AL MCKIBBON: TUMBAO PARA LOS CONGUEROS DE MI VIDA [Re-up]

AL MCKIBBON
Se você for conferir na contracapa do legendário álbum "SYLVIA TELLES - USA" (tem no blog e vale a pena conferir) vai encontrar, nos créditos - ao lado de Barney Kessel, Bill Hitchcock e Calvin Jackson - o nome de AL McKIBBON, o contrabaixista americano mais latino de toda a história do instrumento. Apesar de sua importância, AL McKIBBON é um nome obscuro, um segredo muito bem guardado. Por absoluta preguiça e falta de tempo, deixo de traduzir o texto em inglês, que conta a história desse "monstro sagrado", idolatrado pelos músicos latinos - especialmente os cubanos. Só prá dar a dimensão da "fera": ele era da turma do Gillespie e do Chano Pozo, os pais do "latin Jazz" e participou da histórica gravação de MANTECA, em 1948. Precisa dizer mais alguma coisa?  Precisa,  sim! McKibbon também era o baixista do grupo de Miles Davis, em "THE BIRTH OF THE COOL", um dos álbuns mais importantes da história do jazz. Que coisa, hem?
O homem esteve, literalmente, em todos os grandes momentos da história da "bossa-latin-jazz"! Por isso, apesar de longo, mantive integralmente o texto que conta detalhadamente sua trajetória. Valeu Mr. McKibbon! descanse em paz.
(CB)
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AL MCCKIBBON - TUMBAO
At a recent Latin jazz festival held at the Universal Ampitheatre in Los Angeles, Al McKibbon participated in a four piece “bass summit” with three Latin born legends of the genre- Cachao Israel Lopez (who was being honored that night), Andy Gonzalez, Carlo Puerto, jr. At first glance, it might look strange for the 80 year old Chicago born, Detroit raised musician to play along side these natives of the culture. One look at McKibbon’s half century long resume, however, makes it clear that he was right where he belongs. He played on Dizzy Gillespie’s landmark Latin jazz recording Manteca in 1948, and throught the years, played rhythm behind genre greats Mongo Santamaria, Chano Pozo, Armando Paraza, Patato Valdez, and Francisco Alabella-in addition to the hundreds of jazz and pop greats he has performed or recorded with over the years. McKibbons life and career-which is literally on tape at the Smithsonian Institute–reads like the musical history of the second half og the 20th century, but one thing is missing from that storied resume-an album featuring himself as leader. Tumbao Para Los Congueros i Mi Vida (Tumbaoa For The Drummers Of My Life) would be noteworthy simply the culmination of a life dedicated to the jazz and Latin idioms, but theres much more to it than that. Featuring some of Los Angeles’ finest musicans and two percussionist from Poncho Sanchez’ s band (Jose Papo Rodriguez and Ramon Banda), the date is a vibrant, fresh ensemble work which captures the intense melodic and rhythmic spirit that characterizes so many of the superstars McKibbon has worked for over the years. It’s a coming out party 50 years in the making. “Dizzy upset the jazz world with the recording of Manteca, but I realize that my entire career in Larin music grew from that date”, says McKibbon. “I simply wanted to pay homage to the genre, play Latin music with modern harmonies to create something a little different from the thousands of recordings that I have participated on in the past. While it was important to try unique arrangements of the standards I chose, the main thing I told the guys was to just play and see how things evolved. Most of the people I know in the jazz community know me from my Latin days, and it seemed natural to gravitate back towards that style.” We Cubans who feel Jazz in our blood owe a tribute to Al McKibbon. Although the great American bass player died last July, it will never be too late to do so, because he will always be present in Latin Jazz. That Jazz which luckily was contaminated by Afro-Cuban notes, the rhythm old McKibbon learned to play as if, instead of having been born in Chicago in 1919, he had done so in the Havana neighborhood of Cayo Hueso or in Alturas de Simpson, Matanzas province. What is curious, however, is that McKibbon came to understand Afro-Cuban Jazz long after he became a famous bass player in US circuits. When his family moved to Detroit , still a child and influenced by his parents and his brothers, all of them musicians, Al studied at Cass Tech High School , where the students dug into music after classes. Among others, Gerald Wilson and Wardell Grey rose from that experience. His professional debut, at the end of the 30s, took place in that same city, in the Band C and the Congo Club, Ted Bruckner’s band. McKibbon would read whatever sheet music fell into his hands, offering background music for dinners, romantic atmospheres with popular ballads or even dance music. That helped him land a steady job and to develop a specific sound, which would soon be enjoyed