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On two-thirds of this masterful debut from tenor saxophonist/flutist Paul Carlon and his octet, things get deep into world rhythms, with Afro-Cuban grooves, some rhumba, a bit of cha cha, some Latin-infused Ellingtonian swing and Yoruban chants, Cuban timba, Colombian porro and Max Pollack's rumbatap (on "Rumbatapestry"), along with gorgeously lilting vocals by Ileana Santamaria (daughter of Cuban percussionist Ramon "Mongo" Santamaria) on "Rumbatapestry" and "Smada."
But they also bring things up from the Caribbean with "Street Beat," featuring a guest spot by tenor saxphonist Buddy Terry (Ray Charles, Horace Silver, Count Basie, Art Blakey) trading tenor saxophone solos with Carlon. Alto sax man Anton Denner also makes his contributions, sounding like an Oliver Nelson/Eric Dolphy workout; Terry takes it out there, while Carlon and Denner counterpoint him in a tighter, more mainstream mode.
"Extraordinary Rendition," a fresh and original bit of music-making, showcases the group's freewheeling dynamics: the two trombones build a solid foundation behnd a flute/alto/trumpet front line and the flat slap percussion of Max Pollack's rumbatap sound.
"The Spirit Calls" features Santamira's lovely voice in front of Carlon's brittle marimba-like mbira percussion, sounding at first very Old World, before undergoing a modern transformation. Carlon's tenor sax solo sounds dark and gritty in front of the propulsive rhythm, giving way to a Ryan Keberle's trombone turn, which builds from a tight and terse beginning to an eloquent and assertive statementfollowed by Santamaria belting out a second vocal turn.
The mix of styles hold together well on this cohesive, high-energy set. Other Tongues proves itself an auspicious debut, weaving together vibrant world music sounds with hard-edged modern jazz.
I love jazz because it's so different than pop and has an emotional pull that other music does not have.
I was first exposed to jazz when I saw Dave Brubeck in 1974.
The first jazz record I bought was Bitches Brew by Miles Davis.