Miguel Zenón Quartet: Vanguardia Subterránea: Live at The Village Vanguard

The perfect sports analogy for saxophonist and composer Miguel Zenon might just be baseball legend Roberto Clemente. Both were born in Puerto Rico, and both are revered as masters of their respective crafts. Clemente was a perennial All-Star, a World Series MVP, a Gold Glove winner and a National League batting champion. Zenón, for his part, has been honored with a Guggenheim Fellowship, a MacArthur "genius" grant and a Doris Duke Artist Award. He is frequently recognized as alto saxophonist of the year, and has also earned accolades as composer and arranger of the year. Like Clemente, Zenón doesn't merely compete—he excels above and beyond.

With Vanguardia Subterránea, his 18th release as a leader, Zenón marks a significant first: It is his debut live album. Of the many ensembles he leads—including his big band, the Golden City Nonet and chamber collaborations with Quartetto Sincronie and the Spektral Quartet—he chose his long-running quartet to document this moment at New York's iconic Village Vanguard. The lineup is a seasoned unit of over 20 years: pianist Luis Perdomo, bassist Hans Glawischnig and drummer Henry Cole.

The performance opens with "Abre Cuto Güiri Mambo," a reimagining of Arsenio Rodriguez's classic Cuban dance tune. The quartet electrifies it with blistering speed and surgical precision, transforming a rhythmic groove into a kind of high-velocity sprint. On "El Día de Mi Suerte," Zenón reshapes a salsa hit by Willie Colón and Héctor Lavoe. Glawischnig's agile bass introduces the piece, which evolves from its straightforward melody into a complex, multilayered structure. Solos by Zenón and Perdomo unfurl the composition like a coiled spring, revealing its full architecture.

"Vita," written in memory of Zenón's grandmother, is a lyrical ballad. His tone here is tender and luminous, evoking the introspective beauty found in the playing of Frank Morgan and Bobby Watson. The mood shifts abruptly with "Dale la Vuelta," a kinetic piece that sounds like a 33 1/3 LP accidentally spun at 45 rpm. The quartet handles the tempo and turbulence with ease, proving once again their intuitive grip on Zenón's intricate writing.

"Coorenadas" takes things further into abstraction. Composed using the geographic coordinates of the Village Vanguard and each band member's birthplace, Zenón encodes the numbers into pitch material. What might sound academic on paper becomes a fluid and organic piece of music, allowing space for freewheeling solos within a tightly constructed framework.

The title track, "Vanguardia Subterránea," begins with a hypnotic pulse from Cole, over which Zenón, Perdomo and Glawischnig seem to float. As the piece progresses, the musicians swap roles—keeping time, breaking free, converging again—until the rhythm and harmony converge into a unified, collective sound.

"Bendición" (blessing) offers one of Zenón's most tender melodies, a flowing line that showcases his lyrical sensibility and provides a platform for Perdomo's expressive piano playing. The set closes with "Perdóname," an instrumental interpretation of a salsa classic by Jorge Luis Piloto, popularized by Gilberto Santa Rosa. In Zenón's hands, it becomes a bridge between popular music and jazz, underscoring his ongoing commitment to a music that celebrates diversity, equity and inclusion.

With Vanguardia Subterránea, Zenón does not just make his mark at the Village Vanguard—he redefines the possibilities of live jazz performance, grounding personal and cultural history in a language that is both boldly modern and deeply rooted.

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