Sometimes it's hard...(for Allen Kanovsky, due to so many choices - The Arts Garage for Sammy Figueroa or Longineu Parsons at Old Dillard High School???)

Submitted by Al Kanovsky 9/xx/13

...actually I should have said difficult but either way it took a lot of thought. Last night was like that. Early in the week I noted on my calendar a concert at the Old Dillard Museum featuring trumpeter Longineu Parsons. That was my choice for Saturday night. I was also aware that Sammy Figueroa was going to be at Arts Garage. I was catching a few rays and reading a book about Hemingway in which Cuba kept popping up as part of the tale. Uh-oh. Indecision crept up on me. Trumpet vs. congas. Soaring horn solos or Latin rhythms. I put down my kindle and jumped into the pool. I floated on my back and fell asleep. Eureka! The decision was made. I hadn't seen or heard Sammy in over a year and had been separated from clave for more than a week. Arts Garage----it seems like yesterday I was there----it was.

Enough of the yarn, let's talk about the music. Sammy's genre is Latin JAZZ or I should say JAZZ Latino because it is JAZZ first. The band is star studded. Silvano Monasterios(piano/arrangements/compositions) Gabriel Vivas Bass/compositions), John Michalak(tenor/soprano), Francisco Dimas (trumpet/flugelhorn), Sammy himself on congas, etc. and keeping everybody in  line the drummer from the Negroni's Trio, Ramon Negroni.

The first tune has a Silvano solo, brilliant as expected, followed with 'Cisco's display of the flugelhorns mellow tone and then Sammy shows his 'chops'. The following number has John on soprano sax. He does a 'silvano' on me, playing more notes in a single bar than is humanly possible. Sammy joins him and the audience's excitement begins to build. They pay homage to the great Mongo Santamaria, playing a hit from 1964. Sammy, then John and Francisco each take a turn. Gabriel is up and shows Cachao's influence when he plays variations of the melody on the bass. The band quiets. There is a verbal exchange between Sammy & Silvano. Sammy, using the congas like a musical instrument, plays a melodic riff, Silvano responds on the piano---then Sammy and again Silvano--back & forth---to & fro---call & response---Silvano takes the lead and it gets a little more complex. Sammy does not falter. Last year I heard Sammy lecture on the evolution of congas from drum beat to musical line. I learned more about music in that half hour than I had learned the whole rest of my life. They choose Silvano's composition "7 Doors To The Left" as their next tune. He  is probably the most complex composer, aside from Stravinsky, that I can think of. His writing, challenges musicians to be the very best and they generally do. They play the title tune from their CD, "The Magician" all taking a turn on solos. Now it is time to display Gabriel Vivas's talent as a composer when they play his composition "Healing Man". It is kind of a 'get happy' tune and Sammy makes it even more fun.

At a front row table, there was a beautiful, cocoa skinned young woman. She was sipping champagne from a crystal flute. Her name is Aminan Majied and the lady danced every beat of the music while seated in that chair. It was a delight to observe her moves. For the 2d set she moved to the rear where she could really "get it on". I had the chance to say "Hi" to Isabel and her brother and introduce myself to Elaine. She, I and another lady danced a little late in the 2d set.

During the break, I spoke with 'Cisco about how the difference in tone--trumpet/flugelhorn-- affected his approach to the music he played on each.  He said his trumpet solos were more rhythmic and the flugelhorn more melodic but it was something he had never really thought about before. I hadn't either, until earlier on I noticed his different moods when playing one or the other. In life it's like sunshine on the beach vs. dusk in the desert---or something like that. All this was going on while Sammy and Silvano were discussing the play list for the 2d set and how they could make it last for an hour and fifteen minutes. Paul Shewchuk was listening in.   Francisco's solo trumpet was featured in the first two songs.  Then they did "Crossroads" with John blowing me away with a frenetic solo on tenor. He has definitely developed the 'silvano disease'. Another Monasterios song is a ballad titled "Queen From the South", played lovingly by all. They close with Hubert Laws title from 1963 "Together". A bop tune that evokes fond memories. The audience won't let them go, calling for "Uno Mas". They comply with another Mongo Sanatmaria number that has everyone dancing on their way to the exit doors.

Ted Grossman's NIGHT TRAIN (WLRN 91.3FM) and his collection of recorded music goes way back  and provides great listening and history lessons. He gets me home safe after a stop at Dunkin' Donuts----it is Yom Kippur's break-Fast after all. 

What's the "haps" for tonight? Your guess is as good as mine. I hope it's not hard----I shouldn't have said that!!!!!!

Al's Disclaimer:

A short note: The reason I write this is because I love music and words. I do not book acts. I do not promote acts. I do not accept invitations to review artists. I go to venues of my own choice. When and where is not influenced by anything other than who I would like to hear that night or day. If I don't like what I hear, I won't write about it. When I like it I let you all know. I never mention a name without asking permission. "Pardon me, Miss. Would you like to dance?"       

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