With his third album, composer, arranger and educator Socrates Garcia offers an expansive and highly intense panorama of both Dominican-specific and Afro-Caribbean textures. Through six original extended pieces performed by a stellar large ensemble and soloists, explorations of rhythmic and tonal perspectives are delivered. The session is a supreme display of musicianship, energy, swagger and deep respect for genre and tradition.
AG’s Resting Face …Scary!!! is curtains up with Afro-Latin percussion booming. Deep, ominous sounds pound over along with screaming brass before the main motif is stated by the saxophones. The trumpets, trombones and saxes continue to build into a furious contrapuntal and cascading state. That main motif reappears before things settle and altoist Wil Swindler and trumpeter Clay Jenkins each offer fine rides. The brass punches over that deep motific bed and sax lines bring the piece to a furious close. The piece has the feel of a jazz-classical mashup with Garcia’s pen turning elements back on themselves and re-appearing while simultaneously driving things forward. It’s a marvelously intriguing track.
The roots of African-Dominican music are explored in Sultry Villa Mella Twilights. Further, Villa Mella is a principality in the Dominican Republic that has a very strong focus on its musical tradition. Palos is a genre of Dominican music with rhythmic roots back to Africa – specifically, the Congo. From the get-go, we hear intense rhythms followed by a sophisticated developed melody. That punches as different sections of the ensemble – Harmon-muted trumpets, trombones, flutes – all dive in in a furious way. The underlying rhythm bed here drives with fire. Again, Garcia’s arranging features slick instrument doublings. Trombonist, Jonathan Bumpus sends up a fine solo, as do tenor saxophonist, Don Aliquo and trumpeter, Jeff Jarvis. There’s no letup on the white-hot rhythm here. The percussion section simply soars throughout. The original statements return for a killer takeout.
Brad’s Dreamy Samaná Night is a feature for ace trumpeter, Brad
Goode. After a short introduction. Goode states the exotic theme over
percussion. This is a misterioso melody on which Goode demos a fine flair.
Layers upon layers of well-designed lines support behind the soloist. The
ensemble builds and Goode swashbuckles his way through extended screaming
lines. Melody returns to take things out. This is a highlight track featuring
an amalgam of killer improvisation, ensemble shouts, and fierce rhythms. The
production values on this track, as well as throughout the session are meticulous.
Garcia’s
compositions and arrangements thereof on this album are complex, yet highly
approachable. There are surprises and thrills around every corner. Cascades,
punches, exotic rhythm beds and textural elements are presented brilliantly
throughout. The ensemble never lets up on the intensity and energy. This is
highly sophisticated music requiring intense energy and a deep feel for the
genre. Killer kudos to the various percussionists.
Illusions, Delusions… A Glimmer of Hope is an extended suite consisting of three unique segments, each offering political-themed statements. Movement I – The Wizard’s Wicked Charm launches with Eduardo Moncada’s bari sax stating. The track develops into a salsa-like segment with Moncado’s muscular baritone soloing. Behind the soloist, trumpets punctuate, saxes state and rhythm intensifies. Alfredo Balcader’s fuzz-tone guitar rips a killer ride. This track is all intensity from bar one to a false ending after which Moncada’s bari and ensemble take things out. That’s a slick compositional play.
Movement II – Liars and Fools has a layered opening statement over a merengue rhythm base. The various sections again fray and merge and respond before tenor man Don Aliquo states. The powerful segment calms for a fine Paul McKee trombone solo. This track has a fine jazz ensemble wherein the saxes flow with white-hot energy and trumpets thrill. A more sedate phrase ends what is indeed a highlight track.
Movement III – The Mold Breaker (Bringer of
Joy) – Piano pops, ensemble blasts and sax lines commence this final merengue-cum-jazz
movement. Altoist Will Swindler delivers an invigorating solo. Quieting down,
Dana Landry gives a terrific upbeat piano statement. Fireworks explode into a burning
sax-driven, classic merengue before all ends. A joyous romp.
Shadows
of Tomorrow is a compositional and performance
achievement worthy of great note. It stirs soul deeply. Through adventurous and
outstanding writing and playing, the sacred traditions, rhythms and sounds of
the Afro-Dominican and deep ~Congolese roots are appropriately presented and
respectfully honored. Nick Mondello
AG’s Resting Face …Scary!!!, Sultry Villa Mella Twilights, Brad’s Dreamy Samaná Night, Illusions, Delusions… A Glimmer of Hope: Movement I – The Wizard’s Wicked Charm, Movement II – Liars and Fools, Movement III – The Mold Breaker (Bringer of Joy)
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