Issuu

Jazzin'

Puerto Rico Jazz Guide

Publisher & Editor: Wilbert Sostre wsostre@gmail.com Associate Editor:

Wanda Borrero wborrerom@gmail.com

Sales & Advertising: Wilbert Sostre wsostre@gmail.com, 787-942-9772 Julia Cabezudo siabela@gmail.com, 787-518-3952 Contributing Photographers: Dwayne Hills (Pete Rodriguez Photos) Contributing Writers: Wilbert Sostre Subscriptions:

787-942-9772 Puerto Rico & USA 1 Year (12 issues) $24 6 Months (6 issues) $12

Jazzin' is published 12 times per year by Jazz and Bossa Media, PO Box 51062, Toa Baja, Puerto Rico 00950

Jazzin' Inside March 2015/ Issue 2 The second issue of Jazzin' is full of new faces in the Puerto Rico Jazz scene, including interviews with trumpeter Pete Rodriguez (son of Salsa Legend Pete El Conde Rodriguez) and with the members of The Rican Rebels. Also on this issue, CD reviews of young drummer and percussionist Freddie Burgos and two piano masters; Manolo Navarro and the one; Luis Marin. In Jazzin' you will find articles, interviews, CDs & events reviews, where to go to listen to live jazz, restaurant profiles, and jazz radio in Puerto Rico. Jazzin' welcomes your comments and contributions. If you know of venues, events, musicians, radio shows that should be feature in Jazzin' Magazine, get in contact with us. 3 Jazzin' it up in Puerto Rico Where to go to listen to live Jazz 6 Pete Rodriguez El Conde Negro Son of Salsa legend talks about his career and new album. 10 Jazz Radio in Puerto Rico 11 Jazzin' Interviews The Rican Rebels 14 Jazzin' CD Reviews: Jazzin' reviews new releases by Luis Marin, Freddie Burgos and Manolo Navarro.

Jazzin' it up in Puerto Rico Carli's Fine Bistro & Piano. Old San Juan. Live Music. Monday - Saturday Abracadabra Counter Cafe. Ponce de Leon Avenue 1661, San Juan. Live Jazz Friday Night Ventana al Jazz, Condado, San Juan. Last Sunday of the month Doña Ana Restaurant. Bayamón. Live Music Thursday - Saturday Polo Norte. Old San Juan. Live Music Every Night Betances 100 Sur, Mayaguez. Live Music Weekends Feature your Jazz Venue or event here. 787-942-9772

Jazzin' Interview

After his performance at the beginnings of the Christmas festivities in the Music Conservatory of Puerto Rico, I had the opportunity of talking to jazz trumpeter Pete Rodriguez about his career and how it was being the son of Salsa Legend Pete ”El Conde” Rodríguez Wilbert Sostre: How many recordings do you have? Pete Rodríguez: Three and the next one coming on 2015. On my previous recordings I recorded theme made famous by my father, “Cabildo” and “Tambó”. For the new album El Conde Negro I recorded “Soy la ley”, “Catalina La O”, “Convergencia” and “Guaguanco de Amor”. And I’m singing on those. The musicians are among other Luis Perdomo and Ricky Rodriguez. WS: So I guess you don’t mind me asking about your father and how it was growing up surrounded by his music? PR: Not at all, I love talking about my father. Since I was a child my parents took me to the parties, and they sometimes rehearsed at home. To tell you the truth, I never wanted to do something else. My father listened to music all the time.

PETE RODRIGUE And he never told me to play music, but when I chose to do it, he told me if you’re going to do it, do it right. And being his son is not easy because people compare me to him. I don’t mind because I love my father and he was an excellent father, but when I played with Palmieri the critics destroyed me and said I was a bad singer and the expected comparisons. WS: Tell me about your previous experiences in music? PR: I worked as a singer with Eddie Palmieri. That band included David Sanchez, Charlie Sepulveda, Bryan Lynch, Richie Flores and Jimmy Bosch. And I sung all those classics, it was incredible. came to Puerto Rico, I started playing trumpet.

WS: Where you were born? IPR: was born in New York, Manhattan and grew up in the Bronx. Then I came to Puerto Rico when I was 9 years old, with no knowledge of the Spanish language. I studied in a Public School in Quintana, Las Mercedes. And it was hard because kids discriminated and bullied me because I was a Nuyorican and I was always fighting. But I’m glad of that experienced because I learned Spanish and “La Escuela Libre de Música” was a great school. I always say, whoever graduated from that school is at the same level of a second year at any university. WS: Lots of great musicians coming out from t that school. PR: Yes. Miguel Zenón, David Sánchez, Humberto Ramirez, Gilbertito Santarrosa. Luis Aquino, Cachiro, Richie Flores, Cheguito, Furito, lots of people.

