Canto América (Patois Records)
Michael Spiro/Wayne Wallace
La Orquesta Sinfonietta
Released February 12, 2016
Grammy Nominee for Best Latin Jazz Album 2017
YouTube:
https://www.youtube.com/watch?v=ZH8ns9jSEAI&list=OLAK5uy_nieioceMsprFKIt3fge7mHXTu5AvTIUPY
Spotify:
https://open.spotify.com/album/6Bnuy12E9Wd3Cip8ZAjWmf?si=ZSrUYcB3SeerYxwBm3D8QQ
About:
The majority of contemporary projects in the Latin jazz genre have focused on woodwinds, brass and the rhythm section. Yet traditional Latin American music has firm and long established roots in the classical string tradition, an aesthetic that played a major role in the development of music throughout the Americas. Canto América speaks to the revitalization of the concept of a strong percussive foundation combined with the harmonic and orchestral elements of classical music. Using both Afro-Cuban folklore and the multi-Grammy nominated Wayne Wallace Latin Jazz Quintet as its foundation, La Orquesta Sinfonietta pairs the San Francisco Bay area’s most acclaimed Latin musicians and singers with awarding winning classical performers from Indiana University’s Jacobs School of Music. The result is a unique and dazzling combination of Latin jazz, folkloric Afro-Caribbean music and classical form and orchestration.
Track Listing:
1. Canto América (Amanecer/Dawn) (Wayne Wallace) 1:55
2. La Propaganda de Hoy (Michael Spiro / Wayne Wallace) 6:56
3. Stardust (El Encanto) (Hoagy Carmichael / Mitchell Parish / Michael Spiro) 8:43
4. Afro Blue (Obatalá) (Mongo Santamaria) 12:15
5. Hispaniola (Aganyú) (Wayne Wallace) 5:22
6. El Médico (Michael Spiro / Wayne Wallace) 7:15
7. El Caldero de Ogun (Traditional) 6:53
8. Ochun’s Road (El Camino De Ochun / Traditional) 11:07
9. Canto América (Puesta del Sol/Sunset) (Wayne Wallace) 2:13
Personnel:
Michael Spiro: percussion/arrangements
Wayne Wallace: trombone, euphonium, arrangements
Colin Douglas: trap drums, percussion
David Belove: electric bass
Murray Low: piano
Jeremy Allen: double bass, fretless bass (1, 3, 7, 8, 9)
Jamaal Baptiste: piano (8)
Christian Tumalan: piano (8)
Jesus Diaz: lead vocals (4, 7)
Mike Mixtaki: vocals (4, 5, 7, 8)
Edgardo Cambon: vocals: (2, 3, 6)
Fito Reinoso: vocals: (2, 3, 6)
John Santos: vocals: (2, 3, 6)
Cecilia Englehart: vox humana (1, 8, 9)
Maria Marquez: vox humana (1, 8, 9)
Joe Galvin: vocals (3, 4, 8) percussion (4, 5, 6, 7, 8)
Kristin Olson: vocals: (3, 4, 8) percussion (4, 5, 7, 8)
Nate Johnson: vocals (8)
John Calloway: flute (2) solos (3, 4)
Tom Walsh: alto sax (7,8)
Joe Anderson: trumpet, ewi (5, 7, 8)
Brennan Johns: trombone, bass trombone, mellophone, French horn (1, 2, 4, 6, 7, 8, 9)
Steven Banks: clarinet, bass clarinet (3, 7)
Gabe Young: oboe (1, 3, 7, 8, 9)
Marco Nunez flute, alto flute (1, 3, 7, 8)
Matt Shugert: flute (3, 7)
Daniel Stern: principal violin (1, 2, 3, 4, 5, 6, 7, 8, 9)
Charlene Kluegel: violin (1, 2, 3, 5, 6, 7, 9)
Maria Jose Romero: violin (1, 2, 3, 5, 6, 7, 9)
Nidhal Jebali: violin (1, 2, 3, 5, 6, 7, 9)
Yoni Gertner: viola (1, 2, 3, 5, 6, 7, 9)
Tze-Ying Wu: viola (1, 2, 3, 4, 5, 6, 7, 8, 9)
Etan Young: cello (1, 2, 3, 4, 5, 6, 8, 7, 9)
Brady Anderson: cello (1, 2, 3, 5, 6, 7, 9)
Eric Juberg: alto sax (4)
Jonah Tarver: alto sax (4)
Sam Motter: tenor sax: (4)
Tonu Maas: tenor sax (4)
Theo Simpson: bari sax (4)
Rachel Rodgers: flute (4)
Alexandra Signor: trumpet (4)
Joe Anderson: trumpet (4)
Iantheia Calhoun: trumpet (4)
Cean Robinson: trumpet (4)
Kevin Wilson: trumpet (4)
John Sorsen: trombone (4)
Brennan Johns: trombone (4)
Miro Sorber: trombone (4)
Richard Marshall: trombone (4)
Min Ju Kim: violin (4, 8)
Recorded at Knob & Tube, San Francisco, CA
Megasonic Recording, Oakland, CA
Primary Sound Bloomington, Indiana
Produced by Michael Spiro and Wayne Wallace
Engineer: Gary Mankin, Jacob Belser
Mixing: Gary Mankin
Artwork: Marcus Gordon
Review:
The historical evolution of the Caribbean Basin
and specifically the Greater Antilles, has been over five hundred years in the
making. The triangular connections between Europe, Africa, and the New World
with its ensuing social and economic constraints, established the conditions
for an innovative culture in the region. The enculturation process led to the
creolization of the music and the creation of hybrid religions as Santeria in
Cuba, and Voudou in what was then Hispaniola (Saint-Domingue), adding an
intriguing dimension to musical development. In an ambitious and panoramic
endeavor, percussionist Michael Spiro, and trombonist Wayne Wallace, with supplemented roles as arrangers and producers,
formed La Orquesta Sinfonietta, and present Canto América an
engaging narrative of the Afro-Caribbean experience on a grand scale.
