
Sergio Pamies, Time to Say Review
Time to Say by Sergio Pamies: A Masterful Confluence of Jazz, Afro-Cuban, and Flamenco
by Nolan DeBuke
Sergio Pamies, a distinguished jazz pianist and composer hailing from Granada, Spain, has long been recognized for his seamless fusion of traditional jazz with the flamenco music of his roots. His latest album, Time to Say, offers a rich program of compositions that reflect his deep understanding and innovative approach to these genres. With this release, Pamies continues to explore the boundaries of jazz and flamenco, delivering an album that is a bold statement of his artistic identity.
In Time to Say, Sergio Pamies is joined by an exceptional ensemble of musicians, each bringing their unique talents to the table. Alex Norris on trumpet and flugelhorn, Michael Thomas on alto and soprano saxophones, and Marshall Gilkes on trombone form a powerful horn section that adds depth and color to the compositions. The rhythm section, featuring Ricky Rodriguez on bass, Jimmy MacBride on drums, and Samuel Torres on percussion, lays down a rich foundation that seamlessly blends jazz with Afro-Cuban rhythms. The album also boasts guest appearances by renowned artists such as Dave Liebman on soprano saxophone and Paquito D’Rivera on clarinet, adding their distinctive voices to the mix. Additionally, Daniel Pardo on flute and Miguel Fernández “El Cheyenne” on percussion and handclaps further enrich the album’s sound, making Time to Say a true showcase of collaborative artistry.
The album opens with the title track, “Time to Say,” a heartfelt homage to the late Chick Corea that features the legendary Dave Liebman on soprano saxophone and Miguel Fernández “El Cheyenne” on percussion and handclaps. This piece is a heartfelt homage to the late Chick Corea, capturing the multifaceted essence of Corea’s music. Pamies’ composition presents a multifaceted blending of Latin rhythms with expanded harmonies and elliptical melodic phrases. Liebman’s soulful solo adds an energetic quality to the piece with his formidable technique and sense of melodic flow. Pamies shows he is a gifted accompanist and soloist.
“Puerta de Oro,” a nickname for the city of Barranquilla, Colombia, is Pamies crafting an intricate, through-composed composition that begins with his lush piano harmonies, setting a vibrant tone further enriched by the expressive horn section. Rodriguez, Macbride, and Torres create an evolving meter and groove that establishes a dynamic journey. Michael Thomas’s solo methodically builds to reveal the Afro-Latin 6/8 rhythm; with the rhythm sections’ continued support and interaction, Thomas delivers a standout solo statement. Pamies fluidity on the piano is excellent as he effortlessly performs multi-octave arpeggios and patterns that build in energy and density. Torres and Macbride take turns responding to the horn figure for a building cadence.
“Sleep Delirium” is a masterful exploration of mood and texture through exotic harmonies and scale color, with Pamies composition employing a delicate balance of harmonic sonorities and moving textures of a fine Latin groove. Norris’ trumpet solo and Thomas’ saxophone improvisation are highlights, each musician staying true to the track’s hues and mesmerizing character.
“Dudú” is a vibrant celebration of New York City’s rich history of merging jazz and Afro-Cuban rhythms. Opening with Torres and Macbride establishing the clave and Afro-Cuban rhythmic melody, the composition divulges its melodic secrets through the chord progression of “It’s You Or No One.” Pamies crafts a fresh, energetic melody brought to life by the ensemble’s tight performance. The infectious 3-2 Rhumba clave and montuno bass pattern are sure to get listeners on their feet during the solo sections. Pamies is a master of texture and creating a composition that is enjoyable to hear and perform.
In “Último Rezo (para Carmen),” Pamies offers a deeply personal tribute to his late grandmother. The track’s melancholic yet hopeful tone is beautifully conveyed through the sensitive performances by the ensemble and Pamies thoughtful orchestration of the three horns. Pamies’ piano improvisation further emphasizes the emotional depth of the piece, making it one of the album’s most poignant moments and showing that Pamies not only has chops but knows how and when to focus on emotions versus technique.
“Corazonada,” dedicated to the late bassist Jeff Eckels, showcases Rodriguez’s virtuosic talents on the double bass, featuring an intricate soli with the piano. The track’s harmonic progression, inspired by Joe Henderson’s “Inner Urge,” provides a rich canvas for the ensemble’s expressive playing. The interplay, particularly between the piano, drums, and percussion, highlights their collective musicianship and Pamies’ creative compositional ideas. The absence of horns in this piece allows the rhythm section to take center stage, adding a unique texture to the album’s flow and giving them a well-deserved moment to shine.
The only arrangement on the album is Kenny Wheeler’s “Miold Man,” reimagined with a Latin groove and infused with Pamies’ unique musical style. Daniel Pardo joins the ensemble on flute, adding a distinct color to the front line of horns. This reinterpretation is both energetic and gradually intensifying. Marshall Gilkes’ trombone solo is playful, incorporating quotes and melodic developments that showcase his creativity. Pamies’ inventive harmonic alterations highlight the ensemble’s versatility and reflect his deep respect for his mentors, particularly Stefan Karlsson, Pamies’ piano teacher at UNT.
The closing track, “Nana para Sergito,” is a tender lullaby dedicated to Pamies’ son. The engaging melody beautifully blends elements of flamenco and jazz, showcasing Pamies’ ability to merge these traditions seamlessly. Featuring the iconic Paquito D’Rivera on clarinet, the piece serves as a touching conclusion to the album, reflecting familial love and musical tradition. The gentle melodies and soothing harmonies create a warm, intimate atmosphere, making it a fitting end to this diverse and emotionally resonant collection. MacBride’s brushwork, coupled with the expressive solos from Pamies and D’Rivera, are wonderfully executed, adding to the track’s heartfelt charm.
Time to Say reveals Sergio Pamies’ mastery as a composer, ensemble leader, and performer. His ability to blend the flamenco traditions of his heritage with contemporary jazz elements results in a unique and compelling musical experience. The album is a tribute to his influences and a showcase of his innovative spirit, deep musicality, and mastery. For listeners seeking a rich, multifaceted journey through jazz, Afro-Cuban rhythms, and the romance of flamenco, Time to Say offers a rewarding and memorable experience.
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