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Layla Angulo brought her brand of Afro-Peruvian rhythms and jazz to the Triple Door in Seattle for this set, which turns out to be an entertaining one. Angulo wrote all the music except for "Muñeca, a Eddie Palmieri composition. The band is tight and can essay ideas that please and also work on long jams.
One of the most sparkling tunes is "La Rumbera, which has a lot going for it in the seamless lines of the horns, the percussion's showering dancing beats, and the singing of Eddie Rodriquez. Pianist Eric Verlinde lays improvisation open in clean and lithe lines. Angulo has her say, and she shows a deep tonality that grooves the melody. Percussion holds sway on "A Golpe De Cajon as the piece gradually builds in tempo, the ride getting more giddy as the musicians go along. The rhythm becomes sensuous, punctuated by Galand Green on trombone and Angulo as she comes up with an edgy, bristling solo.
"Muñeca flies right off. Green brings in an airy tone on his flight of becoming imagery with the flute, Verlinde enunciates emphatically on the piano, and Randy Burgeson is exuberant on the trumpet, his tonality adding resplendent colour. The rhythm section makes it all the more intense, each of the players engaging in the conversation and adding that extra dimension which serves to make a tune captivating.
This is a fun record. Sit back and listen or get up and dance. It'll get you either way.
Track Listing: Intro; La Noche Del Tambor; Desesperos; Luna Rosa; Muńeca; A Golpe De Cajon; Que Te
Valla Bien Sin Mi; Tus Manos; La Rumbera.
Personnel: Layla Angulo: director, alto sax, vocals; Eric Verlinde: piano; Jeff Norwood: bass; Randy
Burgeson: trumpet; Stuart Hambley: trombone; Galand Green: baritone sax, flute; Edsson
Otero: timbales, cajon; Walter A. Torres: congas, vocals; Rafael Quińones: bongos, cowbell;
Carlos Cascante: percussion, main vocals (except 9); Eddie Rodriquez: vocals, percussion
Year Released: 2005
| Record Label: Self Produced
| Style: Latin/World
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach. I fell in love with it. I wondered around until the owner (Pedro Soto) asked if I needed help. He then introduced me to John Coltrane, Miles Davis, Gerry Mulligan and the rest is history. I walked out of the store with my first jazz recording: Clifford Brown and Max Roach at Basin Street.