Jazzin' ISSUE 01 / February 2015
Puerto Rico Jazz Guide
Interview: Brenda Hopkins MirandaS
Jazzin' Restaurant Feature: Doña Ana Restaurant
Miguel Zenón: Identities are Changeable
CD REVIEWS: MIGUEL ZENóN ROY MCGRATH BRENDA HOPKINS
Jazzin'
Publisher & Editor: Wilbert Sostre wsostre@gmail.com Puerto Rico Jazz Guide Associate PublisherEditor: & Editor: Wanda WilbertBorrero Sostre wsostre@gmail.com wborrerom@gmail.com Associate Editor:
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Jazzin' Inside January 2015/ Issue 1 Here it is at last! The first issue of Jazzin': Puerto Rico Jazz Guide. An idea several years in the making, born out of the necessity for a publication where to find what's going on in the Puerto Rico Jazz scene. 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. 5 Miguel Zenón's Identities
The new Masterpiece by Master Saxophonist explores the Puerto Rican identity.
9 The Aeropiano of Brenda Hopkins Jazzin' interviews pianist/composer/ educator Brenda Hopkins Miranda. 11 Jazz Radio in Puerto Rico 12 Jazzin' Restaurant Profile: Doña Ana Restaurant 13 Jazzin' it up in Puerto Rico Where to go to listen to live Jazz 14 Jazzin' CD Reviews Jazzin' reviews new releases by Miguel Zenón, Brenda Hopkins and Roy McGrath
MIGUEL ZENÓN IDENTITIES ARE CHANGEABLE
AN EXTENDED MUSICAL WORK FOR LARGE ENSEMBLE ABOUT NATIONAL IDENTITY, AS EXPERIENCED BY THE PUERTO RICAN COMMUNITY IN THE NEW YORK CITY AREA
Alto saxophonist and composer Miguel Zenón asked his friends the question he had been asking himself: What does it mean to be Puerto Rican in 21st-century New York City? That was the point of departure for Identities Are Changeable, the startlingly original album by Miguel Zenón, who grew up in the island's main city of San Juan and came to New York in 1998 to pursue a career in music. Zenón's experience of moving via the air bridge from the small Antillean island to the landing strip 1600 miles north is something he shares with hundreds of thousands of other "Puerto Rican-New Yorkers." Puerto Ricans are not immigrants in the United States: for nearly a century - since 1917 - Puerto Ricans have, unlike other natives of Latin America, been US citizens, able to come and go as they please between the island of Puerto Rico and the mainland. When they come north, overwhelmingly they go to New York City. After different waves of migration over the decades - most numerously in the 1950s - about 1.2 million "Puerto Rican-Americans" were living in the greater New York area as of 2012.
Miguel Zenón has become one of jazz's most original thinkers. Today, at the age of 37, he's one of the best-known alto saxophonists in jazz. The quartet he leads has been working together for more than ten years, building its ensemble coherence on stages all over the world. But Zenón's more than a great musician and bandleader.
