jueves, 11 de febrero de 2021

El afamado músico Luis Perico Ortiz entrega trompeta a niña estudiante de música

 El afamado músico Luis Perico Ortiz entrega trompeta a niña estudiante de música

La trompeta fue donada por el virtuoso pianista, productor y empresario Stevan Micheo


De izquierda a derecha: El pianista Stevan Micheo, la niña Alleanllelys Ruiz y el trompetista Luis Perico Ortiz



La Fundación Nacional para la Cultura Popular, localizada en el Viejo San Juan, sirvió de espacio para llevar a cabo la entrega de la trompeta a la estudiante de música Alleanllelys Ruiz.

 

Durante la promocion del concierto virtual del Maestro Luis Perico Ortiz celebrado el pasado 6 de enero, se rifaron dos trompetas. Ambas fueron cortesía del pianista, productor y empresario Stevan Micheo, quien es propietario de la cadena de tiendas de instrumentos muiscales Micheo Music.


 

Dos féminas resultaron ganadoras. Una de ellas decidió conservarla como memorabilia. Y la otra, llamada Susan Sánchez, residente de Nueva Jersey, Estados Unidos, manifestó a Luis Perico Ortiz su deseo de donar la trampeta a una estudiante de música. Inmediatamente, Luis Perico contactó al Profesor de trompeta Héctor López para que lo ayudara a identificar un estudiante que siviera de recipiente para este gran regalo.

 

Alleanllelys Ruiz de 11 años, y quien es estudiante de la Escuela Libre de Música Ernesto Ramos Antonini en Hato Rey, fue la escogida. El pasado martes recibió la trompeta de manos de los afamados músicos Luis Perico Ortiz y Stevan Micheo.

 

El pianista Stevan Micheo manifestó la resposabilidad que tienen los artistas y músicos en participar de la educación musical de las nuevas generaciones.  “Darle un instrumento a un joven, como dice la marca Yamaha, es quitarle un arma, es sacarlo de la calle.”, puntualizó el también empresario.


Stevan Micheo (izq.) Prof. Héctor López y Alleanllelys Ruiz (centro) y Luis Perico Ortiz (der.)

 Por su parte, el trompetista Luis Perico Ortiz recordó las cosas que tiene en común con Alleanllellys: la misma edad aproximada al momento de comenzar a estudiar trompeta, y el hecho de que haber sido parte de la primera generación de jóvenes estudiantes de la Escuela Libre de Música Ernesto Ramos Antonini. “Siento una felicidad enorme, inmensa de dar continuidad a lo que es la trompeta latinoamericana (…) porque nunca pensé que yo iba a tener el privilegio de dar felicidad de tanta que yo he recibido en mi vida.”, expresó emocionado el también compositor, arreglista y productor.

 

Por supuesto, no faltó la música. Y Alleanllelys, quien estuvo acompañada de su madre y abuela, interpretó algunas escalas de trompeta junto a Luis Perico Ortiz. La ceremonia cerró con el tema “La Vikina”, un dúo emotivo entre el pianista Stevan Micheo y el trompetista Luis Perico Ortiz.

sábado, 9 de enero de 2021

GRAMMY Nominee Papo Vázquez released Chapter 10: Breaking Cover with The Mighty Pirates Troubadours

GRAMMY Nominee Papo Vázquez released Chapter 10: Breaking Cover with The Mighty Pirates Troubadours

Known for an iconic career that spans 40 years, GRAMMY-nominated Latin music luminary Papo Vázquez is pleased to release Chapter 10: Breaking Cover, a new album with his Mighty Pirates Troubadours. Due out on November 13th via the artists own Picaro RecordsChapter 10: Breaking Cover features a varied program of Vázquez’s original music that displays his signature fusion of jazz and Puerto Rican folkloric music. On his tenth release as a leader, Vázquez swiftly demonstrates why he is one of the leading voices of the contemporary Latin jazz scene.  

Vázquez was described by The New York Times as “brash and precise... helping to drive the music, giving it snap and ferocity.” His deep knowledge of the indigenous music of the Caribbean peoples, intertwined with his decades long dedication to jazz (sparked by a love for John Coltrane and J. J. Johnson) affords him to be an expert in fusing these two idioms. On Chapter 10: Breaking Cover, Vázquez’s exquisite musical breadth is on display as he seamlessly moves through various rhythms (Holande, Bomba, Cuembe) and styles (Jazz, Latin Jazz), fusing them together as only he can. 

