Inspired by Julio Cortáza's sweeping and influential novel, Rayuela (Pantheon, 1963), pianist Laurent Coq and saxophonist Miguel Zenón transform parts of the Argentinean writer's famous work into a memorable jazz release. Written in Spanish, and published in 1963, the title literally means "Hopscotch." The text has been described as an "introspective stream-of-consciousness" and a "masterpiece of ingenuity and originality," with an astounding 155 chapters that can be read linearly, or without chronological order, leading to multiple thought-provoking conclusions.
Likewise, the project is fascinating as it envisions varied characters and episodes from the novel into ten compositions steeped in detailed imagery. Zenón describes the project as a "French-Latin American" connection, with the book's narrative taking place in both Paris and Buenos Aires, and juxtaposed against the musician's backgrounds: Coq was born in Marseille, France and Zenón's birthplace is Puerto Rico. The project draws upon Cortáza's stories where relationships, philosophy, politics, spirituality and music are intricately woven.
In addition to Coq and Zenón's fervent ideas, are stellar performances from an ensemble that includes Dana Leong, alternating instrument duties between cello and trombone, and Dan Weiss' consummate rhythms on drums, tabla, and percussion. Together, the bass-less quartet creates an expansive portrait that imbues the disciplines and freedoms of diverse music. Avant-gardism, modern classical elements and stirring improvisations, as witnessed in Leong's explosive cello solo in "La Muerte de Rocamadour" (The death of Rocamadour), highlights a chapter centered on the death of protagonist La Maga's infant son. Complex syncopations spotlight Weiss' jaw-dropping playing on "Morelliana"—a multifaceted chapter reference to "Morelli," a ghost character, frequently mentioned in conversations throughout the novel.
Thankfully, the literary complexities do not detract from appreciating and enjoying the music. There are rapturous moments such as "Talita's" bohemian quality, as the instruments navigate rhapsodic channels. Or, the brightness of "Oliveira," filled with Coq and Zenon's playful exuberance. Coq is wonderful pianist and writer, and he brings the intriguing character, named "Traveler," to life with Leong's stunning, circuitous patterns. Zenón's interpretation of the carefree lifestyle in "El Club de la Serpiente"(The Serpent Club), is a nod to Cortáza's appreciation of jazz artists such as saxophonist Charlie Parker. Multilayered, profound and cerebral, Rayuela is an outstanding work. It is also evidence of what can happen when masterful artists think outside of the box and even outside of a literary masterpiece. - Mark F. Turner
El notable saxofonista portorriqueño Miguel Zenón (cuya discografía solista incluye a los álbumes Looking Forward de 2002, Ceremonial en 2004, Jíbaro de 2005, Awake de 2008, Esta Plena en 2009 y Alma Adentro de 2011) y el experimentado pianista francés Laurent Coq (su producción como líder integra a Jaywalker de 1997, Versatile en 1997, Live@The Duc des Lombards de 2001, Like a Tree in the City en 2003, Spinnin de 2005, The Thing to Share en 2007 y Eight Fragments of Summer de 2009) acaban de unir fuerzas en un nuevo proyecto discográfico titulado Rayuela.
El álbum –en el que además de Miguel Zenón en saxo alto y Laurent Coq en piano, también participan Dan Weiss en batería, tabla y percusión y Dana Long en cello y trombón- está inspirado en la novela homónima de Julio Cortázar publicada en 1963.
El libro de Cortázar –que puede ser leído en el orden convencional o siguiendo un “tablero de dirección”- relata la historia de los amores frustrados entre dos seres distintos: un intelectual argentino (Horacio Oliveira) y una muchacha uruguaya muy emocional y espontánea (La Maga). La obra consta de tres partes: la primera, llamada “Del Lado de Allá”, se ubica en el París bohemio de finales de los años cincuenta; la segunda, denominada “Del Lado de Acá”, transcurre en Buenos Aires; y la tercera, conocida como “De todos Lados”, es un collage que ilumina y da sentido a las dos primeras partes.
Lo concreto es que cada una de las diez piezas que componen el álbum Rayuela representa o simboliza, en términos musicales, algunos de los personajes o episodios contenidos en la obra de Julio Cortázar y de alguna manera también aluden -siendo una sociedad musical integrada por un latinoamericano y un francés- ala conexión París-Buenos Aires existente en la novela original. - elintruso.com
Tracks
01. Talita (Laurent Coq)
02. La Muerte de Rocamadour (Miguel Zenon)
03. Gekrepten (Laurent Coq)
04. Buenos Aires (Laurent Coq)
05. Morelliana (Miguel Zenon)
06. Oliveira (Laurent Coq)
07. Berthe Trepat (Miguel Zenon)
08. Traveler (Laurent Coq)
09. La Maga (Laurent Coq)
10. El Club de la Serpiente (Miguel Zenon)
MIGUEL ZENON alto saxophone
LAURENT COQ piano
DANA LEONG cello, trombone
DAN WEISS drums, tabla, percussion
Recorded September 7 & 8, 2011 at System Two, Brooklyn (NY)
Sunnyside Communications - SSC 1299