Jazzin Magazine April 2015

Jazzin' Issue 3/April 2015

Puerto Rico Jazz Guide

Jazzin' Interview: Furito Rios Jazzin' Reports: Puerto rico heineken Jazz Festival

CD Reviews: Furito Rios, Rie Akagi, Elias Santos Celpa

JAZZIN' INTERVIEW: How you started in music? It was the sax your first instrument?

And then I got into the groupof Elias Lopes.

That was a great school. It was a school on how to play properly and on how to follow a leader.

My first instrument was the Sax and the Bassoon. I studied Bassoon at the Escuela Libre From there I went to play with Bobby Valentin.

That was in 1984-85, I was still in high school. de Música with Professor López Olmedo. He was the second Bassoon in the Puerto Rico Did you recorded with him?

Symphony Orchestra. I also studied flute and clarinet.

Yes, I recorded La Novia Automática and another record I can't remember the tittle right And back then were you already familiar with now. When I got out of Bobby Valentin group, I jazz? worked with Cano Estremera when he went No, I was in 8th grade when I played in a group solo. From there to Berklee where I stayed for about 9 months. It was hard because I was with students older than me. Two of the guys accustomed to work and have money, so when in the group listened to jazz and they I received a call to work in Las Vegas I left introduced me to stuff like Dexter Gordon, Berklee and went to Vegas. The experience Sonny Rollins, Parker. there was so different because they treated us musicians like we were doctors or attorneys.

When you read music you think you can play But the show closed due to a sue by the anything. But when I listened to Parker I said, musicians union, so I came back to Puerto Rico. what is this? It was like someone took me to And with the money I received from the union I another planet or galaxy. So I started buying bought a car. and collecting jazz records. That was back in 1981-82.

In Puerto Rico I did all the shows with popular music artists, like Sophy, Lucecita, Glenn From there I went to play with my teacher the Monroig, Paloma SanBasilio, Rocío Dúrcal, music of Joe Valle. There I was,15 or 16 years old, playing with musicians so much older than Roberto Carlos, José José, Marco Antonio Muñiz, etc. Most of the time in Bellas Artes. I me. People called me to different work, was also doing. A lot of commercial jingles, including a lot of Merengue. there was a lot of work back then. That was the

FURITO RIOS The musicians session when I was doing jingles were guys like Tommy Villarini, Andy Machado, Rafy Torres. Again all of them 10 years or more older, and they were the ones who recommended me to others gigs and work

Mejias, Henry Cole, David Sánchez, Miguel Zenon, Ángel David Mattos, Luis Perico Ortiz, Pedro Guzmán, Jerry González.

Who were your jazz influences?

Besides your own recordings, which include the recordings of the Boriken Jazz Fest and the most recently Standard Bomba. You also participated in Descarga Boricua?

Coltrane, Rollins, Parker, Ornette Coleman.

Yes, that was an amazing recording.

Do you remember the first jazz record you bought?

On your record Standard Bomba you fused Bomba and Jazz. Tell me more about Standard Bomba.

It was either a Benny Goodman or a Maynard Ferguson record..

Like you said it is a fusion of jazz standards with Puerto Rico folk music Bomba. And It comes naturally cause the roots for both comes from África.

When did you start your own jazz group?

In the 90's started what It is now the Puerto Rico Heineken Jazz Fest, it was called the San Juan Jazz Fest. In those years Pablito Rosario, the one who did the timbal solo on Larry Harlow Hommy, came to Puerto Rico and told me he wanted to create a group. The name of the group was Orinoco and we played in the first San Juan Jazz Fest at Plaza Dársenas.

In the 90's I felt the need to do my own thing. In 1993 I finally decided to record my own music in 1995 but It was until 2000 that the record came out. From the first Fest until 2000 I played in each edition of the Puerto Rico Jazz Fest, either with my group or with others like Giovanni Hidalgo, Tito Puente, Dianne Schurr. I also was part of the Heineken Jazz Tour around the island.

