Yo Soy La Tradición (Miel)
Miguel Zenón
Released June 5, 2018
2018 NPR Music Jazz Critics Poll Top 5 Latin Album
YouTube:
https://music.youtube.com/playlist?list=OLAK5uy_muJEnEIb1lWHHZ2RskVKyix6fBughCG78
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About:
The music on this recording draws from various musical and cultural traditions from my native Puerto Rico. These traditions – present in one way or another for almost 200 years – are the by-product of various factors, all of them vital to the development of Puerto Rican Identity. These factors include:
— The Colonization of America, which essentially forced a head-on collision of cultures from all over the world and had an impact on every territory it touched.
— The Island’s unique topography and size, which facilitated the distribution of information and contributed to its preservation.
— Puerto Rico’s distinctive political status, bonding the country as a territory of the United States while fighting to preserve its language, culture and traditions.
Most of these traditions, kept alive by families and tight-knit communities, are in constant evolution. They embody the richest and most historically relevant cultural expressions Puerto Rico has to offer and provide a seemingly endless well of information and inspiration. I was drawn to the idea of writing a series of pieces that extracted elements from these traditions, using them as a point of departure for each composition. The pieces are scored for Alto Saxophone and String Quartet and are meant to provide a platform where various musical worlds (Jazz, Puerto Rican Folklore, New Music) can find common ground in a chamber-like context.
Rosario – This piece draws from “El Rosario Cantado”, a tradition with roots in the Holy Rosary and The Catholic Church. In these “Rosarios”, usually reserved for funerals and other religious occasions, each segment of the Rosary is presented in its usual order, but musicalized with traditional instruments. The musicians hired for these events specialize in this repertoire, which has been passed on to them from generation to generation.
Cadenas – “Las Cadenas” is a musical tradition centered on a four-line, six-syllable verse. In the same manner as similar genres, such as “El Punto Cubano” and “El Seis Español”, the verse is sung out of time and always preceded by a short musical interlude, which is played in time and in a more festive fashion. It is believed that it was originally dance music and that it takes its name (Cadenas, which means Chains in Spanish) from the traditional, chain-like dance formation. A variation on this genre, which uses eight syllables instead of six, is called “Los Caballos”.
Yumac – Named after the town of “Camuy” (with the name spelled backwards) where it was created by singer Germán Rosario during the mid 1900’s. It comes out of the “Jíbaro” tradition, which uses a ten-line stanza with an “ABBAACCDDC” rhyme scheme, also known as a “Décima”. Its creator recorded two versions, one where each syllable has six lines and another one with eight, which – as a default – makes it alternate between an “Aguinaldo” and a “Seis”.
Milagrosa – From the religious tradition of “La Promesa”, where an individual makes a promise to a Catholic deity and in return asks for a specific favor, frequently related to health or finances. If the favor is granted the individual is expected to fulfill this promise for the rest of his or her life. “Promesas” usually involve a musical presentation, where a specific amount of “Seises”, “Aguinaldos” and “Coros” are sung in reference to the deity in question. This piece references a “Promesa” to “La Virgen de La Milagrosa”.
Viejo – Written in allusion to the “Aguinaldo Viejo”, also known as “Aguinaldo Jíbaro” or “Aguinaldo Cayeyano”. This genre is believed to be the oldest example of the “Jíbaro” tradition, and some experts trace its harmonic cadence – ej. Am/G7/C/Dmin/B7/E7 – to medieval times. Over the years it has taken on many variations, usually named after the towns where they were created.
Cadenza – The essence of this piece was written around a harmonic progression which came out of the combination of “La Cadenza Jíbara” (see Viejo) and “La Cadenza Andaluza”: ej. Cm/Bb/Ab/G7.
Promesa – Another composition referencing the “Promesa” tradition, in this case the most popular of all: “La Promesa de Reyes”. The celebration of the Three Kings takes place on January 6th every year, with the “Promesa” festivities usually reserved for the night before. In Puerto Rico – as well as in other Latin American countries like México – the celebration of “El Día de Reyes” supersedes Christmas, both in importance and fervor.
Villalbeño – Named after the town of Villalba, where most believe it was created. This genre is another variation on “El Aguinaldo Jíbaro”, although with a freer, rubato-like Melody.
Track Listing:
1. Rosario 7:19
2. Cadenas 7:16
3. Yumac 5:56
4. Milagrosa 6:58
5. Viejo 8:41
6. Cadenza 8:58
7. Promesa 9:41
8. Villalbeño 7:07
Personnel:
Miguel Zenón: alto saxophone
Clara Lyon: violin
Maeve Feinberg: violin
Doyle Armbrust: viola
Russell Rolen: cello
Recorded September 22nd to 24th, 2017 at Electrical Audio in Chicago, IL, by Greg Norman
Additional Recording by Nick Broste
Mixed by Brian Montgomery
Mastered by Randy Merrill
Cover Photo by Teodoro Vidal
Graphic Design by Abdiel Flores, WIGO Design
Assistant Producer: Paul Mutzabaugh
Produced by Miguel Zenón
Review:
Just two days before saxophonist and composer Miguel Zenón went into the studio to record his latest album, Hurricane Maria hit his native island of Puerto Rico. The resulting work, Yo Soy la Tradicion, or “I Am The Tradition,” has the MacArthur genius’ trademark originality, but the natural disaster also gives it emotional urgency.
Zenón had already planned for his 11th album to shed light on Puerto Rico. He’s recorded many adaptations of its folk music in the past. In this new, eight-part suite for saxophone and string quartet, he showcases a different cultural tradition in each piece. One song, “Rosario,” is inspired by a Catholic Holy Rosary traditionally played on folk instruments at funerals and other occasions.
Zenón is always a soulful player, but with the hurricane hitting so close to the session, his performance here with the Spektral Quartet took on special feeling: They play his adaptation’s intense rhythmic interaction and soaring melodies as a fervent prayer.
Zenón blurs lines between jazz, classical and Puerto Rican folk music on this album. He finds much affinity with Spektral, an engaging quartet well-versed in contemporary music. Zenón’s classical minimalism can be complex. With such skilled musicians playing their hearts out, though, even dense ideas unfold in a graceful dance.
The most bucolic song on the album, “Viejo,” is based on type of rural folk music. Zenon’s saxophone goes cinematic here, gliding above the strings and sweeping down to move among them. It’s as if he’s entreating the listener to take a closer look at Puerto Rican culture.
With Yo Soy la Tradicion Zenón isn’t just waving a musical flag for Puerto Rico. He has composed its deep traditions into new musical landscapes. And by recording so soon after Hurricane Maria hit, the resulting album is an imaginative and heartfelt tour of his homeland.
Michelle Mercer (npr)
