A new dance space in Hillsborough opens its doors to salsa dancers this Saturday (11/5): The Depot, at 246 Nash Street, hosts a Latin Dance Party withSaludos Compay from 7:30 pm on. Jack Wolf reports there is a nice wood dance floor and plenty of space.
This dance is FREE, NO COVER; a hat will be passed for the musicians.
DJ Wolfy Jack gives the free dance lesson at 7:45; the band will play two sets starting around 8:30.
Two things I've noticed about the "international" party scene lately: a) it seems to be migrating more and more to Raleigh, and b) the names for some of the new parties sound like new brands in Trojan's expanding product line (i.e., "Latinsations," "Latinvibe," etc.).
New local sextet Caribe Vibe, co-led by Billy Marrero and Andres Leon, seems like the perfect band for this newer, "hotter" Raleigh scene. On just their third gig out in public last night, they brought an agile and unique sound to the newly remodeled Cantina South on Glenwood. Breaking away from either "salsa" or "Latin jazz" formulas, the creative ensemble is making pure dance music that is relaxed, sophisticated and just a little outside the box. Also, absolutely perfect for relatively intimate club spaces. When a sextet doesn't feel like a logistical compromise, but an opportunity for musical creativity, you know you have something special.
So, what's different? For a half-Boricua band--Alberto Carrasquillo (trumpet), Nelson Delgado (vocal/ bongo), and BillyMarrero (congas)--it also sports a heavy Venezuelan angle: co-leader Andres Leon on the piano, and his Maracaibo cohort Josue Bracho on drumset. American Paul Dobelstein plays electric bass.
That drumset (in place of timbales) sets Caribe Vibe apart from other salsa bands, giving it a jazzy versatility and a rock-heavy downbeat reminiscent of Cuban timba. Yet unlike most Latin jazz combos, Caribe Vibe keeps vocals and dancefloor appeal always foregrounded. Nelson Delgado, also a lead vocalist with Charanga Carolina and Orquesta GarDel, as well as a percussionist for many years in Carnavalito, maximizes both talents in the sextet--as sonero and bongocero.
In repertoire, they have a similar range to Billy and Andres's large ensemble, Orquesta K'Che: salsas, son/cha cha chas, merengues and cumbias. But even on well-worn standards, Caribe Vibe isn't treading water; with drumset and electric bass on hand, "Oye Como Va" can really plunge off the deep end toward rock. On "Moliendo Cafe," a classic pianist's showcase, Andres played a solo which is one of his best I've heard:
Caribe Vibe showed its own personality with two boleros that the group adapted into exciting salsa arrangements. This one, "La Barca" (Luis Miguel) got my blood up, with instrumental soloing on piano and trumpet:
Dancers loved this show; the sound (mixing and volume) was excellent. The venue has mixed bar- and restaurant-style seating, and a moderately sized wood dancefloor. Door cover was $5. I would definitely hit this band/venue up again.
Drive west out Highway 54, way out, past the Cane Creek Reservoir. Just when you think you've gone too far, turn left at the sign for "Saxapahaw." Keep driving south, down the Saxapahaw-Bethlehem Church Road, until you enter this rural dell. There, rising on your left, is not the moon, but a glowing, propped-open, industrial dye kettle--it doubles as the sign for the Haw River Ballroom.
A ballroom, in the wilderness? Surely, this is a fantasy only Hollywood could have dreamed up, right?
Wrong: Walk inside the former Dye House to a cotton mill, over a grate lit up from below, and you step into a ballroom in the truest sense, fit for Tito Puente--or Orquesta GarDel, who performed at the Ballroom last Friday (8/26). Two levels--wooden dancefloor below, balcony-like seating area above--and a complete stage with beautiful lighting and sound. This may be the most perfect Piedmont venue to book a salsa band.
Dancers and GarDel stalwarts did turn out in pretty good numbers, though it's hard to say if Irene fears might have kept some home. It really didn't hurt the party any, which had critical mass and then some. Taking advantage of ideal filming conditions, GarDel had its own videographers there, so hopefully some pro video of the show will eventually emerge. Paso gave a dance lesson before the opening set, and Felix Padilla led some social dancing in the casino rueda style. (It was particularly fun dancing rueda to one of GarDel's timba tunes.)
Some recent changes inthe orchestra: former conguero Jose Sanchez is officially no longer with the band; the Winston-Salem resident performs all over the Carolinas with a host of Latin groups, and had to pull back his energies somewhere in order to keep his family a priority. We wish him all the best! Looks like Atiba Rorie, a local leader in African percussion, will be filling the gap. Atiba has gigged in a number of Latin bands in the Triangle, and his powerful playing and cool presence are a welcome addition to GarDel.
