Ramón Vázquez
is a veteran of the recording studio, having been a sideman on dozens
of projects for artists through a wide variety of genres. Nonetheless
“On The Move”,
marks his debut as a leader. For his maiden recording, he selected some
of the best players on the scene, including the highly talented members
of his working quartet at the time: Yan Carlos Artime, a very expressive
Cuban pianist, who is equally at home with complex pieces, as well as
in the subtleness of “La Varita Mágica” which he also
co-authored; Alejandro Avilés, an up and rising player with a command
of the alto sax and outstanding improvisational skills, who also contributed
one of his original compositions for the project (“Eso Na’
Ma’”); Henry Colé, an outstanding energetic, yet sensible
young drummer from who we will certainly continue hearing about, since
he is rapidly becoming a highly in-demand sideman with calls coming from
many bandleaders, including established names such as David Sánchez
and Miguel Zenón.
For the date, Vázquez also recruited some of his long time music
associates and friends, and other special guests: these include violinist
Paola Vázquez, Ramon’s nine year old daughter, who at such
an early age, demonstrates exceptional skills and musicianship; Alex Acuña,
who needs no introduction, since he is one of the most influential latin
percussionists of our times; José "Chegüito" Encarnación,
a master of the sax and one of the most talented players to emerge from
the Puerto Rico music scene; Paoli Mejías, a tasteful latin percussionist
who has earned international acclaim in latin jazz and traditional Afro-Caribbean
music; Candido Reyes, Puerto Rico’s premiere güiro player;
drummer Hector Matos, a powerhouse who truly understands interplay and
who has a long time association with Vázquez; guitarist Ramón
"Moncho" Ríos, the funkiest and most soulful guitarist
in the local scene; pianist Amuni Nacer, who is a household name synonymous
with solid playing, and who truly contributes to making Caravan groove;
and Eddie Wakes, a talented vocalist with an impressive range who’s
made of Puerto Rico his home.
Recording NOTE:
This recording was made without “click tracks”. Most of the
songs were recoded in “one take”, with the exception of Caravan
and “La Varita Mágica”, which due to the different
“over dub” elements, could not be recorded live.
April - This theme is a complex
melody by pianist Lennie Tristano based on the harmonic changes to the
classic “I’ll Remember April”. Originally, the idea
for playing it as a “Bomba Sicá” (Puerto Rican folk
style with African roots), came from sax player Miguel Zenón. Ramón
added an intro played in unison by the bass, piano and sax. He also incorporated
a vamp with an oriental sounding mode (dom7 b9 b13).
Eso Na Má –
This theme, authored by Alejandro Avilés, is a type of “Cha
Cha Cha” in an “Odd Time Meter” (13 beats). In it, there’s
a lot of playing around with the “Tumbao” and syncopation
within a very traditional harmonic progression used in the “Cuban
Son”. The title is Spanish slang which could be translated to English
into something like “S’All”.
Monk’s Changüí -
(Adaptation of “Rhythm A’ Ning” by Thelonious Monk).
For this adaptation, the cuban rhythm “Changüí”
was used. Here the band plays with the classic syncopation often giving
the impression that the downbeat is out of place. The solos are played
over a traditional rhythm changes progression.
Lagrimas Negras - A classic
from the Latinamerican song repertorie, by Miguel Matamoros. If translated
literally, it means “Black Tears”. This interpretation is
done in what can be called a Latin Fusion or Latin Jazz style quite similar
to a “Cha Cha Cha”. This theme was recorded on the first take,
without any rehearsals, and as a matter of fact, this “first take”
on the theme, marked the very first time the three musicians (ever) played
together.
La Varita Mágica -
“The Magic Wand”, is an original by Ramon Vázquez and
Yan Carlos Artime, which is performed as a “Danza Puertorriqueña”
which for most of the theme adheres to its very traditional style, except
for the “C” section, where there is a sax solo by Cheguito
Encarnación. Here the harmony is changed a bit to highten the dynamics
of the soloist. There is also a musical conversation between the electric
bass, played by Vázquez, and the melody, interpreted on violin,
by his nine year old daughter Paola.
Caravan - This theme by Juan Tizol and Duke Ellington,
is given a Funk treatment, with a bass line reminiscent of Tower of Power,
and keyboards influenced by Herbie Hancock’s funk recordings. Vocalist
Eddie Wakes, and Jochi Rodriguez on trumpet, are the featured soloist.
Campanitas de Cristal - This version of the timeless classic
by Rafael Hernández is done in the very traditional cuban style
of “Guaguancó” (one of the roots of salsa). There are
some very interesting textures created here since the instrument combination
is a quite an unsual one (tenor sax, acoustic bass and congas). At the
end the trio turns it into an Afro rhythm which eventually “fades
out”.
Loro - Brazilian theme by
Egberto Gismonti with a complex melody. It too has a peculiar enssemble,
this time made up of piano and acoustic bass, enhanced by a puerto rican
Güicharo (percussion instrument made from a type of gourd with horizontal
slits, which produces a high pitched scrape sound not too different from
the sound of a cajun washboard). This instrument combination gives it
what in Puerto Rico we call a “criollo” flavor.
Negrele Blues – This
theme also composed by Vázquez follows the form of a Traditional
Jazz Blues. It is played in an “Acoustic Funk” style which
later shifts to “Straight Ahead Jazz”.
by: Richard Roberge
© 2003 Ramón Vázquez
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