Truth Revolution Records is proud to announce the upcoming release of Bámbula, the debut album from New York-based bassist and composer Alex “Apolo” Ayala. Due out February 11, 2022, Bámbula is a remarkable celebration of his Afro-Puerto Rican culture, a rumination on identity and a stirring tribute to his late mother and grandmother. Over the course of seven original compositions and one reimagination, the San Juan-native artfully blends Afro-Caribbean styles with jazz language, making an impactful and impressive musical statement.
While Bámbula may be his first formal introduction as a leader, Ayala has established himself as an in-demand and distinctive artist on the New York City Latin Music and Jazz music circuits. His impressive resume includes performance credits with renowned Latin music giants such as Gilberto SantaRosa, Roberto Rohena, Richie Ray & Bobby Cruz, Spanish Harlem Orchestra, Mambo Legends Orchestra, Paoli Mejias, Ralph Irrizary, Giovanni Hidalgo, Edsel Gomez, and many, many others. Currently, he plays with the Antonio Hart Quartet, Mike Eckroth Latin Jazz Quartet, Trombeatz, Flavio Silva’s Break Free, and serves as the Musical Director of Los Pleneros de la 21.
With Bámbula, Ayala comes into his own as a leader. The album was heavily inspired by the social unrest that unfolded in the summer of 2020 as a result of the killing of George Floyd. “I found myself reflecting about both my race, and my ethnicity. A word that kept resonating in my mind was ‘identity.’ Specifically, Afro-Puerto Rican identity”,” Ayala shares. He also thought about his ancestors. With these sentiments in mind, Ayala began to construct what would become his debut album.
The title Bámbula means “the memory of a forgotten place.” Ayala shares that the Kikongo (Bantu language) word is “the act of re-remembering who you are as a person, tapping into the collective unconscious. The Bámbula is the oldest known rhythm of the Bomba complex.” Bomba is Puerto Rico’s oldest and purest musical art form. “Bomba is the music that our African ancestors brought with them to the Americas. It is the most authentic expression of Puerto Rican Blackness,” he reflects. Each song on Ayala’s debut has a purpose, and each is an homage and tribute to these ancestors, and specifically, his late mother and grandmother.
For the occasion, the bandleader turned to the rich Puerto Rican diaspora in New York City, employing an impressive crew of talented musicians. Consummate improviser and instrumentalist Ivan Renta displays an arresting lyricism and rhythmic control as the main melodic voice, supported by the vigorous drums and percussion of Fernando García and Nelson Mateo Gonzalez.
“Renta on saxophone was my first option from day one,” Ayala says while discussing his band. “He is a multilingual player equally at home in jazz and Afro-Puerto Rican languages. Garcia is a master in applying the languages of Bomba and the barril de bomba vocabulary into the drum set and Nelson Mateo Gonzalez is to me, the premier Afro-Puerto Rican drummer in town. His vast knowledge of the language Bomba and the bomba drum is amazing to behold.”
The bright “Café y Bomba” features the sultry voice of Anna Louise Andersson singing both lyrics and melodic parts that blend beautifully with the ensemble. “Anna Louise is like a breath of fresh air. Her voice is clean, her intonation is remarkable, and her vocal range and skill are incredible,” Ayala adds.
As a composer, Ayala finds compelling ways of orchestrating, resulting in the small ensemble truly maximizing the potential of their instruments. On “Bozales,” one can hear Renta doubling bass lines with the bandleader and playing rhythmic background parts while García and Gonzalez play intricate drum breaks in perfect unison. This is just one example where the sound is greater than the sum of its parts. Another highlight is “Jíbaro Negro” which features an outstanding solo by Ayala and displays the excellent synchronicty between García and Gonzalez. The record ends with an enigmatic arrangement of the “Tite” Curet Alonso Catalino classic “Las Caras Lindas,” a profound song about the beauty of Afro-Caribbean heritage. The group’s rendition offers a more subdued approach, making it a master stroke as the album’s closer.