The dance energy was pretty explosive. Here's the last jam of set 2 (except for an encore descarga). The tune is Ray Barretto's "Indestructible"; Brevan Hampden (timbales) and Atiba Rorie (congas) both solo:
On the GarDel event horizon:
Friday, October 14 - a long-awaited double bill with Bio Ritmo, celebrating Ritmo's 20th anniversary release party, at Motorco in Durham.
My friend Isti Kaldor did a new painting on Friday night, at the trendy, rococo-themed wine bar Six Plates in Durham. Mysti Mayhem, a soulful singer/songwriter with a powerful voice, played guitar and sang.
Let me explain. Isti only paints to live music, in front of a live audience. His bio and artist statement can be found here, on his website. His paintings capture an evanescent moment, in which we are all involved.
This became literally true that night, as some of the avatar-blue paint Isti loaded in hefty dollops onto the canvas mysteriously spread itself around the room, via hugs, handshakes and kisses perhaps, transferred from skin to black marble countertops, to the insides of elbows, under chins, and onto cheeks. I unwittingly imprinted myself in this manner, hilariously so. A tactful barman pointed this out as I sipped samples of their xtakoli and cidre.
Luckily, a little soap, hot water, and scrubbing with the red, cloth handtowels provided in the ladies' bathroom, removed all the physical paint from my skin and possessions. But it was a tangible reminder that one doesn't so much watch Isti create, as become implicated in an infectious act of group creation. I love what this says about art, and the way it pulls the isolated visual artist into a communal relationship with music and with an audience.
I didn't take video, but you can hear Mayhem's music and see her calendar here. She performs again TONIGHT, Tuesday, August 9, at The Cave, 9 pm, opening for Jordan & The Sphinx. The cover is $5.
Durham is a great place to hear music these days, with a proliferation of new venues in and around downtown. Beyu Caffe has become a regular beacon for good jazz, and last night featured a jam session with the trio of saxophonist James Gates.
Richmond native James "Saxsmo" Gates attended Berklee undergrad back in the 80s, and was lured to Durham a year and half ago to attend NCCU's Masters program in Jazz Studies. Ernest Turner, who got his jazz degree at the University of New Orleans, played organ. I'm told the drummer filling in was Devon Fuller, but I have to confirm that. Meanwhile, two of our top horn players 'bilingual' in Latin and jazz idioms came out to the jam: Blu Thompson and Al Strong.
It was good to be stepping out again in the Bull City, after a pattern of frantic travel alternating with cozy hibernation over the winter holidays. Here are some videos from the night:
BONUS: Watch the first 10 minutes of "Night and Day," with solos by Saxsmo, Blu, Al, and Ernest--CLICK HERE FOR LINK to PT. 1
SAJASO @ Yancy's Friday night:Lou Ramos, Billy Marrero, Pako Santiago, and Rick Radian back vocalist/leader Chino Casiano
Ramon Casiano, better known as Chino, has been making his brand of Latin jazz in the Triangle for several decades. A hardscrabble New Jersey native, Chino can reminisce about growing up around Frankie Ruiz, Herman Olivera and others who rose to prominence in that scene. Chino has a soulful authenticity as a singer of English-language standards such as "Autumn Leaves," one of the snappiest arrangements in Sajaso's book. Boricua to the core, he takes a high energy Cuban son, "El Cuarto de Tula," and playfully weaves it together with bombiplena lyrics and rhythms. "Elena, Elena," meet "Tula": a fitting meetingplace for two of the most storied women in Antillean verse.
On this gig were Andy Kleindienst on electric bass, Frank Vila on grand piano, a tricolor brass trio of Ricardo James (trumpet), Serena Wiley (tenor saxophone) and Joshua Vincent (trombone), and a seasoned array of percussionists who rotated positions, making for a collegial atmosphere: Pako Santiago, Billy Marrero, Rick Radian and guest Lou Ramos. Ramos, a sometime visitor from the Bronx, has family in the Triangle; his daughter directs church music and runs a music school in Raleigh.
Joshua Vincent
Serena Wiley
Ricardo James
Yancy's is a jazz venue on the outskirts of Raleigh, with a small dance floor; most of the beers were reasonably priced domestics (I had a $3 Yuengling draft). The barbecue wings got rave reviews from Serena, who was dipping between sets.
You wouldn't think we'd need another video of "Oye Como Va." But as a descarga tune, it's a perfect opportunity for soloists to shine. Here, Andy Kleindienst gets funky on an unstoppable bass solo; Billy Marrero comes in on timbales around the 4 min mark:
The Tite Curet classic "La Esencia de Guaguanco" is an easygoing salsa tune in Sajaso's hands, but again the soloists paint some magic in the corners. First the percussionists converse, with Pako Santiago on bongos, Billy on timbal, and Rick on congas. Then Ricardo James shows what he can do with an extended trumpet solo:
A showcase of international dance performances at the NC Salsa Festival last night exceeded my expectations for their diversity, from the classic Nuyorican mambo and competition ballroom moves, to dancers who tapped directly in to the African and Brazilian roots.
