Vincent Hsu & The Jazz Supreme Orchestra – Music For The River Jazz Suite: The Spirit of Love River and Mississippi River on LatinJazzNet!
In his ambitious and challenging work, Music For The River Jazz Suite: The Spirit Of Love River And Mississippi River, bassist Vincent Hsu explores the history of jazz with his own musical trajectory. While visiting New Orleans 17 years ago, Hsu got an idea to write music honoring the rivers in his life, the Love River in his hometown of Kaohsiung in Taiwan and the mighty Mississippi River. A little over two years ago, on November 28th, 2021, Hsu’s vision became a sonic reality. The excellent twelve piece band, The Jazz Supreme Orchestra, infused by Hsu’s driving bass, brought this grand opus into being.
Hsu, now living and working in Taiwan, spent many years studying and learning composition in the United States. He studied bass with two very important musicians, Cecil McBee and Andy González. These superb musicians must have left a distinct impression on Hsu as the music on “The Rivers Suite” contains elements of jazz and Afro-Cuban music. However, it is Hsu’s wild imagination which informs all of the nine songs.
Going back in time Hsu evokes the days of slavery in the opening passages of “Overture: Cotton Fields”. Expectations run high as the orchestra shifts back and forth from jazz to Afro-Cuban rhythms, sometimes combining the two. This heady mix is guided by Hsu’s insistent bass and the commanding power of tenor saxophonist Shen-yu Su and pianist Musaubach.
“River Is Wide” becomes a showcase for the Son Montuno and various instruments display their collective expertise particularly Hank Pan on soprano, Wen-feng Cheng on trumpet and Yi-chung Teng on trombone. Initially “Rumba For The River Trilogy: Father’s Melody” has a nice lilting quality derived from the tunes Hsu’s father sang to him as a child. Then the music takes a sharp detour and swings into a cha-cha replete with Yu-chen Tseng on violin and Carol Huang holding down the conga chair. The band palpably enjoys this section, perhaps spurred on by Hsu’s bass and Musaubach’s piano.
