Bitrate: MP3@320K/s
Time: 72:12
Size: 165.3 MB
Styles: Afro-Cuban jazz, Piano jazz
Year: 2018
Art: Front
[1:51] 1. Smiling
[7:27] 2. Moving Forward
[6:07] 3. Sencillez
[8:15] 4. Iyesa Con Miel
[5:43] 5. Blood Brothers
[4:47] 6. Camello Tropical
[8:19] 7. Lovely Time With My Dear
[6:30] 8. Linear Patterns In Havana
[5:45] 9. Two Makes The Difference
[5:40] 10. West Coast Exchange
[2:37] 11. Hand In Hand, You And I
[9:06] 12. Situaciones En 12 8
Dayramir González: Steinway Grand Piano, Fender Rhodes and synthesizers (2, 8, 9) and coro (2, 3, 10, 12); Antoine Katz: electric bass (1, 4, 6, 8, 10, 12); Alberto Miranda: electric bass (2); Carlos Mena: contrabass (3); Zwelakhe Duma-Bell Le Pere: contrabass (5, 7, 9); Zack Mullings: drums (1, 4, 6, 10); Keisel Jimenez Leyva: drums (2); Jay Sawyer: drums (5); Willy Rodriguez: drums (5); Raul Pineda: drums (8); David Rivera: drums (12); Paulo Stagnaro: congas (1,, 3, 6, 10), batá drums: (6), surdo, cajón, güiro, pandeiro and miscellaneous percussion (1, 5, 7, 8, 9) ; Marcos Lopez: congas (2); Mauricio Herrera: congas (12), batá drums (2); Pedrito Martinez: batá drums (4) and lead vocals (4); Gregorio Vento: miscellaneous percussion and lead vocals (12); Yosvany Terry: alto saxophone (1, 4, 8, 10), shekere (10); Marcos Lopez: timbal (10); Harvis Cuni: trumpet (1); Oriente Lopez: flute (1, 3, 4, 8, 10); Kalani Trinidad: flute (12); Rio Konishi: alto saxophone (12); Dean Tsur: alto saxophone (7), tenor saxophone (1, 4, 8, 10); Edmar Colon: tenor saxophone (12); Ameya Kalamdani: electric and acoustic guitars (1, 6); Tatiana Ferrer: coro (2, 3, 10, 12) and viola (1, 3, 5, 7); Jaclyn Sanchez: coro (2, 3, 10); Nadia Washington: lead vocals (6) and coro (3, 10); Ilmar Lopez Gavilan: violin (1, 3, 5, 7); Audrey Defreytas Hayes: violin (1, 3, 5, 7); Jennifer Vincent: violoncello (1, 3, 5, 7); Caris Visentin Liebman: oboe (5); Amparo Edo Biol: French horn (5).
Remarkably this is only the second album by Mr. González. His first album, Habana enTRANCe (Cinquillo, 2007) certainly announced the arrival of another master musician from the fertile musical topography of Cuba, which continues to suggest that it has an almost magical and mystical formula for creating pianists. Although he needed no introduction from older masters such as Chucho Valdés, he got one anyway. However with the explosive start to the album from “Gozando” and the nine other pieces that followed, Mr. González’s music spoke for itself and it seemed that not since Gonzalo Rubalcaba had Cuba produced an artist with such impressive credentials. The Grand Concourse is an enormous development.
From the very (title) The Grand Concourse, an artistic and spiritual portal of sorts, Mr. González beckons us into the deeply spiritual world of Santeria. But the welcome here is unique and it isn’t until “Iyesa Con Miel” with the elemental Lucumi chant by Pedrito Martinez, that one is greeted with something familiar in the way of the Afro-Cuban sprit world. But it is always there, right from the first bars of “Smiling”. It is just that Mr. González has found a new idiom to express what is traditional to him rhythmically. And this is what makes this music so wonderfully unique. This is unlike almost every recent album of Afro-Cuban music, even music by Cuban musicians who visit the same musical ground over and over again, making the evocation of the Lucumi idiom seem laboured.
The Grand Concourse mc
The Grand Concourse zippy
