  |
|
|
 |
|
CD |
| 3.906 Ft
|
|
| 1. | The Coolest
|
| 2. | Sensaciones
|
| 3. | The Stutterer
|
| 4. | Afrotango
|
| 5. | One Day Suite: Morning
|
| 6. | One Day Suite: Afternoon
|
| 7. | One Day Suite: Night
|
| 8. | New Elephant
|
| 9. | Renew The Elephant
|
| 10. | Innocent Bird
|
49th Annual GRAMMY Nominee for Best Latin Jazz Album
Jazz
Latin Jazz
Afro-Cuban Jazz
Recorded: October 2005, Systems 2 Recordings, Brooklyn, NY
Dafnis Prieto, drums & percussion
Yosvany Terry, alto & tenor sax
Christian Howes, violin
Dana Leong, cello
Jason Lindner, piano and Hammond organ
Special guest :
Henry Threadgill, alto sax
"Dafnis Prieto plays supercharged, orchestral patterns involving his entire kit, making it all cohere with strong clave rhythms. For Absolute Quintet…he has written highly disciplined arrangements to lie over fast, physical music. Hearing the musicians navigate them without missteps, and improvising fluidly over the complicated broken rhythms, is a thrill." - Ben Ratliff, NEW YORK TIMES
On Absolute Quintet, celebrated young Cuban-born, New York-domiciled drummer, band leader and composer Dafnis Prieto presents his astonishingly virtuosic crew of Latin and avant-garde sidemen in a program of 10 genre-defying Prieto originals. Reflecting a wide range of musical influences, from nineteenth-century classical Cuban music and afro-Cuban dance forms to NYC downtown electric fusion, Absolute Quintet boldly steps forward with the unique musical vision of its creator.
As befitting the talents of a most unusual drummer, Dafnis Prieto comes up with a most unusual lineup of instruments for his second album as a leader -- drums, keyboards, saxophone, violin, and cello. There's no bass on the session, but there is no critical lack of a low end; either Jason Lindner's keyboards or Dana Leong's cello seem to fill the bottom nicely enough. Above all, Prieto's amazing hand-and-foot coordination seeps into all possible gaps; his multi-faceted command of the drum kit makes you think that there are two or more percussionists on the session (he creates the same illusion in live performance). The album leads off with the cool, wailing wah-wah keyboard, funky complex beat, and South Indian scatting of the appropriately named "The Coolest." But other titles seem ironic, if not misleading. "The Stutterer," the most striking piece of work on the CD, is pure rhythm -- all angles and discords, everyone trying to match the polyrhythms of Prieto with no pretense of following a tune. Yet it comes together in a coherent, even funky fusion, hardly stuttering at all. Dominated by guest alto saxophonist Henry Threadgill (Yosvany Terry is the able reedman on the other tracks), "Afrotango" is anything but, for it doesn't conform to a tango rhythm. In the center of the album, Prieto tries an impressionistic, long-form piece, "One Day Suite" -- with arco and pizzicato solos for violinist Christian Howes and Leong and unaccompanied stretches for Lindner's organ and Prieto depicting the morning, a lazy afternoon interlude, and a joyous, hip-hoppy Prieto groove in the evening. Prieto's way is a good place for jazz to go if it wants to break out of its straight-ahead straitjacket.
---Richard S. Ginell, All Music Guide
Dafnis Prieto
Active Decade: '00s
Genre: Jazz
Styles: Afro-Cuban Jazz, Contemporary Jazz, Latin Jazz, Post-Bop
Since his arrival in New York City at the tail-end of '90s, Cuban immigrant Dafnis Prieto has enjoyed a reputation for being a flexible and broad-minded drummer, percussionist, composer, and arranger who can handle post-bop and Latin jazz as well as the occasional avant-garde gig. Prieto brings a long list of influences to his playing, and they range from Art Blakey and Elvin Jones to Latin greats such as Ray Barretto, Mongo Santamaria and Tito Puente. Blakey, it should be noted, has not only influenced Prieto's playing but also, his bandleading/arranging outlook. Some of Prieto's arrangements show a definite awareness of Blakey's Jazz Messengers, and Prieto has also been influenced by the bandleading and arranging of pianist Eddie Palmieri (who is a huge name in both salsa/Afro-Cuban music and Latin jazz).Born in 1974, Prieto grew up in Santa Clara, Cuba -- a small town about 150 miles from Havana. Prieto studied both guitar and percussion as a pre-teen, and after leaving Santa Clara, he moved to Havana to attend the National School of Music (where he concentrated on Afro-Cuban and classical music but became increasingly interested in jazz). One of the musicians Prieto played with when he was still living in Cuba was Canadian saxophonist Jane Bunnett, who invited him to perform in North America as part of her group. Prieto was 25 when, in 1999, he decided to make New York City his permanent home. The early 2000s found Prieto being employed as a sideman by several well-known musicians, including Eddie Palmieri, pianist Michel Camilo, guitarist Carlos Barbosa-Lima, vibist Dave Samuels (of Spyro Gyra fame) and pianist Arturo O'Farrill (son of Chico O'Farrill). Many of the musicians he played with after settling in the Big Apple favored very straight-ahead jazz, although Prieto also appeared in some avant-garde settings with saxophone explorer Henry Threadgill. It was also during the early 2000s that Prieto formed his own quintet, whose members included trumpeter Brian Lynch (one of the many people who passed through Art Blakey's Jazz Messengers), saxophonist Peter Apfelbaum, acoustic bassist Hans Glawischnig and Venezuelan pianist Luis Perdomo. About the Monks, Prieto's first album a leader, was given a February 2005 release date by the independent Zoho Music; in addition to producing and arranging the album, Prieto wrote all of the material.
Alex Henderson, All Music Guide |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
