Cuban Roots Revisited
Cubop CBCD019
Perhaps unnoticeable to the common
ear--within the grand scheme of Cuban music--lay a deep-rooted
folklore tradition commingled with religious overtones, transcending
places and time, ancestral voices of the Negro slaves crying
out joyous poetic rhymes embraced by canto (song) and dance or
melancholy hymns bearing painful memories, stemming back to its
birthplace of origin: Africa. At equal proximity and juxtaposition
with the roots of rhythm stands Jazz music displaying similar
historical paths encompassing soul and spirit. Interesting to
note is the main period in history when these genres cross-pollinated
each other to such extend as to give birth to what is known as
Afro-Cuban Jazz and subsequent styles of music.
Such a time is most evident during the1940's when a handful
of musicians most notably: Mario Bauzà, Machito and his
Afro-Cubans, Dizzy Gillespie and Chano Pozo were responsible
for bringing together two musical worlds, Jazz and Afro-Cuban
rhythm, which had run parallel since before the 20th Century.
These extraordinary cycle of events changed the face of Jazz
forever spurting new and more progressive Jazz styles, as well
as giving rise to a new generation of innovative musicians on
both sides of the isle. Particularly on the Latin Jazz side included
such musicians as: Carlos "Patato" Valdez, Mongo Santamaria,
Tito Puente, Eddie Palmieri and Ray Barreto.
The Latin and Jazz scene continued to flourish mainly in New
York City during the 1960's, respectively. And while the 1960's
where a time of much turmoil in America with the Civil Rights
Movement and Vietnam, Latin Jazz was expanding rapidly to other
parts of the United States particularly on the West Coast. This
period also saw music in general branch out into other experimental
frontiers spearheaded mainly by Miles Davis, John Coltrane, Cal
Tjader, Chick Corea and bands like Weather Report, Santana, The
Beatles, Bob Dylan and many others.
Perhaps considered an unlikely historical music landmark in
the evolution of Afro-Cuban Jazz, in late 1967 a recording session
would take place in New York City organized by then trombonist
Mark Weinstein entitled "Cuban Roots" that would mark
the pulse and profoundly capture the essence of Afro-Cuban Jazz
innovation as never done before. This recording remained obscure
and only known as the "Green Album" among an underground
base of musicians and hardcore music fans (only 500 copies were
printed). Now, over 30 years later, Weinstein is commissioned
by the San Francisco based label Cubop to record a second version
of the latter recording--this time entitled "Cuban Roots
Revisited."
As with the first rendition, "Cuban Roots Revisited"
is described as Afro-Cuban sacred music presented instrumentally
and influence by Jazz. Except for Mark which is now heard performing
on flute, all of the musicians are California-based as well as
the recording studio setting--including: trombonists Dan Weinstein,
Arturo Velasco and Steve Ferguson; pianist Omar Sosa, bassists
Carlito Del Puerto and Eddie Resto, and noted percussionists
Francisco Aguabella, Làzaro Galarraga, John Santos, Josè
De Leòn, Jr. and Humberto "Nengue" Hernandez.
The musical atmosphere is quite inventive as the instrument
attempt to revive the secular spiritual voices inherent in Afro-Cuban
religion. The 9 tracks feature a variety of rhythms ranging from
Guaguanco, Conga, Rumba and Comparsa. Like the tìpico
call-n-respond Misa Negra choir of Santeria chant rituals, the
trombones play in harmony percolating amid the powerful rhythm.
Weinstein's flute provides the lone voice knitting an illusive
thread of melody that intertwines with harmonious passion. Although
his tone on the flute is airy sometimes sounding like a fish
out of water, and flounders with clumsy technical proficiency,
Mark's resiliency and virility is apparent throughout as if possessed
by Changò, oricha of thunder and lightning. Nonetheless,
he manages to illustrate a profound sense of creativity.
"Cuban Roots Revisited" conveys a unanimous force
of rhythm thereby producing exquisite spiritual enlightenment.
Surely, an essential CD to own.
review by John Davis
JDavis@latnjazzclub.com
Contributing writer
LatinJazzClub.com Magazine
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