Spotlight: No Limits, Pedro Bermudez

Recording an albums allows a band leader to include a wide array of musicians and pursue several different musical directions. Most band leaders spend their daily life working with a number of different musicians, and the recording serves as a document of these various relationships. They may also have their mind on an artist that can't work with them on a regular basis but would be available for short term engagement. The recording session can be a joyful occasion where a band leader brings all these people together, but it needs to be directed with a watchful eye. Too many cooks in the kitchen can spoil the soup as they say, and the band leader must keep the musical focus upon his artistic concept. Numerous collaborators potentially fragment the musical production, integrating several sometimes clashing approaches into one room. A successful blend of multiple musical personalities requires a focused bandleader with the strength and determination to stand by their original artistic vision. A group of high quality musicians will understand and respect this position, leading them to apply their professional and creative knowledge to the project. With these pieces in place, the band leader and his multiple band members can create a stunning project that sparkles with the creative energy of many musical minds. Pianist Pedro Bermudez brings together an impressive array of top notch musicians into an engaging Latin Jazz project on No Limits, reflecting the strength of Bermudez's vision and the power of his sidemen.

Afro-Cuban Jazz With Smart Composition And Powerful Performance

Bermudez focuses several tracks around Afro-Cuban Jazz with smart compositions and powerful performances. A furious groove explodes into huge brass hits over an up-tempo son montuno on “Offbeat," leading into a winding unison line between piano, bass, and drums. Bermudez combines rapid lines and rhythmic hits into a racing improvisation, until saxophonist Ivan Renta rips through the powerful groove with an aggressive tenor solo. Trumpet player David “Piro" Rodriguez accents just the right spots in the rhythm to send his solo flying into high gear, leading into an intensive exchange between conguero Richie Flores and drum kit player Efrain Martinez. Bassist Ruben Rodriguez uses a sparse yet strong bass line to introduce a laid-back cha cha cha groove on “El Jarriero," setting up an open melody filled with bluesy tinges. Nelson Jaime “Gazu" charges into his improvisation with a ferocious solo pick-up, proceeding to twist through the changes with a virtuosic display of technique and taste. Bermudez grabs this energy in his solo with rapid flights of blues lines, falling into a steady montuno for an impressive mix of technique and musicality on congas from Flores. Syncopated chordal hits from the wind players send the group into a rhythmic melody on “Long Walk" while the rhythm section jumps between son montuno and swing. Bermudez stretches out over the driving groove, attacking the piano with thick Tyneresqe chords and racing melodies. Jaime spins bop influenced lines over the groove with a brash, heavy-hitting tone, until Renta wraps strong lines around the chords with a smart collection of modern melodies and clave shaped phrases. An energetic bass and piano vamp plows into a tightly constructed melody from Renta on “Ivan's Cha." Playing off the rhythm section's addictive propulsion, Bermudez crafts a smart solo around the song's repeated harmonic vamp. Renta storms into his improvisation with a fierce momentum, building into a show stopping timbale solo from Carli Maldonad, who brings the song to an undeniable boil. The group tears through the pieces with an enthusiastic appreciation for Bremudez's compositions and an experienced intimacy with Afro-Cuban Jazz.

Leaning Towards A Modern Jazz Sound
Bermudez leans more towards a modern jazz setting on some songs, keeping the Latin influence as a subtle background shading. Bermudez places airy chordal ideas over a floating texture on “The Dreamer" before falling into a spacious melody on this trio track. The pianist utilizes the open nature of the rhythm section to creatively place lush melodic ideas into the open spaces. Bassist Eddie Gomez pushes the momentum forward with a pulsating walking line, helping Bermudez bring his ideas into a satisfying conclusion. Renta's soprano sax glides over shimmering chords from Bermudez's Fender Rhodes on “Redentor," while the rhythm section rides through a loose groove. The delicate sound of Bermudez's instrument reflects brilliantly against the song's beautiful chords, allowing him to run thoughtful lines over the sweeping texture. The sharp tone of Renta's sax provides a nice contrast, as he bounces inventive lines through his improvisation with focused direction. A long and winding line charges forward into ferocious montuno on “No Limits," returning several times until its leads the group into a driving up-tempo swing. Bermudez grabs the group's inertia and flies head-first into the straight-ahead setting, displaying a powerful sense of swing. The rhythm section falls into a half-time swing allowing the pianist to display a bluesy side until Gomez jumps into the mix with his smart handle on melodic development. These pieces find Bermudez interacting with different musicians in a modern jazz environment, highlighting another side of Bermudez and his comprehensive musicianship.

