| World Jazz |
As the chill settles across the United States, here comes a record brimming with sunlight. If I am not mistaken, this marks the fourth release from an outstanding percussionist of Cuban descent, born in New York, where he studied jazz. His formative years included time at the East Harlem Music School, where he crossed paths with Fred “Tims” Munar, a multi-instrumentalist percussionist and timbales player for jazz vibraphonist Bobby Paunetto, who became his mentor.
Fully embracing his dual cultural heritage, this album is a remarkable testament to that fusion. Deeply rooted in jazz, adhering to its traditions, it is enriched by the vibrant seasoning of percussion, lending a particularly joyous aura to compositions and arrangements. Listen closely, and you will find the music to be intricately crafted; yet, the composer never loses sight of his audience. The result is an accessible offering, welcoming to all. Most striking, and a testament to this album’s excellence, are the relatively long tracks that seem to fly by in an instant. Such is the magic of each piece that you wish none would end, as you find yourself immersed, delighted, and then heartbreakingly released, much like a great film leaving you yearning for a sequel.
Tomás Martín López has recorded and performed with an illustrious array of Latin and jazz luminaries, including Billy Cobham, Mark Egan, the West Point Jazz Knights, Louie Ramirez, Ray De La Paz, Lalo Rodriguez, Paquito Guzman, Adalberto Santiago, Felo Berrio, Cheo Feliciano, Ismael Miranda, Azuquita, Oscar Hernandez, Jerry Galante, and the Orquestra Broadway, to name but a few. He has graced globally renowned venues such as the Village Gate, Madison Square Garden, the Beacon Theater, the Apollo Theater, the Palladium, and S.O.B.’s, as well as national and international galas for the World Salsa Congress.
Yet, Tomás Martín López’s inspirations extend far beyond Cuban music, with Afro-Brazilian rhythms often taking center stage. Indeed, I wouldn’t be surprised if his influence begins to transcend the Latin music sphere altogether. His cultural and artistic richness could seamlessly align with artists like Michael Mayo or Kurt Elling. Each track of this album vividly evokes the possibility of Tomás collaborating with the best contemporary jazz musicians. His work even echoes the spirit of the Zawinul Syndicate, whose groundbreaking compositions blurred cultural boundaries to extract the essence of diverse traditions for their art.
Occasionally, we encounter albums by drummers or percussionists that fall short of such standards—challenging to listen to, weighed down by an overemphasis on their instrument. The distinction here lies in nuance: Tomás avoids pushing his instrument to the forefront, instead seamlessly integrating into the ensemble. The balance is exquisite; the percussion becomes one voice among many, offering a solid foundation to the compositions, melodies, and accompanying instruments.
A truly “indispensable” album—worthy of this designation and so much more!
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, January 4th 2025
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