Discover Eddie Allen and Salongo

I have to be honest. I had never heard of New York jazz trumpeter Eddie Allen. Come to think of it there are tons of working jazz musicians I haven't heard of. Mostly sidemen who have been working the ropes and then emerge seemingly out of nowhere, when in fact they'd been honing their skills and paying their dues all along. Eddie Allen is one of those underdogs, except that now he directs several different projects, none of which have garnered the media attention they deserve. The cat's been playing since the 70s, working his way up from Milwaukee to the Big Apple, where he's worked with such legends as hard bop drummer Art Blakey, bebop brass bohemian Dizzy Gillespie, avant-garde bandleader Henry Threadgill, and pioneering percussionist Mongo Santamaria, among others, no doubt taking it all in. In 1994 Allen struck out on his own with a quintet and an album titled Remembrance. One of his latest ensembles, Salongo, is a seven-piece Afro-Cuban-Brazilian group that has a four-pronged approach to jazz. The outfit combines the late congero legend Mongo Santamaria's rhythmic latticework, with Brazilian beats and sense of time, the harmonic concepts of contemporary jazz, and the commercial veneer of Santana. Crisp lines and smooth improvisation immediately came to mind when I listened to Salongo's self-titled debut. Allen is a well-versed player with an astonishing emotional range which he fully takes advantage of in the setting of a three-piece horn section -- comprised of himself, Bruce Williams on alto sax and flute, and Teodross Avery on tenor sax. The nine-track disc appropriately opens with "Brasilian Sunset," a laidback groove with Deigo Rivera keeping time with a samba-like backbeat on drums, and Hector Martignon infusing elegance on the piano. "Being Here With You" displays Afro-Cuban cadence on piano and sputtering congas. While "Nymph of Sudan," is the hands-down gem of the album. Midway, "Touch" exudes downtempo sensuality. Salongo wraps up the exquisite jaunt with "Just So You Know," on which the group's keen attention to detail is reiterated. This album is a seamless whole where every piece of the puzzle has its place -- just so you know.

Discover Eddie Allen and Salongo

I have to be honest. I had never heard of New York jazz trumpeter Eddie Allen. Come to think of it there are tons of working jazz musicians I haven't heard of. Mostly sidemen who have been working the ropes and then emerge seemingly out of nowhere, when in fact they'd been honing their skills and paying their dues all along. Eddie Allen is one of those underdogs, except that now he directs several different projects, none of which have garnered the media attention they deserve. The cat's been playing since the 70s, working his way up from Milwaukee to the Big Apple, where he's worked with such legends as hard bop drummer Art Blakey, bebop brass bohemian Dizzy Gillespie, avant-garde bandleader Henry Threadgill, and pioneering percussionist Mongo Santamaria, among others, no doubt taking it all in. In 1994 Allen struck out on his own with a quintet and an album titled Remembrance. One of his latest ensembles, Salongo, is a seven-piece Afro-Cuban-Brazilian group that has a four-pronged approach to jazz. The outfit combines the late congero legend Mongo Santamaria's rhythmic latticework, with Brazilian beats and sense of time, the harmonic concepts of contemporary jazz, and the commercial veneer of Santana. Crisp lines and smooth improvisation immediately came to mind when I listened to Salongo's self-titled debut. Allen is a well-versed player with an astonishing emotional range which he fully takes advantage of in the setting of a three-piece horn section -- comprised of himself, Bruce Williams on alto sax and flute, and Teodross Avery on tenor sax. The nine-track disc appropriately opens with "Brasilian Sunset," a laidback groove with Deigo Rivera keeping time with a samba-like backbeat on drums, and Hector Martignon infusing elegance on the piano. "Being Here With You" displays Afro-Cuban cadence on piano and sputtering congas. While "Nymph of Sudan," is the hands-down gem of the album. Midway, "Touch" exudes downtempo sensuality. Salongo wraps up the exquisite jaunt with "Just So You Know," on which the group's keen attention to detail is reiterated. This album is a seamless whole where every piece of the puzzle has its place -- just so you know.