The music on Chapter 10: Breaking Cover is informed by his eclectic career that began in his native Philadelphia. Vazquez spent his early years in Vega Baja  Puerto Rico before settling back in Philly, where he was raised. After earning his stripes with local Latin bands, the precocious musician moved to New York at age 17. He quickly ascended the musical ranks as he built up a robust resume with legendary salsa stars such as The Fania All-Stars, Ray Barretto, Willie Colón, Grupo Folklórico y Experimental Nuevayorquino, Eddie Palmieri, Larry Harlow, and Hector LaVoe. He cut his teeth at New Rican Village, a tiny artist-run space in the East Village, where he and other adventurous players would jam without restrictions, reframing Latin music within jazz and vice versa.  

Photo by Michael Benabib

Concurrently, Vázquez’s reputation as a jazz musician grew, as he became a leading player in New York’s burgeoning Latin jazz scene of the late 1970’s. He was a founding member of Jerry Gonzalez's Fort Apache Band and Conjunto Libre, as well as Puerto Rico’s popular Latin fusion band Batacumbele. With Batacumbele he performed, composed, arranged and recorded on several albums from 1981 to 1985. During this time, Vázquez first began experimenting with “bomba jazz”; a fusion of jazz and traditional Puerto Rican bomba rhythms. Upon his return to New York, he joined Tito Puente's Latin Jazz Ensemble, traveling with them as principal trombonist, and toured Europe with Dizzy Gillespie's United Nations Orchestra.

For the next two decades, Vázquez appeared on countless albums as a recording artist. Among the dozens are Wayne Shorter’s Alegria; Ruben Blades’ Amor y Control, Antecedente, and Caminando; Dave Valentin’s Tropic Heat; Bebo Valdez’s Bebo de Cuba; Arturo O'Farrill’s Bloodlines; and many, many others. In 1993, Vázquez released his debut as a leader, Breakout, and in 1999 and 2000, he released At the Point, Vol. 1 and subsequently Vol. 2., with the group that would eventually become known as the Mighty Pirates Troubadours. In 2008, he released Marooned/Aislado with the expanded Pirates Troubadours (a 19-piece Afro-Puerto Rican Jazz Orchestra) which went on to receive a GRAMMY nomination for Best Latin Jazz album. Chapter 10: Breaking Cover follows the group’s 2015 album Spirit Warrior, which was referred to as “a superb album by one of the most expressive voices in Latin music” by Raul da Gama of Latin Jazz Network. 

Vázquez’s latest release is a true product of the COVID 19 era. Conceived before the coronavirus was on anyone’s mind, Vázquez plans to record this past April were derailed when lockdown regulations came into effect. Finally in June, when gatherings of 25 people or less were approved in the tri-state area, Vázquez and his Mighty Pirate Troubadours “broke cover” to rehearse (socially distanced, of course), and eventually record. As writer Ben Ratliff says in his liner notes: “Papo’s music contains a lot of the past, in salsa and jazz and jíbaro music and bomba and plena; as one of this country’s greatest musicians, he has a lot to summarize. But the circumstances behind this serious and wise record—as well as the life- force of Papo’s playing, arranging, composing, and the decisive way he moves through the world—inevitably convey the present.”

Chapter 10: Breaking Cover not only displays Vázquez’s mesmerizing facility on his instrument, but also his prowess as a composer and arranger. His talents in this arena have long been admired; he was the first artist to receive a composer’s commission (Iron Jungle) for the Afro-Latin Jazz Orchestra, then a resident orchestra at Jazz at Lincoln Center. His first classical composition, “Palomita – Afro-Caribbean Suite” (which to this date, the first time Bomba and Plena were performed with a Chamber Orchestra) in the USA, was commissioned by the Bronx Arts Ensemble and premiered at the Hostos Center for the Arts and Culture in the Bronx in 2000. In 2009, Vázquez premiered his composition “Oasis” with the Bronx Arts Ensemble which then expanded to the Oasis Project.  In 2010, the Oasis Project premiered at the renowned Pregones Theater and earned him a prestigious honor from the National Endowment for the Arts (NEA) Master Artist award from Pregones Theater.   He was commissioned by Wynton Marsalis to compose music for Jazz and Art series, conducted and performed with JALC orchestra in August 2019.

