http://angeldavidmattos.com/news.html Angel David Mattos: News Jannis' PHPRss class - http://www.jannis.to/ Sun, 15 May 2011 01:02:03 -0700 http://angeldavidmattos.com/news.html#29
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]]> http://angeldavidmattos.com/news.html#29 Fri, 30 Jan 2009 00:00:00 -0800 Jazz Boricua - Angel David Mattos - News http://angeldavidmattos.com/news.html#27
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.]]> http://angeldavidmattos.com/news.html#27 Sun, 04 Jan 2009 00:00:00 -0800 Jazz Boricua - Angel David Mattos - News http://angeldavidmattos.com/news.html#28 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.”]]> http://angeldavidmattos.com/news.html#28 Fri, 06 Jun 2008 00:00:00 -0700 Jazz Boricua - Angel David Mattos - News http://angeldavidmattos.com/news.html#26 This is the new release of Puerto Rican pianist Angel David Mattos. It was recorded in August 2007 with Paquito D´Rivera (clarinet), Bob Mintzer (sax and bass clarinet), Oscar Stagnaro (bass), Hector Mattos (drums), Aldemar Valentín (bass) and Ricardo Pons (flute). After the award winning CD Danzzaj (2004), Angel David returns bringing a concept where Puerto Rican Folkloric music and Jazz meet as equals, each contributing to create a musical concept in terms of melody, structure, harmony, rhythm and improvisation. Here are comment son each composition for those who would like to know more about Mattos´ way of conceiving his music.

Traditions

Track 1 (Prelude to Traditions (Aguinaldo Jíbaro), presents the original melodic source of this composition. Piano starts out present this melody with jazz embellishment. Then, bass and sax play a counter melody in unison, also based on an alternate melody of the same Aguinaldo. The second part uses the melody of the Seis de Andino followed to a rhythmic section where Hector fills in with enthusiasm. This section ends with a jazz-fusion sound and then returns to the A section. Solos are played over a structure based on a harmonic fifth circle pattern over a Campesino Rhythm, alternating with a Straight Ahead middle section. Bob Mintzer improvisation shows the mastermind of a musician who has contributed to many jazz styles, in this case, the Jazz Boricua style. Angel David’s solo presents a blending of jazz and Puerto Rican melodies, increasing his new jazz language. After the solos, the composition returns to section B and then Hector takes section C for an impressive solo. Traditions ends with the first melody and a creative Coda en Jazz Fusion style.

Bebop Danza

Following the work done in the previous CD Danzzaj, Angel David presents this composition in the Danza Festiva style. The Puerto Rican Danza is a musical style of 19th century, and it is contemporary with the conception of jazz in New Orleans. Being both Caribbean regions, they present many similarities. The unique sound of Paquito D´Rivera and Oscar Stagnaro give the perspective of other Latin American musicians of this style that also resembles the sound of other Lain American musical styles. So this element, combined with Angel David and Hector precise concept of the Danza, create a unique sound of the new Danzzaj concept of Bebop style.
Although the melody sounds like a Bebop one, it is really based on popular Danza melodies of early 20th century. With some rhythmic displacement and alterations it fits the bebop style and the Blues sound presents after the clarinet solo. Angel David plays a pure Danza phrase followed by a Ragtime style phrase. Both styles are contemporary of the end of the 19th century. The melody is then played over a Blues section and a theme based on the first section melody. After a solo section by Oscar, Hector and a conversation of the whole band, the composition presents a sequenced transitional section, which leads to the first section. Bebop ends with a “Big Band” style Coda.

Corazón Boricua

First of all, this composition is dedicated to the memory of Tony Croatto, a foreigner musician who came to Puerto Rico from Italy and felt in love with the island. As years passed he got involved with Puerto Rican folkloric music and gave it his own perspective, always respecting tradition but also incorporating new sounds. Angel David and Tony worked together for 3 years in the Nueva Trova group Haciendo Punto en Otro Son, where Tony felt in love with Angel David’s musical expression. Sadly, Tony died of cancer in April 3, 2005, after a concert dedicated to him by his fellow band members under the direction of Angel David. Because of his decision of becoming Puerto Rican out of love for the island, this composition is dedicated to his Puerto Rican heart, his Corazón Boricua.
Track 3 presents the original melodic source of Corazón Boricua, the Aguinaldo Cagüeño. The composition starts with an introductory piano solo over a vamp, a common jazz introduction. The clarinet presents the melody, which clearly resembles its original source. The composition always makes reference of this melody over its AABA structure, including the bass line in at the end of section B. Solos are not played over this whole structure for is appeared too long. So piano and clarinet solos follow an AAB form. After the solos clarinet picks the theme once again and the song ends with a musical conversation between Paquito and Angel David where folkloric melodies are heard, especially in Angel David’s comments.

