Puerto Rico Jazz

Puerto Rico Jazz
Puerto Rico Jazz

martes, 30 de marzo de 2010

CD Review: Brigitte Zarie - Make Room For Me



Featured Artist: Brigitte Zarie

CD Title: Make Room For Me

Year: 2010

Record Label: Brigitte Zarie

Style: Jazz Vocals

Musicians: Zack Danzinger (drums, tracks 1-4, 6-9, 11),Brian Floody (drums, tracks 5, 10), Peter Zak (piano), Tim Lefebvre (bass), Larry Saltzman (guitar tracks 1,11), Jeff Golub (guitar tracks 4,6), Bobby Sanabria (percussion), John Sneider (trumpet tracks 3,6,7,9), Al Chez (trumpet), Randy Brecker (trumpet track 1), Chris Byars (trumpet tracks 3,5 10), Lawrence Feldman (trumpet solo on track 2), Bruce Kapler, Frank Beisle (sax), Jeff Bush and Brian Bonvissuto(trombones), Tom Malone (all horns on tracks 8 and 11)

Review: Classy, cool, sensual, Toronto native Brigitte Zarie is all this and more, she is simply amazing. A true Jazz talent, Brigitte is not only a wonderful singer, she also wrote all the lyrics and co-wrote all the music with producer Neil Jason.

The music on this CD will take you back to the golden era of Jazz and Big Bands. All the songs on Make Room for me already sound like Jazz classics. If these songs were written back in the 30's and 40's we would be talking about them as part of the Great American Songbook. That is how good these songs are and how good Brigitte Zarie is as a composer. With songs of love and happiness, Make Room for me is an incredible collection of ballads and swinging tunes.

To say Brigitte's voice is beautiful would be an understatement. Paraphrasing a Fiona Apple song, Brigitte's voice is "sweet like honey and heavy with mood". Her feeling and phrasing is equally impressive on slow, romantic tracks like See you again, What's wrong with me, Take it Easy and in the more upbeat tracks, Make Room for me (with a French version), Happiest day of my life and Call on Love.

For music of this quality Brigitte have to surround herself with equally quality musicians, and she did just that. That's the fabulous Randy Brecker on the first track, See you Again. The other musicians are, Zack Danzinger (tracks 1-4, 6-9, 11) and Brian Floody on drums (tracks 5, 10), Peter Zak on piano, Tim Lefebvre on bass, Larry Saltzman (tracks 1,11) and Jeff Golub on guitar (tracks 4,6), Bobby Sanabria with a great work on percussion in the song Money, Money, Money and the latin flavored track Dance with you. In the horn section, John Sneider (tracks 3,6,7,9) and Al Chez on trumpet, Chris Byars (tracks 3,5 10), Lawrence Feldman (solo on track 2) Bruce Kapler and Frank Beisle on sax, Jeff Bush and Brian Bonvissuto on trombones and Tom Malone plays all horns on tracks 8 and 11.

I hope this extraordinary CD is only the first taste of more great things to come from this fantastic singer/composer.

Tracks: See You Again, What's Wrong With Me, Make Room For Me, Take it Easy, Happiest Day Of My Life, The Story Of Love, Call On Love, Money, Money, Money, Money, Make Room For Me (French Version), Dance With You, I Love Las Vegas

Record Label Website: http://www.brigittezarie.com

Artist's Website: http://www.brigittezarie.com

Listen or Buy:

Reviewed by: Wilbert Sostre

jueves, 25 de marzo de 2010

Why do I like Jazz?




Recently a friend ask me this question, “why do you like jazz so much?” A simple answer to that could be, “because there’s no better music than jazz”. But that would not be the right way to answer. I’m sure everyone think their favorite music is the best music. But when I say there’s no better music than jazz, the only ones with a good argument against it are those who listen to classical music. Besides jazz, classical and some folk music, there’s no other music that even comes close in quality.

Why do I include folk music? Because Classical composers originally were inspired by european folk music for their compositions. And the roots of jazz music are basically the folk music of the african-americans at the end of the 19th century. Folk music from Asia, Africa, Europe and Latin America have a quality that can’t be found in most popular music today. That quality is “truthfulness”, folk music comes from years of tradition and represent the culture of each country.

