The new recording, Alegria from
percussionist, composer, and bandleader Samuel Torres (from Bogota, Colombia, and
based in Astoria, NY), is a celebration of life! As a bandleader Torres has
released four recordings, including the much-heralded albums Skin Tones,
Yaoundé and Regreso (with Nueva Filarmonía Orchestra from Colombia). His fourth
recording, Forced Displacement, was a searing commentary on the sociopolitical
situation in Colombia. In stark
contrast, Alegria, which means "happiness" or "joy,"
presents eight original compositions that captivate and inspire. Torres
elaborates, "in these somewhat dark and divisive times we need light and
joy, and we need to share these things with each other to combat hate. For us
(Latinos) dancing is vital for celebration, and that's what this record is all
about. It is an inclusive celebration for the teenagers, the kids, the crazy
aunts and uncles, parents and grandparents, brothers and sisters . . .
everyone! This music has many elements and ingredients, but it is rhythm and
dance that brings it all together, as it is light and joy that brings people
together."
With a New Jazz Works Grant from Chamber Music America in
his pocket (Torres holding the distinction of being a two-time recipient of the
award), Torres put his formidable composer's mind and his boundless hopefulness
to work, creating an album that would awaken the positivity and jubilation in
the listener, and serve as a testament to the resilience of the human spirit.
The music on Alegria is inspired by music of the urban and dance scene of
Bogota, and embodies all of the love, vitality, joie de vivre, and magnificent
talent, which Torres and his ace band, comprised of many of NYC's finest
musicians, brought to every note.
The album's co-producer, Kabir Sehgal, said of working with
Torres on Alegria, "It has indeed been a joy to produce Alegria with
maestro Torres. He is a one-of-a-kind, irrepressibly magnificent artist who
taps his whole being for his music. He's a marvel, and his music is a model for
us all." - Kabir Sehgal is a New York Times bestselling author and Multi-Grammy
& Latin Grammy Award winning producer
More on the music on Alegria with Samuel Torres: Torres,
well versed in dozens of folkloric traditions from around the world, offers a
kaleidoscopic of melody, harmony, and of course, rhythm. During the course of this
invigorating album you will hear rhythms from his native Colombia (cumbia on
"Preludio a un Abrazo," and with more indigenous influence on the
title track), as well as Boogaloo from NYC (on "Barretto Power"),
Guaguanco - Cuban Descarga (on "Anga," dedicated to the memory of
Cuban percussionist Miguel "Anga" Diaz), Bolero, with bachata
influences (on "Bolero Para Raquel"), Salsa Choke (a famous style
that mixes contemporary Urban Spoken Word over a Cuban Pilon pattern (on
"Salsa, Jazz y Choke"), funk mixed with a blend of Central African
rhythms and Peruvian Lando (on "The Strength to Love"), and
Ecuadorian and Colombian Bambuco (on one of the album's prettiest tunes,
"Little Grasshopper").
1. Salsa, Jazz y Choke - There is contemporary urban style
of music in Colombia called Salsa Choke, became famous because the Colombian
National Soccer team would dance to these sounds at The World Cup. Salsa Choke
hails from the Pacific coast, where the strongest Afro-Colombian community is
based. Basically, the music incorporates rap over a Cuban Pilon loop. Some
people love it, some don't, but much of the aesthetic is borrowed from hip-hop,
and there is often a social protest aspect to the lyrics. I loved the groove so
I thought why not make it more interesting. In my composition process I
frequently use simple motifs as a jumping off point. Solos: Marshall Gilkes
(Trombone) , Luis Perdomo (Piano), Samuel Torres (Congas)
2. The Strength to Love - Comprised of two motifs, one that
represents a strong African heritage, and the other, love. I decided to name
this composition after reading sections of Martin Luther King's "The
Strength to Love," as an example of using love to fight hate. Solos: Luis
Perdomo (Fender Rhodes), Joel Frahm (Tenor Sax), Samuel Torres (Talking Drum)
3. Barretto Power - A Boogaloo dedicated to my hero Ray
Barretto, I think the recordings he did in the early 70's which combined soul,
jazz and other elements, were so important and Boogaloo represents the sound of
Latin-Urban NYC of that era. Because Barretto was so interested in hip,
advanced harmony, this tune is composed with a variety of dissonant harmonic
colors. Solos: Ruben Rodriguez (Electric Bass), Ivan Renta (Baritone Sax), Pablo
Bencid (Drums)
4. Preludio a un Abrazo - In our human process of
reconciliation there are many steps, but I think a strong and sincere hug is
the best representation of forgiveness.