Miguel Zenón: Zenón: Miguel Identities are are Identities Changeable Changeable
One of only a handful of jazz musicians to be chosen the coveted MacArthur One of onlyfor a handful of jazz musicians to Identities Are Changeable, Zenón's powerful new composition, is a song cycle for large fellowships (in 2008), he's at the forefront Identities Are Changeable, Zenón's powerful be chosen for the coveted MacArthur ensemble, with his quartet (Luis of a new movement years new composition, is alongtime song cycle for large fellowships (in 2008),that he'sinatrecent the forefront Perdomo, piano; Hans Glawischnig, bass; has brought the composer to a new ensemble, with his longtime quartet (Luis of a new movement that in recent years Henry Cole, drums) the center, bass; prominence in jazz. But beyond his Perdomo, piano; HansatGlawischnig, has brought the composer to a new incorporating recorded facility at writing and Henry Cole, drums) at thevoices center,from a series prominence in jazz. Butplaying beyondmusic, his of interviewsrecorded conducted by Zenón. there isata writing great intellectual voices from a series facility and playingsubject music,at the incorporating as a multi-media centerisof Miguel Zenón's artistic world: interviews conducted by Zenón.work by there a great intellectual subject at the ofCommissioned Montclair State Peak the complexity Puertoartistic Rican culture. Commissioned asUniversity's a multi-media work by center of Miguelof Zenón's world: Performances series, it hasPeak a multi-media Montclair State University's the complexity of Puerto Rican culture. element withseries, audio it and footage from Beginning with his third album as a Performances hasvideo a multi-media the interviews, complemented by a video leader, Jíbaro and continuing with audio and video footage from Beginning with(2005), his third album as a with element installation created by artist David Esta Plena (2009) andand Alma Adentro:with The the interviews, complemented by a video leader, Jíbaro (2005), continuing Dempewolf. It's been performed Puerto Rican Songbook (2011) (bothThe installation created by artist David at such Esta Plena (2009) and Alma Adentro: prestigious It's venues the New England Grammy-nominated), Oye!!! Live In Dempewolf. beenas performed at such Puerto Rican Songbookand (2011) (both Conservatory's Jordan Hall in England Boston, The prestigious venues as the New Puerto Rico (2013), Miguel Zenón hasIn Grammy-nominated), and Oye!!! Live SFJAZZ CenterJordan in San Hall Francisco, and The Zankel Conservatory's in Boston, createdRico a series of thoughtfully Puerto (2013), Miguel Zenónframed has Hall inCenter the Carnegie Hall complex New SFJAZZ in San Francisco, andin Zankel works that interpret different facets of created a series of thoughtfully framed inCity. the Carnegie Hall complex in New York works interpret Puertothat Rican culture.different Zenón'sfacets PuertoofRico Hall City. Information provided by Puerto culture.García Zenón's Puerto Rico York is a bit Rican like Gabriel Márquez's Information provided by is a bit likeor Gabriel García Ann Braithwaite Colombia Gilberto Gil'sMárquez's Brazil: the Ann Braithwaite Colombia or Gilberto Brazil: the Braithwaite & Katz Communications highly focused centerGil's of an imaginative Braithwaite KatzRoad Communications highly focused center anworld imaginative 248 South & Great universe that looks toof the while 248 SouthMA Great Road universe that looks to the world while Lincoln, 01773 being rooted at home. It serves a MA 01773 being rooted for at home. It serves a no one Lincoln, Ph: 781-259-9600 springboard his personal style: 781-259-9600 springboard his-personal style: no one Fax: 781-259-9606 else's Puertofor Rico and no one else's jazz Ph: else's Puerto - and no one else's jazz Fax: 781-259-9606 - sounds like Rico Miguel Zenón's. - sounds like Miguel Zenón's.
Jazzin' Interviews: Brenda Hopkins Miranda For the first issue of Jazzin' Magazine I sat down with pianist Brenda Hopkins to talk about her new album Aeropiano. Wilbert Sostre: What I found interesting about Aeropiano is that is different from your two previous recordings. And on this one I noticed you getting out and expressing all your experiences and influences. Even the African influence of folkloric Puerto Rican Bomba, that it was not as clearly expressed in your previous recordings, can be heard in the very first track of this one. Brenda Hopkins Miranda: You always so perceptive. I feel that this is the CD where I achieve to include in one place precisely that, all my history, and my influences. They came together naturally, it wasn’t forced. In fact you can see in the order of the album, it takes you in a voyage. Precisely one of the greatest satisfactions about this album was that here the listener can find all that represents me in one place. WS: The tittles seems to be related to places you've been. BHM: Some of the tittles are real places and others are imaginary places. Corozalendo is a reference to Corozal, Puerto Rico, where my family is from. La Cuesta de San Gregorio is a real place from my time living in Spain. El Puente de los Abrazos is an imaginary place, I always say that music is my way to embrace people. When I play the piano I imagine this bridge coming out of me to embrace the people listening to my music. Hop Time is dedicated to my father part of the family. Hop is short for the name Hopkins. For that composition I was listening a lot to banjo music like Bela Fleck, and tried to find a way to play the piano imitating the banjo. Seven Mile Road is the street where my grandfather lived in Michigan, where my father grew up. Angela, Buscame en el Viento and Vincent are very special to me because Angela was my best friend in Spain, she was a poet, and last year she died of a heart attack. Vincent is her husband. She was only 57 years old. At the end of the track Angela, that is her reciting one of her poems. Buscame en el viento is the moment that she dies because we said goodbye with the hope of reuniting in the future. And she always said that when she dies to look for her in the breeze. When I recorded that one, I look to the engineers and they were crying. One of them ask me if that song was about somebody dying, without me telling them was the song was about. And then I knew that something special just happened and that was the final take for that theme.