Atardecer (Sunset)

This is a composition in 6/8. It was inspired by a Puerto Rican sunset view from the central mountains. Bass and drums play a hybrid between Seis Joropo and jazz waltz. Angel David’s solo presents many melodic ideas of known melodies, from the Seis con Décima to Puerto Rican pianist Noro Morales Maria Cervantes. The end of the composition wants to recreate the last seconds of the Sun over the Caribbean Sea, until it disappears (a unison at the end).

Blues for Maiso

Angel David’s musical background is diverse and it comes mostly from his family. One trend found in his mother’s family side is Salsa music. Most of his uncles were into Salsa during the 1970. One of them, Luisito Maisonet (Maiso), was lead trumpet in one of the most famous Salsa bands of that time: La Selecta. Unfortunately, Luisito died in 1972in a terrible car accident while touring with the band through U.S. North East. Had this not happened. Angel David and him would be playing together now. This composition is dedicated to all Angel David’s family, but especially to Luisito.
In terms of compositional technique, this is a Blues with a different harmonic structure in the last four bars. There is a bridge where bass and sax play together phrases taken from the Seis Fajardeño and the Aguinaldo Cagüeño. Jazz influences of this composition come from John Coltrane, Herbie Hancock, Miles Davis, Chick Corea and the Yellow Jackets. Of course, Bob Mintzer gives the proper sound to all this influences, specially the Jackets sound.

Enramada Ave.

Just like Traditions and Corazón Boricua, this is composition is mainly based on a folkloric melody; the Seis de la Enramada played in the previos track as an example.
This is a simple AABA form with a little Coda which is played before each solo. This was influenced by Bebop compositions such as Bud Powel´s Bouncing with Bud. This is a historic track where for the fist time Paquito D´Rivera and Bob Mintzer recorded together, both playing clarinet (soprano and bass clarinet respectively).
After the solos the original melodic theme is played by the band, and it replaces the melody of section A. It goues to the bridge and ends with section A and Coda, again in “Big Band” style.

Deseo

This is a romantic Danza in a Danzzaj style. It has the five parts structure of the Danza, with the unusual use of the first section (El Paseo) at the end. The use of the clarinet and the keyboard strings give this composition an orchestral sound. Solos on this composition are played over Sections A and B of the Danza (Paseo counts as the introduction and not section A). After the solos the change of mode from minor to mayor constitutes the section C. One particular feature is presented here; a change from Danza style to straight ahead style, buy preserving a Danza like melody intact.

Caravan

This all-timer provides a great closure to this production. Caravan has been identified as the first Latin Jazz composition, written by Puerto Rican trombonist Juan Tizol. This time, it is performed in the style of plena, with the only difference of not using the Plena panderos (handdrums) . Each instrument is taking care of the rhythm regulary played by these three panderos. The bass line takes the middle pandero, while the piano plays the part of the large pandero with the left hand, and the small pandero with the right hand. The drums then play a combination of the three panderos and the güiro. Section A is played in plena style, while section B is played in Danza style. Solos are played over a continuous Plena-Jazz style, and so is the drums solo.

There are several site in the web that could provide further information on Puerto Rican folkloric music. Terms such as Plena, Aguinaldo, Seis, Panderos, and others should be looked up in order to fully understand this CD. Just write Music of Puerto Rico on any search engine and the information with examples will be available.
This is another historic production by Angel David Mattos. Hope you enjoy it and write him about it.]]> http://angeldavidmattos.com/news.html#26 Thu, 10 Apr 2008 00:00:00 -0700 Jazz Boricua - Angel David Mattos - News http://angeldavidmattos.com/news.html#25 http://angeldavidmattos.com/news.html#25 Sun, 19 Aug 2007 00:00:00 -0700 Jazz Boricua - Angel David Mattos - News http://angeldavidmattos.com/news.html#24 http://angeldavidmattos.com/news.html#24 Sat, 10 Mar 2007 00:00:00 -0800 Jazz Boricua - Angel David Mattos - News http://angeldavidmattos.com/news.html#22 http://angeldavidmattos.com/news.html#22 Sat, 21 Oct 2006 00:00:00 -0700 Jazz Boricua - Angel David Mattos - News http://angeldavidmattos.com/news.html#20 Por: Ileana Cidoncha
Especial para ESCENARIO

Angel David & Jazz Boricua

A los acordes de esa tan singular danza festiva "No me toques" de Juan Morel Campos incorporada al jazz, arrancó por todo lo alto la primera noche del Puerto Rico Heineken Jazzfest, en su XVI edición, con el grupo Jazz Boricua de Angel David Mattos. No pasarían segundos para que este festín musical de inconmensurable calidad transportara a los presentes a ese Nirvana que suele insuflar el Heineken, como tan bien lo ha descrito el artista Dennis Mario, cuyo espectacular afiche del homenajeado percusionista Poncho Sánchez magnificado a telón de fondo, reina sobre el Anfiteatro Tito Puente en San Juan.

