An Afro-Cuban Percussion Journey: The Music of Marlon Simon By Nancy Alonso

It seemsthat some of the most recent exciting contributions to Latin American music are coming from the country of Venezuela -from Comunidad Cardón, Paraguaná, in the Northwestern State of Falcón, to be exact. Venezuelan percussionist Marlon Simón's debut album on the K-Jazz label -rather simplistically titled, The Music of Marlon Simon-, represents a journey from the depths of Afro-Cuban rhythms to the heights of Latin jazz.

Who would have guessed that such innovation would emerge from a talented musician whose quest for excellence began by learning to play the Venezuelan cuatro at the tender age of 10? He learned to master his first set of timbales through the influence of his father Hadsy Simon, a guitarist and singer, until he formed his own band at 14. He subsequently traveled to Philadelphia to study at the University of the Arts, and later moved to New York City to obtain his degree in Fine Arts from the New School for Social Research. Marlon is also a recognized educator and writer, offering clinics and seminars at universities around the nation and overseas. He is the author of the text Analyzing Latin Rhythms, a workbook for Afro-Cuban percussion styles, published by the Association of Latin American Musicians (AMLA) in Philadelphia.

In this CD we find tracks that range from haunting to uplifting. Overall this CD has the ability to attract even those listeners who do not necessarily have an ear for salsa or commercialized Latin music, but would welcome material which differs from the music they are accustomed to.

The album features Marlon's brother Edward Simon on piano, Bobby Watson on alto and soprano sax, with John Stubblefield on tenor sax, Brian Lynch on trumpet, John Benítez (of the Danilo Pérez Trio) and Joe Santiago on bass. Roberto Quintero and Wilson Corniel round out this team with their riveting congas, and special guest Jerry González (yes, the leader of the Fort Apache band) appears on Heidi.

The opening track, Para Pucho, begins at a medium cha-cha tempo and unfolds into a fiery beat where you won't be able to stop your hand from slapping your knee in an attempt to follow along. Little Stars is reminiscent of the Cuban comparsas and builds into an explosion of percussive rhythms.

Mi niña features a heavy bass and light piano lines, with rhythm and tempo remaining consistent throughout. Root Medley has an unsuspecting beginning, a calm yet energetic piano and brass combination (reminiscent of the classic jazz tune "Poinciana," as performed by the Manhattan Transfer) - then the drums kick in, the tempo increases and we are lifted to an energy level that reflects the hybrid of rhythms which encompass Latin-Afro-Caribbean influences. Dance of the Infidels is a spicy uptempo entry into a Latin jazz descarga where all the instruments climax into an exciting state of rhythmic awareness. Midway the energy is brought to a quieter roar, and by then we are left with a feeling of sheer satisfaction. Remembrance comes off like a typical jazz number with some Latin undertones: heavy bass, more jazz than Latin. In Como fué, although musically haunting, the vocals fail to express the passion that encompasses the emotional longing for a confession of love. The track Blues pa' Changuito starts hot and gets even hotter until we feel overtaken by the fever of the drum and piano. Hard Times with Nena features a lilting soprano saxophone that will definitely get you in a romantic mood for a candlelight dinner. Heidi reflects an uptempo rhythm which is heightened by alternating the saxophone and trumpet in a competitive vying but culminates with harmonious teamwork. The best work of the album, this piece clearly illustrates the use of the batá drums in combination with the drum set, timbales and congas.

Nancy Alonso is a Puerto Rican writer and music critic residing in the Washington DC area. She is also a featured DJ in some of the area's most exclusive restaurants.