PR: When I was in the Army, I didn’t like the experience that much. I noticed that life wasn’t for me. Plus I missed my trumpet and music. So I called mom, and asked her to send me the trumpets. There was a band called the 2nd Army Division Band and I say I’m going to audition for that band and got in. When I was playing with the band and I noticed there was also a Jazz band, in addition I was aware of the career of my friend David Sánchez. WS: You knew David Sanchez? PR: He’s my brother. We studied at the same time in La Escuela Libre de Música and practiced together in the halls. And when I saw he was doing good and became more interested in Jazz. I like it because Jazz allows you to express yourself and your ideas more freely through improvisation. And there was a Sergeant who played saxophone and I asked him questions and became more interested. Trumpet saved my life because even though I was in the band I was still enlisted in the Infantry. They wanted to take me out of the band and send me to the front.

EZ "EL CONDE NEGRO" WS: And you studied Classical music there? When you went back to the US? PR: 1987. I went to Manhattan School of Music with a full scholarship to study classical music but I got out and enlisted in the Army. From then I went back to New York to continue my bachelor studies at Rutgers University. This time I studied Jazz Performance. WS: How did you discover Jazz? Because I can imagine you grew up listening almost exclusively to Latin music.

Then I played in the house of one of the Generals, and he liked how I played. And one of the Officers talked with the General and told him “they want to take our best trumpeter”. And the Generalchanged all the papers, so I stayed in the band. So I got out of the Army. I drove from Texas to New York and a week later I was in the 1st year at the University. I studied with one of the best trumpeters William Fielder, Professor of Wynton, Blanchard and others. Everyone called him Prof. There I completed my Bachelor and Master degree in Jazz Performance.

When was studying my Bachelor, it came the Palmieri offer. Sepulveda called me and told me Palmieri was looking for a singer. I thought he was joking because I never sung professionally. He said, but you got to audition and I say ok. I auditioned and they gave me the job. Singing all the classics, “Oyelo que te conviene”, “Palo pa Rumba”. And my first gig was in Venezuela, I was 22 years old. That was the time of the album of Palmieri with the singer India, on that album I did backing vocals with my father. My dad played guiro and I played maracas. I learned a lot from that experienced, I did vocals, backing vocals and played trumpet on tour with Palmieri. Later I played with my dad and directed his band, Oskar Hernandez taught me how to direct a band. At the same time I was going to different Jazz sessions in New York. I also played trumpet with India band. Around those years my father died, December 2, 2000. It was hard for everyone in the family. Especially for my mother because they were together since my mother was 16th years old and she was also his manager, so they were very close .And it was hard for me too. I got depressed and didn’t want to play the trumpet. I didn’t play the trumpet for about 3 years, and didn’t listen to music, especially my father’s music. I couldn’t even talk about my father. After 3 years without playing the trumpet I decided to get a Doctoral in Music Arts Degree and recorded a tape to apply to an University in Austin, Texas and I got in. Some weeks later I called trombonist Luis Bonilla, he was playing with the Village Vanguard Big Band. I caalled him because I wanted to see the band. He asked me if I wanted to go on tour with Bebo Valdes. Of course I thought he joking, I thought Valdes would call an Arturo Sandoval or someone like that. So before going to Texas I went on tour with Valdes for two weeks, an amazing experience. WS: So which jazz musicians were your first influences? PR: One of the first jazz Cds I bought was in a Tower Records. It was John Coltrane Giant Steps. I started too heavy. I was like, how am I supposed to play this? And then I listened to Dizzy and I said “I can’t play that”. I should have listened to something more mellowed like Chet Baker, or Miles. WS: Can you describe your practice routine? PR: I usually start at 8:30am. I warm up until 10am, then I rest and sometimes I do some jogging or bike. I usually practice scales, different patterns. My Doctoral thesis was related to how do I practice Major scales. I don’t do lot of transcriptions, if I hear something I like I transcribed that section. And I always try to dedicate time to composition. WS: How is the process of composition? Melodies come first? Or rhythms? PR: Usually melodies. For the arrangements of my dad music I try to do something different from the original. I try not to listen to the original arrangements so I don’t copy them. For example for “Tambó”, I did a slower arrangement so people can listen closely to the lyrics. WS: Your plans for the future?