Miami Beach Grooves With the Pinker Tones

Photo by Luis Olazabal
http://www.luisolazabal.com/

The Pinker Tones closed the Rhythm Foundation's Transatlantic Music Fest with style Saturday night at the North Beach Bandshell, giving fans a taste of what to expect from them come this summer's Vans Warped tour. The musically mischievous boys from Barcelona will play extended sets in the Skull Candy electronic tent in support of their latest release, Wild Animals (Nacional Records), in 43 cities across the U.S. In Miami an eclectic mix of cool kids, middle-aged fans, and even some seniors got their groove on under the night sky, a stone's throw away from the ocean, as Professor Manso, Mister Furia, and their trusty collaborator DJ Niño (known as the third pinkertone) funneled their irresistible sonic hodgepodge into the vortex of the moment. Looking like they'd just landed from an intergalactic voyage, the three DJs took to the blue-lit stage dressed in metallic silver jackets and dark shades. The effect was very cool as the crew proceeded to maneuver behind the decks opening the set with "Hold On," the first track from Wild Animals. By the time they segued into a remix of "S.E.X.Y.R.O.B.O.T.," another track off the new album, DJ Niño peeled off his, Mister Furia and Professor Manso's jacket, feeling Miami's punishing heat, but also as a silly, tongue-in-cheek striptease that revealed their matching ensembles - black, long-sleeve shirts and thin, platinum ties - as well as their loopy sense of humor. DJ Niño, sandwiched by Manso and Furia, was a ball of energy and really kept the momentum going with his onstage antics. He would play air guitar to sampled power chords, toss his headphones up in the air, and go crazy on the mixer. Meanwhile Manso rocked-out on the computer drum and Furia looked dapper, hunched over the knobs and switches of his analog synth. Overhead, a large screen flashed images of highways, go-go dancers, Marilyn Monroe, and primitive iconography. Midway through the set the trio plunged into the retro-soul tinged "Love Tape." From The Million Colour Revolution disc, the ultimate ode to the homemade mixedtape was appropriately infused that night with a samba beat and the exotic sound of the cuíca. Samples of Led Zeppelin's "Immigrant Song" and "Mustang Sally" were brilliantly spliced and woven throughout, near the final stretch of the show, before climaxing with the quirky, electro-pop confection of "Sonido Total." At that point it seemed like everybody was infected with the Pinker Tones' wave of euphoria; their good vibes slicing right through the thick of Miami's stagnant air.

Miami Beach Grooves With the Pinker Tones

Photo by Luis Olazabal
http://www.luisolazabal.com/

The Pinker Tones closed the Rhythm Foundation's Transatlantic Music Fest with style Saturday night at the North Beach Bandshell, giving fans a taste of what to expect from them come this summer's Vans Warped tour. The musically mischievous boys from Barcelona will play extended sets in the Skull Candy electronic tent in support of their latest release, Wild Animals (Nacional Records), in 43 cities across the U.S. In Miami an eclectic mix of cool kids, middle-aged fans, and even some seniors got their groove on under the night sky, a stone's throw away from the ocean, as Professor Manso, Mister Furia, and their trusty collaborator DJ Niño (known as the third pinkertone) funneled their irresistible sonic hodgepodge into the vortex of the moment. Looking like they'd just landed from an intergalactic voyage, the three DJs took to the blue-lit stage dressed in metallic silver jackets and dark shades. The effect was very cool as the crew proceeded to maneuver behind the decks opening the set with "Hold On," the first track from Wild Animals. By the time they segued into a remix of "S.E.X.Y.R.O.B.O.T.," another track off the new album, DJ Niño peeled off his, Mister Furia and Professor Manso's jacket, feeling Miami's punishing heat, but also as a silly, tongue-in-cheek striptease that revealed their matching ensembles - black, long-sleeve shirts and thin, platinum ties - as well as their loopy sense of humor. DJ Niño, sandwiched by Manso and Furia, was a ball of energy and really kept the momentum going with his onstage antics. He would play air guitar to sampled power chords, toss his headphones up in the air, and go crazy on the mixer. Meanwhile Manso rocked-out on the computer drum and Furia looked dapper, hunched over the knobs and switches of his analog synth. Overhead, a large screen flashed images of highways, go-go dancers, Marilyn Monroe, and primitive iconography. Midway through the set the trio plunged into the retro-soul tinged "Love Tape." From The Million Colour Revolution disc, the ultimate ode to the homemade mixedtape was appropriately infused that night with a samba beat and the exotic sound of the cuíca. Samples of Led Zeppelin's "Immigrant Song" and "Mustang Sally" were brilliantly spliced and woven throughout, near the final stretch of the show, before climaxing with the quirky, electro-pop confection of "Sonido Total." At that point it seemed like everybody was infected with the Pinker Tones' wave of euphoria; their good vibes slicing right through the thick of Miami's stagnant air.

