30103: Minsky: (announce) Marasa just released (fwd)

[Bob Corbett <corbetre@webster.edu>]

From: Tequila Minsky <tminsky@ix.netcom.com>

Haitian jazz saxophonist  Alix “Buyu” Ambroise  and Blues in Red Band
celebrates the new CD Marasa


Fifteen years ago, jazz saxophonist Alix Buyu Ambroise heard Anonse
(Announcing) also called Priye Ginen (Prayer to Ancestors) on an old
Atlantic album recorded by ethnomusicologists interested in documenting
Haitian folkloric music. This was his first source to traditional
Haitian music since he left Haiti as a young boy.   He decided—given
the opportunity—to record it some day and so, it is now the lead song
on his new CD, Marasa. The CD is named for the Haitian vodou god (lwa)
Marasa, which means twins and represents abundance and all those born
in special circumstances.  Another form of Marasa is the constant
interplay of  the sax  and trumpet  played by fluid trumpeter (or
sometimes on the fluglehorn)  Gil Defay.  The trap drums and Haitian
drums are also in constant communication.

As Buyu’s second CD with the Blues in Red Band,  Marasa  reflects an
abundance of interpretations in the jazz medium.  Between the three
traditional Haitian melodies including the rara tune Dilere with the
textured and authentic rhythms of master Haitian percussionist Tiga
(James Jean-Baptiste), four cuts are reinterpretations by other Haitian
musicians.

Plezi Mize (Pleasure in Misery)—a seeming contradictory title—has
pulsing rhythms, mellow sax riffs, a vibrating piano solo and is a joy
to listen too. It was composed by Beethova Obas and made famous by
Haitian diva Emeline Michel when she recorded it in 1986. From a more
traditional jazz source, the Wayne Shorter cut Footprints gives space
for the bass and percussion to groove together.

Buyu’s 6-piece jazz ensemble Blues in Red Band celebrated the release
of this album a month ago at music cafe Solomon’s Porch in Brooklyn’s
Bedford-Stuyvesant. This Haitian-owned music venue is gaining a greater
reputation as a place audiences want to frequent showcasing jazz,
world beat, and other urban sounds, primarily played by Haitian
musicians.

One music lover said of the place, “It provides a transcendent
experience; its intimacy allows the spectator to be transported.”

And it’s great for  performers who want to interact musically with the
audience like the Buyu gig,  “We had a great audience that Saturday
night,”Ambroise  said of his CD celebratory performance.

In addition to the interaction with the audience, the immediate
chemistry between the musicians inspired countless musical variations.
Ah, the joys of hearing live music!

Bandleader Ambroise sees himself as the pilot of a ship or perhaps the
baseball catcher sending signals to the pitcher.  “It’s a gesture, or a
nod, maybe a look between us. When I heard the trumpet player going in
a really interesting direction I let him go on,” which accounts for why
the Saturday night  gig highlighted trumpet and coronet player Gil
Defay who was really hot.  “Tiga on Haitian drums indicated to me he
wanted to come in at some point but I let him know the time wasn’t
right,” Ambroise explained. During another tune, though, drummer Mani
Laine and Tiga took center stage riffing and playing off each other.

Later that night, Tiga surprised Buyu and audience when he accompanied
his drumming by singing scat, rhythmic jazz vocalizing.  Buyu was
excited,  “It was the first time I ever heard him sing scat and I
indicated for him to continue. I told him afterwards I’d like to hear
it in other gigs.” Tiga sings scat when he plays with his own band on
Sunday nights at Solomon’s Porch.

During the evening’s two sets, jazz pianist Louis Rainone propelled the
melodies and the extraordinary versatility and  virtuosity of Patrick
Andy on electric bass completed the ensemble.


http://cdbaby.com/cd/buyuambroise