Tipico

First rate recording by some of the top musicians on the planet.

Musically, I would give this a four star rating (and maybe a five star upon future listenings). I really enjoy the playing and songwriting and it sounded like it was recorded well.B U T, some one decided that he should apply a lot of limiting to this precious music and make it a lot less enjoyable to the ear. I'm guessing it was Randy Merrill the mastering engineer. It sounds like it might have been a fantastic recording before that. With proper mastering, I believe this would have been a beautiful album to listen. As it is, it's great music that needs to be played at a low volume to avoid fatigue.This type of mastering is bad enough in the pop arena. It is way out of place in a delicate jazz recording.

Very interesting music. Glad that NPR reviewed it.

TIPICO??? INCOHERENTE,,,FATAL.

Awesome

Very nice jazz!

Just couldn't get into what I describe as stream-of-consciousness playing, with its squeals and monotonous repetition. Reminded me ever-so-slightly of some of the last work of Coltrane's, such as "Ascension."I heard a review of this on NPR not long ago, and the reviewer told a story of a Coltrane session where someone had transcribed what Coltrane had played and presented it to him. When he looked at it, he said, "I can't play that." Meaning that there was no way to follow or replicate what he'd played.That's what this is like. While I appreciate the effort, I can't listen to it. Sorry.To add insult to injury, AMZN has now pulled up the ladder on used CD sales and I have to be a professional seller to offer it used.

After ambitious projects with augmented instrumentation that focused on his Puerto Rican roots, Zenón this time concentrates on his acclaimed quartet that has been together for over a decade, going so far as to write three tunes based on solos or patterns that pianist Luis Perdomo, bassist Hans Glawischnig, and drummer Henry Cole have played on previous recordings. Among Zenón's eight alluring compositions are also pieces inspired by his teaching at the New England Conservatory, his young daughter, and Argentine composer, pianist, and past collaborator Guillermo Klein. As usual, it's Zenón's impassioned, rhythmically vibrant, and technically polished alto saxophone that elevates the music to the highest level of quality, making Típico yet another must-hear entry in his significant discography."Academia" grew out of Zenón's teaching at NEC, and is "built around various harmonic and rhythmic exercises that I developed with some of my more recent students at the school." A darting stop-and-start theme over Perdomo's insistent ostinato brings on Zenón's probing, full-throttle, and bop-laced solo with a Latin style thrust. His intricate extended run is the bridge to Perdomo's equally dazzling and spirited flight. Woe the student who has to master "exercises" similar to this track's challenging content. "Cantor" is dedicated to Klein and intended to convey his characteristic lyricism and nuanced harmonies. Glawischnig and Perdomo set an enchanting rhythmic aura, which Zenón enhances in his sinuous reading of the ethereal ballad melody. Perdomo's tenderly rippling solo precedes an upping of the tempo for Zenón's swirling, tempestuous declaration that encompasses the remainder of this dual personality selection."Ciclo" is formed around a folkloric sounding melody, first introduced with a brooding tropical undercurrent, which Perdomo (modal-centric) and then Zenón (post bop) expand upon in their lusty improvs, separated by a tauter, more rhythmically intense reprise from the saxophonist. "Típico" again draws on folkloric elements, this time more harmonically than rhythmically, namely a common harmonic cadence prevalent in Latin American / Caribbean music. Perdomo's prominent montuno blends nicely with Zenón's wafting Latin melody line. The leader's up tempo dancing elaborations alternate with more contemplative passages in his altogether gripping statement. Perdomo answers with an involving, multi-textured perusal all his own, and Cole next launches an impeccably thematic and driven workout over the pianist's vamp."Sangre Di Me Sangre" is a ballad written for Zenón's now four-year-old daughter, composed before her first birthday and thus frequently played by the quartet. Perdomo's intro and Zenón's warm unfurling of the theme both exude a sense of wonderment. Zenón's animated, lyrical solo is an expression of love and passion, and Glawischnig's heartfelt bass spot is also quite absorbing. The beseeching, folkloric melody of "Corteza" is derived from Glawischnig's opening bass solo from "Calle Calma" on Zenón's 2009 Esta Plana album. The rhythmic vitality of the track, (Cole especially impactful) motivates Zenón's quicksilver, filigreed attack, in contrast to Perdomo's relatively subdued, slow-burning approach. The dance-like reprise proves a perfect resolution.The convoluted theme of "Entre Las Raíces" (Among the Roots) was transcribed from a Perdomo solo on the pianist's own Awareness release, resulting in this wide open free-form endeavor. Perdomo channels Cecil Taylor, while Zenón injects Ornettte Coleman into his own unfettered assault. "Las Ramas" (The Branches) was conceived around a distinctive figure that drummer Cole has been utilizing in his playing. The moving ballad theme is opposed by a churning rhythm section, with Cole's complex patterns dominating as Zenón delivers variations on a singular motif. The alto saxophonist eventually lets loose with a stirring plea that's just as rhythmically provocative as Cole's dynamic input.