WS: I can see there are a lot more musicians on this one. Maybe it was necessary to express all those influences. Some of them already worked with you in previous albums. BHM: Enrique “El Peru” playing the tablas, has been in the last three recordings, Hector Matos on drums was in Recuerdos de Granada, Bassist Egui Sierra is the first time I work with him. Is the first playmusicians in one ofonmy that was very specialallfor WS:time I canmy seebrother there areHarold a lot more thisrecordings. one. Maybe And it was necessary to express thosethere influences. Somedifferent of them already worked previous albums. me. I think are three groups in thewith CD you andinthree different chapters. One is the one that includes the group of Tambores Calientes, with lots of percussion. Obviously once I “El Peru” playing the tablas, been in the last three myself recordings, Hector Matos spendBHM: someEnrique time here in after coming back has from Spain, I immerse again in the on drums was in Recuerdos de Granada, Bassist Egui Sierra is the first time I work with him. Is sonorities of Puerto Rico. There is the other group of drummer Hector Matos, bassist Egui the first time my brother Harold play in one of my recordings. And that was very special for Sierra me. andI Enrique. And is another sound with and the chapters. cello. One is the think there are there three different groups in the CDthe andtablas three different one that includes the group of Tambores Calientes, with lots of percussion. Obviously once I
time in after coming back from I immerse myself In again the more WS: Sospend that’ssome what youhere refer to when talking aboutSpain, different chapters? factinthere sonoritieshere of Puerto Rico. There the other group of drummer Hector Matos, bassist Egui compositions compared with isRecuerdos and Simple. Sierra and Enrique. And there is another sound with the tablas and the cello.
BHM: Yes, there are 15 tracks. We recorded twenty three tracks in three days. I think we talk WS: So that’s what you refer to when talking about different chapters? In fact there more about compositions this before, how I like to record my albums to capture the conversation, all the here compared with Recuerdos andlive, Simple. spontaneous energy. The only one who recorded separately was the cellist. BHM: Yes, there are 15 tracks. We recorded twenty three tracks in three days. I think we talk
about before,that howway. I like to record my albums live, to capture the conversation, all the WS: I find it this is better spontaneous energy. The only one who recorded separately was the cellist.
BHM: Yes. With this kind of music that contains lots of improvisation, that interaction is WS: I find it is better that way. necessary. BHM: Yes. With this kind of music that contains lots of improvisation, that interaction is
WS: Now that we are talking about this. When you are recording, how much is written and how much necessary. is improvised? WS: Now that we are talking about this. When you are recording, how much is written and how much
is improvised? BHM: That varies from theme to theme. But, one thing I try to achieve with music is precisely that people won’t notice was written waswith improvised. For that BHM: That varies fromwhich themepart to theme. But, one and thingwhich I try topart achieve music is precisely frontier topeople not bewon’t completely clear.part The improvisation melody from theFor composition that notice which was written and which part comes was improvised. that and viceversa. frontier to not be completely clear. The improvisation melody comes from the composition and viceversa.
B H A
HOP KI N S EROPI A N O BRE ND A HO P K I N S AE R O P I A N O
That’s why I asked, because when listening to your music it is hard to separate the two.
: But to answer that we must have to go by each theme individually, because it is different h time. There are themes that the written part is minimal, for example El Puente de los zos is a short melody and from that almost all the rest was improvised. Some of the themes almost all written, but in all of them there is some improvisation because that is so important WS: That’s why I asked, because when listening to your music it is hard to separate the two. e. BHM: But to answer that we must have to go by each theme individually, because it is different
eachtakes time. There are themes that part is minimal, for example El Puente de los How many of a theme you dothe inwritten the recording studio? Abrazos is a short melody and from that almost all the rest was Some of the themes : I try to not do more than two. Because I think by the thirdimprovised. take the energy is not the same. are almost all written, but in all of them there is some improvisation because that is so important usually to the first take is the best one. me.