Truth Revolution Records is proud to release Bámbula, the debut album from New York-based bassist and composer Alex “Apolo” Ayala this Friday, February 11, 2022, Bámbula, Ayala’s debut album as a leader, is a celebration of Afro-Puerto Rican culture, cultural identity and tribute to his late mother and grandmother. The album comfortably fuses jazz and Afro-Caribbean charms with the impact and musicality you’d expect from this distinctive artist. His resume includes collaborating with renowned Latin music giants such as Gilberto Santa Rosa, Roberto Rohena, Richie Ray & Bobby Cruz, the Spanish Harlem Orchestra, Mambo Legends Orchestra, Paoli Mejias, Ralph Irrizary, Giovanni Hidalgo, and Edsel Gomez to name a few. He also plays with the Antonio Hart Quartet, Mike Eckroth Latin Jazz Quartet, Trombeatz, Flavio Silva’s Break Free, and serves as the Musical Director of Los Pleneros de la 21. He caught up with Occhi’s Darryl Yokley to discuss the album.
Occhi Feature: Acclaimed Singer Songwriter Eva Cortes Releases ‘Todas Las Voces’
- December 4, 2020
Eva Cortes delivers a breathtaking performance in her newest release entitled Todas Las Voces. The melodies, the harmonies, the lyrics… they all mix perfectly to form a tapestry of emotions that leave the speaker speechless. Cortes forms an amazing cast of supporting musicians including the legendary bassist Christian McBride, special guest Luques Curtis playing bass on tracks 1 and 4, Elio Villafranca on piano, Roman Filiu on saxophone, Doug Beavers on trombone, Luisito Quintero on percussion, and Eric Harland on drums.
The album is filled with some amazing lyrics that are filled with so much emotional depth that one can tell Cortes has definitely lived a life full of experiences. The title track Todas las Voces opens up the album that mixes proponents of flamenco and tango, which culminates into an inspired waltz with catchy harmonic changes. Guest artist Luques Curtis takes a breathtaking solo that shows why he’s one of the most sought after bassists on the scene today.
“Desterrado” is an Afro-Cuban groove that has a dark seductive nature to it. Cortes’s sultry voice floats over everchanging harmonic landscapes that teeter between an ominous feel and a state of euphoria. “Hills of silver” is a very interesting song, with the lyrics juxtaposed to the harmonies underlying them, and a piano interlude that one could imagine taking place in a Schoenberg song. Some exquisite trading takes place between McBride on bass and pianist Elio Villafranca. The tune definitely takes some interesting twists and turns that make you wonder what’s coming next! The mesmerizing “Gracias a la Vida” features a soulful duet between Cortes and saxophonist Roman Filiu throughout with both singing from their respective instruments. The reflective feel of “Letters and picture frames” is embodied in the neo-soul reminiscent of the funk music of the late ’60s and early ’70s. Christian McBride unabashedly shows his propensity for this style of music with one of the funkiest solos. “Bird on a String” starts with a rubato feel with Cortes effortlessly playing with the contour of the melody and the words as she is accompanied by the piano. A bossa like feel ensues and the playful nature of this tune shines through.
Eric Harland’s virtuosic solo at the end is truly a work of art, bringing this tune to an end. McBride starts “Out of Worlds” with a dainty bassline that forms the basis for this reggae like tune. With moments of sonoric suspense, the ebb and flow of this tune are to be admired. Beavers delivers a melodic infused solo that feels good as it sits right in the pocket. “Solo le Pido a Dios” is a homage to the creator and truly embodies the essence of Cortes not only as an artist but as a human. McBride wrote about Cortes saying “Perhaps most impressive is that she understands who she is, she understands her sound, and she embraces it” and I believe this statement truly rings true in this composition amongst all of the gems on this album. Another funk-reggae tune comes to the forefront in the optimistic “Let me believe.” The positive message that comes through can easily be used to start anyone’s day on a good note, and it is a joy to listen to. McBride takes it home with a downhome blues that comes through in an all too brief solo at the end. The final track of the album “Peace” by the late great Horace Silver, is done in a slow bolero like fashion, the tranquility of this selection is a perfect way to end the album.
