| Jazz |
Some albums have that rare magic that captivates from the very first notes—this is one of them. By the third listen, I found myself looking up the artist, unsurprised to learn that he came from a family of professional musicians and that, like myself, Carlos Mena is a true devotee of the arts. A composer and bassist who yields to no easy shortcuts, his music is warm, rhythmic, and vividly colored. Each composition unfolds with an effortless elegance, leaving the listener in awe of a body of work that is as refined in its writing and arrangements as it is in the virtuosity of his bass and double bass playing.
“Carlos Mena is a rare musical talent.”— Matthias Ruegg, Director of the Vienna Art Orchestra
In a single sentence, Matthias Ruegg distills my own thoughts. The originality of this project lies in its trio format,Carlos Mena on bass, Martha Kato on piano, and Franco Pina on drums, joined by two guests who do far more than make an appearance. Kathrine Yew graces several tracks with her delicate voice, while Jorge Mena lends his masterful touch on the harp for the album’s final piece. The trio itself is ever more impressive; from track to track, the level of cohesion is extraordinary, such seamless interplay is rare, especially to this degree.
The complexity of Mena’s artistry lies in his vast cultural landscape. His music is a rich blend of jazz, world music, and classical influences, never in opposition, but rather an organic fusion that distills the finest elements of each tradition. And to think, this is only his debut album! It is impossible not to be deeply impressed. With such a broad and intricate musical heritage, one inevitably strives for completeness, and this album is nothing short of flawless. Having honed his craft on the New York scene alongside luminaries like Dave Liebman and Bobby Wooten, Mena has absorbed the rigor and excellence of these masters. When one plays with artists of such caliber, mediocrity is simply not an option, and this album is anything but weak, it is a statement of artistic strength.
I listened to Con Personas with The People five times before sitting down to write this review, wondering what had kept me from putting my thoughts to paper sooner. Then, I recalled the feeling I had when I first heard Miles Davis—not the same music, of course, but the same profound emotion. Because music of this caliber elevates us, transforms us, and perhaps even opens our minds to new sonic adventures.
When an album reaches such heights, the only conceivable risk is setting a standard of nothing less than the essential, just as Dave Liebman has done throughout his career. And that is precisely what we can hope for Carlos Mena: to continue to stir the soul of a jazz critic like myself, who, at times, grows weary of well-crafted yet forgettable albums that miss the very essence of what makes music truly great. Because in the end, it all comes down to relentless work and deep reflection.
If we must choose a word, let us call this album indispensable, not for lack of a better term, but because it would be unthinkable to let such a masterful work go unrecognized. It demands, and deserves, nothing less.
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, March 7th 2025
Follow PARIS-MOVE on X
::::::::::::::::::::::