THE RHYTHM SECTION CATS
The heartbeat of this project is the elastic pulse created by bassist Dave Ambrosio, drummer William “Beaver” Bausch, and pianist John Stenger. As I mentioned in Part I of this three part series on La Rumba is A Lovesome Thing, John was the one who put the idea in my head back in 2006 to record a whole album of Strayhorn songs. I’ve known all of these guys for at least ten years each, and all of them have been core members of this group since our first CD, Other Tongues.
L to R: Beaver, Anton, Mike, Paul, Ryan, Dave, Christelle, Mark, Chembo;
photo by Zachary Maxwell Stertz
I really can’t imagine bringing this CD to completion without Beaver Bausch. When I write arrangements for the group, I hear Beaver playing them in my head. I couldn’t tell you exactly what he’s playing in my head, just that I know that whatever he does will sound good, and will fit the piece like a glove. It’s a real good thing to know you can rely on someone in that way.
I met Philadelphia resident John Stenger when we were both working in a now defunct Brazilian band in New York. John’s mastery of clave-based idioms in general makes him one of the baddest Latin pianists around, and his impressionist and at times highly dramatic solos make him an unforgettable improviser. His intro to After All and solo feature on U.M.M.G. are great examples of his talents.
Bassist Dave Ambrosio, who I also work with in Grupo los Santos, is a mainstay on the New York jazz and Latin scenes. Inspired by a trip to Cuba in 2001, Dave has in the intervening years become an accomplished batalero. I had several discussions with Dave while workshopping our arrangement of Take the A Train. In particular I sought his expertise on the Cuban chant section that became the second half of the track. I wanted to connect the song’s shoutout to Harlem with the deeper imagery of West Africa as the origin of so many African-descended people in the New World. Ultimately we decided to include a chant dedicated to the Orisha (deity) Ogun, the patron saint of iron and blacksmiths (and hence of the Iron Horse, the subway train) in the Yoruba religion. I also gave the horn section a real challenge by transposing the parts of the three batá drums to the brass and woodwinds.
BENJAMIN LAPIDUS
Ben Lapidus
This guy is one seriously accomplished mofo. A professor of ethnomusicology as well as a composer and working musician in NYC, Ben leads Sonido Isleño, a group I’ve been playing with for almost ten years. I’ve learned a lot playing with Ben, and am very happy to have him as a special guest on La Rumba is A Lovesome Thing. Ben started playing live gigs with us about a year and a half ago, and his skills and knowledge as a musician and vocalist are matched by his innate sense of humor. Check out the décima (a traditional ten-line stanza of poetry or song) on the beginning of Johnny Come Lately and you’ll know what I mean (Spanish comprehension or a translation app required!). Ben composed this intro himself, adding a comic warning to a song that became about a fictional Juanito, a guy who can never get to the gig on time. Ben also plays beautiful tres on four of the songs on the album.
THE ENGINEERS
We recorded this album at Water Music in Hoboken NJ, with recording engineer extraordinaire Dave Kowalski at the console. Dave’s quiet professionalism and laid-back demeanor were key elements in getting the vibe right for this project. Another key element was the amazing recording space at Water Music, including the piano, the gear, and the console. Dave also mixed the album. Maria Constanza Triana was the mastering engineer. Both of these pros contributed in subtle but substantial ways to the final sound of the record. Muchas Gracias!
La Rumba is a Lovesome Thing NYC CD Release Party @ Greenwich House July 11th, 2013
7 to 10 PM
Concert: 7 to 8:30/Reception & Meet the Artist 8:30 to 10
$15 Cover/$25 Cover + new CD
Full details at paulcarlonmusic.com
Weird Latin 