I am very honored to have had the chance to experience the music on this album. The artistry on display by Eva Cortes and all the artists involved is something truly remarkable to behold. In a year that has been marred with the loss of life due to the pandemic and a country torn in two, it is a breath of fresh air to hear an album that recognizes the world we live in as it is, but still has hope for a brighter future. Thank you, Eva Cortes!
To buy the album or for further information please visit the following links:
The album is brought to you by Truth Revolution Recording Collective.
Images: Courtesy of TRRC
By Latin Jazz USA/ Iva Acosta
(As part of the Tribute retirement concert for Candido Camero–Legendary 95 year old Cuban Conguero)
Aaron Davis Hall/City College of New York (CCNY)–7:30p.m.
From the press release :
Please join us during Candido Camero’s farewell concert, to celebrate this year’s
LATIN JAZZ USA LIFETIME ACHIEVEMENT 2016 AWARDS
This year exclusive awards will be presented to:
Saxophonist, Composer, Director, Mitch Frohman; Radio Personality and Producer, Nelson Radhames Rodriguez; Radio Host and Producer, Louis Laffitte; Tres Master, Composer and Director, Prof. Benjamin Lapidus.
The event known as Latin Jazz USA Lifetime Achievement Awards was created as an integral part of the Latin Jazz USA Concert Series with the purpose of giving due recognition to the outstanding contributions which certain visionary artists and related professionals have made to AfroCuban Jazz and Latin Jazz.
Past recipients include: Dizzy Gillespie, Gato Barbieri, Astrud Gilberto, Paquito D’Rivera, Ray Barretto, Tito Puente, Marco Rizo, Mario Bauzá, Mongo Santamaría, Stanley Turrentine, Cándido Camero, Mario Rivera, Jorge Anders, Graciela, Alfredo “Chocolate” Armenteros, Mario Rivera, Arturo O’Farrill, Néstor Torres, Andy González, Ray Santos, Eddie Palmieri, Astor Piazzolla, Alfredo Cruz (from Jazz 88 WBGO radio), Maria Vondickerson (from CD 101, WDNA FM Radio), Maggie Peyella, Israel “Cachao” López, Patato Valdés, Joe Gonazalez, Andrea Brachfeld, Dave Valentín, Federico Britos, José Negroni, Óscar Costa Neves, Juan Márquez, Vivian López WDNA JAZZ, Awilda Rivera, WBGO Jazz 88, Bobby Sanabria, Chico Álvarez, René Touzet, Federico Britos, China Valles, Cándido Camero, Andy González, Paquito Hechavarría, Andrea Brachfeld, Edy Martínez, Xiomara Laugart, Ray Mantilla, Hilton Ruiz, Eddie Palmieri*, and our first musical director Maestro Chico O’Farrill, who was the first recipient in 1989.
Underscoring the importance of these awards is the relevance, interest and presence made by the musicians. Celia Cruz presented one of the awards to maestro Tito Puente at the Carnegie Hall concert.
By Truth Revolution Records
“Trombeatz” Releases “A Caribbean Thing”
HOMMY RAMOS (TROMBONE AND MUSICAL DIRECTOR), NELSON BELLO (CONGAS AND PERCUSSION), FELIPE FOURNIER (VIBRAPHONE AND PERCUSSION), ALEX “APOLO” AYALA (BASS) AND JOEL MATEO (DRUMS) COME TOGETHER TO RELEASE “TROMBEATZ’S” DEBUT “A CARIBBEAN THING”, AVAILABLE APRIL 29, 2019 ON TRUTH REVOLUTION RECORDING COLLECTIVE!