Vázquez’s forthcoming release features a varied program. As Ben Ratliff says in his notes: “El Cuco/The Boogeyman” is built on a piano riff Papo wrote a few years ago; he realized that it could stand for the knock on our psychic doors we all started hearing in March. It isn’t possible to think of “Shadows,” the ballad, as unrelated to those lost during the first spike of the virus. In the rumba “No Te Rindas” (“Don’t Give Up”) the vocalist Jose Mangual Jr., who worked with Vázquez in Hector Lavoe’s band back in the 1970s, improvises in honor of departed rumberos. One’s past is one’s present, too.

Celebration and togetherness can be imagined: the journey of “Mr. Babu” from Africa, the killer-elite dancers conjured in “New York Latin Jazz Mambo,” the Puerto Rican family music of “Saludo Campesino” and “Fiesta En La Sanse,” named after the carnival in Old San Juan, suggests the party we will have when this is over.

The moniker “Mighty Pirates Troubadours” takes inspiration from Vázquez’s family - his father, grandfather and uncle were troubadours who regularly filled his living room with música jíbara; a traditional style of folk music that grew in the mountain regions of Puerto Rico. The current iteration of the septet includes Vázquez at the helm, with saxophonist Ivan Renta, pianist Rick Germanson,bassist Ariel Robles, drummer Alvester Garnett and percussionists Carlos Maldonado and Reinaldo DeJesus. Augmenting the group are invited guests: vocalist and percussionist Jose Mangual Jr., saxophonist Sherman Irby,bassist  Dezron Douglas, guitarist Antonio Caraballo and trumpeter Antoine Drye.

jueves, 7 de enero de 2021

Puerto Rico será sede del primer festival internacional de jazz de 2021.

Puerto Rico será sede del primer festival internacional de jazz de 2021. 

El Global Music Venue Jazz Fest se llevará a cabo de manera virtual del 15 al 17 de enero y contará con la participación de grandes exponentes de este género.

El bajista John Patitucci, la baterista Terry Lyne Carrington, los guitarristas Peter Bernstein, Lage Lund y Gilad Hekselman, las saxofonistas Melissa Aldana y Alexa Tarantino, los pianistas Larry Goldings, Kenny Werner, Sullivan Fortner y Tom Oren, son los invitados de lujo de este festival. El saxofonista Ben Solomon y la trompetista Milena Casado tendrán a cargo la apertura de las presentaciones de Alexa Tarantino y Melissa Aldana respectivamente.


 

Además de la participación musical, algunos ofrecerán clases magistrales exclusivamente para estudiantes y profesores de música en Puerto Rico y otras clases abiertas a estudiantes subgraduados de otras instituciones. También algunos de los artistas tendrán espacios para preguntas y respuestas después de su presentación musical.



“Nuestra intención es llevar entretenimiento a los hogares y, al mismo tiempo, promover la educación musical de los jóvenes en Puerto Rico. Además, que tengan la oportunidad de compartir directamente de manera virtual con estos importantes músicos.”, expresa Lolivone de la Rosa, productora del festival y guitarrista becada en Berklee College of Music.



Los boletos para el festival tienen un costo de $15.00 dólares por concierto. Las clases magistrales de Peter Bernstein y Alexa Tarantino son gratuitas. Para compra de boletos e información adicional, pueden visitar  www.globalmusicvenue.com.



A continuación, el calendario del Global Music Venue Jazz Fest:

 

Viernes 15 de enero

3:00 PM (EST) - Peter Bernstein (guitarrista) – Clase Magistral Exclusiva para estudiantes y educadores de los programas de jazz en Puerto Rico. Presentador: Fernando Mattina

4:00 - 4:30 PM (EST) – Ben Solomon (saxofonista)

4:30 PM (EST) – Alexa Tarantino (saxofonista) - Clase Magistral abierta para estudiantes de programas de música de cuarto año que estén por graduarse de la universidad y quieran comenzar una carrera en música.

6:00 PM (EST) – Gilad Hekselman (guitarrista) - Solo Concierto y Sección Preguntas y Respuestas

 

Sábado 16 de enero

3:00 PM (EST) – Lage Lund (guitarrista) - Solo Concierto y Sección Preguntas y Respuestas

4:30 PM (EST) – Terri Lyne Carrinton (baterista) y John Patitucci (bajista) – “Rhythm Talks” Sección Preguntas y Respuestas

5:30 PM – 6:00 PM (EST) Milena Casado (trompetista)

6:00 PM (EST) – Melissa Aldana (saxofonista) - Concierto ft. Pablo Menares (bajista) y Sección Preguntas y Respuestas

8:00 PM (EST) – Larry Goldings (pianista) - Solo Concierto y Sección Preguntas y Respuestas

