Ramiro Zayas: FAMILIA feat. Basel Jazz Orchestra

Sometimes our friends and associates form some of the strongest bonds, sometimes closer than actual relatives. In this light, the concept of a familial bond is not solely limited to blood relationships. Argentine pianist and composer Ramiro Zayas is fully aware of this, and on Familia, he approaches the musician ensemble as an extended family. Written for and recorded with the Basel Jazz Orchestra, the album builds on this idea. This is a musical community shaped by collaboration, mentorship, influence, and time spent listening closely to one another. As a result, the musicians create a space for close collaboration and interaction.

Zayas's compositions offer an effective balance of Latin rhythms, contemporary jazz harmony, and big-band orchestration. The concept of a bond among musicians is immediately evident in the title track. Here, the orchestra delivers a catchy rhythmic vibe that combines disparate elements into one setting, serving as a metaphor for an extended family. There is a balance of structure and improvisation, with a touch of cacophony that ultimately resolves into harmony.

"La Cosecha" first appeared on the 2024 release Parte Del Viaje (Club Del Disco) with a smaller group. Originally composed with a big band in mind, the piece comes to fruition in this setting. A strong rhythmic pulse runs beneath the surface, while the melody, which is inspired by Wayne Shorter 's "Nefertiti," builds in intensity as the song progresses. Trumpeter Sebastián Greschuk's solo adds lift and clarity, effectively enhancing the tune's quiet momentum.

Not veering too far from the Wayne Shorter territory, "Mares" offers an atmospheric composition inspired in part by Gil Evans 's "The Barbara Song," from The Individualism of Gil Evans (Verve, 1964), which featured Shorter on saxophone. Zayas's arrangement builds with the slow-burning intensity of a film noir soundtrack. Saxophonist Katie Webster's solo reinforces the introspective mood with a tone reminiscent of Paul Desmond.

The big band feel is in full effect with the energetic number, "Feed the Cat." Built around a steady groove, layered with melodic fragments, the piece feels intentionally unsettled. Although the song does ultimately find resolution, as Zayas observes, "no cats were fed during the recording." 

This idea of searching for resolution is also present in "An Open Question." However, the search here is never fully resolved, as the ensemble grows in intensity, tenor saxophonist Charley Rose navigating the terrain, until the piece finally dissolves into the void. 

Although most of the songs on Familia are original compositions, Zayas does feature "Autopsicografia," by Giani Gagliardi, a song based on a poem by Fernando Pessoa. Brazilian vocalist Joyce Bastos adds warmth and intimacy to the piece, while trumpeter Álvaro Ocón Ocón contributes a lyrical, melodic solo. That sense of personal reflection continues on "Argento," which reconnects Zayas with memory and place, drawing on Argentine folk elements filtered through the harmonic language of Billy Strayhorn and Duke Ellington. 

Throughout Familia,, Zayas uses the ensemble to convey his view of a musical collaboration. His work with The Basel Jazz Orchestra exemplifies professionalism and camaraderie. Rather than simply being a showcase for large-ensemble composition, this album feels like a truly collective and resonant work shaped by musicians who listen to each other with respect and keep the idea of extended family vital.