Un Systema Para Todo
Tumbao Bravo
PKO Records
Jazz is a collaborative art form, but many modern jazz projects form around an individual rather than a group. The bandleader becomes the primary songwriter, the featured soloist, and the projects public face. The individual musician may have a hired band or even a regular working ensemble, but the bandleader remains the artistic ringleader. Subsequent recordings or performances follow one persons artistic vision with the other musicians providing support roles. All the musicians may make major contributions, but the individual, not the collective, forges the greater statement. The idea of making a long-term commitment to a group of musicians and collectively building a shared vision and strong musical relationship has sadly become an uncommon occurrence. When a group of musicians follows this collaborative ideal, the results stand apart from other projects. The Detroit based band Tumbao Bravo displays this group aesthetic on their release Un Systema Para Todo with a straight-ahead Latin Jazz set consisting of artistic contributions from each band member.
A Large Number of Compositions From Nacif Conguero Alberto Nacif provides a large number of compositions to the ensemble. The band explodes into Un Systema Para Todo with a bold melody based upon variations of a short rhythmic phrase. Paul Vornhagen exposes the flutes percussive nature with an energetic improvisation until trumpet player Robert Mojica provides a contrasting statement that includes longer flowing ideas. Pianist Wesley Reynoso reveals a powerful voice that includes intense syncopated phrases and engaging rhythmic tension. After Reynoso crafts a delicate solo introduction on Victoria, Vornhagen jumps into a moving line that segues smoothly into an elegant danzon. The rhythm section builds into a driving cha cha cha, providing a perfect foundation for Mojicas lyrical statement. Vornhagen follows with a solo built on strong melodic and rhythmic development until Reynoso constructs a logical statement, based upon traditional Latin Jazz piano licks. A spacious melody floats over a constant bass pattern on Habla, when a series of band hits pushes the group into Reynosos energetic solo. Vornhagens soprano sax cuts through the thick band texture with fast runs and strong ideas. Mojica delivers a smartly developed solo, leading into a driving montuno for Nacifs exciting improvisation. The band creates a sly and ominous feeling with a minor melody on Pushkin, my friend, contrasted by a quick tonality change and a major melody. As the major chord progression gains momentum, the group evokes the feel of a classic descarga with explosive solos from Vornhagen, Mojica, and Reynoso. After a return to the melody, Nacif displays tradition and dexterity in an inspired statement until timbalero Javier M. Barrios fills between band hits with vigorous enthusiasm. The diversity of Nacifs compositions both shows the depth of his own background and they provide ample opportunities for band members to demonstrate their skills.
Tumbao Bravo
PKO Records
Jazz is a collaborative art form, but many modern jazz projects form around an individual rather than a group. The bandleader becomes the primary songwriter, the featured soloist, and the projects public face. The individual musician may have a hired band or even a regular working ensemble, but the bandleader remains the artistic ringleader. Subsequent recordings or performances follow one persons artistic vision with the other musicians providing support roles. All the musicians may make major contributions, but the individual, not the collective, forges the greater statement. The idea of making a long-term commitment to a group of musicians and collectively building a shared vision and strong musical relationship has sadly become an uncommon occurrence. When a group of musicians follows this collaborative ideal, the results stand apart from other projects. The Detroit based band Tumbao Bravo displays this group aesthetic on their release Un Systema Para Todo with a straight-ahead Latin Jazz set consisting of artistic contributions from each band member.
A Large Number of Compositions From Nacif Conguero Alberto Nacif provides a large number of compositions to the ensemble. The band explodes into Un Systema Para Todo with a bold melody based upon variations of a short rhythmic phrase. Paul Vornhagen exposes the flutes percussive nature with an energetic improvisation until trumpet player Robert Mojica provides a contrasting statement that includes longer flowing ideas. Pianist Wesley Reynoso reveals a powerful voice that includes intense syncopated phrases and engaging rhythmic tension. After Reynoso crafts a delicate solo introduction on Victoria, Vornhagen jumps into a moving line that segues smoothly into an elegant danzon. The rhythm section builds into a driving cha cha cha, providing a perfect foundation for Mojicas lyrical statement. Vornhagen follows with a solo built on strong melodic and rhythmic development until Reynoso constructs a logical statement, based upon traditional Latin Jazz piano licks. A spacious melody floats over a constant bass pattern on Habla, when a series of band hits pushes the group into Reynosos energetic solo. Vornhagens soprano sax cuts through the thick band texture with fast runs and strong ideas. Mojica delivers a smartly developed solo, leading into a driving montuno for Nacifs exciting improvisation. The band creates a sly and ominous feeling with a minor melody on Pushkin, my friend, contrasted by a quick tonality change and a major melody. As the major chord progression gains momentum, the group evokes the feel of a classic descarga with explosive solos from Vornhagen, Mojica, and Reynoso. After a return to the melody, Nacif displays tradition and dexterity in an inspired statement until timbalero Javier M. Barrios fills between band hits with vigorous enthusiasm. The diversity of Nacifs compositions both shows the depth of his own background and they provide ample opportunities for band members to demonstrate their skills.