 

Domingo 17 de enero

3:00 PM (EST) – Tom Oren (pianista) - Solo Concierto y Sección Preguntas y Respuestas

5:00 PM (EST) – Kenny Werner (pianista) - Solo Concierto y Sección Preguntas y Respuestas

8:00 PM (EST) – Sullivan Fortner (pianista) - Solo Concierto y Sección Preguntas y Respuestas

 

John Patitucci “Irmãos de Fé”:

https://www.youtube.com/watch?v=h4Ot6H5LSCc

 

Larry Goldings “Scary Goldings”:

https://www.youtube.com/watch?v=RT39bmZ-vaw

lunes, 28 de diciembre de 2020

Alto saxophonist Miguel Zenón and pianist Luis Perdomo Release duo album El Arte Del Bolero

 Alto saxophonist Miguel Zenón and pianist Luis Perdomo 

Release duo album El Arte Del Bolero 

Digital release available January 8, 2021 via Miel Music


 

On September 28, 2020, in the midst of the pandemic, alto saxophone icon Miguel Zenón and pianist Luis Perdomo recorded a concert at The Jazz Gallery in New York City which was livestreamed in November. When they listened to the recording of the concert, they knew it was something to share.


Miguel writes in the liner notes to the album: “As an instrumentalist, I spend a lot of my time working on making the saxophone an extension of my creative process. This process is always filtered through interpretation and expressiveness, and more often than not I find myself looking up to some of my favorite singers (people like Ismael Rivera, Cheo Feliciano and Andy Montañez) as sources of inspiration. In their individual voices I can hear a reflection of their unique personalities, all manifested at the highest level through their interpretation of songs. These melodies become vehicles for their creativity—a canvas on which they’ll portray their feelings and states of mind.


Miguel_Zenon_photo_by_Noah_Shaye_


But these are not just any songs. These are songs they have heard hundreds of times, familiar pieces of music they know very well, and that is sort of the way I feel about the repertoire on this album. We chose compositions from the Bolero era that we could just play right away, without giving it a second thought: songs from the times of our parents and grandparents that somehow stuck around long enough for us to get to know them and truly love them. They are all as essential to our development as the music of Charlie Parker, John Coltrane or Thelonious Monk, but perhaps even more familiar. When we play these songs, we can hear the lyrics in the back of our minds—something that provides a very deep connection, one that is hard to replicate in any other situation. It really is almost beyond familiar. These songs are part of us.


Luis_Perdomo_photo_by_Myo_Campbell


We recorded this music as a live show, all in one take, without much preparation other than discussing tonalities and some basic elements on form. We were more than pleasantly surprised with the results and decided that they deserved to be shared. There is nothing like making music with someone else, finding a common language we can grab onto and then just going and exploring that together. We hope this comes across here, and that you enjoy the music.”

 

About The Music

Como Fue: Popularized by the great Benny Moré, this song has long become a Latin-American standard. Luis and I have been playing the song for years, usually in the key of Eb. We decided to play it in Db here, mainly inspired by a recent immersion into the music of Billy Strayhorn.

Alma Adentro: A song we previously recorded with a larger ensemble on a 2012 album of the same name. Sylvia Rexach, the composer of this piece, is a favorite of my mother’s, and I was exposed to her music as a young child. This is a song that always brings back feelings of longing and deep nostalgia, a yearning for things no longer there.

Ese Hastío: Ray Barreto recorded this under the title of “Piensa En Mi” on his legendary 1979 album Rican-Struction, which is the version that Luis and I fell in love with. I had never played the song before, but Luis suggested it since he had recorded the piece as an instrumental on his album Pathways. It ended up fitting perfectly into our program. 

La Vida Es Un Sueño: Written by the Cuban genius Arsenio Rodriguez, a revolutionary artist who changed the course of Latin-American music forever. Blinded by a tragic accident as a child, Arsenio moved to the United States later in life in hope that doctors there could find a cure to his condition. Legend has it that, shortly after finding out from his doctors that this would not be the case, he wrote this song. The last verse says it all: “La realidad es nacer y morir / Porque llenarnos de tanta ansiedad / Todo no es mas que un eterno sufrir / El mundo esta hecho de infelicidad.”

Que Te Pedí – Immortalized by Latin diva “La Lupe” in her seminal 1965 version (recorded with Tito Puente), this song has since become an anthem for lost love and heartbreak all over Latin-America. We had performed this before, but this was the first time we played it as a duo.