Some examples of good folk music may be heard on cuban music (guaguanco, son mambo, etc. rhythms that later gave birth to salsa music), samba, bossa nova and other rhythms from Brasil, flamenco from Spain (heavily influenced by arabic music), and the Argentine’s tango, to name just a few. Even today jazz and classical composers get inspired by folk music from around the world and at the same time influence folk music.

Getting back to the original question, why do I like jazz? To answer this question we must talk about the elements of music. There are four major elements in music, melody, harmony, tone and rhythm.

Melody is basically a sequence of musical notes. We all learn some simple melodies when we were young like “Twinkle, twinkle, little star” or “Happy Birthday”. But as we get older, we evolve to more complex and interesting melodies, especially if you study music or learn how to play a musical instrument.

Since jazz music is mostly improvised, melody is one of the most interesting elements for a jazz musician and listener. In the 40's a jazz style called Bebop provided the blueprint to all the jazz styles that came after. Before Bebop, the improvisation in jazz was limited to just a few solos, similar to rock music today. With Bebop, improvisation became a essential part of jazz music.

In a typical jazz group the musicians first play the main melody or theme, then one or more musicians (piano, trumpet, sax, bass, etc.) take turns improvising variations based on the main melody. At the end the band returns to the original theme or melody. Classical music is similar, with the difference that both, main theme and variations on the theme are written and the musicians must play them as close as possible to the original intentions of the composer.

That’s why there’s no other musician with more knowledge and command of their instrument than a jazz musician. A jazz musician is creating art every time he or she plays. In jazz the same piece of music sound different even if is played by the same musicians. In popular music, like r&b, rap, hip hop, country, etc. , the same melody is repeated constantly with little or no variations.


There’s also the fact that most people can’t listen to music if there’s no lyrics to it. That’s why almost all famous artists in popular music are singers. In popular music the singer is the star, the one that sings the melody, and the other instruments are just a background. Music and arrangements are written in the simplest way possible, so there’s no need to be a virtuoso to play popular music.

The funny thing is that except for a few ones, popular music singers are not really that good. Technology is so amazing nowadays that almost everyone with a pretty face and a fair enough voice can make it as a singer in pop music.

There are singers also in jazz music, but unlike popular music, the voice in a jazz band is just another instrument. A jazz singer is expected to improvise, do variations on the melody and have the same command over their instrument as any other jazz musician. Rarely you’ll find in popular music (or in any other music for that matter) a singer of the quality of an Ella Fitzgerald or Sarah Vaughan.

Harmony is created when two or more notes are played at the same time. This can be done by different instruments, like in a classical music orchestra or a jazz big band or by only one instrument, usually a piano or guitar (creating chords).

Harmony is just as important as melody to a jazz musician. Harmonies or chords in jazz are usually done by the pianist and the real good ones, like Thelonious Monk, improvise harmonies also, doing chords variations. Those variations allows the improviser to change and play with the melodies. Harmonies makes the music more fuller and richer and the more interesting the harmonies the more options the musicians have melodically.

The use of harmonies in pop music, if any, are usually simple. Hardly you’ll find 7th , 9th , 11th chords or chords inversions in pop music.

Tone is the sound quality of the different instruments used in music. Each musical instrument has a distinctive sound. With the advancements in technology in the last 30 years, you don’t even need to play an instrument to make music. More and more, the music you listen on the radio like rap, hip hop and reggaeton, is done with drum machines, computers, sampling or pre recorded instruments.
Rarely you’ll find this in jazz music.

Call me old fashioned but I prefer to listen to a an instrument played by real person than to listen to a computarized version of that instrument. In jazz music there are huge differences in texture or tone when the same instrument is played by different musicians. Compare the sound of Coleman Hawkins, to Lester Young, or Sonny Rollins, John Coltrane, Joshua Redman or David Sanchez. All sax players, all with a very distinctive sound.

And then there’s rhythm. Rhythm is the element that distinguish one music style from the other. Most music is written in 4/4, including jazz, but some like waltz are written in 3/4.

“When jazz was only ragtime, the basic rhythm was merely that of a march time, One-two-Three-four. This same rhythm was made much more interesting in jazz simply displacing the accents so that the basic rhythm became one-Two-three- Four” Aaron Copland, What to listen for in music.

These variations on beat accentuation is what makes diverse and interesting rhythms in music. If above that 4/4 rhythm you add other freer rhythms, that combination is called polyrhythms. Jazz like other music with african roots use polyrhythms (most latin music, cuban and brazilian music). Is that combination of rhythm (polyrhythms) that gives jazz it’s rhythmic vitality.