by the most demanding Jazz players of the 40s. It was no accident that -when he arrived in Detroit- Lucky Millinders contracted him for his band for several seasons at the Paradise Theater and then took him to Washington and New York. In those cities, where things were changing from the Swing era to that of Bebop, McKibbon was quickly called by Dizzy Gillespie, Thelonius Monk, Miles Davis and Gil Evans to perform live and in recording sessions, which are now considered classics. His work with Gillespie was quite providential, getting under the skin of Afro-Cuban Jazz. McKibbon took part, on December 30, 1947 , in the original recording of one of the first great tunes: Manteca , by Chano Pozo. Along with him, played Dizzy Gillespie, Dave Burns, Elmon Wright, Lamar Wright Jr, and Benny Bailey (trumpets); William Shepherd and Ted Kelly (trombones), John Brown, Howard Johnson, Joe Gayles, "Big Nick" Nicholas and Cecil Payne (sax); John Lewis (pianist), Kenny Clarke (drums), and, Chano Pozo, (percussion). UIT legendary Chano Pozo, McKibbon shared a room in the Swedish boat Drottningholm, in which Gillespie’s band started a seven-week European tour on January 16, 1948. During that period, McKibbon took in all the secrets of the island’s rhythms. Those lessons helped George Shearing choose him to join his band in the 50s. This British piano player, who was blind and who lived in the United States , was able to discern new possibilities for Jazz in the Latin sounds. He was following the trail which was opened up by Mario Bauza, Machito, Chano Pozo, Arturo O’Farrill and the other Cubans who gave a new feeling, more decided to exploiting diverse angles, much closer to the shorter but intense melody variations and to the fusion of Cuban percussion in a light and playful way, which freshened up Latin Jazz in the East Coast. The perfect man for that was Armando Peraza, a Cuban conga placer who lived in Los Angeles. The 1957 record Latin Escapade revealed some news: themes such as Perfidia, Poodle Mambo and Cuban Love Song, backed up by Emil Richards´ vibraphone and Toots Thielemann´s guitar became reference points, mainly due to the rhythm empathy created between Peraza and McKibbon, with a permanent Latin touch. That quality of the bass player attracted the attention of another follower of Afro-Cuban Jazz: vibraphone player Cal Tjader. A 1958 recording, produced in San Francisco , has become a legend: Cal Tjader's Latin Concert, in which –along with Tjader and McKibbon- Mongo Santamaria, a great Cuban drummer and composer, and Willie Bobo, an outstanding timbale player, also performed. The flag of Latin music has never since left the Jazz world. It was moving to learn in 1998, during the Second Los Angeles Latin Jazz Festival, dedicated to Israel Cachao Lopez, in which he exchanged with bass players Andy Gonzalez and Cuban Carlos del Puerto Jr. Their participation in the record Late Night Sessions(1999), by the occasional band Caravana Cubana, next to Jimmy Bosch, Miguel Anga Diaz, Lazaro Galarraga, Pio Leiva, Jesus Chucho Valdes, Orlando Maraca Valle, and Johnny Polanco was unforgettable. According to a veteran Cuban conga placer, Francisco Aguabella, when a year later Jose Rizo called him to make double album Latin Side All Stars, he did not hesitate to join in with members of the younger generations, such as Peruvian percussionist Alex Acuña, Colombian sax player Justo Almario, and Panamanian pianist Danilo Perez. But, the most curious moment in his artistic biography was when, in 1999, he decided, for the first time, to lead a band. From his bass, he evoked everything he had learned from the fusion of Jazz and Cuban music and titled the album: Tumbao para los congueros de mi vida. There, with the participation of pianist Phil Wright, timbal player Ramon Banda, alto sax and flute player Charles Owens and soprano sax player Justo Almario, he offered a surprising interpretation of Tin tin deo, by his friend Chano Pozo, and a piece which sums up his experience. Critic Ed Friedland wrote about that recording: “It's a rare opportunity to hear his meaty sound and brilliant phrasing stand alone. While most of us would be happy to tie our own shoes at his age, McKibbon still plays with energy, groove and tone. Latin percussion mixed with jazz harmony is nothing new, but McKibbon's presence at its inception gives this record added significance”. The new generations of Cuban bass players consider McKibbon an indispensable name. When news of his death reached us, nobody believed entirely. We were used to always having McKibbon there, beyond time, with his well learned Cuban accents, his surprising versatility, with his magic touch. That rhythm, that certainty, that angel he had for transforming technique into flavour. That distinction, rescued by the recordings and by memory, which death cannot erase.
