Tag Archives: mel minter

Rare and Special: Chuy Martinez and Oti Ruiz in Concert

Chuy Martinez. Photo by Mel Minter.

Chuy Martinez. Photo by Mel Minter.

Chuy Martinez (guitar, vocals) and Oti Ruiz (harp, violin, requinto, vocals) came to music via very different paths that intersected very sweetly. Martinez learned to play guitar while working as a migrant farmworker in California, a job he started at age 12, when he fled from an abusive foster home. Joining the the United Farm Workers Union at 16, he worked rallies in many states as an organizer and musician. Ruiz, orphaned at 11 and growing up with his grandmother in Xalapa, Veracruz, Mexico, started playing at age 13. He studied at the Music Conservatory in Xalapa and went on to tour the world with internationally renowned groups.

Oti Ruiz. Photo by Mel Minter.

Oti Ruiz. Photo by Mel Minter.

In 2001, fate or luck or the angels, call it what you will, brought them together in
Albuquerque at trying times in their lives. Playing Latin American music together brought solace and direction, and bore fruit: within a year of meeting, they produced their lovely first CD, Pa’ Uste’, a passionately
delivered collection of popular and folkloric music from Latin America and the Caribbean.

Their artistic collaboration has continued ever since. Unfortunately, their day jobs prevent them from playing out very often. Martinez is Old Town manager/curator for Albuquerque’s Cultural Services Department/Community Events and is well-known as the host of Lo Maduro de la Cultura, a popular public-access TV show on the arts. Ruiz teaches at Coronado Elementary and is music director of La Rondalla de
Albuquerque. That makes their concert at the Outpost this Friday, May 10, where they’ll be joined by John Mancha (guitarrón, accordion), a rare and special event.

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Meet Me in the Middle

MagicOf2_CDcover_hiresTommy Flanagan and Jaki Byard
The Magic of 2 (Resonance Records)
A Review

Pianists Tommy Flanagan and Jaki Byard lived at different frequencies along the spectrum of jazz music. Flanagan, who was dubbed a “jazz poet” by critic Whitney Balliett, typically relied on fluidity, touch, and continuity. For many fans, he is best remembered as Ella Fitzgerald’s accompanist, though he led his own trios and played on such iconic
recordings as John Coltrane’s Giant Steps and Sonny Rollins Saxophone Colossus. Byard’s style tended to the spiky and episodic, mixing an
encyclopedic collection of genres, and his best-known associations were with the fearless Charles Mingus and Rahsaan Roland Kirk.

Putting the two on the same bill could be an instructive and entertaining study in contrasts. Putting them on stage together in a jazz club could be just plain odd. But that is exactly what Todd Barkan, manager and programmer of San Francisco’s legendary Keystone Korner, did in February 1982. Monster jazz musicians that they were, Flanagan and Byard made it work.

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Late-Night Benjamin Herman

cafeSolo_kleinBenjamin Herman, Café Solo (Roach Records)
A Review

Dutch alto saxophonist Benjamin Herman’s latest album, Café Solo, couldn’t be simpler in concept: get a swinging trio together, record a collection of standards live, and make the sound of the horn the focal point of the
album. Sitting in a comfortable chair, with Ernst Glerum (bass) and Joost Patocka (drums) behind him, Herman delivers a series of relaxed performances that take the
listener all over the saxophone.

There’s a compelling intimacy in the performances that makes it easy to imagine the three are playing a final set in a near-empty club in the middle of the week. They’re playing for
themselves, and kissed by midnight, the performances have a moving honesty shorn of
affectation.

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Antonio Sanchez Flows Free and Easy

New_Life_large

Antonio Sanchez, New Life (CamJazz)
A Review

You know the old joke: “What do you call a guy who hangs out with musicians?”

“A drummer.” Fid-a-boomp.

Maybe we should reformulate that: “What do you call musicians who hang out with drummer Antonio Sanchez?”

“Lucky.”

That reworking comes on the heels of listening to New Life, the latest release from this melodic drummer, whose résumé includes outstanding work with Pat Metheny, Danilo Pérez, Gary
Burton, and Miguel Zenón, among others. The album delivers an affirmation of hope and
confidence, showcasing Sanchez’s rich compositional talents as well as the improvisational mastery of the top-drawer lineup: David Binney (alto sax), Donny McCaslin (tenor sax), John
Escreet (piano and Rhodes), and Matt Brewer (bass), with special guest Thana Alexa (voice).

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Asher Barreras and John Maestas Go Large

Last summer, when bassist Asher Barreras and guitarist John Maestas booked a set for a nonet in the Outpost’s summer series, I wasn’t sure what to expect. I knew these two native Burqueans as primo players and ambitious composers who have swallowed a variety of genres while swimming in the jazz ocean. I’d heard them shine as sidemen and as coequals in their Humoso quartet. But a nonet with reed and brass sections? What exactly would two young string-plucking whippersnappers know about writing for a mess of wind instruments?

Well, it was a smokin’ set, and it featured some of the Southwest’s best players, several of whom also contributed fine compositions. It was so good, in fact, that the Outpost invited the nonet back for a full evening in the middle of the high-profile spring season.

Expectations have now been raised, but I’ve no doubt that this Thursday, Barreras, Maestas, and company—Kanoa Kaluhiwa and Aaron Lovato (tenor sax), Glenn Kostur (alto sax), Paul Gonzales and JQ Whitcomb (trumpet), Ben Finberg (trombone), and Paul Palmer III (drums), with help from special guest Albuquerque Poet Laureate Hakim Bellamy—will satisfy those
expectations and then some.

The summer 2012 version of the Barreras/Maestas nonet. Photo by and courtesy of Jim Gale.

The summer 2012 version of the John Maestas–Asher Barreras nonet. Photo by and courtesy of Jim Gale.

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