How many takes of a theme you do inHow the recording studio? Can youWS: describe your creative process. does it work?
BHM: I try to not do more than two. Because I think by the third take the energy is not the same. And usually the first take is the best one.
: That is also different each time. There are times when things come all at once. And in half you have composition. For example, Buscame WS:the Can whole you describe your creative process. How does it work?en el Viento the piano and cello odies came both at once, and I had to write fast so I didn’t lose it. Sometimes I start with the BHM: That is also different each time. There are times when things come all at once. And in half line, because I need that rhythmic foundation, bass and percussion and from there the rest hour you have the whole composition. For example, Buscame en el Viento the piano and cello es out. Sometimes itboth comes with the title because so link toit.an event. Sometimes melodies came at once, and I had to write fast soisI didn’t lose Sometimes I start with thethe title es after bass I listen the music. line, to because I need that rhythmic foundation, bass and percussion and from there the rest comes out. Sometimes it comes with the title because is so link to an event. Sometimes the title comes after I listen to the music.
his CD I have a lot of material because ideas kept coming to me. At one time I was afraid of g alone For with all the compositions that to were coming toI was me.afraid At one thisthe CD Ipiano have a because lot of material because ideas kept coming me. At one time of point I it is timebeing to enter the the recording studio I already lots oftocompositions. alone with piano because all because the compositions that have were coming me. At one point I say, it is time to enter the recording studio because I already have lots of compositions.
Can you talk about the Living Creativity concept and articles? WS: Can you talk about the Living Creativity concept and articles?
: It started my experience as a student. Like the way weteaching are teaching BHM:with It started with my experience as a student. LikeI said I said before, before, the way we are music, are not taking into consideration musicisisan an art That we must give people ic, we are notwe taking into consideration thatthat music artform. form. That we must give people the opportunity of self discovering. And we focused so much on rules, theory, on imitating the opportunity of self discovering. And we focused so much on rules, theory, on imitating the past, which is important too. But there should be a better balance of all that. , which is important too. But there should be a better balance of all that.
Jazzin Restaurant Profile: Doña Ana Restaurant Wilbert Sostre: First, let’s talk about the restaurant concept and beginnings. Rubén Rodriguez: In 1972, my aunt started a restaurant called “El Gran Café”. My aunt’s name was Ana Rodriguez and she developed a concept of Puerto Rican food with the flavors of the way our grandmothers used to cook. After 35 years the restaurant was recognized all over the town of Bayamón, and before she died she asked to continue with the concept and restaurant. I never imagined I was going to do this kind of work. I had other businesses. After she died it took me one to two years to re establish the mystic of the restaurant and bring back her old customers. When she died the restaurant site that was located behind the old Plaza del Mercado de Bayamón closed, and I moved the restaurant to a building located in front of the Parque de las Ciencias (Bayamón Science Park). We were there for three years until 2006. Then, the Major of Bayamón Ramón Luis Rivera told me they were doing the new market place where it is now. Doña Ana was an icon in Bayamón so he asked me to re establish the same concept. We moved here in February 4, 2010 and added the music to the whole concept. I then met Neftalí Ortíz and developed a concept called Bohemia Jazz, where we play popular music with the jazz element of improvisation. WS: So Neftalí, you’ve being here with Rubén since when? Neftalí Ortíz: Almost from the beginning in 2010. I thank Rubén for bringing me here because I’ve always being passionate about music and I needed a place to work with all the music ideas I have. The success of this restaurant, musically, is tha we play the popular music people recognize with a touch of jazz. WS: Let’s talk about your beginnings in music. NO: I started in my hometown Barranquitas and in a a town I love, Cayey. At first I played by ear, guitar and cuatro, but practiced every day. I studied in the Inter American University, a Bachellor in Music Education and worked for 23 years in the Department of Education. Then worked with the group Mapeyé and also recorded with Tony Croatto, Chucho Avellanet, Danny Rivera and José Noguéras. WS: Do you have recordings as a leader? Yes, I have four recordings, plus four publications used in the Inter American University, the Music Conservatory and Escuela Libre de Música. WS: What’s that instrument I just saw you playing? That’s an invention by the cuatrista Javier Alicea. It is called Cuatro-Quinto. It is a combination of a requinto guitar and a cuatro. It has five single nylon strings, instead of five metallic double strings like the cuatro. I find there is a problem in terms of sound with the cuatro when using a pickup for amplification. I prefer a deeper sound. And the Cuatro- Quinto give me a closer sound to what I’m looking for. WS: It is the same tuning as the cuatro? NO: Yes, but with single nylon strings. Plus the approach and touch is different. WS: Playing the cuatro, I guess your first influences came from Puerto Rico traditional music. NO: Yes, cuatristas like Masso Rivera and Yomo Toro.Then I heard Nieves Quintero and he blew my mind. I thought, this guy have another swing, it sounds like jazz. WS: So when you got in contact with jazz music? NO: I didn’t grew up with jazz but it caught my attention as soon as I heard it. I like guitarist like George Benson and Pat Martino, among others.