The rhythm is a Colombian Bullerengue (the mother of Cumbia), and it's
constructed as a transparent piano prelude, and then orchestrated. Solos: Luis
Perdomo (Piano). Michael Rodriguez (Trumpet), Will Vinson (Soprano Sax)
5. Little Grasshopper - A tune intended to feature the
Kalimba, featuring a simple melody over a 6/8 rhythmic pattern with South
American components (maracas llaneras, cajon). The band plays melodic grooves
similar to an African choir. In 2018 I began teaching kids in a private school
in Manhattan, and basically I'm developing a world-percussion program with
them. It has been one of the biggest challenges I've had in my life, and this
tune is dedicated to those kids who have become the best teachers I've ever
had. Solos: Ivan Renta (Flute), Samuel Torres (Kalimba)
6. Bolero Para Raquel - A bolero inspired on a bachata from
Juan Luis Guerra (the reason that the main percussion part is on bongos) that I
wrote for my then wife - so it's about love, happy moments, hard times,
separation, come backs, a good bye, etc. Solos: Joel Frahm (Tenor Sax)
7. Alegria - A Cumbia, but not in the traditional Colombian
way, but more of what they call "Cumbia Chicha," that has elements of
South American indigenous music, like Guaino. This composition has a
contrasting, expressive section, but at the end it's all about celebrating,
happiness and dancing! Solos: Will Vinson (Alto Sax), Luis Perdomo (Piano)
8. Anga - Inspired on the traditional Cuban descarga, this
is a tribute to our deep love for Afro-Cuban music, but especially to the
memory of Miguel "Anga" Diaz. He was very important in my development
as a musician, not only because of his playing, but also because he gave me the
opportunity to hang and play with him. When I was a teenager in Bogota, I went
through a period of time of feeling insecure about becoming a percussionist. I
felt that maybe I didn't have it in me . . . truthfully I wanted to be black
and from the Caribbean. Some friends told him how I was feeling, and he hugged
me and told me that when we jammed I touched his soul and that I should never
doubt myself, but continue studying the congas. I shared the stage with him on
many occasions (the last time in Spain just weeks before he passed away), and
we always had a special master-alumni relationship. Solos: Marshall Gilkes
(Trombone), Ivan Renta (Baritone Sax), Samuel Torres (Congas)
More on Samuel Torres: When the imposing talents of one of
today's most versatile Latin jazz artists melds with the organic richness of
some of the world's greatest cultural melting pots, the results are guaranteed
to be as fresh and virtuosic as they are revealing and magical. Born in Bogata,
Colombia, and raised in a bustling and culturally sophisticated metropolis
where jazz and classical music share the stage with salsa and an infinite
variety of Colombian folkloric idioms. Torres' earliest exposure to music came
at home, thanks to an extended family of musicians and easy access to a wealth
of Colombian genres and styles that reflect a range of African, indigenous and
European influences.
By age 12, Torres was performing with various ensembles,
developing techniques that allowed him to quickly adapt to the demands of jazz,
pop music and salsa. A classically trained percussionist, he earned a degree in
Music Composition from Bogotá's esteemed Universidad Javeriana. Before
departing for the U.S., the resourceful young artist had become an established
figure, backing leading Colombian performers while serving as an arranger and
music director for his country's highly regarded telenovelas and films.
Since arriving in the U.S. in 1999, following in the
footsteps of his uncle Edy Martinez (who had risen to fame in the New York City
salsa scene in the early 1970's as a pianist and arranger for acclaimed conga
player, Ray Barretto - also a major influence), Torres took the scene by storm,
quickly becoming an in-demand sideman and valued collaborator for such
luminaries as Tito Puente, Paquito D'Rivera, Chick Corea, Alejandro Sanz, Ricky
Martin, Don Byron, Richard Bona, Lila Downs, Jeff "Tain" Watts,
Angelique Kidjo, Marc Anthony, Rubén Blades, Fonseca, Andrés Cepeda, Thalía,
and his country's own international superstar, Shakira. His talents have also
been featured in concerts with classical orchestras such as Berlin Symphoniker,
City of London Sinfonia, The Boston Pops, Bogotá Philharmonic, Medellín
Philharmonic, Delaware University Orchestra, The Los Angeles Philharmonic and
the Nashville Symphony.
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