Nando Michelin - Piano and compositions Andres Rot - Bass Tiago Michelin - Drums
Off the beaten path of Latin jazz lies 'Duende' Pianist Nando Michelin says of his nontraditional approach to Latin jazz: "It doesn't make sense for me to stick to one style. It wouldn't feel honest." (WGBH) By Siddhartha Mitter, Globe Correspondent | February 24, 2007 When pianist Nando Michelin arrived in Boston from his native Uruguay in 1989 to study at Berklee , he imagined that, like many other jazz students, he'd complete his degree and quickly move on, to New York and points beyond. But to the great benefit of the New England jazz scene, things didn't work out that way. Today, Michelin is a local stalwart who lives in Arlington , makes his living teaching at Tufts and privately, and is a prolific composer and arranger with seven albums as a leader and many more as a sought-after sideman in both straight-ahead and Latin settings. Yet his work is also something of a well-kept secret. But if there is any justice, Michelin's latest album, "Duende," a fluid and literate trio date with drummer Richie Barshay and bassist Esperanza Spalding , will change all of that. And the record release event, Wednesday at Ryles in Cambridge, should double as a delayed - but - deserved coming-out party. A tight, accomplished album, "Duende" finds Michelin letting go of a didactic tendency that made earlier albums into concept pieces -- "Art," for instance, with its songs devoted to different modern visual artists, or "Chants: A Candomblé Experience," a program of jazz extrapolations of Afro-Brazilian mystical chants that will leave perplexed anyone looking, on the basis of the title, for the "authentic" experience. Then again, Michelin does not present himself as a cultural messenger -- quite the contrary. He has made his career exploring the relationship between Latin music and jazz improvisation and forging a wholly personal voice that draws on both. This quest, he says on the phone, dates back to his first band in Uruguay, and it was to pursue it that he uprooted himself to come to Berklee. "I was on the same road then that I am now," he says, "doing improvisational music, trying to put South American rhythms in, but to get away from the predictable. Develop the rhythms to get away from the patterns. I began to understand how bebop players got away from playing the basic notes and harmonies, how drummers got away from four to the floor. I wondered why people didn't do that with Latin jazz." Of course, jazz and Latin rhythms have been in dialogue ever since Mario Bauzá and Dizzy Gillespie gigged in Spanish Harlem. But with a proliferation of musicians from all over Latin America, not to mention the myriad paths improvisational music has taken since bebop, possibilities today are endless. They extend from the eclectic neotraditionalism of Marta Gómez , who works in numerous South American styles, to the structured conversation of Brian Lynch and Eddie Palmieri's project that just won a Grammy. Michelin takes a different approach. "Traditional players get very jealous when you play in their style," he says. "They get so involved in tradition -- and that's good, because someone has to keep it. But some Afro-Cuban cats become the clave police. Sometimes you have to let the music expand and other influences go into it." His own method, Michelin says, is what feels natural to his experience as an expatriate in an era of globalization. "It doesn't make sense for me to stick to one style," he says. "It wouldn't feel honest. Up to this time I was more focused on specific styles, but now I'm at the point where I'm not afraid to throw in a montuno " -- a classic percussive piano form in Latin jazz -- "in a tune that has no Afro-Cuban elements." Thus, "Duende" doesn't proceed according to a template. In fact, it's an album full of Latin influences, but it evades any kind of predictable Latin connotation. It's a loose, fluid, idiosyncratic jazz trio session that wears its scholarship lightly. "I wanted it to feel natural, not eclectic," Michelin says. "My ideal would be to work in a lot of different styles but still sound like one band, one project. It's like a funnel, where different things go in but they come out together, channeling all the influences." Michelin is the first to admit that the