Marco Granados - reviews

 

This CD is a series of 15 native Venezuelan songs, recorded in Caracas, Venezuela, with Un Mundo Ensemble and five Guest Artists. The accompaniment to Marco Granados’ flute themes includes a trumpet, two basses, two sets of maracas, bells, Bumbac, and two cuatros. The musical effect is light, joyous, and authentically folkloric. Marco Granados leads all 15 tracks with spirited enthusiasm, tonal clarity, and seasoned dexterity. 

 

Notable tracks: 

#7 – Cañoneando (“Street Playing”) – Composed by Aquiles Báez. Marco Granados’ fluttering flute, cuatros, and pulsating percussion all lead this joyous track. Granados shows his superb musical mastery with elongated solo notes, defying human capacity. 

#9 – La Encantadora (“The Enchantress”) – Composed by Julio Mendez. This song has youthful vibrancy with Granados performing in rapid, rambunctious style. Gonzalo Teppa takes a riff on bass, while the maracas mark the beat. 

#12 – Tema y Variaciones de “El Gavilan” (“Theme and Variations on ‘El Gavilan’”) – Composed by Agelvis Sánchez. Granados’ solo flute opens this piece, and about halfway through the track the strings create strong Latin rhythms. A swirling dervish ensues, a driven dance. 

#15 – El Vuelo de la Mosca (“The Flight of the Fly”) – Composed by Jacob do Bandolim. Francisco Flores, on trumpet, adds musicality and Latin fervor. This track races toward the recording’s finale with sizzling speed. 

 Dr. Roberta E. Zlokower

http://robertaonthearts.com/cd/idCD30.html 

Marco Granados states in the liner notes of his beautiful serenade to his country Music of Venezuela, that the music of Venezuela is one of the rare treasures of Latin America, it seamlessly combines cultures, musical traditions, rhythms and the spirit of a people in a joyful and innocent voice.

The artist very eloquently said this with deep thought and respect for his heritage. His flute playing embodies that very thought as Marco very precisely and exquisitely takes you on a trip through the land he loves in 15 tracks of fast-paced jazz tinged Latin-World music.

Marcos and his Un Mundo Ensemble are Jorge Glenn (cuatro), Roberto Koch (bass), Leonardo Granados (maracas) and Manuel Rangel (maracas). His guest contribute plenty of heart and soul to the mix, particularly the acoustic strumming on Cuatro (a Latin American instrument with four strings), which is all very fast in order to keep up with Marcos’ rapid accession of notes coming from his flute. Three men encompass this very large contribution including Hector Molina, Henry Linarez and Jorge Glem. All three are incredibly good at utilizing the four stringed instruments, so well that you would never know there were two less strings than a standard guitar. I have to admit that their adeptness was equal to the task and rose to challenge of the excellent flute playing of Mr. Granados.

Marcos was apparently very determined to find musical partners on equal ground in order to produce the finest representation of his treasured music of Venezuela. As it turns out for the listener, it actually is like finding a lost treasure and once you have it you will never let it go.

This is music to take you away to another world and even though it is face paced it still has a calming spiritual effect upon your senses, as if he were the pied piper of Latin America inviting you to take a vacation while you experience everything that happens visually through his looking glass of music.

4/5 Stars

Brazilian jazz is probably the first type of music that comes to mind when you think of Latin jazz but there are many others, and one of the best is Venezuelan. Doing his part to help expose jazz lovers to the music of his homeland, flute virtuoso Marco Granados is offering up his latest album on the Soundbrush label, the appropriately titled Music Of Venezuela.

The son of a violinist/music teacher, Granados showed early promise while growing up in Venezuela. He eventually received a classical musical education that included stints at Julliard and other institutions, and he also studied with flute legends James Galway and Jean-Pierre Rampal. In the last decade or so, he’s appeared in a number of venues (including Lincoln Center) and on many albums.

His newest effort is a showcase for the music of his homeland, but it also displays his instrumental talents. Although he’s accompanied by several solid musicians, including his brother Leonardo on maracas, Marco dominates almost every track with his remarkable flute play.

The 15 cuts on the album include a number of styles, ranging from the sweet and slow ballads, such as “Confesion a Las Estrellas (Confession To The Stars),” to pure dancing music, such as the merengue-flavored “Cañaneando (Street Playing).” The latter is a delight, with Granados demonstrating astonishing skill and speed. It was one of my favorites.

Granados also demonstrates loyalty to the simple, rural Venezuelan music of his youth by featuring several pieces written by one of his inspirations, Alberto ‘Beto’ Valderrama, a legendary musician who lives a simple life on an island off the coast of Venezuela. The best of those is “El Avispero (The Wasp’s Nest),” which includes some fiery trumpet play from guest artist Francisco Flores.

This is an outstanding collection of Latin jazz, especially for those who appreciate amazingly fast and intricate flute play from a master. Highly recommended.

GEEZER MUSIC CLUB

Marco Granados plays the flute like Randy Johnson pitches-fast and accurate. The music, like the fastball, just keeps on coming and coming, and all you can do is just sit there in awe and bewilderment. Granados has selected from a cache of contemporary Venezuelan composers, and along with his band Un Mundo (Roberto Koch/b, Jorge Glem/cuatro, Manuel Rangel & Leonardo Granados/maracas, among guests) he floats like a butterfly and stings like a bee with alarming agility. Tunes like “Pa’ Oriente Compay” display his bright and high energetic style, with tenacious rhythm supplied by the cuatro (which is like a ukulele). The complex rapid note runs, along with Francisco Flores’ chop busting trumpet on “El Avispero” is a tour de force. Contrarily, the Handel-like “Confesion a las Estrellas” has a pastoral beauty to it. Koch’s flexible bass keeps the music together adroitly, as his work on “Los 12” leads to a fiendishly complex line. It’s nice to know that something besides oil and anti-American propaganda are being exported from Venezuela.

By George W. Harris 
http://www.jazzweekly.com/