PR: After this next album I think I’ll sing in most of the next recordings. But I want to do an instrumental album and I want to call it “Yo soy Pete Rodriguez”.

Puerto Rico Jazz Radio Lo Mejor del Jazz Tropical. Jaime Rodriguez Sundays 8pm, Z93. zeta93.lamusica.com Humberto Ramirez Jazz Intimo. Wednesdays 7pm. WORO 92.5 Tempo de Jazz. Saturdays 7pm. 940am Brasil Musical. Sundays 1:30pm. Allegro 91.3. Naphis Torres Radio Universidad. 89.7 fm. Jazz Saturday Morning En Clave de Jazz. Wito Morales. Saturdays 8pm. WORO 92.5 Yunque Jazz. Charlie Sepulveda. Radio Yunque 92.9

Jazzin' Interviews: Billy Carrión Jr. & The Rican Rebels

Wilbert Sostre: What is the concept behind the Rican Rebels? Billy Carrión Jr.: The Rican Rebels main concepts are very true to who I am as a person. I've always tried to surround myself with like-minded people who I respect immensely, from different upbringings, but with goals in similar directions. I don't mind being a front man, but I've always saw this group concept much like King Arthurs Knights of the Round table, or more modernly, Marvels Avengers. A group a complete bad asses, who might not always see eye to eye, but who's genuine hearts are going in the same road: to protect the beauty that this world contains. I've always looked to respect the paths that the historical legends have paved before me. It's because of them that we exist. Our life and commitment as ensemble is to not only make sure it keeps going, but to help the music evolve so the next generation can carry it. We mix our own Puerto Rican heritage with rhythms from other places around the world; some containing very similar clavé even though the areas are very far apart, to a point where it's obvious that they are related in some fascinating way. This music is rich with our history, and if we don't know our history, we have a significant handicap in constructing an improved future. This music is also rich in groove, and emotion. That being said, each member also brings influences outside of jazz and Puerto Rican music, which brings our unique vibe to form!

When it came time to get the ensemble together, choosing the members was actually something that happened on its own. A after being a part of the mega cool Henry Cole and the Afrobeat Collective for years, I began to contact and collaborate with fellow member Beto Torrens. After explaining what we've always wanted to do individually, we decided to join our efforts, and see what we would come up with. My cousin, MC/poet/Producer Medina Carrión created a concert a few years back called "Nuestra Herencia Musical" and was to be a family oriented evening featuring ourselves and my other extremely talented cousin, singer Kianí Medina. The ensembles had some of the best musicians the island has to offer, and the three ensembles were extremely different: spoken work poetry, rock, and modern jazz. Beto and I figured it was the best time to try and see what could happen, as I don't gain many opportunities to perform. The musicians featured were some of the best on the island. We performed some of my original music, as well as popular covers from people like Jimi Hendrix and Sting, with a twist. Throughout the evening, some of the stellar musicians who are considered family would say "yeah man lets do something together soon," a common thing musicians who like each other (and some who don't) say to each other. I was infatuated by the levels of musicianship taking place that even. I took all of it to heart and when I got back to nyc, started communication with these guys to make it official, asking them not only to play, but for the ensemble to be as much their band as it is mine- and 2 years later, here we are. continues on page 14

Manolo Navarro Almas Lúcidas Manolo Navarro was for some time a hidden secret of the Puerto Rico jazz music scene. His fellow musicians know how good he is, now is the turn for the rest of us to discover his music. On his album, Almas Lúcidas, Navarro presents a perfect balance of good original compositions The Newyorker, Almas lúcidas, Three of a Kind, as well as remarkable interpretations of popular compositions, Bobby Capó Por qué ahora, Hilton Ruiz A NY Story, Luis Bonfa Menina flor, Ariel Ramírez & Félix Luna Alfonsina y el Mar and Rafael Hernández Capullito de Alelí. For full reviews and other articles go to Caribe Jazz Magazine: www.caribejazzmagazine.com

Luis Marín : The One

Luis Marín The One Even if you don't recognize his name, chances are you've heard his flawless improvisations and impeccable technique, especially if you are also a fan of Puerto Rican Salsa Music. Luis Marín is one of those versatile musicians who navigates with ease across different Music forms. Marín had experience working and/or recording with Fania All Star, Eddie Palmieri, Tito Puente, Juan Luis Guerra, Richie Ray,, and Gilberto Santarosa.

