Customer Reviews

Ceremonial

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This is what happens when a great musician, who is also a masterful saxophone player, formulates a real concept for how a band should sound, composes in a unique voice, and extracts results from his sidemen that elevate the proceedings. Miguel humbles me everytime I hear him, and this recording is a tremendous documentation of one of the best musicians I've ever heard. Luis Perdomo, Hans Glawischnig, and Antonio Sanchez are all in it for the right reasons. No one plays anything that the music doesn't call for. Folks, this is the way it is done. Music is not about fast notes, technique and flash. It's about what is found on this record. Expect things to get even better as the records go by. Miguel Zenon is the real deal.

Miguel's band has a real nice thing going on. The tunes are interesting and always melodic. There's a lot of genuine interaction going on, and a real distinct band sound that's not based on virtuosity or showiness. Miguel has a very personal and well developed voice on the alto, and he's confident enough to let that and his band speak for themselves. I was only exposed to this album for it being on Branford's label, but after listening to it for a couple weeks now, I want to go back and check out his earlier work.

I have to admit that I had not heard of Miguel prior to this recording. I had the pleasure of hearing this recording in the record store of a friend of mine. Miguel has a beautiful tone but unlike players with such a gift he doesn't exploit it that by playing to that asset. He improvises excellently, he embellishes and knows when not to play. The player he most reminds me of is Lee Konitz.

Antonio Sanchez's drumming is just priceless. He shows why he is one of the up and coming drummers out there. Luis Pendoino's playing is a fine cross of intellect and heart. Hans Glawishing is a fine bassist with a lyrical style kind of like Eddie Gomez.

I think this a good balance of good playing and good material. The arrangments are excellent.

I will be looking forward to his next release, while playing this recording a great deal.

Along with Edward Simon, Guillermo Klein, Danilo Perez, David Sanchez, Gilson Schachnik, and William Cepeda, Miguel Zenon is at the forefront of what might be termed the Nu Latin/jazz. Not surprisingly, Zenon has played with all these men. Indeed, at 27 years old (at the time of this writing) he has already played on (18) or been leader on (2) 20 recordings. He has also played with Bob Moses, David Murray, Ray Baretto, Jason Lindner, Michelle Rosewoman, Mika Pohjola, and others. Quite a resume for such a young player.

His second disc as leader, Ceremonial represents uncommon command of all elements--conception, composition, band leadership, group conversation, and playing--especially for one so young.

Conceptually, the closest analog is certainly Edward Simon's great disc, La Bikina. Both arise out of a stunning new vision that combines traditional Latin sensibilities, folkloric/world-music elements, a distinct West African vibe, Native American (including South American and Caribbean Indian) components, an authentic jazz voice, and the intelligence to make it all sound unique. Of the two, Zenon's is perhaps superior, partly because instrumentally it restricts itself to a traditional jazz quartet--sax, piano, bass, drums--whereas Simon's utilizes eight players, and partly because Zenon seems to have advanced the concept to the next level.

The compositions, all of which are Zenon's excepting the brilliant opening tune, "Leyenda," by the Cuban singer-songwriter Silvia Rodriguez Dominguez, and the closer, the beautiful hymn, completely reconceptualized, "Great Is Thy Faithfulness," pretty much cover the full range of jazz expression--elegiac ("Ceremonial," "Transfiguration"), burningly nu-bopish ("Mega," "Ya"), smartly modal ("Morning Chant"), balladic ("A Reminder of Us"), and folkloric ("440"). But each has its own distinct voice, reflecting and blending in the leader's incredibly wide-ranging musical interests and influences--West Africian, Asian, South American, Caribbean, Impressionism, and church music, as well as the entire spectrum of North American jazz.

For the concept and compositions to work optimally requires uncommon leadership, and Zenon gets playing at the highest possible level from this unit. Something genuinely remarkable is happening here, something only encountered on the best sessions: unique expression from each of the instrumentalists without the slightest tinge of grandstanding. Every passage, every note, is part of a grand interplay, brilliantly woven together into a ravishingly beautiful sonic tapestry. That this is a working band certainly contributes to this near-magic telepathy.

