Música De Las Américas (Miel Music)
Miguel Zenón
Released August 26, 2022
AllMusic Favorite Jazz Albums 2022
Grammy Nominee for Best Latin Jazz Album 2023
New York City Record Best Latin Releases of 2022
71st DownBeat Annual Critics Poll Top 20 Album of the Year
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About:
“This music is inspired by the history of the American continent: not only before European colonization, but also by what’s happened since—cause and effect,” says Miguel Zenón of his latest album of all original works, Música de Las Américas. The music grew out of Zenón’s passion for the history of the American continent, and the resulting album pays tribute to its diverse cultures while also challenging modern assumptions about who and what “America” is.
Featuring his longstanding quartet of pianist Luis Perdomo, bassist Hans Glawischnig, and drummer Henry Cole, Música de Las Américas represents a broadening of scope and ambition for Zenón, who is best known for combining cutting-edge modernism with the folkloric and traditional music of Puerto Rico. In realizing such a wide-ranging project, Zenón engaged the illustrious Puerto Rican ensemble Los Pleneros de La Cresta to contribute their unmistakable plena sound to the album, with additional contributions by master musicians Paoli Mejías on percussion, Daniel Díaz on congas, and Victor Emmanuelli on barril de bomba.
Zenón’s compositions on Música de Las Américas reflect the dynamism and complexity of America’s indigenous cultures, their encounters with European colonists, and the resulting historical implications. Zenón immersed himself in these topics during the pandemic, reading classics like Eduardo Galeano’s Venas Abiertas de América Latina (Open Veins of Latin America: Five Centuries of the Pillage of a Continent), which details Western exploitation of South America’s resources and became the inspiration for Zenón’s “Venas Abiertas.”
Other sources of inspiration include Sebastián Robiou Lamarche’s “Taínos y Caribes”, referring to the two major societies who inhabited the Caribbean prior to European colonization and who are the subject of the album’s opener. “They were the two predominant societies but were very different: the Taínos were a more passive agricultural society while the Caribes were warriors who lived for conquest,” says Zenón, who captures the clashing of the societies in the interlocking rhythms of the piece.
Following the thread of indigenous Caribbean societies, “Navegando (Las Estrellas Nos Guían)” pays homage to the seafaring culture that existed across the region. “One thing that blew my mind was how they could travel the sea at long distances just using canoes while being guided by the stars,” says Zenón. “That opens conversations about what’s ‘archaic’ versus what’s ‘advanced’ in terms of scientific achievement between the ‘New World’ and ‘Old World.’”
Zenón referred to the star formations used for navigation by those societies as the musical foundation of the song, which prominently features the percussion and vocals of Los Pleneros de la Cresta, who sing and accompany the titular chorus: “Navegando vengo, sigo a las estrellas.”
Possibly the most challenging piece on the album in its harmonic dissonance and complexity, “Opresión y Revolución” evokes the tension and release of revolutions on the American continent, notably the Haitian Revolution among others. Featuring the percussion of Paoli Mejías matched with the percussive piano work of Perdomo, the piece also reflects the influence of Haitian vodou music, which Zenón was heavily exposed to while working with drummer Ches Smith and his ensemble “We All Break.”
Although for many the term “empire” brings to mind the contemporary Western world, Zenón composed “Imperios” with the various indigenous empires of America in mind, including the Incas, Mayans, and Aztecs. “They were some of the most advanced societies at their time; as a matter of fact, they were in some ways more advanced than what was happening in Europe in terms of contemporary mathematics and astronomy, society and politics,” says Zenón. “There was something there already that was really advanced, and it makes me think about what could have been: what would have come out of that?” The melody derives from Zenón’s transcription of music from a ceremony of Aztec descendants, which is the counterpart to the rhythmic structure of the song.
“Bambula” features percussion virtuoso Victor Emmanuelli, whom Zenón lauds for pushing the musical envelope as a bandleader in his own right. The term “bambula” refers to a dance that was brought over by African slaves to the Americas. Over time, bambula became the rhythm commonly referred to as “habanera,” which is found in much of Latin American music today. Here, Zenón captures the feeling of connection across time and space that is carried by this single rhythmic cell:
“It’s a thread from New Orleans to Brazil to Central America back to Africa, across all these eras from the past to contemporary pop,” says Zenón. “For me, I wanted it to feel like you’re out at the dance, but at the same time hearing this more modern harmony and melody.”
In highlighting these connections across geographical regions, Zenón also returns to a major theme throughout the album: the conception of America not as a country—that is, only referring to the modern United States—but as a continent. “América, el Continente” makes that point clear while reminding listeners of the political implications of the United States assuming ownership of the term “America,” with its subtle erasure of the remaining Western hemisphere.
“Antillano,” named for the residents of the Antilles, showcases what Zenón is best known for: bringing together past and present in a forward-thinking, musically satisfying way. Ending the album on an optimistic note, the piece emulates aspects of contemporary dance music while serving as a feature for Daniel Díaz on congas. Some odd-meter surprises may fly past the ear of a casual listener, but they do so without any interruption to the musical flow so naturally conveyed by Zenón’s quartet.