On his new album The One, Marín exquisitely take us in a musical voyage of intensity and emotions through classics of the American Songbook as Autumn Leaves, the Tite Curet bolero Franqueza Cruel and salsa classics as Las Caras Lindas, theme famous in the voice of Ismael Rivera El Sonero Mayor. The album also contains some well developed originals as the title track The One. Each one full of pleasent surprises. After more than a decade, Luis Marin comes back with an album that can be categorized already as a collectors item for jazz fans.

Freddie Burgos Inspiration The beginnings of jazz music are intimately related to gospel music, so this new trend of jazz music fused with religious or spiritual messages is not really new. Percussionist Freddie Burgos new recording Inspiración follows in this tradition with a mixture of gospel songs and smmoth jazz arrangements. Compositions like Cielos Abiertos, La Mujer del Pozo, Inspiracción and Tu Misericardia gets the message through to the listener wrapped in nice melodies and a smooth jazz feel.

Look for full reviews and more articles at Caribe Jazz Magazine www.caribejazzmagazine.com

Rican Rebel Interview continues from page 11 Wilbert Sostre: What do each one of you brings to this project? Beto Torrens: Billy Carrión Jr and I have shared the stage playing festivals in Puerto Rico, Chicago and New York playing with Henry Cole & The Afrobeat Collective. Carrión also recorded on two tracks for my upcoming album with La Quilombera. Besides that we have become good friends and have always shared a particular taste for World sounds. In 2013 Billy gathered a great group of musicians for the first installment of The Rican Rebels for an event called "Nuestra Herencia Musical" (Our Musical Heritage), sharing the bill with first cousins Medina Carrión and Kianí Medina, and Uncle Jerry Medina. After that show we decided to formalize the group and start composing music for an upcoming recording. Natural Beauty is the outcome of our work together. In Natural Beauty, I composed and recorded the opening track "Koko Maré" which I wrote to commemorate the birth of my friend's daughter. It is a musical interplay of "Bantu" rhythms from the African Diaspora in America, specifically Puerto Rico, Cuba and Brasil. I bring a Folkloric sound into the Jazz recording the Puerto Rican "Barril" (Barrel drum), as well as other "World" percussion instruments creating interesting textures into the mix. Javi: I’ve admired Billy since I got to know him a few years back. His talent is very special without a doubt, and he is family with a very good friend of mine, which I’ve worked with a lot, so it felt like family with him. Not to mention the guys he and Beto were gathering to make this band with were amazing. They are all very prolific jazz players, so for me it was sort of a challenge too, you know? Getting to blend in with them, in the style, without getting in the way while doing my stuff. Sounded like fun and I Accepted. I did studies in Jazz but came from playing rock- so although I admire Jazz a lot and like it,, its not what I perform regularly. what I really love to play other forms of creative music, specifically reggae. I also like to play with sound effects a lot, its part of 'my sound'. I Think what I bring to the table is in very high contrast to what the other guys are doing, but fills in with some very interesting colors, like Wah Wah Watson playing with Herbie's Headhunters. I bring a more grove oriented mindset and the experimental sonic qualities of effects. So in conclusion, I don’t bring jazz chops, just groove and sound! Gabriel Rodriguez: I joined it because I liked the musical proposal, and think that the ensemble is going to be something different which is rare in today's music. everyone has a different but diverse musical background.... I think I bring the ensemble my experience in the supportive role of the bass. Efrain Martinez: I always wanted to be in a group who mixes world percussion and PR percussion with groove and sonic psychodelica! I’m just trying to bring some hard and solid groove to make people dance! At the end, the music is for the people! Carlitos: Since I have been in NYC I was looking for musicians from my same generation to put genuine thought of our musical paths, and put our stamps on the scene. With this band that's actually partially here in NYC and In Puerto Rico, the talent, drive and ambition to do so is right here. As one of the percussionists, my role is very clear- to bring the groove heritage of Puerto Rican music, which is percussion based, and to help adapt the different conceptions each member has to that PR music base.

Pete Rodriguez - El Conde Negro On his new recording trumpet player Pete Rodriguez pays tribute to the memory and music of his father, salsa singer Pete El Conde Rodriguez. Rodriguez brings a new perspective with jazz arrangements to salsa classics like "Soy La Ley", "Catalina La O", and "Guaguanco del Amor". Besides masterfully playing the trumpet, Rodriguez also sings on this recording. Rodriguez is accompanied by a group of excellent musicians, pianist Luis Perdomo, bassist Ricky Rodriguez, drummer Rudy Royston and percussionist Robert Quintero .