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Cuban-American pianist/composer David Virelles continues the exploration of Afro-Cuban musical traditions begun with his first recorded collaboration with vocalist/percussionist Roman Diaz on Continuum (Pi Recordings, 2012), continuing through Mbókò (ECM, 2013) and Antenna (ECM, 2016). He uses "gnosis" to refer to ancient collective knowledge, and this music is about the intersection of culturescontemporary improvisational language and Cuban sources, especially the sacred Abakuá percussion ensemble.
There are over a dozen instrumentalists and vocalists employed, but they are mostly broken up into various small ensembles: the concert premiere was billed as "futuristic Afro-Cuban chamber music." So it is definitely not the massive ensemble sound one might expect at first glance. The set opens with "Del Tabaco Y El Azúcar," a deliberate pianistic exploration accompanied by Thomas Morgan's double bass and an eclectic percussion ensemble. "Fitití Ñongo" goes into more rhythmic territory, and then "Lengua I" cuts the group size back for the first of several piano solos. "Erume Kondó" is the first track featuring traditional percussion and chant from Díaz, followed by the more extended "Benkomo."
From there the texture continues to shift. Sections with the full ensemble (often with Allison Loggins-Hull's flute in the lead) such as "Tierra" and "Visiones Sonoras" alternate with more vocal selections, another feature for Morgan's bass with percussion ("Nuná"), and solo piano. In fact Virelles closes out the set on piano with two unaccompanied tracks ("De Cuando Era Chiquita " and "De Coral"). Yet the entire program maintains a consistent tone, simultaneously ancient and contemporary: a ritual for the modern world.
Track Listing: Del tabaco y el Azúcar; Fitití Nongo; Lengua I; Erume Kondó; Benkomo; Tierra; De
Ida y Vuelta I ; Lengua II; De Ida y Vuelta II; Nuná; Epílogo; Dos; Caracola; Visiones
Sonoras; De Portal; De Tres; De Cuando Era Chiquita; De Coral.
Personnel: David Virelles: piano, marimbula, voice; Román Díaz: voice, percussions; Allison
Loggins-Hull: flute, piccolo; Rane Moore: clarinets; Adam Cruz: steel pan, claves; Alex
Lipowksi: percussions; Matthew Gold: marimba, xilophone; Mauricio Herrera: ekón,
nkonos, erikundi, claves; Thomas Morgan: bass; Yunior Lopez: viola; Christine Chen,
Samuel DeCaprio: cello; Melvis Santa, Mauricio Herrera: voice.
As a songwriter and vocalist, I love jazz for the experience of being in the center of intense creativity. It is the most potent form of music for keeping the artist and the audience in the 'now. Being in the moment is essential for humans, and we need help in learning how to do that. As a songwriter, I need the depth of musicality that jazz voicings can give my stories. My songs seem light and whimsical, but the message is not.
I met my main collaborator, Mark Fitzgibbon, at one of his gigs. I needed to do my first original album, and his playing was masterful, robust, and beautiful. At the time, I didn't realize how suited we were as a team. We're onto our 4rth album together.
My advice to new listeners is to listen to a really clear and simple version of a song so you can then hear what the musicians are doing and enjoy their creativity and musicality. Also, you have to see jazz live to appreciate it fully. You'll never feel it the same way listening to a CD or online. You need the vibration to go through your body to really get it!
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