The members of Trombeatz are all professional artists, but above all else, they are friends, whose only interest is to create and disseminate music. Trombonist Hommy Ramos, who also serves as the ensemble’s musical director, began forming the initial incarnation of Trombeatz in 2005. Nelson Bello is the band’s primary percussionist and conga player. Ramos and Bello met while working together in different “Latin” bands during Ramos’ studies at Berklee College of Music in Boston, Massachusetts. At that time, neither man knew that a common thread between them was their shared connection to both pianist Zaccai Curtis and bassist Luques Curtis, better known to many as The Curtis Brothers, and core creators of what is now Truth Revolution Recording Collective. According to Hommy, “Nelson is a friend and my right hand man, who is in charge of representing ‘Trombeatz’, in addition to his excellent work as a percussionist.” Joel Mateo is a Puerto Rican drummer based in New York City. Ramos and Mateo have performed together with several artists of great caliber, in addition to shared appearances on recordings with Truth Revolution Recording Collective Artists over the years. Vibraphonist Felipe Fournier is from Costa Rica, while bassist Alex “Apolo” Ayala hails from Puerto Rico. Hommy Ramos had the pleasure of discovering them while teaching at The Puerto Rico Music Conservatory. He immediately recognized their respective skills as musicians. Years later, these men made the move to New York City, and became an integral part of the Trombeatz family.
“A Caribbean Thing” is an invitation to The Caribbean experience through music. The title invites you to want to know more about The Caribbean as a geographic region: its culture and the music. The album begins with “Bomba Indiscreta”. Ramos states, “The ‘bomba’ is an indigenous rhythm” of Puerto Rico. In the island nation’s colonial political condition, the powers that be have tried to eradicate the ‘bomba’. This national music is one of the most affected musical styles in my country. In my commitment, as a Puerto Rican composer, I always said that I would create compositions using my national rhythms. “Bomba Indiscreta” is Hommy Ramos’ tribute to one of the most important rhythms of Puerto Rico, with invited guest artists such as Camilo Molina Gaetan (“bomba” barrels), and his teacher and musical inspiration, Angel “Papo” Vazquez (trombone). The interplay between Ramos and Vazquez shows the immense admiration, respect and camaraderie that exists between the two men, perfectly outlining the dichotomy that every teacher and student pairing hopes to one day reach. The presence of vibraphonist Felipe Fournier casts an ever more open, elastic and pliable nature to the harmonic structure of this tune, propelling each soloist to unexpected musical destinations.
“Terrific! I enjoyed listening to it.” – Andy Gonzalez
“Something New” is a composition in honor of the composers of “Latin Jazz” in the 1990s, including pianist Hilton Ruiz, trombonist Juan Pablo Torres, trumpeter, flugelhornist and percussionist Jerry Gonzalez and the like thereof, all of whom were big influences on the members of Trombeatz’s musical development. The 1990s were a time when “Latin Jazz” had a large viewer or listenership worldwide. Hommy Ramos’ godfather, “Cotto”, is a fan of “Latin Jazz”, and was the first person who introduced him to this musical style with a record by the ICONIC percussionist, Mongo Santamaría. The rest is history. In this composition, the members of Trombeatz thank the accompaniment of fellow musicians Mario Castro (tenor saxophone) and Dan Martinez (bass). Staying true to his original goal of paying tribute to such icons as the individual members of “The Fort Apache Band” and a myriad of their colleagues who gave the music a decade to remember at the close of this last century, “Something New” is cloaked in mystery and wonder from the very first notes, while quickly bringing the listener into the impassioned theme, as crafted by Ramos, and developed through unmistakable chemistry and interaction amongst the members of Trombeatz as a collective musical aggregation.