In 2000 i decided to do another Jazz Fest. First we did something in San Juan similar to what is now Adoquín Jammin Nights and Ventana al Jazz, it was called Jazzeando en la Plaza. From that came the Boriken Jazz Festival. The 5 editions of the Fest included and in some cases launched the careers of some of the best musicians from Puerto Rico; Giovanni Hidalgo, Papo Vazquez, Paoli

Future projects?

Standard Bomba 2. Because the first one was a hit, at least in theory. I expect the fusion of Puerto Rican music and Jazz to be the future of jazz in Puerto Rico.

Jazzin Restaurant Feature: Don Pepe Restaurant Jazzin Magazine Interviews Don Pepe Restaurant Owner Eddie Olmedo Jazzin: How long has been since you opened Don Pepe Restaurant?

Eddie Olmedo: 12 years, since December 3, 2003 Jazzin: Did you have restaurant experience before openning Don Pepe?

EO: Yes, I worked in a mexican restaurant as a Manager. One day a friend told me there was a local available in Río Grande, and he wanted to do something as a partner. So we opened the restaurant and were partners for 6 years, then I bought his part of the business.

Jazzin: Whose idea was the concept and name of the restaurant?

EO: It was his idea and the name was here before we got the restaurant. It belonged to a family from Río Grande. They had a mexican restaurant in the second floor. We decided to keep the name due to the recognition it already had here in Río Grande. The restaurant was closed for about 12 or 15 years. We reconstructed the first floor. Kept the mexican menu, but slowly made the transition to a menu and the decor mostly of Puerto Rican theme and food.

Jazzin: What's the specialty of the restaurant?

EO: Rice with churrasco, paella, mofongos, pork chops, different kinds of fish.

Jazzin: How is the business?

EO: Good. And getting better as people get to know us. We get people from all over the island.

And of course the tourists from the nearby hotels, The Wyndham, Gran Meliá, and El Conquistador.

Jazzin: So the restaurant have two floors. Whats the capacity?

EO: We can accomodate 40 people in the 1st floor and 60 in the 2nd floor. Plus We are adding a terrace were we may accomodate 40 more.

Jazzin: Let's talk about the drinks. I see you have a good wine selection.

EO: Yes. Wines is one of strenghts. We have about 100 different kind of wines, and now we are getting into whiskys. People may find some of the best whiskys here at Don Pepe.

That's part of the image we want to project, a family place with the finest food and drinks.

Jazzin: Which areas would you like to highlight about Don Pepe Restaurant?

EO: Quality and service. Our goal is that the client is satisfied, wants to come back and promotes the restaurant.

Jazzin When did you started offering live music?

EO: We did something with Charlie Sepulveda 8 years ago. Later we brought some musicians to play some days and clients called and always asked who were playing. So we kept adding live music and now we have music wednesdays through sundays.

Wednesdays is latĂ­n jazz, most of the time with Cachiro Thompson LatĂ­n Jazz Trio, thursdays we have Saxophonist Sammy Garcia, friday and saturday varios artists with Nueva Trova and sundays bohemia. Wednesdays through saturday the music starts at 8pm and sundays at 4pm.

Jazzin: Do you personally like jazz music?

EO: Sure. First I listened mostly salsa music but slowly got into jazz. Eddie Palmieri is muy favorite. I was lucky to meet him in person when Charlie Sepulveda brought him here to the restaurant

Four days of celebration with some of the best international and local jazz musicians

PUERTO RICO HEINEKEN JAZZ FEST 25TH ANNIVERSARY Four days of celebration with some of the best international and local jazz musicians, the 25th anniversary of the PR Heineken Jazz Fest included a diversity of styles for the jazz aficionados.

compositions “Ay Bendito”, Prieto and trombonist Conrad “Mirage” y “Morning Mist” and Herwig. his tribute to Cheo Feliciano “Mi triste problema”.