Jazzin' it Up in Puerto Rico Carli's Fine Bistro & Piano, San Juan Live Music Monday - Saturday Abracadabra Counter Cafe, San Juan Live jazz every friday night February 27th: William Machado Oceano, Condado, San Juan Live Jazz, Sundays 11am - 3pm Juan Aldahondo - guitar, Janice Maisonet tenor sax, Manuel Rodriguez - bass, Gamaliel Santiago - drums Ventana al Jazz, Condado, San Juan Last Sunday of the month Doña Ana Restaurant, Bayamón Live Music Thursday, Friday & Saturday Downtown, San Juan February 19, 8pm: Javier Fernández Big Band Classic Piano Concert Pianist Benjamin Grosvenor February 20, Sala de Festivales Antonio Paoli Centro de Bellas Artes Santorini. Ponce, Live Jazz Fridays 8pm Betances 100 Sur, Mayaguez Feature your Jazz Venue or Event: 787-942-9772
Jazzin' CD Reviews
MIGUEL ZENON'S IDENTITIES Miguel Zen贸n most recent album Identities are Changeable is another masterpiece from this Master Instrumentalist considered one of the best saxophonists in today's Jazz scene. After several albums exploring his Puerto Rican music roots, on Identities Zen贸n gets deep into the question of what it means being from Puerto Rico, especially to those living outside of the island. The result is an outstanding recording based on interviews with people of Puerto Rican descendence living in the US. Miguel compositions and Big Band arrangements masterfully translate the feeling and complexity of defining and/or discovering your cultural identity. Zen贸n got inspired not only by the words of the people interviewed but also by their way of talking and melodic intonation. Once again Zen贸n is accompanied by three amazing musicians, Henry Cole on drums, Hans Glawischnig on bass and Luis Perdomo on piano. For additional information go to www.miguelzenon.com
ROY MCGRATH MARTHA Despite his Irish name, and even though he lives in Chicago, saxophonist/composer Roy McGrath grew up in Puerto Rico and consider himself a native of the caribbean island. McGrath album Martha is an emotional dedication to his grandmother, filled with outstanding compositions and well developed arrangements. From the first track, Cole Porter's "Night and Day" McGrath establish an ambiance of intimacy with his audience; an intimate feeling kept all throughout the album. McGrath melodic ideas and total command of the saxophone leave no doubt you are listening to a master musician, but the greatest achievement in Martha is how McGrath brilliantly organize his music concepts and ideas. For additional information go to www.roymcgrath.com
BRENDA HOPKINS AEROPIANO After a couple of recordings focused on specific experiences and aspects of her music, pianist Brenda Hopkins Miranda comes back with maybe her most diverse album to date. As the tittle suggest, Aeropiano is an invitation to travel through Hopkins eclectic influences. Hopkins came from a classical piano education background, but her music taste and influences includes rock, jazz, brazilian, folk and latin music among others. All those music pallettes are included in Aeropiano. Aeropiano was selected as one of the best albums of 2014 by the Puerto Rico Popular Music Foundation (Fundaciรณn para la Cultura Popular), a recognition she received also for her previous two albums Recuerdos de Granada and Simple. For additional information go to: www.brendahopkinsmusic.com For full reviews go to Caribe Jazz Magazine www.caribejazzmagazine.com Listen to Miguel Zenรณn, Brenda Hopkins, Roy McGrath and more on Jazz and Bossa Radio www.jazzandbossaradio.com