With this project encompassing such a broad
scope, Spiro and Wallace decided to prepare themselves with a full string
orchestra, wide-ranging horn section, and an array of vocalists, to augment
their dependable Latin Jazz Quintet. Having an ample supply of over fifty assorted
instruments and voices at their disposal, they were able to pick and choose
from individual soloists to string quartets and big band scenarios, all
enhanced by Spiro’s propelling percussion so dominant in this production.
The preamble “Canto America (Amanecer/Dawn)”
offers an opus to Osain, the Yoruba god of the forest, as female voices blend
with strings for a soft approach, as when the Spanish caravels first arrived
into the tranquil islands, which would soon be disrupted. There is a definite
Afro-Cuban concentration evident throughout, and “La Propaganda De
Hoy,” is a nod to Los Van Van, the innovative Cuban ensemble which
reenergized the dance craze on the island with its funk and timba variations.
The strings are positioned in the forefront to engage with the percussion and
brass, as the repetitious vocal chorus encourages the dancers.
The Cuban danzón is revitalized on Hoagy
Charmichael’s “Stardust,” which is treated with lush orchestration in
the initial section, evolving into an unmistakable cha-cha-cha, in a brilliant
arrangement exchange. Another standard undertaken with a fresh approach is
“Afro-Blue,” by Mongo Santamaria. This perennial favorite is transformed into a folkloric rumba ovation
to Obatalá, the Yoruban god of wisdom, before taking an unexpected turn into
jazz improvisation swirling around polytonal harmonies and emphatic drumming,
again accented by the vocal chants. The incantations continue on
“Hispaniola,” where the deity Aganyú, who rules over volcanoes and
earthquakes, is honored with the batá drums in a traditional Haitian petro
rhythm, again emphasis is placed on the string integration, adding a novel
concept.
Wayne Wallace gives himself some credit with his
acquired nickname, on “El Medico,” an elaborate rhythmic explosion
which improvises upon the styles of rumba, guaguanco, charanga, and timba.
Wallace obviously enjoying a chance to do some trombone soloing amidst the
celebration. Continuing with the Santeria concept, Ogun is the orisha (god) of
metal, and on “El Caldero de Ogun,” is touted with the essential
chanting, proceeding into jazz territory with pianist Murray Low taking it
straight ahead, augmented by a fierce electric and acoustic twin bass attack. A
complex percussion syncopation takes over the ending, in a show of strength and
durability worthy of Ogun.
But not all is so male dominant in the Yoruban
folkloric and religious landscape, as femininity is honored with “Ochun’s
Road.” Ochun is the goddess of love, beauty, and sensuality, and being the
youngest, is the most attractive. This a majestic arrangement, moving from
tranquility into a cadenced scenario where melody and orchestration introduce
the entrancing chorus as if from a sacred session, reclining into a mellow
scenery.
The finale “Canto América (Puesta del
Sol/Sunset)” is a forgiving invocation of the spirits, as the proverbial
sun sets on the Caribbean. Though historically and culturally turbulent, the
Caribbean is also a paradise on earth as depicted in the media, and part of its
allure has been its rich and diverse musical heritage and contribution. With
extensive and informative liner notes and insights, Michael Spiro and Wayne
Wallace have done a tremendous favor to those interested in not only the music,
but also the academic and intellectual approach to its formation and evolution
as well. In Wallace’s own words: “You have to go a long way to find
anything else out there that blends Afro-Cuban folkloric music with the modern
forms, diverse instrumentation, and vocals that we have here.”
James Nadal (All About Jazz)