In confronting often challenging historical topics on Música de Las Américas, Zenón has created a masterwork, whose musical delights will inspire and uplift while spurring a conversation about the problematic power dynamics across the American continent. The premise that modern jazz cannot be both grooving and emotionally resonant to the casual listener while formally and intellectually compelling is patently false, which Zenón proves here as he has time and again throughout his career.
Track Listing:
1. Tainos y Caribes 07:16
2. Navegando (Las Estrellas Nos Guian) 07:56
3. Opresion y Revolucion 08:45
4. Imperios 08:59
5. Venas Abiertas 07:35
6. Bambula 07:44
7. America, El Continente 07:42
8. Antillano 09:23
(All compositions by Miguel Zenón)
Personnel:
Miguel Zenón Quartet
Miguel Zenón: alto saxophone
Luis Perdomo: piano
Hans Glawischnig: bass
Henry Cole: drums
Featuring
Los Pleneros de La Cresta (Emil Martinez, Edwin “Wechin” Avilés, Joshuan Ocasio, Joseph Ocasio and Jeyluix Ocasio): panderos, percussion and vocals (2)
Paoli Mejías: percussion (3)
Víctor Emmanuelli: Barril de Bomba (6)
Daniel Díaz: congas (8)
Recorded March 21st & 22nd, 2022 at Big Orange Sheep
Brooklyn, NY by Michael Perez Cisneros, assisted by Kevin Thomas
Additional Recording by Antonio Caraballo (At Pasillo Sonoro/San Juan, Puerto Rico), Paoli Mejías and Daniel Díaz
Mixed and Edited by Peter Karam and Miguel Zenón
Mastered by Mark Wilder
Graphic Design by Abdiel Flores, WIGO Design
Produced by Miguel Zenón
Review:
Alto saxophonist, composer, and bandleader Miguel Zenón has focused his studies of Latin and Caribbean musics in a labyrinthine conversation with jazz throughout his career. The quartet’s last album, 2019’s wonderful Sonero, was dedicated to music associated with salsa singer and composer Ismael Rivera. Enabling Zenón’s vision are his longstanding bandmates: drummer Henry Cole, pianist Luis Perdomo, and bassist Hans Glawischnig. Música de las Américas also employs percussion quintet Los Pleneros De La Cresta and other guests in a work about the history of the American continent in pre- and post-Columbian eras.
Opener “Taínos y Caribes” reflects the contrasts between the cultures of the peace-loving Taíno people and their warrior rivals, the Caribe. Both were eliminated through colonization. An agitated piano vamp with strong Latin accents introduces Zenón and Cole responding with boppish statements, and Perdomo’s solo is fleet, incisive, and authoritative. Zenón delivers a knotty, Charlie Parker-esque solo before returning to the melody. Single “Nevegando (Los Estrellas Nos Guian)” meditates on Caribbean sailors in canoes who navigated solely by the stars. A bell-like piano intro is appended by bass and whispering cymbals. Percussionists enter, establishing the rhythmic flow before Zenón glides through the melody and indulges in a swinging, riveting solo and a soulful group chant. “Opresion y Revolucion” offers complex polyrhythms in evoking the Haitian Revolution and the influence of its vodou music. Guest percussionist Paoli Mejías converses with Perdomo in a harmonically advanced, ferociously percussive attack. The stately opening of “Imperios” is processional, meant to evoke the empires of the Aztecs, Mayans, and Incas and their many cultural and scientific achievements. The lilting melody dictates Zenón’s solo, punctuated by a rhythm section that envelops him in flow while stretching the frame; it allows the saxophonist to alternate between fiery single lines and phrases that syncopate the rhythm’s beats. “Venus Abiertas” references Eduardo Galeano’s seminal book Open Veins of Latin America: Five Centuries of Pillage of a Continent about the exploitation of South America’s natural resources. Perdomo offers a spare, mournful reflection of the title. Zenón echoes it on entrance, but quickly changes direction as his alto screams, evoking the rage, panic, and fear of a plundering that continues today. “Babula” features guest percussionist Victor Emmanuelli. The slippery, pronounced rhythms and labyrinthine melody are articulated by the saxophonist and the pianist. They reflect a dance brought to the Americas by African slaves; the same rhythm, called habanera, is used in much of today’s Latin American music. Closer “Antillano” is titled after residents of the Antilles. Zenón merges past and present with a distinctively celebratory Latin-Caribbean groove. Guest conguero Daniel Diaz assists the quartet in navigating shifting tempos and complex meters even as the band flows with lyric joy. Música de las Américas is Zenón’s crowning achievement as a composer and bandleader. While the ambition of the project could easily have filled several albums and derailed a lesser talent, in his hands it is a commanding statement on history, tragedy, revolution, evolution, and the continued struggle for self-determination and dignity.
Thom Jurek (AllMusic)
