All press News

Publication: The Columbus Dispatch
Author: Kevin Joy
Date: April 18, 2012

New York musician Miguel Zenón has filtered the music of his Puerto Rican homeland through a jazz lens.

For his latest album, Alma Adentro: The Puerto Rican Songbook, the 35-year-old alto saxophonist began with familiar music composed in the 1920s to the 1970s — cuts not quite anthemic but much ingrained in his native land.

“They’re a part of the culture in Puerto Rico,” said Zenón, who has a bachelor’s degree from Berklee College of Music in Boston and a master’s from Manhattan School of Music in New York.

Though long enamored of jazz, he found that highlighting his roots held even more allure.

“As much as I like . . . (American standards), I didn’t feel as personally connected.”

Such a fusion has paid off for Zenón, whose Alma Adentro was deemed the best jazz album of 2011 by National Public Radio.

It came on the heels of a 2008 MacArthur Fellowship — the “genius grant” that provides $500,000 apiece to cutting-edge individuals in science and the arts.

Such credit “does make people notice you a little more,” he said.

More exposure will occur on Thursday, when Zenón performs with a quartet at the Wexner Center for the Arts as part of the 35th annual Ohio State University Jazz Festival.

He talked this week from New Orleans.

Q: With no prior warning about being given the MacArthur grant, how did you react to the initial phone call?

A: It was a surprise for me — very pleasant. In terms of what that’s done for me and my life and everything, aside from the obvious financial connotation, it definitely opened a lot of doors and brought a little more attention to what we’re doing.

It’s given me a lot of freedom with my time — to play with the people I want to play with, financing my own recordings and projects.

Q: How did you select and interpret fare for your latest album?

A: The approach in general was just to think about these songs the same way you’d think about the great American songbook and how that’s become an essential part of the jazz lexicon.

A lot of the . . . ( Adentro selections) were written at the same time, when all this Tin Pan Alley stuff was happening. I felt I had a personal connection with these songs I’ve been hearing since I was a kid — through my parents or just on the radio or playing in school.

Q: Did any one song have a particularly strong pull?

A: Definitely the title track. The composer, Sylvia Rexach — she’s a favorite of my mother.
My mom, I remember, . . . was always singing her songs in the house.

Publication: Chicago Tribune
Author: Howard Reich
Date: April 13, 2012

The ingeniously paced, handsomely played set that alto saxophonist Miguel Zenón offered Thursday night at the Jazz Showcase very nearly summed up the man’s appeal in small-group settings.

For if Zenón had affirmed has ability to hold his own in an orchestral setting last February, when he fronted the Chicago Jazz Ensemble at the Harris Theater, this time he led his quartet in expansive performances of both new and familiar repertoire. Virtually every piece in his first set emerged a model of pacing and architectural clarity, themes appearing and re-appearing at carefully chosen moments, instruments entering and exiting the ensemble texture for maximum dramatic effect. Yet, somehow, the music sounded free and spontaneous while conveying unmistakable structure and form.

Not surprisingly, the heart of the set was built on scores from Zenón’s most recent recording, “Alma Adentro,” in which Zenón re-imagined classic popular songs of his Puerto Rican heritage through the prism of jazz improvisation. As strong as this music sounded on disc, however, in some ways it proved still more effective in this performance, thanks largely to the bloom of Zenón’s tone in full-throated passages and the delicacy of his sound elsewhere.

Publication: Post-Tribune
Author: Diane Kubiak
Date: April 6, 2012

If recent reviews are an indication, ticket holders can expect a musical treat from jazz master Ellis Marsalis, headliner of the Valparaiso University 27th annual Jazz Festival on Saturday, April 14.

Jazz reviewer Dean Shapiro of “Where Y’At” magazine had high praise for the elder Marsalis’ release of “Jazz at Christmas in New Orleans” last fall. “It invites the listener to tune in with a fresh set of ears,” he wrote.

Although the selections were familiar, “only a master composer/arranger like pianist Ellis Marsalis, patriarch of America’s First Family of Music, could have pulled off such an astounding transformation,” Shapiro wrote.

Marsalis’ musical transformations in other works are done both with respect for the original and with the entire history of the genre at his fingertips. Consider his CD “An Open Letter to Thelonious Monk.” The song “Deceleration” does more than put one into a relaxed mood; the music requires one to relax in order to appreciate the subtle harmonies and dissonances as they keep the listener in that delicious place between surrender to the lyrics and anticipation of its next nuance.

His command of the history of his genre comes forth, too, in the CD “Homecoming,” a reissue of the famous 1984 recording session of Ellis with Eddie Harris on tenor sax. In Ellis’ left hand one can hear the rhythm of New Orleans in the beat of people striding down “Hickory and Cognac Streets,” as the song is entitled.

Marsalis recently shared some of that New Orleans history in a phone interview that included insights into his craft, his teaching, the upbringing of his six sons and the struggle to “make a living” in times that were transforming both musically and socially.

A new Orleans native

Born on Nov. 11, 1934, at the height of the Great Depression, Ellis Marsalis began his formal music studies at age 11 when he attended the Xavier University Junior School of Music. “I was fortunate enough to be born in New Orleans,” he said.