Twenty-six participating musicians, layering sheet after dense sheet of percussive pulses and grooves, spawned Airto Moreira’s Life After That. Although the core of the recording is filled with the musical air of Brazil, there are traces from other geographical areas too. For example, there is a Puerto Rican plena bell pattern on “Hala, Tumba y Timbal.” That, however, is one minuscule pointer on the song amid manifold Brazilian, Cuban and free percussive styles, effects and soloing characterizing this energetic adaptation of Cuba’s conga. Giovanni Hidalgo’s quinto playing carries its usual Herculean driving punch on this tune, and the musician indicating the transitions with grunts sure sounds like him too.
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