with some special guests, trumpet player from Venezuela, now living in Puerto Rico, Yturvides Vílchez, Puerto Rican trumpet player Humberto Ramírez, who played Sylvia Rexach song “Olas y Arenas”, saxophonist Luis Orta, and  José Febres on congas played “Afro Blue”. Japanese flutist Rie Akagi alongside José Febres, Ortíz and the Big band played “My Way”, a song most people might recognize in the voice of Frank Sinatra.

After the projection of a short video paying tribute to Whitney Houston (still trying to comprehend how this is related to either Jazz or Swing), Antoinette Rodriguez also from the Carolina Arts School joined the Big Band in a swing arrangement of “That’s what friends are for”.

After another short video, this time displaying the history of Arturo Sandoval, this Dizzy Gillespie disciple, Cuban trumpet virtuoso and true jazz legend closed the fest playing mostly music from his latest release, “Dear Diz”, a tribute to Dizzy Gillespie.

No doubt this is what the people were waiting for, and Sandoval did not disappoint the audience. Sandoval directed the big band and played timbales, but it was his high notes, blazing runs and incredible technique on trumpet that amazed the public in pieces like “Bebop” and “Salt Peanuts”.

Even though the Carolina International Jazz Fest did not completely kept the promise of the Swing theme all throughout the fest, this event organized by the town of Carolina and its major José Carlos Aponte Dalmau, delivered two nights of good enough music to keep the Puerto Rico jazz aficionados satisfied.

To view more photographs connect with Wilbert Sostre at https://www.facebook.com/wsostre

Member of the Jazz Journalist Association since 2010. Member of the Ponce International Jazz Festival Commitee. Studied music and guitar, 1985-86. Music studies at the University of Puerto Rico and the Music Conservatory of Puerto Rico, 1986-1990.

Concert Reviews

Hilario Durán and David Virelles at Koerner Hall in Toronto

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On Thursday, October 13, 2022, representing two generations of Cuban Piano Masters, Hilario Durán and David Virelles got together at Koerner Hall, one of the most magnificent concert venues in Toronto. They were celebrating the release (in Canada) of their new recording Front Street Duets (Alma Records), a project they started working on at the onset of the COVID-19 pandemic in 2020.

Hilario Durán and David Virelles at Koerner Hall in Toronto
Hilario Durán and David Virelles at Koerner Hall in Toronto

Both artists were extremely happy of releasing their duet album after these past two years of the unimaginable worldwide health crisis. They were also excited to be in Toronto, and for being able to accommodate their busy schedules to perform their music in front of a very enthusiastic audience. Durán and Virelles expressed their utmost respect and admiration for each other. David from an early age considered Hilario as one of his musical heroes, a musical giant and influential figure in Cuba, in Canada and abroad. Hilario considers David as one of the most important Cuban pianist of his generation, a big star shining globally, from the highly competitive musical scene in New York.

Hilario Durán and David Virelles at Koerner Hall in Toronto

The concert got started started with Epistrophy, the first tune copyrighted by Thelonious Monk, followed by Sophisticated Lady / In A Sentimental Mood, two compositions by Duke Ellington. Next, Durán and Virelles performed four tunes from their new album: 1. Danza Lucumí, (beautifully arranged by Virelles), a song written by Alejandro García Caturla, a Cuban composer who together with Amadeo Roldán, are considered the leaders of Afro-cubanismo, a nationalist musical trend that incorporates Afro-Cuban songs, rhythms, and dances. 2. Challenge, a new composition by Durán. 3. La Malanga (also arranged by Virelles), a composition by Calixto Varona, one of the most important composers from Santiago de Cuba from the XIX century. 4. Guajira For Two Pianos, the first track on the album Front Street Duet, a fiery composition written by Durán.

Hilario Durán and David Virelles at Koerner Hall in Toronto

The first set came to an end with Airegin (an anadrome of Nigeria), a jazz standard composed by American saxophonist Sonny Rollins in 1954.

The second part of the concert started with a solo performance by David Virelles, Canción Estudio, composed by José Antonio “Ñico” Rojas, a prominent Cuban composer and guitarist, considered as one of the founders of the style of Cuban song called filin. Then it was Durán’s turn for an inspired solo performance of Autumn Nocturne (a notable composition written by Russian-born Josef Myrow with Kim Gannon). Durán had previously recorded this tune on his 1999 Justin Time Records release Habana Nocturna, a superb album that feature acclaimed saxophonist, flautist and bandleader Jane Bunnett, and drummer extraordinaire Horacio “El Negro” Hernández.

Hilario Durán and David Virelles at Koerner Hall in Toronto

Next, both pianists performed a set of four pieces written by Hilario Durán for the recording Front Street Duets. 1. David’s Tumbao, a composition dedicated to David Virelles. Durán is well known for his fiery tumbao style when he’s playing. 2. Punto Cubano #1, inspired on the genre of Cuban music known as punto guajiro or punto cubano, a poetic art with music that became popular in the western and central regions of Cuba in the 17th century and consolidated as a genre in the 18th century. 3. Santos Suárez’s Memories pays tribute to the Havana neighbourhood where Durán grew up, where he fell in love with the piano and became a musician. It brings back cherished memories involving his upbringing, his family and close friends. 4. Milonga For Cuba, a very special tribute dedicated to the people who protested in Havana last summer 2021.

Hilario Durán and David Virelles at Koerner Hall in Toronto

For the encore, Durán and Virelles interpreted a wonderful rendition of Body And Soul, a popular song and jazz standard written in 1930 with music by Johnny Green and lyrics by Edward Heyman, Robert Sour and Frank Eyton. Body and Soul is the track that closes the album Front Street Duets, and also brought to an end a tremendous musical night at Koerner Hall in Toronto.

Photographs by Danilo Navas

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