Brazilian Jazz With A Passionate Performance Full Of Life
Several songs revolving around Brazilian Jazz and yet another cast of stellar musicians inspire Bermudez into a passionate performance full of life. Bermudez sends melodic lines flying over lively baião on “Bombaião" until Felipe Salles charges his soprano saxophone through the groove with a bright tone. The pianist enthusiastically leaps into a spirited improvisation, leading into a rhythmic solo from Salles, who bounces around the groove with a dynamic flexibility. The band lowers the dynamic as bassist Oscar Stagnaro blends technically challenging lines and chordal figures into a clever statement, followed by a colorful display of smart thematic construction from drummer Duduka da Fonseca. A rubato introduction from Bermudez sets the stage for a dramatic Portuguese vocal from Ana Baiana on “Caminhos Cruzados," which comes alive as the rhythm section falls into a swaying bossa nova behind the lyric. Bermudez thoughtfully creates flowing lines over the rhythm section, capturing the relaxed jazz atmosphere of the piece. Gomez soars over the light texture with melodically rich lines and a personal touch that leads into an appealing instrumental interlude before Baiana's return. Bermudez, Stagnaro, and da Fonseca charge through a powerful unison melody, introducing an exuberant melody full of twists and turns on “Chorinho Para Maria." Salles stampedes into his improvisation, ripping through the band's strong forward motion with clever lines, until Bermudez speeds into his statement with an addictive sense of rhythmic power. Guitarist Mike Arroyo brings the focus onto smart and appealing melodic ideas before Bermudez, Salles, and the guitarist enter into a conversation with da Fonseca through alternating four bar phrases. These songs reveal Bermudez's strong connection to Brazilian music and an inspired connection to his musicians.

Bringing A Wealth Of Musicality And Artistic Insight To The Table
Bermudez brings a large cast of musicians into the mix for his diverse musical stew on No Limits, delivering a strong collection of Latin Jazz that resonates with a clear artistic vision. The pianist's compositions provide the basis for the album's powerful performances, with each song creating an inspired setting for improvisation. The clearly constructed pieces demonstrate Bermudez's strong connection to Afro-Cuban music, Brazilian styles, and jazz, as he approaches each style with knowledge and respect. As a player, Bermudez throws himself into every note, passionately racing through improvisations, filling the texture with rich chordal harmonies, and comping with a fiery rhythmic momentum. Even though this album represents Bermudez's first recording as a band leader, he handles the leadership role with style and ease. He draws upon the individual strengths of each supporting musician by employing different groups of musicians in each stylistic setting. Renta tears through the Afro-Cuban tracks with a solid tone and a smart familiarity with the clave while Salles soars through each Brazilian tune with an enthusiastic zeal. Both Rodriguez and Stagnaro pump the band fuel the Afro-Cuban and Brazilian tracks with a massive groove and tasteful solos while Gomez contributes classy accompaniment on the jazz pieces. Flores digs into the groove with conviction and shows extensive musicality in his improvisations, while drummers Vince Cherico, Martinez, and da Fonseca groove like mad in their given styles. In the end, Bermudez brings a wealth of musicality and artistic insight to No Limits, letting his long list of world class sidemen support him in the development of an unforgettable Latin Jazz album.