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MP3 Manante - Para los engreidos

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MP3 Manante - Para los e
9 MB PHP File - Platform: MP3

New peruvian music

9 MP3 Songs in this album (48:52) !
Related styles: World: World Fusion, Jazz: Latin Jazz, Instrumental

People who are interested in Medeski Martin and Wood Michel Camilo Trio The Rosenberg Trio should consider this download.


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The Spotlight Series highlights upcoming Latin Jazz musicians that have yet to reach national recognition. Many of these musicians thrive in local scenes and some tour in support of releases. All these musicians contribute greatly to the overall Latin Jazz scene, and they deserve our âspotlightedâ attention.

Para Los Engreidos
Manante
Fusion is a broad word that has been used and abused in the jazz world, but in reality applies to a wide range of musical approaches. The most common musical style associated with the word is the mixture of jazz harmonies and improvisation with rock and funk rhythms. In the 1960s and 1970s, the concept held some artistic weight with cutting edge performances by Miles Davis, Weather Report, and Chick Coreaâs Return To Forever. In modern times, the idea of fusion has shifted towards a more commercial concept of jazz that panders to a popular audience; among traditional jazz fans, âfusionâ can be considered a dirty word. In the larger musical community, fusion relates to the combination of multiple musical ideas, from any potential source. Many artists engage in âworld fusion,â bringing together jazz or popular music with North Indian ragas, Chinese melodies, or West African drumming. Neo-Classical fusions exist between the twenty-first century symphonic composition world and experimental artists. Two or more artistic sources coming together represent a fusion - the success of that combination relies upon the musicianâs connection to the source material and the strength of their concept. Peruvian jazz trio Manante delivers an engaging musical fusion on their album Para Los Engreidos, an enthralling mixture of acoustic jazz, Afro-Peruvian styles, 1970s jazz-rock influences, and personal inflection.

Drawing Inspiration From Classic Fusion
A fusion aesthetic fuels several tracks, revealing an influence from several classic fusion ensembles. Thereâs a sense of urgency behind the frantic pace of Leonardo âGigioâ Parodiâs swung drumming, Pepe Cespedesâ open piano chords, and Noel Marambioâs free fretless bass improvisation on âAv. Arriola con Av. Canada.â Parodi smartly integrates a variety of percussion sounds and Marambio runs wildly through a Pastorious inspired tone, adding to the overall chaos behind Cespedesâ racing piano solo. As sirens, horns, voices, and traffic sounds start to fill the sonic landscape, the song reaches a nerve-rattling peak as everything comes to an abrupt stop. Cespedes gracefully plays an elegant melody over a flowing background on âSin Aliento,â before Marambio and Parodi push their accompaniment with a traditional rhythmic momentum. Cespedes establishes a spacious, firm and menacing vamp that serves as the basis for his improvisation. Marambio and Parodi support his solo with a sense of freedom, inserting aggressively angular bass fills and cajon accents. Marambio sets up a spacious vamp with a chordal pattern on his electric fretless bass while Parodi accents the line with colorful percussion and Cespedes inserts tasteful piano fills on âCool Antro.â The bass vamp falls into an overdubbed loop with Cespedes doubling the part as Marambio starts building an elegantly melodic statement. The track serves as a feature for Marambio, who shines in this spotlighting setting, highlighted by some creative use of percussion sounds by Parodi. These tracks bring a strong fusion sound into the forefront of the group, pulling an audible influence from well-known groups such as Weather Report and Return To Forever.

Focusing Upon Traditional Afro-Peruvian Jazz
Several tracks focus upon more traditional Afro-Peruvian jazz, always leaving room for a fusionistic sense of adventure. Cespedes assertively delivers a bold statement full of angular band hits over a 6/8 rhythm on â376,â contrasted by an airy bridge with a loose swing feel. Marambio creatively plays around the 6/8 feel with technical dexterity and a rhythmic precision that sends the group into a driving forward motion. Cespedes contrasts this momentum with an open feel that builds into a rhythmic frenzy through aggressive accents and syncopated ideas. Cespedes hints at the main theme with an engaging unaccompanied introduction on âCuando Regrese Le Calmaâ before Marambio and Parodi join him with a gentle lando backdrop behind the main melody. Cespedes spins thoughtful variations on the main melody, infusing a creative dose of lyricism into his statement. Marambio moves through the changes with a melodic liberty on acoustic bass that thrives on strong development and a bluesy foundation. Parodi uses a quijada to accent Marambioâs muted bass vamp on âMoza Celosa,â soon moving to cajon as Cespedes carefully improvises. Cespedes cleverly starts his improvisation with traditional melodies, moving into flowing lines with a thick harmonic foundation as the rhythm section builds behind him. Marambio dives headfirst into a long melodic statement complimented by some insightful and interactive accompaniment from Cespedes and Parodi. These pieces allow the group to build upon their foundation in Afro-Peruvian music while holding onto a contemporary sense of personality.

Blending Various Influences
The trio blends a variety of influences with traditional jazz on a few songs, creating a distinctive modern Latin Jazz sound. Cespedes storms through a frantic melody with a double time foundation on âFrutas Para El Desayunoâ broken by a half time swing section in the songâs bridge. Marambio and Parodi ease back into a half time swing for Cespedesâ solo, who strings together long bluesy lines that start soulfully and eventually push the rhythm section back towards the double time feel. Marambio builds from short licks over a sparse texture into long musical lines over a driving groove, giving way to an exchange of four bar phrases between Cespedes and Parodi. The group draws upon the sound of Andean panpipes with a simple yet distinguished melody on âLa Del Milagro,â transitioning into a floating modern texture for a rich contrast. Cespedes enters his improvisation with a shimmering open sound, steering his solo towards a distinct beauty with long lines and interesting reharmonizations. Marambio grabs the mood established by Cespedes and brings it to another level with an introspective and expressive improvisation. Traffic sounds and footsteps imply a slow and contemplative mood on âAv. Arriola con Av. Canada 11:30 pm a la sombra,â gently reinforced by a dramatically understated melody from Cespedes. Marambio adds a rich texture with the deep sound of his bowed bass while Parodi carefully integrates accents. The trio repeats the melody with dynamic changes and harmony alterations, delivering a captivating performance with an attention grabbing simplicity. These pieces find the trio creating its own unique fusion with a thoughtfully constructed blend of traditional jazz, Peruvian sounds, and personal statement.

Giving New Meaning To The Idea of Fusion
Mananteâs fusion concept stands strong on Para Los Engreidos, bringing together the best of several musical worlds with grace, style, and a well-conceived artistic approach. The trio draws a strong influence from 1970s fusion groups, both in compositional structure and performance style. Strains of Joe Zawinul and Wayne Shorter creep through their compositions, while their assertive performance approach recalls groups led by distinct personalities such as Chick Corea and Chucho Valdes. They maintain a mostly acoustic sound that leans towards a traditional jazz trio, with the exception of Marambioâs fretless electric bass, which simply supports the group sound. Marambio displays a heavy Pastorious influence at times, bringing his lyrical nature and aggressive attack into the trio. Cespedes and Parodi both walk between worlds easily, combining the grace of acoustic jazz with the folkloric feel of Afro-Peruvian rhythms. The trio stands upon their foundation in Afro-Peruvian music, bending the lando and festejo into complimentary structures. The depth of styles never fades though; the group carefully keeps an authentic connection to each style. Their musical choices consistently make sense and with each layer of influences, the whole music product becomes much stronger. In this way, Manante brings true meaning to the word âfusionâ on Para Los Engreidos by finding ways to build upon the initial beauty of each style, giving us a new and inspiring product as a result.




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