Oscar Perez Nuevo Comienzo: Afropean Affair

Rating: ★★★★

Record and Artist Details

Musicians:

Stacy Dillard (ts, ss)
Oscar Pérez (p, Fender Rhodes)
Jerome Jennings (d)
Charenee Wade (v)
Anthony Pérez (b)
Greg Glassman (t, flhn)
Emiliano Valerio (perc)

Label:

Chandra

November/2011

Catalogue Number:

CHR 8094

RecordDate:

date not given

This band (Nuevo Comienzo means “New Beginnings”) is so much more than just another Latin jazz group. Pérez, son of a Cuban immigrant and a Colombian violinist mother, studied with Danilo Pérez (no relation) and Sir Roland Hanna. His compositions have influences in European classical music, but though you can also feel African, American and Caribbean characteristics, this is first and foremost post-bop jazz of the highest order played by some of New York’s finest. Queens-based Pérez is a strong, confident soloist in every genre in a manner that sometimes recalls that of one of his favourites, Chick Corea and his constantly swinging band is excellent. Stacy Dillard continues to impress with well-constructed soulful tenor solos and a style that seems to become more personal with every recording. Glassman has an equally individual conception and makes a thoroughly sympathetic front-line partner, while the rhythm section is completed by Oscar’s able brother on bass and a hard-swinging, very New York drummer Jerome Jennings, with Valerio’s powerful percussion adding passion and additional colour to his tracks. The surging ‘Illusive Number’ with its tricky meters and challenging changes, ‘Canaria’ with its haunting melody line, the contrasting quietly intense ballad ‘As Brothers Would’, followed by the subtle 7/8 ‘Paths And Streams’ make up the first half of the album, all featuring strongly individual solos to suite the songs. The final 30 minutes belong to the three contrasting movements of Pérez’ ‘Afropean Suite’, in which his Cuban heritage, roots and religious beliefs are strongly to the fore, aligned with his classical studies which are evident in many of the harmonies he employs. Charenee Wade’s warmly wordless vocals add another harmony line and blend beautifully with Dillard’s soprano and Glassman’s flugel, especially on ‘Last Season’s Sorrow’. Valerio’s energetic percussion fires the soloists again on the closing optimism-loaded ‘New Day Emerging’. Prado’s writing and playing for a band that’ll knock your socks off make this an outstanding recording.

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