“Guanajuato” is a “bolero-jazz” tune composed by Costa Rican vibraphonist Felipe Fournier. The piece is inspired by the colonial landscape, castles and the “Callejon del Beso” in the city of Guanajuato, Mexico. Although a native of Costa Rica, Fournier has lived in Mexico, Puerto Rico and is now a resident of New York City. The vibraphone is an instrument that is rich in colors, textures and moods, which Fournier is able to perfectly showcase in his surreal, transporting and pensive introduction to the theme at hand. Special guest artist Humberto Ramirez (trumpet) makes an appearance on this selection, in which he epitomizes what it means to sing through one’s horn, speaking plaintive phrases, which are answered by his cohorts in the ensemble.
“’Trombeatz’ concept is at once soulful and sophisticated. I love the way that they utilize the trombone in their ensemble. Their new recording, ‘A Caribbean Thing’ reflects a deep understanding of the ‘Latin Jazz’ tradition, while taking the music somewhere fresh. I’m a ‘Trombeatz’ fan for sure!” – Steve Davis
“A Viva Voz”, the album’s single, is a catchphrase, telling the public to listen without any reservations. This theme was composed to show the listeners the sacrifice of many years of hard work, and the formation of what is now Trombeatz Music, as well as its first musical production, “A Caribbean Thing”. The melody of this song brings the listener into the recording studio with Ramos, Bello, Fournier, Ayala and Mateo, as a sense of urgency, purpose and mission captivates your spirit and awakens the soul to just how intensive the process of assembling a band to capture the emotions of one’s original music can truly be. This track features special guest trumpet player Juan Jose “Cheito” Quinones, whose fiery improvisation acts as a catalyst for even deeper dialogue between the congas and auxiliary percussion of Nelson Bello and the drum set of Joel Mateo. “A Viva Voz” is a short, but direct composition, with the intention of letting the listener know that Trombeatz is in the building.
“M3” closes out “A Caribbean Thing”. This composition was created when Hommy Ramos lived in Puerto Rico. The public transportation system (“guagua publica”) that is used to travel around San Juan is called the “M3”. Once, while Ramos was using this mode of transportation, an exchange of words occurred between the passengers and the driver, due to the driver’s particular driving style. While this occurred, Hommy sang the melody without stopping, so as to not forget. In his mind, he created music for this particular event. As a result, the song was titled “M3”. Guest participation on this tune consists of Puerto Rican musicians Mario Castro (saxophone) and, a man who is arguably one of the best percussionists in the world, Anthony Carrillo (bongos). The uncanny rapport and sense of kindred spirits that exists between Ramos and tenor saxophonist Mario Castro sets the stage for a solo section that provides unlimited sonic layers, as added to by the presence of the aforementioned Anthony Carrillo, who incites Felipe Fournier, Alex “Apolo” Ayala, Nelson Bello and Joel Mateo to widen the pool ever more for the soloist.
“After listening to the music of ‘Trombeatz’, I can say with assurance that it is a gathering of ‘Latin Jazz’ artists, who are united by the goal of documenting great music, which reflects the spirit of ‘The African Diaspora’ through The Caribbean and ‘jazz’. This music brings both joy to my ears, and hope that this art form will be carried forward by artists such as those that make up the ensemble herein.” – John Benitez
Unlike many of their contemporaries, “Trombeatz” approaches the music that they create from a purely “Caribbean Jazz” perspective. When working within the designation of so-called “Latin Jazz”, it is quite easy for an artist to be associated with the sounds of “salsa” and other sub-genres from within “The Latin Diaspora” as a whole. However, “Trombeatz” can be noted in the same breath as Charlie Palmieri, Cal Tjader, the previously noted Hilton Ruiz and their mentor and colleague on this recording, Papo Vazquez. “Trombeatz” is bringing a purity back to this music, which has been absent for some time. If you have a desire to know what “Caribbean Jazz” is all about, then “A Caribbean Thing” is where it’s at!
