Michael Camilo
Thru My Eyes

How does a musician make you understand what they have learned in years of commitment and what they have in mind now? They create an album like this, full of wild and hallucinatory standards, without a moment of rest, nor any break in continuity between the theme, elaboration, and spontaneity of the moment. On the razor's edge: there's not a second of peace in this album, a massive flow of notes and hallucinatory yet crystal-clear piano playing within the boundaries of "common ears": you don't miss a note of what he "says." Very Mc Coy Tyner-like but, if possible, with even greater Central American and Latin influences, rooted in Camilo's personal history, initially a percussionist in the Dominican orchestra where he was employed and thrown onto the piano one evening unexpectedly when the regular player was absent, since then never leaving a stool that has seen him become a leading figure on the international scene and a reference point. Sparkling, dazzling, positive, and sunny are the adjectives that best suit him. Want to meditate? Feeling a bit melancholy? Listen to Mehldau, Geoff Keezer, or Bill Evans. Want an hour of absolute and breathtaking rapid trip, played with red-hot left and right hands, accompanied by rhythmic musicians of equal caliber? And a musical offering nonetheless varied and remarkable? Then buy this album. The title is "Thru My Eyes", which is more or less from my point of view, but the opinions of Patitucci/Lincoln Goines/Anthony Jackson (bass) and Cliff Almond/Horacio Hernandez (percussion) seem to count equally here and pull predominantly in the rhythmic direction.

1) "Poinciana" is rendered in souplesse and the rhythm is very loose. It starts almost like a silly background music for shopping, gradually growing in level and content to the point that it immediately shows that Camilo is ENORMOUS.
2) "Perdido" is elaborated at breakneck speed, in a medium tempo, with a lot of swing and sense of control. You start to let yourself go in a concerning way.
3) "Watermelon Man" is beautiful, captivating and enjoyable. A great sense of melody and improvisation-dialogue.
4) "A Night in Tunisia", a track always very difficult to fully render, is played Latin in the first part, including the B of the typical AABA form. When the swing kicks in, the group breaks through the walls and you find yourself flying, if you're not careful!
5) "Song For My Father" This performance is among the most beautiful ever heard. Interpretative concentration and choice of beautiful phrases give it the due respect.
6) "Armando's Rhumba" the piece by Corea chosen for the tribute to the friend (Armando "Chick" Corea) is not among the simplest to play and follow, yet Michael manages to make it seem agile and swift. Michael Camilo's ability to smoothly phrase and simplify convoluted musical paths is surprising.
7) "St. Thomas", the well-known standard, grabs you and drags you to the middle of the room to dance: Camilo's entertainer roots are as evident as the Central Americans' need for a hot rhythm. Blazing drum solos perfectly interwoven with rhythms. An excited carousel of sounds.
8) "Oye Como Va" by Tito Puente is here almost unrecognizable, twisted and expanded in interpretation. The theme is almost only "cited", in a tight and rarefied but energetic dialogue between the percussion, bass, and piano. Performed in modal most of the time. Surprising.
9) "Afro Blue" is a more thoughtful track, which develops in an unpredictable way and leaves a mark on the heart. African recalls and swing are skillfully mixed in an absolutely unusual track. A percussionist in spirit and fingers.
10) "Mambo Inn" It's still pure energy, given back to us with the performance of the well-known mambo (G. Benson and a thousand others) opened by slightly dissonant arrangement chords that give you a sense of unease, sharpened by impossible scales executed in unison with the double bass. A textbook example of how to rearrange an old track anew to make it fresh and tasty.
11) "My Little Suede Shoes" continues to play the role of a simple break-track. However, here it's almost taken as a mere pretext, then gradually opened up and broken down into something very noble. Listen to believe, the magic of jazz. And of a pianist like Michael Camilo.
12) "Manteca" and we're in the heart of Central America: Camilo's talents as an improviser and catalyst continue to be evident; you can clearly hear the years of dancing experience. Atmosphere created even without blasting trumpets and horns. Great musical intelligence.

Stunning album, performed masterfully, collectively, with great participation and emotion; superb technique and heart!