MIGUEL ZENÓN

SUBTERRANEA LIVE AT THE VILLAGE VANGUARD

Miel Music

Miguel Zenón, alto saxophone; Luis Perdomo, piano; Hans Glawischnig, bass; Henry Cole, drums.

Just about a year ago, this album was recorded ‘Live’ at the Village Vanguard in New York City.  Plenty of music is recorded there, but this was a very special night.  Miguel Zenón is a MacArthur laureate, a Guggenheim fellow, a Doris Duke Artist, even a 2024 GRAMMY Award recipient for his music, “El Arte del Bolero, Vol. 2.”  However, he had never recorded a “Live” album.

This is Zenón’s 18^th album as a band leader. It was recorded over two nights in September of 2024.  It features all new material with six of the compositions penned by Zenón.  The ensemble opens to enthusiastic applause after playing his song “Abra Cuto Guiri Mambo” with Zenón’s alto saxophone introducing the piece with a repeated melodic horn line. Henry Cole’s drums roll and thunder. They propel the tempo forward. Then Luis Perdomo smashes onto the stage, playing piano with a dynamic and fervently improvised solo. They open this set with wild energy and a speedy tempo. Cole takes a solo towards the tune’s ending, mesmerizing the crowd with his drum skills.

The title of that opening tune translates from African-Spanish to English meaning, “Open up your ear and hear the mambo.”  Zenon and his trio certainly got my attention and also that of the crowd.

“A lot of these riffs or mambos or jaleos, whatever you want to call them – they’re really coming out of a rhythmic perspective.  This album has an energy that’s really different than all our other records, because it was recorded in this sanctuary of music,” explains Zenón.

The famed Village Vanguard first opened its jazzy doors in 1935 and has heralded the jazz policy since 1957.  Zenón’s native Puerto Rican culture is strongly present in their arrangement of “El Dia de Mi Suerte.”  This is a composition by Willie Colon and Hector Perez who greatly influenced Miguel when he was a young musician.

“I listened to them over and over again.  I’m not trying to replicate the original.  I’m trying to draw elements from the original that I can use in my own way,” Miguel explained his re-arrangement of this popular tune.

“Vita” is beautiful. Miguel’s alto sax caresses every note. This song he wrote specifically for his grandmother in 2010, with the original title being “Segunda Madre,” to celebrate his loved-one’s birthday.  Jovita Soto Santiago, who is now 95-years old, has Miguel’s original score framed in her home.  Zenón has expanded the song idea into a full composition for his quartet.  It has a chacarera-style rhythm that reminds me of the tango.  It becomes one of my favorites on this album.

His composition, “Dale la Vuelta” is complex. The quartet plays it and makes it sound easy, but it’s a rhythmic counterpoint.  The same space is subdivided into two different zones (7 and 8) that switch back and forth to create a unique rhythmic identity. The title translates to “Turn It Around.”

All in all, this is an extraordinary exploration of jazz and Latin culture. It’s mixed together like rice and beans, comfortable, delicious, spicy and filling.

Reviewed by Dee Dee McNeil

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