Member Since: 12/13/2006
Band Website: afroricanensemble.net
Band Members:
The septet:
Rolando Matias-percussion and drums
Eddy Bayard-Tenor Sax
Baris Buyukeildirim- Piano
Mario Abney-Trumpet
Baba Charles Miller-Percussion
Eddie Brookshire- Bass
Michael Goeke-Trombone
Special guest and studio members:
Krate Digga-Turntables
Bobby Matos-Timbales
Max Guist-guitar
Brian Batchelor-Glader-B3 Organ
with the occasional International guests & friends:
Othello Molineaux-steel drum
Malcolm Alvarez-Tenor Sax, Clarinet
Umar Bin Hassan-poet
Malik Willougbhy-spoken word & eloquent prose
Ray Vega-Trumpet
Brian Lynch-trumpet
Ron Levy-B3 Madman
CD Reviews:
The Latin Jazz Corner
by: Chip Boat
Traditional and Latin Jazz musicians have taken separate risks to develop unique experimental approaches. Traditional jazz musicians have spent decades building, destroying, and reconstructing the harmonic foundation of jazz. Latin Jazz musicians have emphasized rhythmic diversity, exploring the connections between jazz and a variety of Caribbean and South American traditions. Paths often cross through the stylistic embellishment of jazz standards with fixed harmonic forms, and diverge between avant-garde and Latin music. Rolando Matias and his Afro-Rican Ensemble bring all jazz roads together into an intriguing mixture of risk, experimentation and history on “Live†Volume One.
Several repertoire choices immediately set the band apart from many Latin Jazz ensembles. Rasshan Roland Kirk’s “Volunteered Slavery†stands the furthest outside of Latin Jazz conventions. Matias opens the piece with spoken word, and then leaves the rhythm section work solely to bassist Roger Hines. He freely defines a sparse swing feel behind trumpet player Mike Wade and pianist Baris Buyukyildirim until the full Latin rhythm section brings the song to an up-tempo finish. The veiled appearance of a two-chord dance song starts Pharaoh Sanders’ “Thembi (Part 1),†as tenor saxophone player Eddy Bayard plays the melody. Wade and Bayard push their solos outside the harmony while Buyukyildirim and Hines boldly eliminate the harmonic center. As the band transitions into the sparse texture of “Thembi (Part 2),†Buyukyildirim freely explores the territory between traditional melodies, polytonality, and Tyner-like open voicings. Beyond the novelty of unusual song choices, the full commitment to the musical aesthetics creates a stimulating musical experience.
Matias and his group rhythmically reconstruct standards as well, elevating the traditional music with their inspired performances. Joe Henderson’s “Mamacita†inherits a salsa rhythm, while maintaining its original Hard Bop flare. Wade and Bayard have done their homework on this jazz era, and they deliver fiery solos full of blues flavor and bop shape. “Black Narcissuss†opens with Hines rhythmically bowing his bass over a comparsa rhythm. As the rhythm section builds intensity, Bayard delivers the melody and then plays a strong and passionate solo. Buyukyildirim takes center stage in “Tico Tico,†a Bomba with traditional melodic and harmonic structures. After locking the melody into the drums, Buyukyildirim completely explores the changes, alternating between tense rhythmic patterns and flowing melodic phrases. His creativity and technical precision inspire the percussionists and the overall performance generates an album highlight. “Song for Judd†features exciting percussion solos from Matias on congas and guest timbalero Bobby Matos. Matias and Matos bring a passionate sense of tradition to the ensemble, providing heartfelt and studied moments. The group builds strong performances, combining the best of both jazz worlds with their defined personal voices.
Influences:
Sounds Like: Real Music....
what's real and honest always respects and reflects its roots and origin
regardless of genre...and this origin, this root...is AFRICA...
but if you really want to know:
Cachao y su ritmo Caliente, Jerry Gonzalez, Andy Gonzalez, Fela Kuti, Osibisa, Azteca, Mandrill, El Chicano, Malo, Santana, Palmieri Brothers, Kako, Totico, Bobby Matos, King Chango, 'Ton Jobin, Ozomatli, Arsenio, Barretto, Fort Apache, Rabi Abdul Khalil, Badal Roy, T-Bone Walker, Trilok Gurtu, Toots Thileman, Ukati, Oregon, Cachaito, Tjader, Tito Puente, Mongo, Bootsy Collins, Tata Guines, Patato, Giovanni, Satchmo, El Alcalde de la Perla "Manegue", Frank Emilio, Little Walter Jacobs, Noro Morales, Buddy Guy and Junior Wells, Machito, Fania Records, Mario Bauza, Fela Kuti, Jimmy Smith "Prayer Meeting", Irakere, Raicez, Grand Master Flash, Cortijo & the time machine, Mcoy Tyner, Dr. Dre "The Chronic", Muddy Waters, B.B.King, Patato, Roy Brown, Silvio Rodriguez, Pablo Milanes, Roy Brown y Aires Bucaneros, Norton Buffalo, Haciendo Punto, Miles Davis, John Coltrane, Umar Bin Hassan & The Last Poets, Pharaoh Sanders, James Brown, Lockjaws Davis, Kenny Dorham, Bird Parker, el Rumbero Thelonious Monk, Dj Charlie Chase, Airto Guimora Moreira, Celia Cruz, El Sonero Mayor Maelo el incomprendido, Los Munequitos de Matanza, Howard "Skokie Slim" Levy, Jack Dejohnnette and New Directions, Dizzy, James Brown, The Meters, King Sunny Ade, Herbie Hancock "Inventions & Dimesions", Franco, Rocherau, Weather Report, Funkadelic, Donald Byrd "A New Perspective", Lambert-Hendricks & Ross, Batacumbele, the master Nuyorican poet Jesus Abraham "Tato Laviera", Luis Pales Matos, Juan Boria, Mariposa, Pedro Pietri, Grupo Folklorico y Experimental Nuyorquino, The Art Ensemble of Chicago, Grupo Taone en Cuba, Frank Ferrer y Puerto Rico 2010...they all paved the way for the path I am traveling in.....dedicated to my guiding lights, what's beautiful and real...Alana & Rolo
Record Label: Life Force Jazz
CuBop
Type of Label: Indie