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Danilo Perez is a Panamanian pianist who boasts a long series of collaborations (Dizzy Gillespie, Wynton Marsalis, etc.) and an uncommon way of playing the piano. His references are hard to pinpoint, and any comparison is probably useless.
His technical mastery on the keyboard is beyond question, as are his skills as a composer. The pride of belonging to a nation that is naturally a fluid contact point and global cultural crossroads is evident in all his records: "The journey" which tells of slaves brought from Africa to the Central-South American coasts or "Motherland" which needs no comment, of course! Or "Panamonk" where the joint reference to the two great themes he embodies is clearly perceived: his land, with its rhythms, and Monk's unique and unrepeatable style.
This album is from 2003 and represents a calm and introspective moment in Danilo's life; while previous albums perhaps featured a greater pretentiousness of proposal and a frantic search for innovative or at least unusual musical solutions, here we find a Perez that is more reflective and relaxed; mature but nevertheless not at all willing to make easy concessions, and it is for this reason that, despite being perhaps the least representative of the artist's figure, it is perhaps the most suitable to present him and spread his music and his piano skills. Beautiful album.
1) "Native soul" It is Perez's own intro. A sharp and well-conceived opening for an album of rare beauty; only three pieces by his own hand in this work (1, 3 and 6). A delicate "in two" performance. One already understands what a refined, intelligent, personal and elaborate artist one is dealing with.
2) "Gracias a la vida" by Violeta Parra is rendered with a sparse accompaniment, embellished by the steel pan. It gradually unfolds a way of playing the piano that has few equals. Stops and starts. Concentration and a sense of real-time composition, reworking known material. The recent period with Wayne Shorter has probably been decisive for honing the spirituality of the man. And the corresponding impacts on the work.
3) "… till then" The voice of Lizz Wright (the author of the lyrics) is warm and guides the development of a beautiful track that will surely be remembered even after the listening of the album has ended. After the exposition of the theme, the piano responds and the dialogue with the voice resumes. A beautiful duo of voices, discreetly underscored by the two rhythms.
4) "Overjoyed" This piece by Stevie Wonder is rendered in a subdued yet persistent manner. Danilo Perez's sound and approach to the piano are more inclined towards rhythm than towards introspective elaboration for its own sake: the Central American roots are evident and always in the background, regardless of the material at hand.
5) "Trocando em Miudos" It is a composition by Chico Buarque de Hollanda in which the theme is played and always kept in the background by Patitucci's double bass, while in the foreground this time is, in the first part, the alto sax of Donny McCaslin. Variations of time, syncopated in abundance and a beat to always be kept well in mind: involved and lost in the magma of sounds. Nevertheless, the structure holds up very well and progresses with inevitable and consequential progression. Freudian tribute to Monk.
6) "Improvisation on red" is a short piece by Danilo alone that splits the record in two. It owes much to Chick Corea's Children's song.
7) "Paula C". This is a piece by Ruben Blades. Very romantic, perhaps it best renders the image of the comprehensive pianist Perez. A piece that goes on for over seven minutes, allowing for a more extensive development of the discourse. Ben Street and Adam Cruz on bass and drums adapt well to the phrases, sometimes in bursts and other times longer than the leader's.
8) "Rabo de nube", by Silvio Rodriguez, starts almost like a popular march to quickly turn around and wear the clothes of an intense and experienced ballad. It is perhaps the closest point of contact with Brad Mehldau. But the analogy ends here. The distinct personality of touch and phrasing is well defined and mature in Perez. Not easily influenced by style contaminations. And therefore, able to pass through all models with the confidence of reclaiming his own language.
9) "Fiddle and the drum" is an old Joni Mitchell song that is explored in respectful and concentrated solitude of solo piano until halfway, where the warm and mature voice of Wright enters to interpret, bare and secure, the words; testing them thoroughly and hurling them like darts. A low and deep piano chord to finish.
10) "Vera Cruz". It is a well-known showpiece by Milton Nascimento, rendered with rare mastery by the quartet (sax). To close a beautiful album.
Better: wonderful and delicate.
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