Juguete – This classic, written by the legendary Bobby Capo, was popularized by Cheo Feliciano on his 1972 album La Voz Sensual de Cheo. It’s certainly of those songs that is constantly quoted everywhere and never gets old. We’ve been playing it for a while and decided to do it a little faster here, with an extended vamp at the end to close things out.

 

About Miguel Zenón

A multiple Grammy® nominee and Guggenheim and MacArthur Fellow, Zenón is one of a select group of musicians who have masterfully balanced and blended the often contradictory poles of innovation and tradition. Widely considered one of the most groundbreaking and influential saxophonists of his generation, Zenón has also developed a unique voice as a composer and as a conceptualist, concentrating his efforts on perfecting a fine mix between Latin American folkloric music and jazz. Born and raised in San Juan, Puerto Rico, Zenón has recorded and toured with a wide variety of musicians including Charlie Haden, Fred Hersch, Kenny Werner, Bobby Hutcherson and Steve Coleman and is a founding member of the SFJAZZ Collective. 

_Miguel_Zenon_photo_by_Noah_Shaye_


Zenón’s 2021 releases will also include the spring release of Law Years: The Music of Ornette Coleman featuring Zenón with Ariel Bringuez, Demain Cabaud and Jordi Rossi and the fall release of an album with his long-standing quartet. 

About Luis Perdomo

                                           Luis_Perdomo_photo_by_Nick_Carter

Originally from Venezuela, Grammy® nominated pianist, composer, arranger and educator Luis Perdomo moved to NYC in the early 90s and has since established himself as one of the most in-demand musicians on the scene. He has recorded and/or performed with Ravi Coltrane, David Sanchez, Jerry Gonzalez and the Fort Apache Band, Tom Harrell, John Patitucci, Ray Barretto, Brian Lynch, Robin Eubanks, Dave Douglas, David Weiss and The Cookers, David Gilmore, Ralph Irizarry & Timbalaye, Henry Threadgill and Steve Turre. He has collaborated with Miguel Zenón for 20 years. Perdomo has performed at festivals and venues in over 50 countries and has released nine recordings as a leader. He has also appeared on over 200 recordings as a sideman including, most recently, two Grammy nominated albums: Ravi Coltrane’s Spirit Fiction and Miguel Zenón’s Sonero. In 2002 he earned the 2nd Grand Prix at the 3rd Martial Solal Jazz Piano Competition in Paris.

Available on all digital platforms including Miguel’s Bandcamp page.

 

www.miguelzenon.com

www.luisperdomojazz.com

jueves, 10 de diciembre de 2020

Humberto Ramírez realizará el Festival Puerto Rico Jazz jam de manera virtual

Humberto Ramírez realizará el Festival Puerto Rico Jazz jam de manera virtual

  

la conexión estará disponible desde mañana VIERNES 11 DE DICIEMBRE, 2020 para la venta en

www.tcpr.com 



El trompetista, director y productor Humberto Ramírez realizará de manera virtual la onceava edición del festival Puerto Rico Jazz Jam. El sábado 30 de enero a las 8 p.m. se efectuará la transmisión a través de Ticket Center Streaming.

 

“Hemos decidido llevar a cabo el festival de manera virtual para darle continuidad al proyecto, un respiro al público y, lo más importante, ofrecer un taller a los músicos que tanto hemos sufrido el impacto económico de la paralización de la industria del entretenimiento.”, expresa el también arreglista.



Esa noche, la arpista Elisa Torres abrirá el concierto acompañada de Elías Santos Celpa en el bajo, Savier Díaz en la percusión y Mario Pereira en la batería. Entre las piezas que interpretará se encuentran: “Almendra”, Bajo la luna llena” y “Sous le ciel de Paris”.


 

Ramírez por su parte, estará estrenando su nuevo disco “Focus” acompañado de Frankie Pérez en el saxofón, Edgardo Rivera en el piano, Giovanni Ortiz en el bajo, William “Kachiro” Thompson en las congas y Leonardo Ozuna en la batería.  “Fiesta Mood”, “Acuario” y el sencillo que da nombre al disco “Focus” formarán parte del repertorio.