Not really a flashy player, Zenon's approach to his horn (though not his sound) reminds me somewhat of Michael Blake who also typically subordinates his considerable chops to achieve a distinct group voice. Having said that, I don't mean to imply that he can't rip off convincing, thoughtful, and even stunning solo statements e.g., on "Leyenda" and "Ya." A close listen to his efforts on almost any cut reveals a remarkable ability to produce solos of a very high caliber. It's just that this is about as far from a pure blowing session as you could get, and the aspects of it that characterize its greatness have more to do with conceptual, compositional, and conversational strengths than killer solos. As regards his tone, Zenon exhibits a full, rich, very attractive tone, often employing a subtle vibrato, and full command of his instrument throughout its entire register. Not for him that sour, slightly pinched, astringent sound so much favored by many alto players these days. As for the rest of the band, Antonio Sanchez on drums makes perhaps the strongest impression. A player possessed of remarkable range, he swings mightily, adds subtle and exotic coloration when appropriate, and constantly pushes the band into new and higher modes of expression. Luis Perdomo on piano also amazes. Moving easily between deftness and percussiveness, he's also a brilliant colorist (check out his work on "Morning Chant") and provides surprisingly subtle voicings on Fender Rhodes. Hans Glawuschnig on bass perfectly fits into these proceedings, whether providing smart walking or stunning solos as on "440."

All in all, an absolutely stunning disc displaying highest level playing, uncommonly mature range of expression (esp. for players so young), and a unique musical vision. Not to be missed.

This album is a musical joy. It is so refreshing and encouraging to hear a jazz album where there is a shared concept by all involved. Miguel has a conept of band sound and band direction(vision). This is greatly lacking in the star-studed jam sessions often produced today. Miguel has a tone rich and beguiling. The playing and writing of each piece consistantly produces a high musical statement, with each musician engaging in rhythmic and melodic interplay. I recently had the opportunity to see/hear Miguel as part of the SFJC and I was again deeply moved by his musical abilities. His playing is full of fire and tenderness simultaneously and reflects a deep spiritual awareness that also encompasses joy. Ceremonial is a great testament to Miguel's ablitites as a composer, bandleader and player. In my opinion, Miguel is one of the very important young voices in jazz.

New Latin (and world) jazz from a quartet led by a devout 27-year-old Puerto Rican alto saxophonist whose shaven head is going to become quite familiar to jazz fans - that's a quick take on the second CD of Miguel Zenon.
This is "not the old Latin Jazz of standards-with-congas" says Fernando Gonzalez of JAZZIZ, and it's true. More adventurous than someone like David Sanborn, Zenon samples from a wider range of influences. He opens with Cuban singer-songwriter Silvio Rodriguez Dominguez's "Leyenda" - less plaintive than John Coltrane's various spiritual yearnings on tenor, but more melodic. "Ceremonial" --the first of seven original compositions by Zenon here -- showers alto notes over a Latin beat; Luis Perdomo's repeated piano chords and percussionist Antonio Sanchez's cowbell suggest what the liner notes call "Ghanaian rhythms." A ballad dedicated to Zenon's girlfriend, "A Reminder of Us," pays tribute to Ravel and Debussy ("Impressionist harmonies") while devoted mostly to a piano-sax duet.
So much of the album is mellow and restrained that listeners might want a saxophonist of Zenon's obvious talent just to let it rip. On "Mega," though Sanchez pounds out a rock beat, Zenon releases some long runs without ever really letting loose. "Transfiguration," featuring ethereal vocals and
"based on a mathematical formula," is the most aloof track. Surprisingly, the intensity finally arrives during a tour de force called "Morning Chant," beginning with a syncopated five-note figure introduced in order by alto, piano and Hans Glawischnig's bass; followed by throbbing piano chords and
drums gone wild; and ending with Tibetan monks chanting under a wailing alto. And despite its smooth jazz refrain, Zenon and Perdomo develop "440" -- the Hertz frequency of the A note -- into something approaching hard bop.
In his 2002 debut, Looking Forward, Zenon fused jazz with Latin, classical, folkloric and Christian influences. Concluding this CD with a cover of the traditional hymn, "Great Is Thy Faithfulness," he initially pauses for bass riffs, as if the promise weren't quite yet fulfilled. After Perdomo's luminous piano solo -- and just as in "Ceremonial" -- Zenon follows silences with quiet bursts and half-phrases, each like a little resurrection. His final solo proceeds from reverential to ecstatic, dissolving into meditative piano chords and resolution. "Strength for today and bright hope for tomorrow," one of the hymn's verses goes. That summarizes the outlook for Miguel Zenon.