In contrast, pop music, especially in the last decades has a constant steady beat with little or none rhythmic variations.

So you may ask yourself, if jazz is so good, “why isn’t everybody listening to jazz music?”. The reason is simple, most people prefer entertainment over art.

A gossip magazine is entertainment, a good novel or poetry is art.
A soap opera is entertainment, a good theater play is art.
Wrestling is entertainment, a painting exhibition is art.
“The Fast and the Furious” is entertainment, “The Godfather” is art.
Lady Gaga is entertainment, Esperanza Spalding is art.

Art stimulate your mind and your senses, makes you think and increase your sensibility. Entertainment is just a distraction and usually has the opposite effect of art.

And once you learn how to appreciate art, you’ll find out you’re also being entertained.

“The hard fact is that in our time, not many people really know or care much about jazz or if a musician can really play. They don’t care because most of the nonclassical music they’ve heard is performed by amateurs or even complete non musicians, people who may possess personal charisma but can barely play. Real jazz musicians were already good enough at fourteen or fifteen to do what most top selling musical acts can do, and by saying that I’m not criticizing, I’m just describing.” Wynton Marsalis, Moving to Higher Ground

So there you have it, that’s why I like jazz.


Wilbert Sostre

sábado, 20 de marzo de 2010

Fernando Girão: Brazil - A Tribute

Featured Artist: Fernando Girão




CD Title: Brazil - A Tribute

Year: 2009

Record Label: Numerica

Style: Brazilian Jazz / Brazilian Pop Jazz

Musicians: Ernesto
Leite (piano), Ernie Melkhen (bass), Joao Cabelira (guitars), Zeze
N’Gambi (drums), Rubem Dantas (percussion), Magoo (tambourine and
congas)


Review: I
can’t explain why Fernando Girao is not a more recognizable figure in
the brazilian music scene. I, for instance, did not know about him
until recently. Anyway I think he deserves more recognition and
this double CD Tribute to the composers of Brasil may be the one to
place him among the great interpreters of brazilian music. Fernando has
a powerful, deep voice and great feeling for this kind of music.


The arrangements and
musicians are amazing too. Ernesto Leite on piano, Ernie Melkhen on
bass, Joao Cabelira on guitars, Zeze N’Gambi on drums Rubem Dantas on
percussion and Magoo on tambourine and congas.




With one CD for Bossa
Nova and the other for Sambas, for sure you’ll find some of your
favorites songs on this tribute. This double CD includes songs by great
Brazilian composers like Tom Jobim, Ivan Lins, Chico Buarque Noel Rosa,
Vinicius de Moraes Dori Caymmi, Ary Barroso, wonderful versions of such
classics as Fotografia, Ligia, Luiza, O Pato, Agua de Beber.



On the Bossa CD Fernando
shows he can sing with feeling. Just listen to the great
interpretations of Atras da Porta, Choro Bandido and the perfect
phrasing on Luiza. His delivery is more bluesy on Ligia and So me faz
bem.


On Rio de Maio, the
nostalgic tone on Fernando’s voice makes you feel nostalgia of Rio
(brazilians call it saudade) even if you’ve never been there. A perfect
homage to Tom Jobim and to Rio de Janeiro.



The definitive version
of Essa mulher and Retrato em Branco e Preto are the ones by the great
Elis Regina, but Fernando’s interpretation are some of the best I’ve
heard by a male vocalist.



As good as the Bossa CD
is, on the Samba CD Fernando really shows how talented he is. Fernando
is a master of scat and use it all trough this CD.Can’t help yourself
but smile listening to some of the scats Fernando improvise on songs
like Agua de Beber, Soberana Rosa, Samba da minha terra and Marinheiro
so.


For those unfamiliar with the term, scat is a vocal improvisation used in
Jazz, first done by Louis Armstrong. Ella Fitzgerald was also a scat
virtuoso. One can tell Fernando is enjoying himself and having fun with
the melodies. And I’m sure you’re going to enjoy listening to
Fernando’s interpretations of these beautiful songs.