Esta banda de profesores de música de la Universidad Interamericana integrada por Mattos (piano), Eguie Sierra (bajo), Héctor Matos (batería), Ricardo Pons (flauta y clarinete), y Raúl Rodríguez (percusión) sobrepasó los estándares de una clase magistral para ofrecer un concierto en el que la pulcritud de cada nota, de cada fraseo, de cada cadencia denotó la excelencia en la ejecución de estos músicos. De forma paralela, la pasión en la interpretación realzó la consigna del swing que demanda el jazz.

En la simbiosis de la danza decimonónica —"Felices días", "No me toques", "Margarita" y "Maldito amor"—, como de la contemporánea "Danza al maestro" de Mattos, nuestra música fue sustrato o línea melódica tanto en lúdicos arreglos como en los más tradicionales con un sonido limpio de cada instrumento, dándole a cada uno sus espacios para manifestarse a plenitud. Asimismo, en el arreglo del seis "Enramada" —popularizado como "Si no me dan de beber" y de los temas de Mattos, "Point of Reference" y "Parada eliminada", la entrega de los 1200 de espectadores presentes en la noche del jueves fue total.]]> http://angeldavidmattos.com/news.html#20 Sat, 03 Jun 2006 00:00:00 -0700 Jazz Boricua - Angel David Mattos - News http://angeldavidmattos.com/news.html#19 Por Jaime Torres Torres / End.jtorres1@elnuevodia.com

La música puertorriqueña ya impacta al jazz.
Así lo demostró en la inauguración del Puerto Rico Heineken Jazzfest el pianista Angel David Mattos, quien asumió con altos honores el reto de abrir la décimosexta edición del evento con su propuesta de jazz puertorriqueño, concebida en torno a la fusión de la danza con el swing y el be-bop que estampó en su segundo disco “Danzzaj”.
Ante la asistencia más pobre registrada la primera noche del festival en los últimos años, Mattos sorprendió con una propuesta cultural trascendental que renueva el repertorio danzístico cultivado en el siglo 19 por Juan Morel Campos y Manuel Gregorio Tavárez.
“Hasta que nosotros no valoremos nuestra música, otros no la van a valorar”, señaló Mattos, quien lo pudo decir en inglés para que los directivos de Berklee y otros distinguidos visitantes del exterior lo entendieran.
Porque la danza, el seis campesino, la bomba y la plena son expresiones que, combinadas con el jazz, merecen más exposición en el festival y, sobre todo, en los talleres que se desarrollan con los estudiantes del patio, auspiciados por el colegio de Boston.
Dudo que, en musicalidad e innovación, otra presentación del festival supere la extraordinaria actuación de Mattos, cuyo quinteto integraron Héctor Matos, Eguie Sierra, Ricardo Pons y Raúl Rodríguez, el solista más sobresaliente de la apartetura del jazzfest y un virtuoso que domina la percusión, desde el vibráfono hasta el cajón.
En clásicos como “No me toques”, “Felices días”, “Maldito amor” y “Margarita” nos deleitamos con los exquisitos contrapuntos de Mattos en el piano acústico, el ritmo de la danza perfectamente marcado y acentuado en la batería por Héctor Matos, la solidez armónica que aportó Sierra en el bajo y el sentimiento de las melodías de Pons en el clarinete y la técnica de sus solos de flauta.]]> http://angeldavidmattos.com/news.html#19 Sat, 03 Jun 2006 00:00:00 -0700 Jazz Boricua - Angel David Mattos - News http://angeldavidmattos.com/news.html#17
Un conglomerado de los mejores instrumentistas del país integra la gran orquesta que se presentará el viernes 28, entre ellos el pianista-jazzista puertorriqueño Angel David. La combinación de estos dos grandes del Jazz Boricua garantiza la calidad de la presentación y la garantía de que será una noche especial de jazz en nuestra isla.]]> http://angeldavidmattos.com/news.html#17 Tue, 25 Apr 2006 00:00:00 -0700 Jazz Boricua - Angel David Mattos - News