 

El enlace de conexión estará a la venta a partir de mañana viernes 11 de diciembre a través de www.tcpr.com. Con una sola conexión todos en el hogar pueden ver el concierto. Cualquier persona alrededor del mundo podrá conectarse. Puerto Rico Jazz Jam 2021 es una producción de Humberto Ramírez.

sábado, 5 de diciembre de 2020

Gabriel Vicéns blends Jazz and Puerto Rican Rhythms in his New Album, “The Way We Are Created”

Gabriel Vicéns blends Jazz and Puerto Rican Rhythms in his New Album, “The Way We Are Created”

 

The guitarist expands his musical expression by mixing bomba and plena rhythms from his native Puerto Rico with his unique brand of Jazz.



 

“The Way We Are Created,” the third album from the brilliant New York City-based musician Gabriel Vicéns, offers a detailed picture of his multiple talents. It portrays the evolution of his own voice, not only as a guitarist but as a composer and conceptualist as well.

Vicéns has previously released two widely acclaimed albums, “Point In Time” and “Days.” Vicéns has blossomed into his signature sound on “The Way We Are Created;” a delicate sound that conveys robust, cleanly-articulated ideas, with solos that add depth to his melodic and thematic compositions.

The album becomes a part of the Inner Circle Music canon, a label established by influential saxophonist Greg Osby, which “provides a forum for some of the next generation’s most provocative composers and stylists.” Also behind the release of the album is the Puerto Rican non-profit organization 71 Associates, which was created by Jochi Dávila to help experimental musicians.

Vicéns’ music has arrived at a complex but sentimental soundscape, as this set of compositions live within the world of bomba and plena, which are folkloric Puerto Rican styles. This album enjoys a natural, organic blend of Jazz with fiery, propulsive rhythms, in his own original compositional style.​ ​The Afro-Puerto Rican percussion instruments barril de bomba and panderos de plena intertwine beautifully within the harmonic and melodic complexity of jazz, while Vicéns’ compositions utilize nostalgic yet challenging Afro-Carribean rhythms.

Thus, the album is an array of bold themes brimming with personality, including “It Doesn't Matter,” “The Upcoming,” and “A City of Many Mysteries,” which employ yubá, sicá, and rulé rhythms from the bomba tradition. “To The Unknown” is an energetic plena, and one of the many pieces on the record that stirs up your mind as well as your feet.

“This project is the result of my own investigation into the worlds of these traditions,” says Vicéns, a distinguished graduate from Conservatorio de Música de Puerto Rico (BM) and Queens College (MM), currently pursuing his Doctorate in Guitar Performance in New York. “When I begin a composition, I first establish a rhythmic foundation which comes from Afro-Puerto Rican folkloric traditions, and then I build the composition from that underlying structure. The music you’ll hear on this record is authentic to my roots and comes directly from my life.”

“The Way We Are Created” was co-produced by star Puerto Rican saxophonist Miguel Zenón, and confirms Vicéns’ gifts as a skilled bandleader. Several of the finest New York musicians give life to these compositions with Román Filiú on alto sax, Glenn Zaleski on piano, Rick Rosato on bass, E.J. Strickland on drums, and Víctor Pablo on percussion. Their solos shine with a cool, fluid mastery throughout the whole work. Three short interludes work as breathers while reinforcing the album’s coherence as a whole.

“Being able to release this album in the midst of the COVID-19 pandemic has been an incredible and challenging experience for me,” explains Vicéns. “There were moments I asked myself if this was the right time, but I arrived at the idea that art is a relieving outlet for people, can build community, and can comfort pain. I feel good about it.”

“The Way We Are Created,”​ i​ s an homage to the power of all artistic expressions, including painting. Vicéns is also an accomplished painter, and the cover of the album is a recent work of his. While discussing the thought process behind the album title, Vicéns says that “When I complete a work, sometimes it seems personified. It’s almost like the composition speaks in the first person, and is their own being. If compositions could speak for themselves, maybe they could explain to us the way they were created.”

To the listener, it’s a testimony to Gabriel Vicéns’ constant evolution as a musical thinker and leader, able to show new paths of expression for others to follow. Above all, “The Way We Are Created” is a great listen for jazz aficionados, and bomba and plena lovers alike. “When I came up with this title, it had two meanings. It’s a reflection on the way that all living beings are created to be naturally inventive and imaginative. It is a tribute to how we are all born to be creative.”