New Music and Performances From Two Brazilian Legends

Seemingly tied to coincide with Bossa Nova's BIG 50, Brazilian musician Sergio Mendes releases his newest production, Encanto, in June under Concord Records. Fans will be able to purchase the disc at their nearest Starbucks. Mendes' importance in the U.S. is that he made Bossa Nova even more American friendly. In fact, shortly before his Brasil '66 ensemble made it to the mainstream, Mendes moved to L.A. and has been California Dreamin' ever since. Encanto follows in the footsteps of 2006’s Timeless, on which Mendes teemed up with will.i.am and Fergie to give Bossa Nova classics an urban flavor. Here again Mendes enlists several contemporary musicians from all over the world including Latin superstar Juanes from Colombia, the multi-talented Carlinhos Brown and Vanessa da Mata from Brazil, Japan's foremost pop outfit, Dreams Come True, Belgium’s sassy Zap Mama and Italian rapper Jovanotti, as well as American stars like Fergie, Ledisi, Natalie Cole, Herb Alpert and his wife, original Brasil ’66 singer, Lani Hall. He's also going to be on tour in other cites throughout the summer. For my fellow Floridians, don't miss him at the Mahaffey Theater in St. Pete on May 14 or in Miami's JVC Jazz Fest on May 17, along with Ledisi, Anthony Hamilton, and Jorge Ben Jor. That's right, JORGE BEN fucken JOR! An icon of the Brazilian songbook, the samba-funk master will perform in the U.S. for the first time since 2004. Not to be missed. I'll be there relishing my role as messenger for those of you who can't make it.

New Music and Performances From Two Brazilian Legends

Seemingly tied to coincide with Bossa Nova's BIG 50, Brazilian musician Sergio Mendes releases his newest production, Encanto, in June under Concord Records. Fans will be able to purchase the disc at their nearest Starbucks. Mendes' importance in the U.S. is that he made Bossa Nova even more American friendly. In fact, shortly before his Brasil '66 ensemble made it to the mainstream, Mendes moved to L.A. and has been California Dreamin' ever since. Encanto follows in the footsteps of 2006’s Timeless, on which Mendes teemed up with will.i.am and Fergie to give Bossa Nova classics an urban flavor. Here again Mendes enlists several contemporary musicians from all over the world including Latin superstar Juanes from Colombia, the multi-talented Carlinhos Brown and Vanessa da Mata from Brazil, Japan's foremost pop outfit, Dreams Come True, Belgium’s sassy Zap Mama and Italian rapper Jovanotti, as well as American stars like Fergie, Ledisi, Natalie Cole, Herb Alpert and his wife, original Brasil ’66 singer, Lani Hall. He's also going to be on tour in other cites throughout the summer. For my fellow Floridians, don't miss him at the Mahaffey Theater in St. Pete on May 14 or in Miami's JVC Jazz Fest on May 17, along with Ledisi, Anthony Hamilton, and Jorge Ben Jor. That's right, JORGE BEN fucken JOR! An icon of the Brazilian songbook, the samba-funk master will perform in the U.S. for the first time since 2004. Not to be missed. I'll be there relishing my role as messenger for those of you who can't make it.

Bonde do Role's New Dynamic Was Anything But In MIA

Photos by Liliam Dominguez
http://www.liliamdominguez.com/

OK before I rip into Bonde do Role's concert in Miami last Thursday night, I just want to say how much I really dig their deft fusions of funk carioca, heavy metal, and electro-dance music. But since this is my blog, I'm gonna tell it like it is, or at least like it is in my mind. It might have been that my expectations were unrealistically high. It happens sometimes. Bonde do Role's show in Miami was one of those times and definitely not what I had imagined it would be. En route to Coachella, the baile funkeros hit downtown's Studio A with new members Ana Bernardino and Laura Taylor in tow. The two were hand-picked by DJ Gorky and Pedro D'eyrot via MTV Brasil when MC Marina Vello ditched the band late last year. Yin - Yang personified, Ana was the prison guard holding down the fort, I mean stage, with her ferocious mic in throat screaming and braid-lashing head-whips, while Laura mostly stuck to her role as bubbly bunny cheerleader, prancing around the peripheries of Ana's sometimes scary and frankly annoying volcanic eruptions. When Laura did take the lead it was a welcome respite from boot camp. Kudos to Gorky for doing what he does best, which is pounding out the bass and sampling crunching thrash guitar and 80s electro-pop. Pedro D'eyrot was memorable for oscillating between his snooty Brit accent and Argentine Spanish when interacting with the audience. Not once did he address Miami's rare hipster breed in Portuguese. Testament to the fact that unfiltered baile funk is still only found in Rio's favelas.