“’A Caribbean Thing’ was created to present the compositions and musical ideas of the members of this aggregation, and at the same time, it serves as a representational platform for each of them in their respective careers. My inspiration for creating this album came from the need to produce and present my music without any obstacles. This is the idea of creating ‘Trombeatz Music’, where, under said brand, I can present productions, which feature the compositions of artists who belong to and collaborate with ‘Trombeatz Music’.” – Hommy Ramos
Collectively, the members of Trombeatz have performed and/or recorded with the likes of The Spanish Harlem Orchestra, The Eddie Montalvo Orchestra, The Steven Oquendo Orchestra, “Los Pleneros de la 21 (LP21), Candido Camero, Flaco Navaja, Ralph Irizarry and “Timbalaye”, Steven Kroon, Zaccai Curtis, Luques Curtis, The Latin Heartbeat Orchestra, Jerry Gonzalez and The Fort Apache Band, Mitch Frohman, Charles Flores, Tony Vega, Ismael Miranda, Cheo Feliciano and COUNTLESS other icons of the musical realm as a whole.
Tracks: Bomba Indiscreta, Something New, Guanajuato, A Viva Voz, M3
Trombeatz – A Caribbean Thing
For more information visit TruthRevolutionRecords.com
Vocalist Orice Jenkins Celebrates 100th Birthday
of Legendary Singer/Pianist Nat “King” Cole
on Heartfelt New Album Centennial Cole
Album Combines Classic & Modern Jazz with Classical Influences to Pay Homage to Iconic Performer
Given the substantial impact he had on the music and culture of his time, it can be shocking to remember that Nat “King” Cole only lived to the age of 45. March 17, 2019 marked the 100th anniversary of Cole’s birth in Montgomery, Alabama; to celebrate, vocalist, arranger, and multi-instrumentalist Orice Jenkins will release Centennial Cole, a deeply personal tribute to the legendary pianist and singer that reinterprets songs immortalized by Cole with modern jazz and classical influences.Due out September 20, 2019 via Truth Revolution Recording Collective, Centennial Cole features Jenkins’ soulful vocals, which share Cole’s gift for moving fluidly between a wide variety of genres, with the Hartford string quartet Cuatro Puntos and a gifted cast of musicians including pianist Zaccai Curtis, bassists Frank Brocklehurst and Matt Dwonszyk, guitarist Susan Mazer, drummers Chuck Peterson and Jocelyn Pleasant, and percussionist Alvin Carter, Jr.“Nat ‘King’ Cole changed the trajectory of the music world multiple times during his short life,” Jenkins writes in the album’s liner notes. “As a singer, composer, arranger, and Black American, I am proud to do my part in preserving [his] legacy.”If it were only for his musical output, Nat “King” Cole would still be considered an iconic artist today. But in addition to releasing a steady stream of still-beloved hits over the course of his 25-year career, Cole was a Civil Rights pioneer, leading the way by example for later generations of African-American artists. His revered trio became the measuring stick for small jazz ensembles that followed in its wake. He directly inspired legends such as Michael Jackson, Ray Charles, Nina Simone, Marvin Gaye, and his own daughter, Natalie Cole, along with countless other musicians.“It shouldn’t be surprising to learn that I’m a huge Nat Cole fan, given that we both worked successfully as pianists before the world realized our true calling,” Jenkins says. “We are both baritones, which is unfortunately uncommon in the modern pop music world. Nat is one of the few singers that I could look at to hear and see myself… Nat’s perfect pitch, creative arrangements, flashy piano playing, and legendary collaborations greatly influenced my musical palate.”
