Angel David Mattos: Home

Estamos ante uno de los músicos puertorriqueños, no sólo más talentosos, sino más innovadores de nuestro tiempo. Durante años, este bayamonés ha sido figura habitual en los estudios de grabación aportando su piano a las producciones de exponentes de la salsa y otras expresiones rítmicas. Pero, hace casi una década, en 1999, comenzó a dar forma y a presentar sus propias propuestas dentro del género que más le apasiona: el jazz. “Preludio” (VAT Productions, ADM9901) marcó su debut como figura líder. A aquel exquisito trabajo siguió el trascendente “Danzzaj” (Jazz Boricua, CD-6859), lanzado en 2004, en el que por primera vez se experimentó la fusión de nuestra cadenciosa danza con la llamada “música de los músicos”.

Ahora, Ángel David Mattos ha reaparecido con “Traditions”, un disco que obligatoriamente debe figurar entre los mejores de 2008 y, por ende, entre los candidatos al premio Grammy. En esta oportunidad trabajó sobre los aires campesinos, uniéndose en tal sentido a las iniciativas de Pedro Guzmán y Miguel Zenón. En composiciones eminentemente jazzísticas percibimos el sabor jíbaro e, incluso, pasajes de las tonadas representativas de varias vertientes del típico seis. El clarinete ejecutado por Paquito D’Rivera se proyecta como elemento protagónico en este aspecto.

Excepto el estándar “Caravan”, de Juan Tizol – en el que brilla la flauta ejecutada por Ricardo Pons –, todo el contenido es de la autoría de Ángel David. Los títulos son: “Prelude to Traditions / Aguinaldo jíbaro”, “Traditions”, “Atardecer”, “Bebop Danza”, “Prelude to Corazón Boricua / Aguinaldo cagüeño”, “Corazón boricua” – dedicada a Tony Croatto –, “Blues For Maiso” – dedicada a su tío, el cineasta Luis Maisonet –, “Prelude to Enramada Avenue / Seis de la enramada” y “Deseo”.

Además de los mencionados Paquito y Ricardo, sus compañeros en este discazo son Bob Mintzer (saxofones tenor y soprano y clarinete bajo); Óscar Stagnaro y Aldemar Valentín (bajistas, alternados); Héctor Matos (baterista); Orlando Laureano (cuatrista) y Eduardo Maldonado (guitarrista).

Por Miguel López Ortiz
Fundación Nacional para la Cultura Popular

La producción Traditions ha sido incluida en la lista de los mejores discos del 2008 por los rotativos puertorriqueños El Nuevo Dia y Primera Hora, asi como la emisora Radio Universidad de Puerto Rico y la revista Latin Beat de alcance mundial.

Este logro se une a la de la pasada producción Danzzaj (2004) la cual también recibió estas distinciones.

The newest CD Traditions has been included in the best Cds of 2008 by Puerto Rican newspapers El Nuevo Día and Primera Hora. Also the University of Puerto Rico radio station (Radio Universidad de Puerto Rico) and Latin Beat Magazine have selected Traditions as one of the best productions of 2008.

This is the second production of Angel David Mattos that receives this recognitions by local and international press and critics, being Danzzaj (2004) the previous production the first one which received such recognition.

JAZZ BORICUA TRIO
Angel David Mattos - piano
Hector Mattos - drums
Alemar Valentin – bass

@ HLSCC Mother’s Day Concert, BVI, May 09, 2008

From the word ‘go’ (I mean the very first song) one heard the trifurcate that defines the Angel David Mattos style: Classical and Latin on a bed of Straightahead Jazz. But is that not what Jazz music truly represents? Is it not an admixture or fusion, resulting in the syncopation of European Classical melodies with some indigenous rhythms of one kind or the other? In Angel Mattos’ case, that rhythm is the Puerto Rican Danza. The difference between the two styles to these ears was the more pronounced formality of the Classical choruses on the Danza Romántico made particularly discernible at the points of syncopation, an essential element of the Jazz lexicon.

Mattos took great care in defining his ‘Danzzaj’ concept, if I am to appropriate the title of his (2004) CD offering. Mattos writes of this concept:
“Danzzaj is the result of careful and profound reflection on the interaction of music, thoughts and inspirations of musicians from different geographic locations connected by heart and soul and the desire for (a) unified and understanding world.”

Mattos first demonstrated the ‘Danza Festivo’ (Festive Danza) from the 19th century, one written by Puerto Rican composer Juan Morel Campos, the acclaimed “Father of the Puerto Rican Danza.”
Then he went for a soft sound with ‘A Wish’ (Deseo) in the ‘Danza Romántico’ (Romantic Danza) tradition.

Referencing Chick Corea’s ‘Humpty Dumpty,’ ‘Copy Cat ‘ was a lesson in ’swing’. The Boricua Trio tore their way down the track on this one before taking a pit stop for drums and piano to trade some precise, though not carelessly contrived, exchanges.

The folkloric music of Puerto Rico formed the basis for ‘Puerto Rican Heart‘ (Corazón Boricua) taken from the new Traditions CD. I was pleasantly surprised to hear calypso woven into the head and choruses.

‘Sunset‘ (Atardecer), also from Traditions, simmered like my best teas with drummer Hector Mattos bringing it oh so close to the boil but relenting just in time.

There was, however, no such restraint leading up to the intermission.

The second set alternated crisply between Puerto Rico’s indigenous rhythms and a couple of standards such as ‘Stella by Starlight.’ It was though Mattos was giving a lesson in how seamless the two styles can be.

The Latin listening party at the H. L. Stoutt Community College’s auditorium finally boiled over with ‘Caravan’ by Puerto Rican trombonist Juan Tizol and ‘Maldito Amor.’ ‘Caravan,’ composed for the Duke Ellington Orchestra, was distinguishable from Mattos’ version on account of the heavy Latin accent given to it by the Boricua Trio. ‘Maldito Amor’ was done in the vein of the Festive Danza.

I steamed off to the crib with three of Angel David Mattos’ CDs in the pouch. However, I had to simmer right back down before spinning these discs to avoid evaporating to Jazz heaven. That will be fine, but I have more listening parties to attend “down here below.”