Acclaimed by Downbeat Magazine as “a thoughtful improviser with a quiet tone who makes every note count," Manhattan-based guitarist, composer, improviser, and painter Gabriel Vicéns is one of the most in-demand guitarists on the New York City jazz scene. Originally from Guaynabo, Puerto Rico, Vicéns made a move to NYC after a 5-year Professorship at the Interamerican University of Puerto Rico. He has been mentored by an impressive list of performers and composers, including Ray Anderson, Carlos Cabrer, Miguel Zenón, David Sánchez, Daria Semegen Paul Bollenback, Antonio Hart, Fernando Mattina, Lois V Vierk, and Luis Perdomo. Legendary bassist Eddie Gómez says Vicéns is “a creative musician that displays a new vision on the guitar.” Vicéns playing and compositions are influenced by many genres, ranging from jazz, rock, new classical music, electronic music, and the Caribbean and Latin American folklore.

Vicéns has been featured at venues and festivals such as Puerto Rico Heineken Jazz Fest, SF Jazz Center in San Francisco, Ljubljana Jazz Festival in Slovenia, Uno Jazz San Remo Festival in Italy, and the Festival Havana World Music in Cuba. In New York, he frequents prominent venues such as The Cell Theater, Cornelia Street Cafe, Latea Theater, Fat Cat, The Owl Music Parlor, and Terraza 7 both as a leader of his own groups and as a sideman. He is a member of the free improvisational collaborative group No Base Trio, alongside alto saxophonist Jonathan Suazo and drummer Leonardo Osuna. Vicéns has performed and worked with artists such as Alex Sipiagin, David Sánchez, Miguel Zenón, Luis Perdomo, Paoli Mejias, Will Vinson, Henry Cole, Joe Martin, Rudy Royston, among others. Internationally, he has performed throughout Slovenia, Italy, Cuba, Puerto Rico, and the states.

As a painter, Vicéns is currently studying at The Art Students League of New York with renowned artist Pat Lipsky and has shown his work in many venues throughout the city. In 2018, Vicéns was invited to participate in the group exhibition Dislexia Geografica held at The Clemente Soto Vélez: Cultural and Educational Center featuring a wide range of artists from Latin America. Currently, Vicéns is actively painting and working on a project comprised of composing music inspired by his paintings and crafting paintings inspired by his music. 

Vicéns holds a Bachelor of Music degree from the Conservatory of Music of Puerto Rico, a Master of Music degree from Queens College and is currently pursuing a Doctor of Musical Arts degree at Stony Brook University. He is releasing his third album as a leader in January, 2021. Entitled The Way We are Created, his upcoming record will feature compositions influenced by folklore music from Puerto Rico, featuring saxophonist Roman Filiú, pianist Glenn Zaleski, bassist Rick Rosato, drummer E.J. Strickland, and percussionist Victor Pablo.

viernes, 4 de diciembre de 2020

Se publica la segunda edición de Boricua Jazz; libro que documenta la historia de los puertorriqueños en el Jazz.

 Se publica la segunda edición de Boricua Jazz; libro que documenta la historia de los puertorriqueños en el Jazz.

San Juan, Diciembre 1, 2020. Luego de una exitosa primera edición, sale a la venta la segunda edición del libro Boricua Jazz La Historia del Jazz Puertorriqueño: Desde Rafael Hernández a Miguel Zenón.


En mayo del 2019, luego de más de 10 años de entrevistas e investigación, se publicó Boricua Jazz: La Historia del Jazz Puertorriqueño, libro que documenta los aportes de los boricuas a la historia del Jazz. 

"Desde la publicación de la primera edición de Boricua Jazz en mayo del 2019, mucho ha ocurrido en la escena del Jazz Boricua; obras maestras de la discografía como la grabación Sonero de Miguel Zenón, y presentaciones magistrales en conciertos y festivales. Durante ese tiempo también hemos perdido amigos y grandes maestros del jazz como Ángel Cachete Maldonado, Ray Mantilla y Andrew Lázaro, entre otros. Por lo que nos pareció necesario actualizar el contenido del libro con todos esos acontecimientos." Wilbert Sostre, columnista especializado en Jazz, productor de radio y autor de Boricua Jazz

La presentación oficial de la primera edición de Boricua Jazz se realizó en Casa Norberto, Plaza Las Américas, el martes 18 de junio del 2019. En esa primera presentación estuvieron presente músicos como Frankie Pérez (saxofonista), Roberto Jiménez (saxofonista), Brenda Hopkins (pianista), Manuel Pérez Kenderish (guitarrista y percusionista), Angela Flecha (cantante), Ana Baiana (cantante), Ramón Ríos (guitarrista), Fabiola Muñoz (cuatrista), y José Chegüito Encarnación (saxofonista). La cantante y amiga Carola Ausbury estuvo a cargo de la presentación del autor y de la introducción musical junto a su padre el bajista Dan Ausbury.