personnel in his new trio are key to the record's success. Spalding and Barshay combine youthful verve -- both are in their early 20s -- with an abundance of talent that has earned them intense buzz on the national jazz scene. Spalding is not only a powerful bassist but also a stirring nonverbal singer -- a vocal technique that is hard to get right, let alone while playing bass. Spalding, a Berklee grad who is now based in New York, says she began to work with Michelin after they met in the Boston Brazilian music scene. "His writing was just amazing," she says. "I had never heard composing like that before." She credits this partly to Michelin's South American musical sensibility and background. She also lauds his temperament as a colleague: "Even in our rehearsals, with my brain overloaded with information, it was so beautiful. He has a very positive, joyful spirit." Barshay, who is equally versed on drum set and percussion like the tabla, will miss the Ryles gig, having been called to join veteran pianist Kenny Werner on a new European tour. (He has also worked with Herbie Hancock .) A Brazilian drummer with similar versatility, Rogerio Boccato , will sit in, as will singers Teresa Ines and Alida Rohr . Michelin, Spalding, and Barshay will be back in the studio in the next couple of months to record a second trio album. They know they are onto a good thing, having tapped into the "duende" that the album's title references. It's a term from flamenco that Michelin describes as "like a little elf that takes over you and plays. It's a nice way of defining that which has no definition. You can't develop it, but you can develop being open to it. "It's similar to Candomblé ," he says, returning to the Brazilian mysticism that is close to his heart. "When you gather in a room and call the African saints, and they come down. People who prepare to be channels for the saints have to learn to be open to it. The trio is the same thing. You can't force things to happen." http://www.boston.com/news/globe/living/articles/2007/02/24/off_the_beaten_path_of_latin_jazz_lies_duende/
Puro Jazz 24 abril 2024
-
[image: Puro Jazz 24 abril 2024]
PHIL WOODS QUARTET/QUINTET
- Yonago, Japan, June 1, 1976
If I should lose you (2), Groovin’ high (1,2)
Phil Woods...
El dependiente (1969)
-
*Director: Leonardo Favio*
*Argentina, 1969, 80 minutos*
*El dependiente* (1969) de Leonardo Favio
Extraña y alucinante, la puesta en escena de *El depe...
MARIA DYBBROE CD: Meuf Vol. 2
-
Pistas
1.Skreii 2.Siren 3.Vi ser havet i det fjerne - part I 4.Gorrlaus
5.Sweetener 6. Brussel's Antimatter 7.Encircle 8.The Masterplan 9.Eevee
...
LA GRAN ESTAFA
-
En colaboración con su mujer y un par de compinches, *Charley Varrick* (*Walter
Matthau*) roba el banco de la pequeña localidad de Tres Cruces del que ...
From the Record Shelves #221
-
[image: From the Record Shelves #221 - I Want to be Bad]*From the Record
Shelves #221 - I Want to be Bad* - One advantage of the CD format is that
it con...
Fanou Torrancita live concert
-
https://youtu.be/wBF5ezO8Q_Y?feature=shared
With Benji and William, does it get better when it comes to the rhythm
section? Edouard Pennes recorded and ...
Día del libro
-
Este 23 de abril se celebra el Día Internacional del Libro, fecha que
supuestamente coincide con la muerte de Cervantes y Shakespeare, además de
Garcilas...
Big Band ! 28 : Eso que llaman Vocalese
-
*Para desentrañar los misterios del Vocalese:los Manhattan Transfer y la
poesia de Jon Hendricks,uno de los inventores de la cosa.Ademas los Heath
Br...
INFLUENCIAS 20 DE ABRIL DE 2024
-
Tendrás tango y algo más con Mercedes Simone y Edgardo Donato. Vuelos
solitarios de piano con Abril Musashi y Nicolas Guerschberg. Y un recorrido
por el fa...
CD Review: Marta Sanchez, Perpetual Void
-
Marta Sanchez’s latest album, “Perpetual Void,” marks a significant
milestone in her career as a pianist and composer. Following the success of
her 2022 re...
DAVID MURRAY QUARTET'S - FRANCESCA
-
*El saxofonista David Murray tiene en mano su nuevo su nuevo álbum
"Francesca", que saldrá a la venta el 17 de mayo de 2024 a través de Intakt
Records....
The Bixography Discussion Group •
-
Several of your recent postings about Trumbauer add to the Evans and Kiner
Tram's chronology.
statistics: Posted by ahaim — 4:35 PM - Today
--------------...
