Más historias que contar: La música de Sammy Morales en Concierto

Más historias que contar: La música de Sammy Morales en Concierto

Más historias que contar es el título del concierto de Jazz que se presentará este próximo domingo 7 de agosto, desde las 4:00pm en el Teatro de la Universidad Interamericana de PR, Recinto Metropolitano en Cupey. Treinta reconocidos músicos interpretarán una selección de piezas del destacado bajista y compositor puertorriqueño Samuel “Sammy” Morales. La función está abierta al público general y la entrada es libre de costo. 

El concierto celebra la trayectoria musical de Sammy Morales y su nueva etapa como compositor. El repertorio incluirá temas originales del disco Historias, Cuentos y Canciones (2012) del SM Quinteto, composiciones aún no grabadas, así como el estreno de piezas inéditas de Sammy, quien comenta: “Algunas de las composiciones que se estrenarán tienen más contenido contrapuntístico, entre ellas están Crazy Choro, El contorno de tu piel y Días de tráfico, mientras que las otras revelan un contenido armónico más denso, como son After María, Reconstrucción, Mapeyé.” 

La audiencia disfrutará en un mismo escenario del talento y la amistad de colegas que han sido parte de la formación y desarrollo de Sammy. El variado repertorio será interpretado por las agrupaciones Sammy Morales Quinteto, Holograma, Leonardo Osuna Quintet, Ángel D. Mattos Quartet, Egui Sierra Sextet y Cafêzz Quintet. El concierto se engalanará con la participación de Mario Pereira, Eduardo Zayas, , Ricardo Lugo, Juan Aldahondo, Elías Santos Celpa, Joaquín Del Río Rodríguez, Joaquín Del Río Defilló, Ricky Encarnación, Luis Raúl Romero, Daniel Rivera, Ricardo Pons, Elvis Terán, Gabriel Vicents, Bryan Pérez, Efraín Martínez, Edgar Abraham, Junior Irizarry, William García, Daniel Ramírez Amador, Manuel Rodríguez, Alexis Velázquez Sierra, Félix Rivera Guzmán, Elisa Torres, Freddie Burgos, Christian Galíndez y Carmen Noemí. 

Sobre la gran cantidad de colegas que interpretarán piezas de su autoría, Sammy nos comparte entusiasmado: “Para mí es un honor que algunos de los músicos y amigos que más admiro interpreten mis composiciones. Entre ellos están Ángel David Mattos, con quien toqué en su disco Preludio; Junior Irizarry, quien ha sido mi mentor; Freddie Burgos, con quien participé en grupo EViF; Egui Sierra, quien grabó y mezcló mi disco; Luis Raúl Romero, uno de los guitarristas y compositores que más admiro; y Efraín Martínez, con quien he colaborado en muchos proyectos de artistas como Wilkins, Jorge Laboy y Débora Brum.” 

El concierto Más historias que contar se realizará el 7 de agosto del 2022 a las 4 de la tarde en el Teatro de la Universidad Interamericana, Recinto Metropolitano. 

Para más información puede acceder este enlace https://linktr.ee/mashistoriasquecontar 

Sammy Morales: una vida dedicada a la música 

Samuel “Sammy” Morales Correa nació en el Bronx, Nueva York, en 1959, y creció en Puerto Rico. Sus influencias musicales tienen diversas vertientes. Su madre cantaba en un coro de la iglesia; su padre escuchaba música caribeña y latinoamericana; su hermano Roberto tocaba la guitarra y tenía una banda de rock. Sammy escuchaba, observaba y aprendía. Siendo adolescente, tomó lecciones de piano. Luego estudió contrabajo con el profesor Federico Silva en la Universidad de Puerto Rico. Descubrió la música clásica y barroca, entre otros géneros que lo influenciarían. Integró una banda con su hermano Roberto y con el percusionista Egui Castrillo. Tocaban standard jazz y composiciones de Sammy. 

Su carrera profesional comenzó en el programa de TV Juventud ’83. Fungió como bajista, arreglista y director musical de Wilkins, Lucecita, Pablo Elvira, Willie Colón, Jorge Laboy, Danny Rivera, y el House Band del Heineken Jazz Jam. Con el SM Quinteto grabó Historias, Cuentos y Canciones (2012). Su discografía cubre jazz, rock, pop, trova, bomba y plena junto a: Humberto Ramírez, Jorge Laboy, Wilkins, Andy Montañez y Atabal, Heineken Jazz Fest y de Berklee en PR, entre otros. 

Sammy ha dedicado gran parte de su vida a la enseñanza. Durante 30 años ha sido profesor de música, director musical y coordinador de actividades en la Universidad Interamericana, Universidad de Puerto Rico, Escuela de Bellas Artes de Guaynabo, Conservatorio de Música, Fundación Banco Popular y escuelas públicas. 

Sammy Morales nos ha regalado su impresionante talento musical y su incuestionable vocación educativa. Su aportación al pentagrama puertorriqueño trascenderá el tiempo y su legado seguirá multiplicándose en cada uno de los músicos a quienes ha servido de inspiración. Por una vida dedicada a la música… ¡Gracias Sammy! 

Renowned Saxophonist and Composer Miguel Zenón Releases Música de Las Américas, Inspired by the History of the American Continent

Renowned Saxophonist and Composer Miguel Zenón Releases Música de Las Américas, Inspired by the History of the American Continent

 

Out August 26, 2022 on Miel Music, Música de Las Américas features all-new music from Zenón for his long-time working quartet plus master percussionists from his native Puerto Rico

 

Album release celebration August 23 – 28 at The Village Vanguard, NYC

“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.

Photos by Adrien Tillmann

Photo by Herminio

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 Jazz and his many influences. Born and raised in San Juan, Puerto Rico, Zenón has recorded and toured with a wide variety of musicians including Charlie Haden, Fred Hersch, David Sánchez, Danilo Pérez, Kenny Werner, Bobby Hutcherson and The SFJAZZ Collective.