(*)Al McKibbon passed away in 2005, aged 86. RIP
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ALBUM REVIEW
Translated as For All the Conga Drummers in My Life, this album is the 80-year-old bassist's first recording as a leader. He's joined by the percussionists for Poncho Sanchez's band -- Ramon Banda on timbales, and conga-bongo man Jose "Papo" Rodriquez. Phil Wright is the pianist, Justo Almario plays soprano on two tracks, and Charles Owen makes some definitive contributions throughout, especially on flute. These eight tracks are Afro-Cuban jazz stylings, including a ballad called "Everything Must Change," where McKibbon sings quite soulfully. Three cuts showcase Owen's truly outstanding flute -- the patient "Tin Tin Deo"; a slow showstopper, "Estate," where he reaches foggy, ethereal realms; and "Cubano Chant," with Almario's soprano leading the way. "Seven Steps to Heaven" also has Almario playing the melody -- incorrectly the first time through, but getting it right the second. McKibbon cues the band into action before and after a lengthy solo for Thelonious Monk's "Off Minor," and during the title track, before fronting a lengthy descarga jam with the percussionists. Another Monk tune, "I Mean You," showcases Owen's sweet saxophone. Featuring a fine outing by McKibbon and spirited all-around playing, the record is a good addition to the growing Latin jazz discography.
(BY Michael G. Nastos, All Music Guide)
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MINHA OPINIÃO - mesmo correndo o risco de ser criticado pelos puristas, eu me atrevo a dizer que o poderoso "groove" de McKibbon, a força e a sonoridade que extrai do instrumento, são uma aula para qualquer baixista latino - com as honrosas exceções de praxe. McKibbon introjeta nos "tumbaos" uma criativa divisão jazzística muito instigante. Na atualidade, o baixista mais requisitado para gravações de "bossa-latin-jazz" nos USA é o grande DAVID FINCK que, tenho certeza, deve ter se inspirado muito em Al McKibbon: o estilo é semelhante. Este álbum produzido e arranjado por McKibbon, numa homenagem à música que tanto amou e à qual se dedicou com afinco, ao lado do jazz, é imperdível. Mostra, sobretudo o vigor e a vitalidade (pouco antes de falecer, aos 80 anos de idade) de um músico extraordinário. OURO EM PÓ
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AL MCKIBBON: TUMBAO PARA LOS CONGUEROS DE MI VIDA

PERSONNEL
Al McKibbon - bass, leader, arrangements
Ramon Banda - timbales
Jose "Papo" Rodrigues - congas, bongos
Phil Wright - piano
Justo Almario - soprano sax
Charles Owen - saxophones, flute

TRACKS/FAIXAS:
1 Off Minor
2 Tin Tin Deo
3 Estaté
4 Cubano Chant
5 Seven Steps to Heaven
6 Tumbao para Los Congueros de mi vida
7 I Mean You
8 Everything Must Change