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SAPONEGRE (No<br />
Number).<br />
THE LITTLE DOOR* /<br />
CAROUSEL OF LIGHT+ /<br />
SOONER OR LATER+ / THE<br />
CORNER OF THOUGHT*+<br />
/ CAPICUA** / JUNIO Y<br />
GARUA** / FACES II** + /<br />
THE TONDERO CAME TO<br />
LIMA (TRIESTE)** / THE<br />
TONDERO CAME TO LIMA<br />
(FUGA DE TONDERO)**<br />
/ MOON RIVER++ / THE<br />
FLYING PRINCESS** / THE<br />
FIRST ENDING++ / CITY OF<br />
KINGS++. 63:38.<br />
Alegria, tpt, flgh; Laura<br />
Andrea Leguia, sax, vcl; Yuri<br />
Juarez, g; Freddy “Huerito”<br />
Lobaton, cajon, cajita,<br />
quijada; Hugo Alcazar, d*,<br />
cajon**; Shirazette Tinnin,<br />
d+, cajon++; John Benitez, b.<br />
8/12, New York, NY.<br />
2) THE IAN CAREY<br />
QUINTET + 1,<br />
ROADS & CODES,<br />
KABOCHA B025.<br />
RAIN TUNE / 6 AV LOCAL<br />
/ DEAD MAN (THEME)<br />
/ NEMURI KYOSHIRO /<br />
WHEELS / COUNT UP /<br />
ANDANTE / THE THREAD /<br />
WEST LONDON. 63:52.<br />
New Issues<br />
131 | CadenCe Magazine | april May June 2013<br />
“Junio Y Garua” is a pretty dance melody that features<br />
Laura Andrea Leguia’s soprano sax duetting with Yuri<br />
Juarez’s guitar.<br />
Juarez largely plays acoustic fills and rhythms but<br />
switches to roaring electric fuzz mode on the jazzrock<br />
piece “Faces II”, keeping a menacing buzz going<br />
between staccato beats and driving horn solos.<br />
A version of “Moon River” features Leguia on romantic<br />
tenor sax and “The Flying Princess” is a polite waltz with<br />
sweetly measured horn solos and delicate acoustic<br />
guitar from Juarez. The speedy “First Ending” and hardcharging<br />
“City Of Kings” give the entire band room to<br />
soar with Alegria and Leguia digging in deeply as the<br />
rhythms drive. This set is busier on the bottom than<br />
most Latin Jazz but is still impressive work.<br />
The first notable thing about Ian Carey's CD is the cover<br />
art. Carey is a graphic artist as well as a musician and<br />
he's made his cover into a comic strip about his music<br />
and the problem of getting people to pay attention to<br />
it. The last panel features some discouraging dialogue<br />
between a couple: “What's a CD?” “Beats me - What's<br />
Jazz?” “You mean the basketball team?”<br />
The group has more than enough people for a<br />
basketball team and they play with a cohesion some<br />
teams would envy. Carey's compositions are not<br />
radically new but they still prove to be more than<br />
perfunctory sets of blues and bop changes. “6 AV Local”<br />
is an undulating melody that changes focus several<br />
times, surging at a leisurely tempo for Carey's and Karey<br />
Knudsen's solos, then switching to a darker, staccato<br />
mood for Evan Francis' sour tenor solo and changing<br />
to a 4/4 hard bop feel for Adam Shulman's piano turn.<br />
“Nemuri Kyoshiro” is a more unified, high-flying melody<br />
with Carey fiery on flugelhorn, Francis sounding jovial<br />
and Knudsen intense. “Rain Tune” and “Wheels” use an<br />
interesting combination of alto sax, flute and brass for<br />
a warmer, more spacious sound with the pretty waltz<br />
melody of “Wheels” really standing out.<br />
The pieces Carey didn't write come from outside the<br />
jazz norm. “Dead Man” is Neil Young's theme for a Jim<br />
Jarmusch-Johnny Depp western, a somber, swaying<br />
vamp explored by trumpet, flute, alto and piano with
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