Bassist Abraham Laboriel and his smooth jazz was the closing Sanchez was followed by jazz act of the night. legend bassist and one of the more prolific musicians from Another Puerto Rico Jazz Legend The first day started with the Puerto Rico, Eddie Gomez. was in charged of opening the latin jazz of trumpeter Julito Gomez was accompanied by last night of the PRHJF, pianist Alvarado in the themes Punto de saxophonist Javon Jackson, Eddie Palmieri. Palmieri latin Enfoque, Vacations, Changes, pianist Michael Birnbaum and rhythms gave way to the feeling Mambo Loco, Para Un Corazón, another jazz legend on drums, of bassist Giovanni Tommaso Mi Pueblo y Pal’ Barrio de San Jimmy Cobb. Gomez and his and ended with a true music Antón. Julito Alvarado’s Band group played some jazz classics celebration, the Puerto Rico included pianist Emanuel Rivera, like “Walkin”, “Stella by Heineken All-Star; director/ percussionist Enrique Serrano, Starlight, “Love Letter/ I pianist Michel Camilo reunited drummer Francisco Alcalá, Thought About You” y ‘Solar”. on stage Eddie Palmieri, Eddie bassist Giovanni Ortiz, Gómez, Abraham Laboriel, trombonist Eliut Cintrón and The night closed with the music Giovanni Tommaso, Larry William “Kachiro” Thompson on explosion and pure intensity of Monroe, Arturo Sandoval, congas.

Volcán, pianist Gonzalo Giovanni Hidalgo, David Rubalcaba, percussionist Millo Torres and his fusion of Sánchez, William Cepeda, Jorge Giovanni Hidalgo,drummer reggae, pop, and jazz in the Laboy, Antonio Sánchez, Dafnis Horacio “El Negro” Hernández themes Monty Alexander Prieto, Conrad Herwig, Julito and bassist José Armando Gola.

Strawberry Hill, Bob Marley Alvarado and Edmar Colón..

Heathen, Wess Montgomery Wilbert Sostre The third night was the more Bock to Bock, Milt Jackson The diverse one, starting with the Harem the original composition classic jazz of Larry Monroe & Me Gustas Como Quiera closed Donna McElroy Nonet. Berklee the first day of the fest.

College saxophonist and educator Larry Monroe The fest second day marked the return of Puerto Rico native and alongside the amazing singer Donna McElroy and Puerto international recognized Rican saxophonist and recent saxophonists David Sanchez.

Berklee student Edmar Colón.

Sanchez and his quintet bassist Ricky Rodríguez, pianist Fabián Almazán, drummer Antonio The always passionate pianist Sánchez and percussionst Jhan Michel Camilo followed with a Lee Aponte left the audience group of Master musicians more than satisfied with his jazz including drummer Dafnis

PUERTO RICO MUSIC CONSERVATORY JAZZ FESTIVAL The Music Conservatory Jazz Festival is more than a Jazz Fest, is a educational event. The festival always includes music seminars and this year started with a reunion of trumpeters David Piro Rodriguez, Humberto Ramirez, Fernando Marcano, Richie Segarra, Angelito Hernandez, Joseito Ruiz, José Maneco Ruiz, Guillermo Calderón, Yturvides Vilches, Orlando Zayas and PedroRuiz and trombonists, Rafy Torres, Reynaldo Jorge, Victor Candelario, Julio Merced, Héctor Maldonado, Eliut Cintrón, Cuto Soto, Antonio Vázquez, Miguel Rivera, Victor Vázquez, Daniel Fuentes, William Cepeda, José Berrios Raymundi, Gamalier González to discuss and share their experiences with the students.

The second day included a guitar seminar with Vinny Valentino, a cuatro seminar with Pedro Guzmán, a piano seminar with Axel Tosca, a bass seminar with John Benitez and a drum seminar with Francis Benitez.

