If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...
The personal attractions which originate with music can have life altering consequences, leading to total immersion in another culture and the discovery of oneself in the process. Trombonist May Peters is a perfect case in point. Born and raised in Holland, with extensive musical training, she has had a lifelong fixation with salsa music, which led her to relocate to Puerto Rico, culminating in her production of Tributo de Tambor y Trombon en Clave de Mujer Boricua.
This is an instrumental compilation of songs composed and performed by female Puerto Rican cabaret singers during the golden days of radio on the island, which was saturated with boleros, danzas, and mambos. Dramatic liberties were taken with the arrangements by pianist/producer Eric Figueroa, who set up all the songs with a dominant percussion factor and has Peters leading the charge with a ferocious combination of energy and finesse. Having paid her dues with numerous salsa, bomba, and plena bands, she obviously thrives in this environment and the results are impressive.
The musicians on this record are some of the best in Puerto Rico. Anchored by veteran bassist Ramon Vazquez and conga master Paoli Mejias, they are all experts in the Afro-Caribbean tradition and know precisely how each complex rhythmic variation should be executed. Peters melodically improvises through the songs as if surfing on a pulsing wave.
Starting off with "Dí Corazon," by the revered Sylvia Rexach, and going right into "Caramelo y Chocolate," by the risqué vedette Iris Chacon, Peters and company firmly lay down the familiar lyric lines, then the heat is turned up. The standout number is Lucy Fabery's "La Oportunidad"; clocking in at over eight minutes, it has plenty of room for stretching out and developing a solid groove. The pace is slowed down for "Medly Myrta Silva," a steamy bolero dedicated to the legendary Myrta Silva, who was known for her showmanship and flamboyant personality.
Though perhaps not familiar outside of Latin music aficionados, these women were influential artists and composers, and admired by generations. This tribute by Peters is exceptional and indicates her profound knowledge---both of the music and where it can be creatively transported.
Track Listing: Di Corazón; Caramelo y Chocolate; Estoy Enamorado; La Oportunidad; Si Tu No
Hubieras Ido; Medley Myrta Silva; Nací & Así Hoy; Tu Equivocación; Medley Myrta Silva
Radio Version; Nací & Así Hoy Extended.
Personnel: May Peters: trombone, producer; Eric Figueroa: piano, arranger, producer; Ramón
Vázquez: bass; Paoli Mejías: tumbadoras, congas, buleador, panderos; Tony Escapa:
drums; Manolito Rodríguez: timbales; Daniel Díaz: bongos, buleador, panderos, quinto,
seguidor, tumbador; Pablo "El Indio" Rosario: maracas, guïro, clave; Greg Schmitt:
electric guitar; Pedro Guzmán: Puerto Rican cuatro; Mickey Alvarado: surdo, tamborine,
shekere, caxixi, cuica, whistles, percussion effects; Raul Berrios: cuica, shekere;
Cándido Reyes: guicharo.