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Reviewers: Don Mather, Tony Augarde, Dick Stafford, John Eyles, Robert Gibson, Ian Lace, Colin Clarke, Jack Ashby

BOMBA website


Entre Sol Y Luz

BOMBA BM003 [47:51]




Linda [5:23]
¡Bomba! [5:38]
Si, Canada [3:02]
Caravan [5:34]
Palo [2:50]
Eliptico [4:29]
Muevete y Goza [2:50]
Y Ahora Que [4:25]
Homenaje a Ruben Gonzalez [4:15]
Entre Sol y Luz [4:20]
Oya [5:05]
Chris Andrew (piano)
Rubim de Toledo (bass)
Mario Allende (congas, percussion)
With guests:
Lusita Orbegoso (vocals)
Neraldo Duran Torriente (violin)
Livan Morejon Quian (saxophone, flute)
Raul Gomez Tabera (drums, timbales)
Sandro Dominelli (drums)
Recorded 2005.

The trio at the core of this entertaining recording, Bomba, are new to me. So far as I can work out from the rather sketchy documentation, they are based in Canada. On the present CD their collaboration with Cuban musicians presumably relates to / or was part of that larger process of collaboration described in the brief notes provided: "The music that you hold in your hands was born between Sun and Light. Entre Sol y Luz. These are the names of the streets in Old Havana where the 360-year old Convento di Santa Clara still stands. For more than a month at the historic convent, the musicians on this recording collaborated with Calgary’s Decidedly Jazz Danceworks, creating a work that would be called "¡Bulla!".

Whatever the precise relationship between the sounds on the disc and the collaboration with a dance troupe, the most important thing to say is that the sounds are mostly fascinating and engaging. Bomba clearly have a very sure understanding of the latin jazz idiom. Andrew is a hard driving and melodically fertile pianist, and Rubim de Toledo and Mario Allende (assisted by the additional percussion of Tabera and Dominelli) produce some compelling and invigorating rhythms.

Some of the material is made up of originals. ‘Linda’ ‘¡Bulla!’, ‘Eliptico’, ‘Homenaje a Ruben Gonzalez’ and ‘Entre Sol y Luz’ are all compositions by Chris Andrew. Two tracks – ‘Si, Canada’ and ‘Muevete y Goza’ - are attributed to the partnership of Andrew and violinist Neraldo Duran Torriente; two others (‘Palo’ and ‘Oya’) nare arrangements of traditional tunes. And there’s one jazz standard – ‘Caravan’. All are treated to workouts which are both powerful and sensitive. Andrew is a consistently good soloist; Torriente’s contributions on violin are of a high standard (both Andrew and Torriente play with great elegance and beauty on the title track). Reeds player Livan Morejon Quian doesn’t, perhaps, do anything very strikingly distinctive or individual, but he is an effective voice in the group’s larger palette of tone and rhythm.

Not, to be sure, music of any great profundity nor necessarily readily distinguishable from many another album in this idiom, but it passes the time very pleasantly and there’s no doubting the musicianship of those involved.

Glyn Pursglove


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