The Cuban Connection Continues With Juno Win for Best Jazz Album. Now a five-time JUNO Award winner, two-time Grammy nominee, and Officer of the Order of Canada, soprano saxophonist/flautist Jane Bunnett has brought the soul of Cuba to the hearts of Canadian music-lovers in a big way. Along with her new, exquisite all-female sextet, Jane Bunnett and Maqueque, she revealed the band’s fresh sound and unveiled the new self-titled CD – now a JUNO winner for Best Jazz Album of the Year (Group) category – with summer festival stops throughout Canada and the U.S.
Already a national treasure, Jane Bunnett is always busy creating music, touring and championing Cuban artists. Her love for the intricate folkloric Afro-Cuban rhythms spurred her on to begin blending them with contemporary jazz sounds. It’s an ongoing passion for her and her husband, trumpeter Larry Cramer and Bunnett has been credited with introducing a lot of great Cuban musicians to North American audiences over the past couple of decades, including Dafnis Prieto, Yosvanny Terry, Pedrito Martínez and David Virelles. Her latest project is an assembly of all-star Cuban musicians, a sextet which includes herself and five extraordinary young females.
Jane Bunnett and Maqueque (pronounced Mah-KEH-keh), toured Canada followed by a US stint. Maqueque band members are Jane, on flute and soprano sax, virtuoso drummer Yissy García, dynamic vocalist Daymé Arceno, Yusa on tres guitar and fretless bass, pianist Danae, and Magdelys on batás and congas.
There are a couple compositions by Daymé, such as the tres guitar-driven Afro-Cuban track “Canto a Babba,” highlighting a call-and-response theme, interwoven with effortless, playful soprano sax and vocal lines throughout. Another gem is her “Guajira S. XXI,” which also showcases a similar sprightly yet haunting vibe, again with the dulcimer-like tres guitar, but this time with intricate flamenco-like clapping rhythms, soaring flute and no vocals at all.
It’s a beautifully voice-laden album, (they all have tremendous singing voices), but driven by the propulsive intense rhythms of drummer Yissy Garcia and percussionist Magdelys. There are also tracks that accentuate the piano, like the song “Mamey Colorao,” a quirky 1940s Cuban piece composed by the late great Cuban ivory-tickler Pedro Peruchin. The JB & Maqueque version is quite different in arrangement, but pianist Danae stays somewhat truer to the Peruchin original while the other players take flight.
A smooth but lively cha cha cha number, “De la Habana a Canada,” literally drives home Bunnett’s idea of permeating our Canadian musical landscape with intoxicating Cuban sounds from Havana.
The pièce de résistance, however, is the last track, “Song for Haiti,” which incorporates mellow, soothing flute, urgent horns courtesy of frequent collaborators, Toronto’s Heavyweights Brass Band, and swirls of strings that lead in to a sultry spoken word piece by Cuba’s most celebrated female rapper/poet, Telmary Diaz.
The 10-track album was mixed and mastered by David Travers Smith and recorded in Abdala and Egrem studios in Cuba, in Toronto at Canterbury with Jeremy Darby, Found Sound with David Travers Smith, Number Nine studios with George Rodina, and for the song “Song for Haiti,” Green Door with John Critchley.
For more information, photos, mp3s, advanced CD copies, interviews, please contact:
Beverly Kreller, SPEAK Music