Tracks: Atras
da Porta, Choro Bandido, Rio de Maio, Retrato em Branco e Preto, Essa
Mulher, As Pastorinhas, Luiza, Ligia, Fotografia, Só me fez bem, Samba
da Minha Terra, O Ronco da Cuica, Só danço Samba, E com esse que eu
vou, Incompatibilidade de Genios, Aló Aló Marciano, O Pato, Na Baixa do
Sapateiro, Marinheiro Só, So tinha de ser com Vocé, Agua de Beber,
Soberana Rosa, Louvaçao aos Mestres


Record Label Website: http://www.numerica-multimedia.pt



Artist's Website: http://www.fernandogirao.net



Reviewed by:

Wilbert Sostre

viernes, 15 de enero de 2010

CD Review: Mark Moultrup - Dar Cho

Featured Artist: Mark Moultrup



CD Cover

CD Title: Dar Cho

Year: 2009

Record Label: mark moultrup music

Style: Contemporary Jazz



Musicians: Mark Moultrup (piano, vocals, keyboards, percussion), Rodney Whitaker (bass), George Fludas (drums), John Wojciechowski (saxophone, flute), Kurt Sweitz (arco bass), Ernie Adams (percussion)

Review: Dar Cho is the latest release from pianist, vocalist, composer arranger and educator Mark Moultrup. Dar Cho is a Tibetan word, Dar meaning to increase life, fortune, health and wealth and Cho meaning all sentient beings. Mark is originally from Detroit, now living in Chicago.

On Dar Cho, Mark played with a group of excellent musicians. George Fludas on drums, played with Ray Brown Trio. Bassist Rodney Whitaker played with Wynton Marsalis. And sax player from Detroit, John Wojciechowski.

Wrote by Mark Moultrup, the first tune, When then was now, is a modern jazz composition with interesting changes in tempo and a powerful, and warm sax playing by John Wojciechowski.

A beautiful piano intro takes us to the next track, a wonderful version of Jobim's classic, Corcovado (Quiet Nights). Mark does some nice vocal improvisations and scats at the end.

With lyrics of encouragement to believe in yourself, What about is an original song that increase in tempo to change into a Be bop style for the sax solo. Mark solos on piano showcase his command of the piano.

Ted's Last song is dedicated to a dear Mark's friend. The beautiful classical influenced melodies reflect perfectly that melancholic feeling of missing a friend.

Good will in the wind is one of my favorites on this album. With happy melodies and lovely flute playing by Michael Levin, these musicians really spread good will on this tune.

Mark play keyboards and wrote the funny, gastronomic lyrics on the next track, Avant Garlic, and also adds some cool scats at the end. Waltz is a classical piece that takes the listener to peaceful places and moments. Nice one to relax after a day full of stress. The arpeggios and melodies on Of a dream sounds exactly like music of a dream.

Dedicated to his wife Susie, It has always been you, is a good romantic song reminiscent of the standards of the great american songbook. Mark plays keyboards again on Burger in the Bush, a funky piece that sounds like the fusion jazz of the 70's.

Mark does his best vocal work on the next two songs, Come fly with me and Summer wind. Listening to Mark's rendition of Come fly with me, is obvious that Mark enjoy to sing this classic. The album ends with a swinging original, I know it's only Be bop, with some vocal improvisations and one of the best piano solos by Mark Moultrop.

Tracks: When then was now, Corcovado, What about, Ted's last song, Good will in the wind, Avant Garlic, Waltz, Of a Dream, It has always been you, Burger in the Bush, Come fly with me, Summer wind, I know it's only Be bop

Record Label Website: http://www.markmoultrup.com

Artist's Website: http://www.markmoultrup.com

Listen or Buy:

Reviewed by: Wilbert Sostre

sábado, 2 de enero de 2010

CD Review: Tiempo Libre - Bach in Havana

Featured Artist: Tiempo Libre



CD Cover - Buy CD CD Title: Bach in Havana

http://www.youtube.com/watch?v=PMzk_2Traao

Year: 2009

Record Label: Sony

Style: World Music

Musicians: Jorge Gomez (music director, keyboards, vocals), Joaquin Diaz (lead vocals, batá), Leandro Gonzalez (congas, percussion, batá, vocals), Tebelio Fonte (electric bass, chapman stick, vocals), Cristobal Ferrer Garcia(trumpet, trombone, vocals), Hilario Bell (percussion, timbales, batá, vocals) Luis Beltran Castillo ( tenor sax, guiro, vocals)

Review: In the 40's, the fusion of Jazz music with the rhythms from Cuba created Latin Jazz. Jazz music itself is a product of a fusion of all the styles of music (including classical music) present in New Orleans at the beginning of the 20th century. Now, at the beginning of the 21st century, Tiempo Libre new cd, Bach in Havana, connects the rhythms and sensibilities of Afro-Cuban music with the compositions of Johann Sebastian Bach.

