Angel David Mattos and the Boricua Trio simmered and boiled over

Boricua Trio

Angel David Mattos – piano

Hector Mattos – drums

Alemar Valentin – bass

@ HLSCC Mother’s Day Concert, BVI, May 09, 2008

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From the word ‘go’ (I mean the very first song) one heard the trifurcate that defines the Angel David Mattos style: Classical and Latin on a bed of Straightahead Jazz.  But is that not what Jazz music truly represents?  Is it not an admixture or fusion, resulting in the syncopation of European Classical melodies with some indigenous rhythms of one kind or the other?  In Angel Mattos’ case, that rhythm is the Puerto Rican Danza.  The difference between the two styles to these ears was the more pronounced formality of the Classical choruses on the Danza Romántico made particularly discernible at the points of syncopation, an essential element of the Jazz lexicon.

 

Mattos took great care in defining his ‘Danzzaj’ concept, if I am to appropriate the title of his (2004) CD offering.  Mattos writes of this concept:

“Danzzaj is the result of careful and profound reflection on the interaction of music, thoughts and inspirations of musicians from different geographic locations connected by heart and soul and the desire for (a) unified and understanding world.”

 

Mattos first demonstrated the ‘Danza Festivo’ (Festive Danza) from the 19th century, one written by Puerto Rican composer Juan Morel Campos, the acclaimed “Father of the Puerto Rican Danza.”

 Campos

 

Then he went for a soft sound with ‘A Wish’ (Deseo) in the ‘Danza Romántico’ (Romantic Danza) tradition.

 

Referencing Chic Corea’s ‘Humpty Dumpty,’ ‘Copy Cat ‘ was a lesson in ’swing’.  The Boricua Trio tore their way down the track on this one before taking a pit stop for drums and piano to trade some precise, though not carelessly contrived, exchanges.

 

The folkloric music of Puerto Rico formed the basis for ‘Puerto Rican Heart‘ (Corazón Boricua) taken from the new Traditions CD.  I was pleasantly surprised to hear calypso woven into the head and choruses.

 

‘Sunset‘ (Atardecer), also from Traditions, simmered like my best teas with drummer Hector Mattos bringing it oh so close to the boil but relenting just in time.

 

There was, however, no such restraint leading up to the intermission.

 

The second set alternated crisply between Puerto Rico’s indigenous rhythms and a couple of standards such as ‘Stella by Starlight.’  It was though Mattos was giving a lesson in how seamless the two styles can be.

 

The Latin listening party at the H. L. Stoutt Community College’s auditorium finally boiled over with ‘Caravan’ by Puerto Rican trombonist Juan Tizol and ‘Maldito Amor.’  ‘Caravan,’ composed for the Duke Ellington Orchestra, was distinguishable from Mattos’ version on account of the heavy Latin accent given to it by the Boricua Trio.  ‘Maldito Amor’ was done in the vein of the Festive Danza.

 

I steamed off to the crib with three of Angel David Mattos’ CDs in the pouch.  However, I had to simmer right back down before spinning these discs to avoid evaporating to Jazz heaven.  That will be fine, but I have more listening parties to attend “down here below.”

 

 

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