"Cubana-Be Cubana-Bop" has come a long way. With clave in his soul, trombonist Wayne Wallace proves, yet again, on Bien Bien! that the cheer of the music is truly infectious. Wallace is rare among musicians who can swing as well as he can clave. With the addition of shuffle rhythms and backbeats bubbling under the skin, he creates glorious music even with just a few notes on his 'bone.
On Bien Bien! Wallace has made several outstanding things happen: he employs two trombonists other than himselfJulian Priester
and Orlando Torriente share English and Spanish honors on one track. Additionally, between drummers Paul van Wageningen and Michael Spiro, there appears to be a whole percussion orchestra, as pianist Murray Lowe brilliantly explores the rhythms hidden in the melodies and bassist David Bedlove thumps the strings .
Bien Bien! is a cheerful packageat least until the eighth trackbecause throughout, Wallace employs his characteristic swaggering tone on an instrument that can sound both languid and sexy. The trombone is also the most naturally human of instruments in the brass family, and Wallace, Priester and Martell have a fine time playing this characteristic to the max.
Then, there are the songs. On "Freedom Jazz Dance" Torriente and Washington, mimic the baile with superb rap and Corazon. Priester both purrs softly, jaguar-like, and growls with a mighty swell on both "Building Bridges" and "Going Up." Martell is comparatively livelya leaping gazelle to Priester's cat. Wallace is characteristically soulful and complete throughoutespecially on "In A Sentimental Mood," while "Mojito Café" is characteristic of the sublime rhythm of the entire record.
's "Africa" alone makes this record worthwhile. Wallace's wailing arrangement also features a slow buildup of percussion to a thunderous low, with the bass kicking in mightily, followed by bright splashes of cymbals. The song, as Coltrane conceived it, is a musical journey from slavery to freedom. Wallace's inspired interpretation adds to trombone literature, the wistfulness of his instrumentas it breaks down the mournful episode of slavery to the eventual triumph of freedompoignant and unforgettable. The overall crunching rhythm of the song mimics the many oars and chains that once helped sail those ancient ships to America. Best of all, the sharp contrast of this version to the original that John Coltrane and Eric Dolphy createdno brass other than trombones hereis remarkable and fresh. On the merits of "Africa" alone, Bien Bien! represents a career high point for Wallace.
Track Listing: ¡Bien Bien!; Freedom Jazz Dance (Baile de Libertad); Mojito
Café Building Bridges; In A Sentimental Mood; Playa Negra; Going
Up! (¡Súbete!); Solid; Africa.
Personnel: Wayne Wallace: trombone, vocals; Murray Low: piano, vocals; Mike Spiro: percussion, vocals; David Belove: bass, vocals; Paul van Wageningen: trap drums, vocals. Special Guests: Julian Priester: trombone (1st solo - 4, 1st solo - 7); Dave Martell: trombone (2nd solo - 4, snd solo on duet - 7); Kenny Washington: English lead vocals (2); Orlando Torriente Spanish lead vocals (2); David Chaidez: background vocals (2); Alexa Weber Morales: background vocals (2); Karen Aczon: background vocals (2); Sakai: background vocals (2); Jody Noble: background vocals (2); Sheryl Lynn Thomas: background vocals (2); Ron Stallings: background vocals (2).