On Tu Conga, the infectious rhythms of Conga, the music played in Cuba during Carnaval, are mixed with melodies inspired by the Fugue in C minor. The lyrics are an homage to Johann Sebastian Bach.

Fuga is a delightful fusion of Cha-cha-chá rhythms with the Fuga movement of the D minor sonata.

My favorite is Air on a G string, this time played in a Bolero style. The always soulful playing of Paquito D'Rivera on alto sax is reason enough to buy this cd.

The repetitive arpeggios of Prelude in C minor are combined nicely with the guaguancó clave on Clave in C minor. Guaguancó is another traditional dance from Cuba.

Gavotte is based on French Suite No. 5 in G major, played over a Son clave. For those unfamiliar with cuban music, son is a dance music from Cuba, one of the cuban rhythms that influenced musicians (mostly from Puerto Rico) living in New York in the 70's, to create Salsa music.

Mi Orisha starts with a solo by Yosvany Terry on the shekeré, a percussion instrument made from gourd, netting and beads. The melodies on this one are based on the French Suite No. 2 in C minor.

Minuet in G is changed from the traditional 3/4 to 4/4 to meet the guaguancó clave. The lyrics describes the sensual pleasures of dancing guaguancó.

On Olas de Yemayá the melodies are inspired by Preludio in C major beautifully played over Batá drums rhythms. Batá drums are used also on Kyrie, after an opening from Mass in B minor. Batá is the sacred drum used in Santeria to call down the Orishas powerful deities.

Baqueteo con Bajo is a Danzón, one of my favorites Cuban dances. On the second part the montuno enters with yet another brilliant intervention by Paquito D'Rivera this time on the clarinet. Timbach is inspired by the Prelude in D major with a mix of different cuban rhythms.



Tracks: Tu Conga Bach, Fuga, Air On A G String, Clave In C Minor, Gavotte, Mi Orisha, Minuet In G, Olas De Yemayá, Baqueteo Con Bajo, Timbach, Kyria

Record Label Website: http://www.sonymasterworks.com

Artist's Website: http://www.tiempolibremusic.com

Listen or Buy:

Reviewed by: Wilbert Sostre

martes, 22 de diciembre de 2009

Joshua Breakstone Trio - No One New

Featured Artist: Joshua Breakstone Trio



Year: 2009

Record Label: Capri Records

Style: Straight-Ahead / Classic

Musicians: Joshua Breakstone (guitar), Lisle Atkinson (bass), Eliot Zigmund (drums)



Review: The members of The Joshua Breakstone Trio are three musicians with lots of experience in the Jazz scene. Bassist Lisle Atkinson has worked with Nina Simone, Betty Carter, Stanley Turrentine, Benny Carter and Kenny Burrell. Drummer Eliot Zigmund has worked with Bill Evans, Stan Getz, Benny Golson, Toots Thielmans and Jim Hall. The leader of the trio Joshua Breakstone, besides his nineteen solo recordings, has worked with Tommy Flanagan, Kenny Barron and Kenny Washington.

Joshua is a master improviser with a nice tone and inventive phrasing. Joshua first influences were Clifford Brown and Charlie Parker and one may hear a Be Bop influence on his improvisations, especially in the first piece, Over-Done. His solos on guitar sounds like those of a horn player with a sense of humor also on his improvisations. Over Done ends with a melodic bass solo followed by a wonderful exchange on guitar and drums before going back to the main theme.

In For Me the bass and drums provide a nice swinging groove to the bright tone and happy melodies of Joshua on guitar. The Unknown One is a beautiful ballad with a lovely latin, almost bossa feeling. Joshua's melodies creates a placid, relaxing mood.

Come on Baby is an up beat piece that brings a festive, swinging feeling to the CD with a superb bass solo by Atkinson.

With a brilliant use of chords harmonization and and improvisations that always reach the right notes, Blues Heretofore grows slowly in intensity with yet another excellent work on bass and drums.

