by Peter Maiden
Visit the GALLERY and view Peter Maiden's photos from the Festival.
In his hour-long set at Masonic Auditorium Gonzalo Rubalcaba played beautifully with a unique lyrical approach. His trio, which recently came out with a CD called 'Inner Voyage', was rounded out by Ignacio Berroa on drums and Jeff Chambers on bass. Berroa's fine brushwork was an exploration of the quieter side of jazz percussion, but the audience really responded to passages where the trio kicked into higher gear with Latin rhythms.
Headlining the show, Chick Corea and Origin proved themselves a fine jazz unit that displayed more than a touch of the Latin tinge. They were joined by the great vibraphonist Bobby Hutcherson, who sat in because Gary Burton was sidelined by an illness. The unison choruses by horn players Tim Garland, Steve Wilson and Steve Davis were tight, and their solo efforts, while smooth, showed off plenty of chops.
GATO
BARBIERI
Gato Barbieri, outfitted in his usual hat, scarf and sunglasses, appeared
with his sextet at Bimbo's 365 club. The sold-out house loved his unique
sound, distinctive, usually smooth, but sometimes rough. Gato's presence
was magnetic. He closed the first set with 'Viva Emiliano Zapata,' and
when he uttered 'Latinoamerica!' into the mike during that song, the
word carried with it the power of all the solidarity the continent has
ever known.
ISRAEL
'CACHAO' LOPEZ, EDDIE PALMIERI AND TITO PUENTE
The big Salsa show at the Bill Graham Civic featured the bands of three
elders of Latin dance music, Israel 'Cachao' Lopez, Eddie Palmieri and
Tito Puente. We are surely blessed to have these legends still playing
the music that made Salsa great over the years.
Cachao played his bass vigorously in a style reminiscent of jazz bassist Charles Mingus, either bowing or holding his bow while he plucked. On timbales was the amazing Orestes Vilato, whose ideas were genius and whose execution was flawless. He is incredibly precise and is one of the top players in the world. All in all Cachao was adored by the crowd, and his set was a marked success.
Eddie Palmieri is back to playing dance music these days, and his set was exciting and rewarding. Most of the material was from the well-known album ìEl Rumbero del Piano.î There was also a new version of Eddieís 1960s composition 'Lindo Yambu.' All in all, Eddieís band still kicks butt. Jose Clausell, a monster on timbales,was excellent, as were Javier Oquendo on bongo and Paoli Mejias on conga. It was great to see that the top-rank singers Eddie recorded with on 'Rumbero,' Wichy Camacho and Herman Olivera, are still with him. A terrific, unannounced addition was Nelson Gonzalez on tres. This band is never dull and its enthusiasm is never fake.
Tito Puente closed the concert. His set was more relaxed than the one that was made into the recent recording 'Live at Birdland.' Although one might not have been able to see it from up in the balconies, Puente clowned a lot, pretending at being annoyed or bored for a laugh. His all-star band included Mario Rivera on sax and flute, Sonny Bravo on piano and Lewis Kahn on violin. His singer Frankie Morales has really professional stage presence and a beautiful voice. It was a bad moment however when, as Tito played vibes for a song, he gasped and almost lurched over the keys. However his health will hopefully hold up, allowing him to continue to provide such wonderful shows as this one.
BACKYARD
ALCHEMY: THE SF LATIN SCENE
The main stage at Bimboís 365 Club featured three local bands
on a Monday night, all fine examples of what the San Francisco Bay Area
has to offer in Latin dance music.
Los Mocosos opened with a set that blurred the boundaries between Latin and American musics, as is often the case with Rock en Español. Their new singer Manny Martinez, previously of Mazacote and Azabache, sings and raps terrifically in both English and Spanish. They have received national attention and will record their second CD in February.
The surprise dance hit of the evening was Orquesta la Moderna Tradicion. They were very tight as they performed lilting danzones that moved into super-energized extended montunos to which the crowd could happily mambo. The matching tuxedos on the band members added a nice touch of elegance. As the name of the band implies, they are modernizing ballroom dance music from Cuba without sacrificing tradition. Their CD, 'Danzonemos,' on the Candela label, is very nice, and their next one, on the way, should be even hotter.
Jesus Diaz y su QBA closed the show with a dynamic and powerful set. I've fallen in love with their CD, 'Caramelo.' Manny Martinez came onstage to do his rap on '24/7.' Rahsaan Fredericks laid down a fat bass line and Roberto Quintana on timbales kept the energy of the bandís rhythm at an intense level. The whole horn section was fantastic: super-trombonist Wayne Wallace, the talented Melecio Magdaluyo on sax and Bill Theurer on trumpet. A high point was when Diaz worked his crowd skills and got us putting our hands in the air and singing the chorus of 'Engao: Chevere que chevere, que se vaya paí la calle.'
Mazacote, probably
the Bay Area's best dance band, was relegated to the lounge of Bimbo's
early in the evening, but fans packed themselves in there shoulder to
shoulder. Mazacote is steeped in the traditions of New York Salsa, led
by timbalero Louie Romero, who played in Willie Colon's band back in
the days. Their new singer, Orlando Torrientes, is a fine young sonero
with verve. This band's premiere CD is long overdue.
THE
BUENA VISTA SOCIAL CLUB PRESENTS RUBEN GONZALEZ Y SU GRUPO AND THE ORQUESTA
IBRAHIM FERRER
The Buena Vista Social Club is a social phenomenon. As is well known,
musician and musicologist Ry Cooder started it all off by going to Cuba
and recording older Cuban musicians who had never received the attention
they deserved. That resulted in an album and a film by German filmmaker
Wim Wenders. The CD has been a huge seller and through it millions have
been introduced to the music of the blockaded island nation. This show
sold out within hours--most tickets were snapped up by members of the
Jazz Festival, who got first dibs. Ruben Gonzalez is a fabulous pianist
with a strong rhythmic sense who dazzled the audience with his lyrical
riffs. Ibrahim Ferrer's big band was a powerhouse that propelled itself
behind his strong and sensual singing. The ballads, as on his recent
album, were lush and moving. Omara Portuondo joined Ferrer and added
her unique stage presence and singular talent to the show-- she is one
of Cuba's great jazz singers. On the whole the evening was an event
beyond the status of a mere concert, and the audience was ecstatic.
COMPAY
SEGUNDO
Compay Segundo, another Cuban veteran brought to the North American
ear by Ry Cooder, played at the intimate Herbst Hall. Hugo Garzun, his
singer, introduced him in Spanish as the 'revelation of traditional
Cuban music,' and indeed, at the age of ninety-two he is revealing to
us what has been hidden for so long. His wind section was two clarinets
and a bass clarinet and it was lively and spirited. Segundo is a consummate
performer as leader, singing and playing Cuban tres. He performed a
number of songs from his new CD 'Calle Salud.' I had found the CD to
be mellow and rocking. What came through especially in the live performance
was how this is physical music--it comes from a strong dance tradition
and the performers were always in motion. This was a fitting final show
for a great Festival!