It was followed by dance party starring Orquesta GarDel in Part One of the "Battle of the Salsa Bands" (Tropic Orchestra will take the stage tonight.) GarDel gave a heavy performance that earned respect from the dance artists, some of whom joined them onstage for the encore. Giorgio Restaurant in Cary was an elegant setting for the dance party; I enjoyed an unusual champagne cocktail at the bar. To make room for the performer showcase, a second stage was set up outside in a tent, which was brilliant because it allowed the band to set up inside at the same time.
Oliver Pineda and Mike Very with sonero Jaime Roman
Here's a quick review of the dance showcase; I'm told these same dancers will perform whole different routines to different music tonight.
1) Tito & Tamara From: Puerto Rico Danced to: Jose Lugo Orchestra, "Mambo Valentin"
Comments: Pure Puerto Rico. Classic beautiful moves and poses from a top pro team. They danced in "El Cantante" and other movies, and with top industry salsa stars like Gilberto Santa Rosa.
2) Isabel Freiberger From: Cobo Brothers Dance Company (local) Danced to: Charlie Palmieri, "Either You Have It Or You Don't," and Michael Buble, "Feeling Good"
Comments: Freiberger's music titles say it all about her performance: She definitely "has it," a natural solo performer with tremendous charisma, a unique look (kind of an Ann Margret fire), acrobatic style, and not a hint of nerves. Like poised dynamite.
3) Cobo Student Dance Team From: Cobo Brothers Dance Company (local) Danced to: Ray Barretto, "Adelante Siempre Voy"
Adam Phillips and Alexis Silver
Yin Song and Amber Cadwell
Comments: Classic Cobo style, sassy torso moves and lots of airborne lifts. Good synchronicity by two well-matched pairs, even when the sound dropped out, and they completed their choreography without music. It was the last performance of Alexis Silver and Milton Cobo delivered a tribute.
4) Lucy Lu and Jose Maldonado From: Atlanta, Paso Fino Dance Company Danced to: "La Guarachera" by Celia Cruz & Tito Puente
Comments: Put me in mind of Junior & Emily's performance at the festival last year, favoring multiple spins and constant motion over held elements and airborne moves. "That's coming tomorrow!" Maldonado told me after the show, saying this was their competition routine emphasizing ballroom elements.
5) Melanie Riveira & Serena Cuevas From: San Diego, Deseo Dance Company Danced to: A samba batucada (Brazilian drum music), and Rebeca Mauleon, "Serenata Ritmica"
Melanie Riveira
Serena Cuevas
Comments: The samba surprise: unexpected fusion of samba and capoeira with salsa and mambo. Nice to see a pair of female dancers with a unique style, introducing carnavalesque Brazilian sex and power to the "same old" salsa equation.
6) Mike Very & Erell Niane From: Nice, France. Urban Tribe aka U-Tribe Dance Company Danced to: Los Van Van, "Somos Cubanos"
Comments: Knock me over with a feather: Timba, at a mambo conference! To be more precise, a vital, fresh Afro fusion reflecting many influences from Cuban rumba, to Very's native Kenya and Niane's Senegalese roots. This was a standout with me and others I informally polled: eye-opening, gorgeously physical, and highlighting deep cultural connections.
7) Oliver Pineda From: Sydney, Australia Danced to:A bulerias by Joachin Cortez.
Comments: Flamenco, modern, and rumba inform the very physical, smooth solo routine of a 5-time World Salsa Champion. Kind of classically blended, although Pineda's costume suggests tribal assocations. Also a musician, Pineda sat in for GarDel's encore and played a killer timbales solo (see above video).
8) Victor & Burju Perez From: Boston, Hacha y Machete Dance Company Danced to: Alfredo De La Fe, "Hacha y Machete"
Comments: Introduced by MC Eric Baez as a "classic," this married pair represents the New York mambo style with all its formality and elegance. Cool music choice, an instrumental cover of their signature tune ("Hacha y Machete," a Hector Lavoe original) by violinist Alfredo De La Fe. It doesn't get more classic salsa than that. Burju's got her own line of dance shoes.
More Orquesta GarDel videos to follow soon.
Tropic Orchestra has been woodshedding all week, with some new personnel; judging by last night, they better bring their A-game! "Battle of the Salsa Bands, Part Two" tonight, starts at 11 pm (9:30 dance showcase).
Erell Niane (right) relaxing at the afterparty with Orquesta GarDel
Came across this by chance at Broad Street Cafe: former Cameo bassist Aaron Mills with his Project, playing the Cafe's no-cover Sunday Night Jazz Series. Here's a snippet of their nice jam on a Bill Withers classic:
It is amazing how the original, just a two-minute blues, has proven so memorable and so durable:
Thanks, Bill.
Aaron Mills Project's next date at Broad Street Cafe is Sunday, Sept. 5.
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