El sábado 29 junio del 2019, se realiza la segunda presentación de Boricua Jazz en la Librería Mágica, Rio Piedras. En esta ocasión la presentación musical estuvo a cargo de Elmera Jazz Ensemble, agrupación de estudiantes de la Escuela Libre de Música, bajo la dirección del Maestro David Rivera.

El sábado 28 de septiembre del 2019, Boricua Jazz llega a la Librería El Candil en Ponce con una presentación que tuvo la participación de los Maestros Alfredo Falú (saxofonista), Irving Cancel (bajista), y con el colega de la radio Naphis Torres.



El sábado 23 de noviembre, como parte de las actividades del Festival de Jazz del Conservatorio de Música, se realizó la cuarta y última presentación del libro Boricua Jazz en el 2019. En esta ocasión el Profesor del Conservatorio de Música Jaime Bofill estuvo a cargo de la introducción en la presentación de Boricua Jazz.  Agradecemos al Maestro baterista y amigo Fidel Morales por la invitación a participar de este gran evento en donde el autor de Boricua Jazz también tuvo la oportunidad de moderar el conversatorio ‘Nuevos Caminos del Jazz’ junto a los Maestros Alex Acuña, Ramón Vázquez y Brenda Hopkins.

Agradecemos a los medios que compartieron la información sobre el lanzamiento de Boricua Jazz; Jaime Torres Torres y La Fundación Nacional para la Cultura Popular, Periódico El Nuevo Dia, Periódico La Perla, Judith Felicié y Manolo Almeida en sus respectivos programas en Radio Oro, Isabel Pichardo y José Vélez en Radio Universidad, Agatha Amarilis y su programa Estas Invitado en Vid 90.3 FM, Mayagüez, Rafa Rodríguez y su programa Salseando en Radio Leo 1170 AM, el programa Bomba, Plena y Mucho Más con Maddy y Tony en WPAB 550 AM Ponce, AmaRie Magazine, y Magazine-PR. Especial agradecimiento a la amiga y promotora de salsa Lexie Marie Torres por su ayuda en la promoción del libro Boricua Jazz.

La nueva edición de Boricua Jazz ha sido revisada y contiene nuevas fotos, nuevas biografías y actualizaciones en algunas discografías, biografías y eventos. En los momentos que se revisaba el contenido de esta segunda edición de Boricua Jazz el mundo se enfrenta a una crisis por la pandemia del Covid-19. La escena de la música y del Jazz al igual que otras industrias se han visto seriamente afectadas. Debido al cierre de locales y suspensión de conciertos, los músicos de Jazz y otras formas musicales se han visto obligados a realizar presentaciones exclusivamente a través de videos en vivo transmitidos por las redes sociales.

“En tiempos de pandemia, la buena música y en especial el Jazz adquieren aún mayor importancia. Las personas que permanecen por largos períodos de tiempo aislados en cuarentena necesitan actividades que contribuyan a su crecimiento personal y salud mental. Con o sin pandemia, de muy pocas actividades se obtienen mayores beneficios que del consumo de la buena música.” Wilbert Sostre

Wilbert Sostre, historiador y crítico de Jazz es también el productor y conductor del programa Puerto Rico Jazz que se originó en Radio Vieques 90.1FM, www.radiovieques.net, donde se transmitió desde junio del 2018 hasta noviembre 2019. En noviembre 2019 Puerto Rico Jazz pasa a Brave New Radio, WPSC 88.7FM William Paterson University, New Jersey y se transmite todos los domingos de 8 a 9am, hora de Nueva York, 9 a 10am hora de Puerto Rico.

Por los pasados 15 años Wilbert Sostre ha escrito reseñas de grabaciones y eventos de jazz para publicaciones como Jazz Times, Jazz Inside Magazine, Latin Jazz Network, All About Jazz, y Diálogo, entre otras. Además ha sido invitado a las emisoras Radio Universidad, Radio Oro, Yunque Radio, Vid 90.3, Radio Leo, WPAB, Ponce y el canal de televisión ABC Puerto Rico para compartir sus conocimientos sobre el Jazz.



Desde su publicación en el 2109, Boricua Jazz se ha utilizado como referencia en cursos universitarios, en libros y publicaciones en internet. El libro Boricua Jazz se encuentra a la venta en Amazon. https://www.amazon.com/dp/B08NF34977

Información adicional: Jazzin' Magazine, jazzinmagazine@gmail.com 787-942-9772