Christian Tumalan: Released CDs

Reviews by Radio Vinilemania [Latin Jazz Corner]



BRIAN ANDRES AND THE AFRO-CUBAN JAZZ CARTEL - DRUMMERS SPEAK

Album review by Chip Boaz - Courtesy The Latin Jazz Corner.

Expanding Our Understanding of a Drummer’s Musicality
Andres and his Afro-Cuban Jazz Cartel expand our understanding of a drummer’s musicality while delivering an outstanding collection of music on Drummers Speak. The repertoire selection offers a strong variety of approaches, resulting in a constantly interesting album. Andres’ use of material from Latin Jazz drummers makes a firm connection with the style while his integration of songs from straight-ahead jazz drummers exposes range. Both Tumalan and Sierra’s arrangements place a distinct spin on the songs, and their creativity drives the album into “must-hear” territory. The solid trio of Rinta, Olmos, and Smith professionally execute the arrangements, but they also provide strong improvisatory voices that reflect knowledge of both jazz and Cuban styles. Despite the album’s focus on drummers as composers, the performances always emphasize the power of drums and percussion in Latin music. Andres, Caro, and Angulo create an unstoppable groove through multiple Cuban and Puerto Rican styles, ranging from traditional to contemporary. After experiencing the strength of this album, jazz fans will turn their ears for a serious listen every time they hear the Drummers Speak.

Jazz listeners often consider drummers as strictly players in a group, and they rarely consider drummers to be artistic masterminds. Drummers serve as the band’s foundation providing a rhythmic floor underneath soloists. Each drummer interprets the rhythm in a slightly different way, and that interpretation forms the ensemble’s overall feel. In most modern groups, the drummer acts as the primary interactive voice, instigating intensive conversations with soloists. From a listening perspective, drummers display their artistry through their important performances, leaving the creative development to wind players and pianists. Bay Area drummer Brian Andres and his group the Afro-Cuban Jazz Cartel change this perspective with Drummers Speak, an energetic album with Latin Jazz arrangements of songs composed by drummers.

A Focus on Drummers From The Latin Tradition
Andres takes several instrumental songs written by drummers from the Latin tradition. An elegant introduction grounded by tender piano arpeggiations blasts into a syncopated melody on Armando Peraza’s “Estampa Cubana.” Trombone player Mike Rinta immediately provides a powerful solo with rhythmic intensity followed by a statement from trumpeter Mike Olmos that builds from a sparse beginning into a blazing series of high notes. The groove hits a high point as Andres, conguero Patricio Angulo, and timbalero Carlos Caro trade solos. Caro opens Ray Barretto’s “Song For Chano” with a rubato conga solo, leading into a syncopated bass line over a 6/8 groove. Rinta and saxophonist Darren Smith both take short flowing solos that emphasize melody over rhythm. Bassist Saul Sierra’s strong statement leads back into the melody and an explosive conga solo from Caro. A flurry of textural colors introduces the gentle melody on Bobby Sanabria’s bolero “Adiós Mario.” Tumalan carefully chooses each note throughout an expressive solo that honestly displays the pianist’s deep insight. Olmos presents a thoughtful flugelhorn solo that smartly intertwines jazz embellishments into long phrases. Sierra’s creative arrangement of the Dizzy Gillespie/Chano Pozo song “Manteca” places the standard in 7/4. The unique rhythmic structure forces each horn player to re-examine their improvisational approach, extracting fresh lines from Smith, Rinta, and Olmos. Tumalan assertively mixes traditional Cuban phrases with odd-meter shifts, until he falls into a stuttering montuno for Angulo’s timbale solo. The song choices, creative arrangements, and personal expressions combine into a strong tribute to Latin Jazz drummers.

Viewing Straight-Ahead Jazz Drummers Through Latin Jazz Arrangements
The group integrates a variety of compositions from straight-ahead jazz drummers, placing them in a Latin Jazz context. A driving batá rhythm creates an implied swing underneath the introspective melody on Tony Williams’ “Sister Cheryl.” The band jumps into an up-tempo rumba guaguanco for a skillful solo from Olmos, followed by an aggressive statement from Smith full of bebop flavor and exciting rhythmic twists. Andres takes an extended solo here, stretching the style’s musical possibilities with syncopated phrasing and strong technical control. Nicholas “El Grillo” Radina plays a cuatro solo over a bomba rhythm, moving between the melodic phrases on Art Blakey’s “Toffi.” As the band pushes the song into an interactive jam session, both Rinta and Tumalan drive the rhythm section into a frenzy with assertive phrases. Smith lifts the song to a higher level, constantly finding new ways to alter rhythms and develop melodic ideas. The rumba percussion introduction sets the stage for a unusual 5/4 interpretation of the style on Jack DeJohnette’s “Where Or Wayne.” The group moves between a cha cha cha and an Afro for the main melody, moving in groupings of 9 beats. As Smith, Tumalan, and Olmos improvise, the rhythm section finds a more standard feel, rounding out an interesting arrangement of ideas. The integration of songs generally found outside the Latin Jazz world coupled with diverse arranging ideas provides another perspective on Andres’ concept.

Expanding Repertoire With Vocal Features
Some tracks focus upon vocal features written by Latin Jazz drummers. Traditional percussion approaches and vocal phrases open Francisco Aguabella’s “Rumba Complicación.” Moving between harmonized coros, vocalist Fito Reinoso links the song to authentic Cuban rumba with improvised pregones. As the song progresses, percussionist Sandy Perez interacts with Reinoso through knowledgeable quinto work. Sierra’s timba-based arrangement offers another view of the Aguabella song, showing the strength of the original piece. Vocalist Gloria Amaral’s strong melodic interpretation and bold pregones serve as the song’s centerpiece, pushing it into an irresistible dance groove. Smith and Rinta maintain the group’s connection to jazz with improvised solos that reflect the arrangement’s aggressive feel. An up-beat montuno over a modern salsa feel leads into a horn mambo to open Tito Puente’s “Cuál Es La Idea.” A repeated coro separates a series of mambos as well as solos from Rinta and Olmos. Tumalan’s solo combines traditional phrasing with some unique note choices, until the group bursts into a vamp for an explosive bongo solo from Caro. The use of vocal features balances the album’s repertoire, and shows another side of a drummer’s artistic vision.