The three days of concerts were just as good with some of the best Puerto Rico jazz musicians; saxophonist Jonathan Suazo Quintet, pianist Manolo Navarro, Pedro Guzmán Jibaro Jazz Trio, the Music Conservatory Jazz Orchestra masrefully directed by Professor/Bassist Elias Santos-Celpa, Eddie Gomez Trio and closing with bassist John Benitez Quartet.

Wilbert Sostre

BLUES MUSIC CHARACTERISTICS The harmony and melody sound of the blues bring us closer to our afro Caribbean roots.

The harmony and melody sound of the blues bring us closer to our afro Caribbean roots. Let’s take a look at the structure of the blues.

The basic structure of the Blues contains 12 bars that repeats.

When using a major chord some chromaticism may happen in the 4th grade augmented moving to the 5th grade.

Prof. Irving Cancel irving.cancel@gmail.com

The following example contains the music writing The blues harmony has its of the points previously roots in the North American described, analize and Gospel Church. execute some of the blues music form.

The fundamental Blues chords are the I and IV. The Blues has a unique melody.

The most used notes in the blues melody are from the pentatonic minor scale imposed over Major or Dominant chords.

The pentatonic scale does not include half tones found from the 3rd to 4th grade of the major diatonic scale.

Extended chords used in Blues contain the augmented ninth in the first dominant chord I 7 and the ninth in the subdominant chord IV 7

JAZZIN' CD REVIEWS

Elias Santos Celpa - Antologia.

Rie Akagi - Cafe con Leche, Furito Rios Jazz Standard.

Elias Santos Celpa - Antologia Antologia is a project by Puerto Rico Music Conservatory Professor and Bassist Elias Santos Celpa. The recording showcase an incredible talent of Celpa and his students on two different formats and years. The sextet recorded in 2010 includes some musicians, Saxophonist Jonathan Suazo, percussionist Jhan Lee Aponteporo, and drummer Leonardo Osuna, that five years later are already big names in the Puerto Rico Jazz scene. All tracks on this half are well developed, originals compositions by Elias Santos Celpa.

The second half includes the jazz classics Blue Monk, BeBop and Caravan and was recorded by a nonet, on October 2013, with actual students of the Music Conservatory; trumpeter Pedro Ruiz, Saxophonist Emanuel Benjamín, Trombonist Kenny Ortiz, guitarist Rafael Quiñones, pianist Cristina Díaz, drummer Ruben Coca, percussionist Roberto Bermudez, and Johnsito Rivera.

Rie Akagi = Cafe con Leche

It is so interesting the fascination some japanese people and especially musicians have with latin music. Flutist Ríe Akagi is a good example of that. But in the case of Akagi is more that a fascination, sue really loves latin music, as it can be heard on her new recording Café con Leche.

The album, dedícated to Puerto Rico, includes excellent interpretations of Tito Rodriguez Mama Guela, Tito Puente Fiesta a la King, and Mongo Santamaría Afro Blue plus Sentimiento de un Latino, a composition by master Puerto Rican trumpet player Luis Perico Ortiz, who also was the album musical director and producer.

Furito Rios - Standard Bomba Bomba music, a Puerto Rican folk music, and Jazz had the same african roots. So It is natural for a legend of jazz music in Puerto Rico, saxophonist Furito Rios to fused the two music forms on his most recent album Standard Bomba.

The fusion feel se organic in the arrangements and the virtuosismo of Furito and company; bassist Tony Batista, drummer Jimmy Rivera, pianist Juan Luis Anglero and bomba drummer se (barriles de bomba) Omar Sanchez and Hector Calderón.

Each jazz standard was perfectly matched with a Bomba rhythm; Bambula on Birdlike and Confirmation, Holande on Yes or No, Corve on Cherokee, Sica on Hot House and Freedon Jazz Dance and Cuembe on Softly as in the Morning Sunrise.

Wilbert Sostre