All things music, international and native

18th August 2014   ·   0 Comments

By Geraldine Wyckoff
Contributing Writer

The Prime Example Gets a Latin Tinge

The Prime Example is best known for featuring fine modern jazz, delicious gumbo and fried catfish and a warm ambiance. Naturally, those attributes remain though now a new item has been added to the menu. Once a month, on a Thursday night, the North Broad Street club will sway to a Latin beat with artists presented by the CubaNOLA Arts Collective.

First up on the calendar on August 21 is the group Los Caballeros del Son, led by Cuban-born, Baton Rouge resident, vocalist, pianist, percussionist and bassist Guillermo “El Mono” (the Monkey) Guzman. By his side will be his lifelong musical compadre, vocalist and guitarist Alexis Guevera Monez, who, like Guzman grew up in Ciego de Avila, Cuba. Filling out the ensemble, which specializes in Cuba’s traditional “son” music, a popular dance rhythm popular throughout the island nation, is Puerto Rico-born bassist Jorge Perez, a stalwart of local Latin dance bands. Another Cuban native, Alexey Marti, joins the group on congas and percussion. Marti, who was raised in Havana, has been heard all over New Orleans’ jazz and Afro-Cuban scene since his arrival in the city four years ago. On Thursday, September 18, he will lead his own band for the second edition of the Latin jazz series at the Prime Example.

CubaNOLA’s Ariana Hall explains that, despite its moniker, the organization doesn’t exclusively present Cuban artists. “We are really looking at expanding what the concept of Latin music is,” she explains while making a point that the musicianship of the artists will be of the highest quality. “So we’ll have some things that are more Latin jazz, some things that are more poetic and some that will be more folkloric and traditional.”

“They’re fun,” Hall says in describing Los Callaberos del Son in less technical terms. “They play the kind of music that makes you feel good – it makes you want to dance, makes you want to move. When you listen to them, they sound like a typical group you would hear in places in Cuba.”

Friends of the band who perform in various ensembles are expected to sit in with Caballeros del Son especially later in the evening. The music starts at 8 pm.

Henry Butler – Steven Bernstein and the Hot 9
Viper’s Drag
(Impulse!)

Viper’s Drag gets off to a spectacular running start with pianist Henry Butler slamming big chords with his left hand while his very independently minded right hand flies over the keyboard. Drummer Herlin Riley is right there with him, drivin’ the rhythm. Things then settle down a bit on the title track, composed by the legendary pianist Fats Waller and also made famous by pianist and vocalist Cab Calloway leading his big band. The eclectic Butler is not necessarily known for being content in one particular mood or style. So the tune moves in many musical directions as the pianist brings some stride into play as well as his great elegance. Things start jumping and Butler and the talented horn players of the Hot 9 begin swapping bars. The mix of traditional and modern jazz is intoxicating – Henry Butler with Horns! Henry Butler Meets New York!

The New York element comes through the talents of trumpeter and arranger Steven Bernstein, a devotee of Butler and New Orleans music in general. His arrangements on the material that includes an abundance of classic jazz chestnuts like Jelly Roll Morton’s “King Porter Stomp,” tell of his big city attitude while he remains aware and respectful of the New Orleans jazz tradition.

Butler and the band visit Morton’s songbook again when they take on “Wolverine Blues.” The familiar tune is totally unrecognizable as it opens with a staggering rhythm and somewhat discordant notes and chords. Again, Butler steps in and changes direction and the band gets into some swinging ragtime. The surprise of it all makes it fun and a new way to listen to songs we think we know.

Butler contributes two originals to the session, “Dixie Walker,” that boasts a second line rhythm supplied by Riley and another New Orleanian, bassist Reginald Veal. It’s party time when Butler hits with his other, self-penned tune, “Henry’s Boogie.” It’s got some funk to it – and everyone knows the pianist has plenty of that – as well as an old-school rhythm and blues feel, particularly with a baritone sax solo in the mix. That’s how they used to do it. This hard-hitting tune would make for a good eye-opener on Carnival Day.

Butler only sings on a couple of selections though with all this great piano playing backed by an nine-piece ensemble filled with excellent musicians, it is hardly missed. His vocal range is on full display on Morton’s “Buddy Bolden’s Blues.” Disappointingly, however, he repeats the first verse throughout the performance rather than singing all the lyrics. The omission takes away from the classic song’s tale.

The stylistic diversity found on Viper’s Drag – even within one song – might come as a shock if it wasn’t being perpetrated by the eclectic genius of Henry Butler aided by his like-minded, risk-taking accomplice Steven Bernstein.

This article originally published in the August 18, 2014 print edition of The Louisiana Weekly newspaper.