JazzTimes

Dafnis Prieto

“We played the first week of March at the Jazz Standard with a sextet and went into the studio on the Monday and Tuesday right after,” composer, bandleader, and master percussionist Dafnis Prieto recalls. “My plan was to stay a few days extra just to relax and enjoy a little bit of New York. But then everything started closing, so we escaped. We knew we had to leave and come back to Miami.”

Transparency is the album the multiple Grammy-winner finished recording a few days before the world changed, his third with his sextet. He then completed it “through Zoom. Basically, [co-producer] Eric [Oberstein] and I exchanged notes with the sound engineer Mike Marciano, and it came out really good.” Most critics have agreed, giving it a warm welcome since its release on Dafnison—his own label—on October 2. Praise has focused on its mix of urbane harmonic passages and unexpected rhythmic shifts that betray Prieto’s pan-Latin perspective, and often his Cuban roots. The nine-track album features a lineup of varied skills and experience, including alto and soprano saxophonist Román Filiú, trumpeter Alex Norris, tenor saxophonist Peter Apfelbaum (on melodica and percussion as well), pianist Alex Brown, and bassist Johannes Weidenmueller. As one might surmise, the title offers comment on current circumstances.

“Transparency means social sincerity, having empathy. It also means that you can see through whatever someone is trying to explain to you—looking at things realistically. It’s hard times now, so this is an invocation from an artistic and human point of view, to bring awareness that transparency is the most important way.”

This was Prieto’s first Before & After, conducted on Zoom. Minutes before logging on to start the event, I had been walking in a West New York

Vous lisez un aperçu, inscrivez-vous pour en lire plus.

Plus de JazzTimes

JazzTimes4 min de lecture
Family Pride
When Ellis Marsalis and his son Jason went into a New Orleans studio in mid-February 2020 to make a duo album for Newvelle Records, they had no inkling that it would be the elder man’s final recording. “In fact,” says the younger Marsalis, “we were t
JazzTimes1 min de lecture
JazzTimes
Mac Randall | mrandall@jazztimes.com Lee Mergner David R. Adler, Dan Bilawsky, Shaun Brady, Philip Booth, Brent Butterworth, Nate Chinen, Sharonne Cohen, Thomas Conrad, J.D. Considine, Morgan Enos, Brad Farberman, Colin Fleming, David Fricke, James G
JazzTimes2 min de lecture
They Also Served
“Picture of Heath” Picture of Heath (Xanadu, 1975) Backed with one of the best rhythm sections of its era (or indeed any other), Heath gives unimpeachable evidence of his two greatest gifts: one for pithy, lyrical compositions, and another for refocu