| Arturo Sandoval - Rumba Palace |
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| Music Disc Reviews Audio CD | |
| Written by Scott Yanow | |
| Sunday, 01 July 2007 | |
performance: 6 sound: 7 released: 2007 label: Telarc reviewer: Scott Yanow Arturo Sandoval has long been one of the greatest jazz trumpeters around. His remarkable range, which reaches up into the stratosphere, his warm tone, and his mastery of both bebop and various Cuban styles have always made him a potential giant. In addition, he is a skilled pianist, an enthusiastic timbales player and an exuberant scat vocalist. At 57, he is at the peak of his powers. Sandoval, who defected from his native Cuba in 1990, has reached some great heights in his recording career since then, along with a few misfires. While his main musical hero is Dizzy Gillespie (with whom he recorded, in addition to playing in his United Nation Orchestra), he has never forgotten his musical roots nor been shy to stretch himself. Recently, Sandoval formed a Cuban orchestra he calls his Mambo Mania Big Band. Rumba Palace features a transition group that was put together right before the big band. The nine- or 10-piece unit utilizes a great deal of overdubbing to gain the sound of an orchestra. On a typical cut, Sandoval and up to four other horn players recorded two or three parts each while joined by a four-piece rhythm section. Although the overdubbing is not obvious, it does allow the impossible to occasionally occur, such as Sandoval trading off with himself on “Guarachando,” on trumpet and bass trumpet. While “Guarachando” is the most boppish of the performances, other pieces include vocal salsa (“A Gozar”), a dull ballad “Peaceful,” rhythmically exciting but melodically forgettable originals, and a mixture of Cuban and funk rhythms. Since the trumpeter wrote every selection except “Guarachando,” he is clearly a more skilled improviser than composer. Sandoval plays very well whenever he cuts loose but surprisingly sounds somewhat restrained on many of the pieces, as if he does not want to overshadow his band. On “Having Fun” his muted solo is eclipsed by altoist Felipe Lamoglia’s brief spot, and Sandoval does not hit a high note on that piece until literally the final second of the selection. There are some exciting moments along the way, the ensembles are often infectious and Sandoval has a hot spot on flugelhorn on “Arranca De Nuevo.” But Rumba Palace is not especially memorable, mainly due to the tunes not being all that special and the solos not climaxing. The lack of liner notes, which could have discussed the ideas and goals behind this recording, is also unfortunate. The overall music is pleasant and pleasing but none of the performances would someday be included in an accurate Best of Arturo Sandoval sampler. Sound The fact that it is not obvious that extensive overdubbing took place (unless one looks at the personnel listings) means the recording engineers did a superior job. They were also able to perfectly balance the electric keyboards, percussion instruments and horns, so the results have a lifelike feeling. The orchestra sounds both lively and lifelike, even if one will forget most of the music five minutes after hearing it. Like this article? Bookmark and share with any of the sites below.        |
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