Centennial Cole opens with Jenkins’ intimately swinging take on “Let There Be Love,” a song that he discovered after watching Cole’s 1963 BBC television special. Jenkins sings the tune a cappella, accompanied only by the snap of his fingers. Though it’s been recorded countless times, “Mona Lisa” is synonymous with Nat “King” Cole. Taking his cue from Cole’s own revolutionary use of strings on his recordings, Jenkins enlists Cuatro Puntos to radically reimagine the piece.Jenkins sings directly from Cole’s perspective on “Birmingham,” the album’s sole original composition. The protest song recounts an incident that occurred in the titular Alabama city in 1956, when members of the North Alabama Citizens Council, a local faction of the Ku Klux Klan, assaulted and attempted to kidnap Cole on stage. “Nat passed away before the end of the Civil Rights Movement, but I imagined that he could’ve written a song like ‘Birmingham’ if he made it to the 70s,” Jenkins says.The djembe playing of Alvin Carter, Jr. adds an African undercurrent to the “hippie anthem” of Eden Ahbez’s classic “Nature Boy,” inline with what Jenkins calls his determination to remain “unapologetically Black at all times.” Jenkins then sits down at the piano, for the first time on record since his 2014 debut Around the Piano, for a closing-time rendition of Hoagy Carmichael’s “Stardust.”Jenkins takes the title of Oscar Levant and Edward Heyman’s “Blame It on My Youth” quite literally, returning to an arrangement originally penned for his high school orchestra, reduced for string quartet. A tribute to Jenkins’ mother, it’s the first of three family dedications: “The Very Thought of You” is an homage to his great-grandmother, while the tender “For All We Know” is dedicated to Cole’s mother, Perlina Adams Coles.Driven by Frank Brocklehurst’s electric bass groove, Jenkins’ funky arrangement of Charlie Chaplin’s “Smile” (a song whose lyric version was premiered by Cole) effectively closes out the set, before the epilogue of “Inseparable,” the title track from Natalie Cole’s 1975 debut album. The song is a soulful send-off to lost loved ones and musical heroes, as well as the family of musicians who helped Jenkins realize the album.It’s been well over 50 years since Nat “King” Cole’s passing, yet his influence remains strong as generations pass. With Centennial Cole, Orice Jenkins helps ensure that Cole’s indelible genius will live on into the next century.
Truth Revolution Recording Collective presents SYGYZY
By Tomas Peña Mar 16, 2017
Earlier this year Truth Revolution Recording Collective and the Curtis Brothers (Zaccai and Luques) released SYZYGY (an astronomical term that represents the alignment of three celestial objects) with a minimum of fanfare. Apart from a few glowing reviews the project failed to get the airplay or the attention it rightfully deserves.
For me, Syzygy is the equivalent of the Curtis Brother’s “unplugged.” It’s not genre-defying, nor does it seek to break new ground. Rather, it’s a “clear communicative statement of their personal musical heritage …” And the next best thing to experiencing the Curtis Brothers Quartet, live. READ MORE
Coming in April: Josiah Woodson’s Suite Elemental (TRR Collective)
By Tomas Peña Mar 5, 2017
TRUMPETER, GUITARIST, FLUTIST, PIANIST, COMPOSER
SUITE ELEMENTAL (TRUTH REVOLUTION RECORDING COLLECTIVE)
CD RELEASE: APRIL 11, 2017
FOR IMMEDIATE RELEASE
On his debut album titled, Suite Elemental multi-instrumentalist Josiah Woodson weaves an epic story of a prince on a journey to become a king. Over the course of six tracks, Woodson creates a sound sculpture (suite) inspired by the elements – Air, Water, Fire and Earth – and universal themes that revolve around inheritance, ascendance, struggle, adversity and eventual triumph. “In reading the story and listening to the music,” says Woodson, “I hope to spark something in people and they take away a message that is pertinent to them in their lives, whoever they might be.” Currently based out of Paris, Josiah Woodson is poised to take the international music scene by storm
READ THE FULL ARTICLE AT Jazzdelapena.com
- Bambula receives attention from ‘Making A Scene’ June 1, 2022
- Alex “Apolo” Ayala: Bambula in UK VIBE.ORG! May 28, 2022
- Bambula receives praise from Jazz Journal!!! May 26, 2022
- Melange in ShepherdExpress.com May 15, 2022
- New Afro-Cuban Creative Music, Percolating in New York: Josean Jacobo and Kali Rodriguez-Pena April 11, 2022