No One New is another swinging track all three musicians keeping the energy all throughout the tune. The Peacoks is a beautiful blues wrote by Jimmy Rowles, brilliantly played, with expressive, heartfelt solos on guitar and a subtle, perfect support on bass and drums by Lisle Atkinson and Eliot Zigmund.

The CD ends with a nice interpretation of Joe Henderson composition The Kicker.

Tracks: Over-Done, For Me, The Unkown One, Come on Baby, Blues Heretofore, No One New, The Peacocks, The Kicker

Record Label Website: http://www.caprirecords.com

Artist's Website: http://www.joshuabreakstone.com/

Reviewed by: Wilbert Sostre

viernes, 18 de diciembre de 2009

Brenda Hopkins Miranda - Memoirs from Granada

Featured Artist: Brenda Hopkins Miranda



CD Cover - Buy CD CD Title: Memoirs from Granada

Year: 2009

Record Label: Zona Boricua Records

Style: Folk Jazz

Musicians: Brenda Hopkins Miranda (piano, palmas), Samuel Morales (bass), Aldemar Valentin (bass), Hector Matos (drums), Efrain Martinez (drums), Enrique Chavez (percussion, palmas), Carlos Sanchez (trumpet), Jeanne d'Arc S. Casas Panouze (dancing steps)



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Review: Every once in a while one comes across a CD of such quality and beauty that restore your faith in music. Brenda Hopkins Miranda’s Memoirs from Granada is that kind of CD. A music jewel from beginning to end, in Memoirs from Granada, Brenda captivates the listener with an exquisite fusion of Jazz, music from Spain and of course, music from her country, Puerto Rico.

Brenda Hopkins is a wonderful pianist, with extraordinary technique, equally impressive playing either Jazz, Rock, or Classical music. With Memoirs from Granada, Brenda adds to that mix, the musical experiences she had while living in Granada, Spain.

Memoirs of Granada starts with a beautiful piano intro on the first track, Miranda, a composition full of melodies played with passion and intensity. Brenda brilliantly used melodic ostinatos to state a theme and create different moods. Ostinato is a repeated melodic or rhythmic pattern.

The melodies on The Return show the strong Arabic influence in the music from Spain. On her improvisations, Brenda plays masterfully with the melodies, harmonies and rhythms, accompanied once again by the excellent playing of Efrain Martinez on drums and Aldemar Valentin on bass.

Plaza Nueva starts with a fun intro, kind of dissonant. On this piece the music of Spain fuses with Jazz in a perfect musical marriage. Carlos Sanchez is amazing on trumpet with touches of be bop on his phrasing, and Brenda plays some of his best solos on piano. Hector Matos and Samuel Morales play drums and bass on this one.

Carlos Sanchez trumpet steal the show on Mi Sacromonte, with melodies reminiscent of the Cool Jazz era. Carlos powerful solos and high notes are a perfect match for the quiet intensity of Brenda’s music. Brenda always finds a way to capture the senses with magnificent compositions and energetic playing.

In a CD full of musical highlights, Flamenco Borincano is probably the brightest one. The title comes from one of the most famous songs from Puerto Rico, Lamento Borincano, wrote by Rafael Hernandez. Brenda creates a perfect fusion of the Flamenco feeling with the melodies of Lamento Borincano. Flamenco Borincano is already in my opinion, a Puerto Rico Jazz classic. Excellent solo on percussion by Enrique Chavez.

The beautiful, almost heavenly piano melodies on Vimaambi, change into a more rhythmic piece with the flamenco dancer (bailaora). There are some solo piano tracks like Wings of Illusion and Absence for Brenda to showcase his classical influences and technique. And on Chawarma there’s a funky feeling with some Rock influences.

There is an almost nostalgic feeling on the piece Huerto de Juan Rana, with melodies that seems to evoke memories from Spain. El Darro contains music that invites you to close your eyes and let music take you away.

Confeti is the most festive track on this CD, with a fusion of Puerto Rico folk music in the melodies with latin jazz rhythms.



Tracks: Miranda, El Regreso/The Return, Plaza Nueva, Mi Sacromonte, Flamenco Borincano, Vimaambi, Alas de Ilusión/Wings of Illusion, Chawarma, Huerto de Juan Rana, El Darro, Confeti, Ausencia/Absence

Artist's Website: http://www.myspace.com/brendahopkinsmiranda

Listen or Buy:

Reviewed by: Wilbert Sostre