ROMPER EL PROPIO MOLDE
-
MARCOS PIN TRÍO, A Week Ahead (2024)Marcos Pin no es solo uno de nuestros
guitarristas favoritos sino también un compositor inquieto y nada
complaciente qu...
Live: April/ May 2024
-
*Ellington 125*
*20 April, 2024 *
*Mr Tipple's, 39 Fell Street, San Francisco USA 94102*
*17:15 (PDT); 19:00 (PDT)*
*Nick Rossi presents The Jazzopa...
Bill Evans en Todos los Colores
-
A mediados del siglo XX, surgió en Estados Unidos un músico de jazz que
encarnó la síntesis entre la música que, por agilizar la conversación,
solemos llam...
Jazz Lo Sé Standards: Episodio 182
-
Queridos seguidores de Jazz Lo Sé:
luego de cuatro años de presencia ininterrumpida de Jazz Lo Sé en vuestra
plataforma preferida (durante 3 de ellos, do...
NOTICIERO DE JAZZ: OCTUBRE 2023 (I)
-
Sábado 7 de octubre.
Músico del día: "Papa" Jo Jones.
(07 OCTUBRE)
BREVES:
ANIVERSARIOS DE JAZZ: 7 DE OCTUBRE
--N...
Sol Schlinger, Baritone Sax Extraordinaire
-
In the 1950s, when the 12-inch album became dominant in jazz and pop, many
labels needed musicians who could record perfectly in the fewest number of
takes...
Shellac Stack No. 324
-
Shellac Stack No. 324 chirps with the birds! We dance with Bob Deikman,
Roger Wolfe Kahn, Sam Lanin, Nat Shilkret, the Savoy Havana Band, and
others; laugh...
HOMENAJE A FERNANDO SUÁREZ PAZ
-
El bandoneonista Horacio Romo, el pianista Nicolás Ledesma, Daniel Falasca
en contrabajo y el guitarrista Ricardo Lew, se reúnen para homenajear a
Fernando...
Jazz Casino: formación de 1958
-
Fotos de la orquesta Jazz Casino, previas a julio de 1958. Se anuncia que
en dicho mes tocarán en Porto Alegre y otras ciudades brasileñas. El
retorno está...
JORGE GARCIA - "DEDICATED TO YOU" (2022)
-
*Aunque su nombre no es conocido por los amantes del jazz en todo el país,
el guitarrista de origen cubano JORGE GARCIA ha trabajado con muchos
músicos ...
Louis Forever
-
Twenty years ago I celebrated Louis Armstrong’s influence with some of my
favourite musicians for The Herald Magazine, in advance of a centenary
concert at...
In Loving Memory of Jack Bradley
-
The ranks are thinning, my friends. And the world just got a whole lot less
fun. Jack Bradley has left us, passing away on March 21 at the age of
87. I've ...
Jazz Scene in Boston Exhibit Extended
-
In September 2019, I worked with Chandra Harrington and the staff at the
Museum of African American History to develop the exhibit, Jazz Scene in
Boston: T...
Duke Ellington’s British Diary, 1933
-
The core of the information set out below comes from Howard Rye (1980)
‘Visiting Firemen 1: Duke Ellington’ Storyville, 88 (April 1980): 128–30. I
have add...
WKCR Traditions in Swing: Frank Teschemacher
-
WKCR Traditions in Swing: Frank Teschemacher:
Aired on June 25, 2016, Phil Schaap hosts this episode of Traditions of
Swing on WKCR 89.9 FM NY, dedicated ...
-
ESTE 2017 NOS ENCUENTRA NUEVAMENTE CON EL 4TO AÑO DEL CICLO DE JAZZ EN EL
BAR CAFE BONAFIDE DE CASTELAR
ESTE AÑO HEMOS CAMBIADO A LOS SABADOS POR LAS NOCHE...
PREMIO A LA EXCELENCIA HCM
-
El próximo 28 de setiembre a las 17 hs en el salón Aquiles Lanza de la
Intendencia Municipal de Montevideo; se va ha entregar al Hot Club de
Montevideo el ...
No hay comentarios:
Publicar un comentario