Legendary bassist, guitarist, and composer Santi Debriano’s latest release, Flash of the Spirit is an emotionally charged burst of expression that I hope will set the example for the world to follow in 2021. The title, which is derived from Robert Farris Thompson’s book that Debriano read while doing his ethnomusicology studies at Wesleyan University. The intellectual mind of the Panamanian musician has turned this literary inspiration into a ten-track work of art that the listener can enjoy, but also ponder the many social implications that are presented in the music. He is joined by long time collaborators Tommy Campbell on drums, Bill O’ Connell on piano, longtime sideman of Roy Hargrove’s, Justin Robinson on alto saxophone, Andrea Brachfeld on flute, Francisco Mela on drums, Brazilian percussionist, Valtinho Anastacio who plays in Debriano’s revolutionary ensemble Circlechant, and Tim Porter on mandolin.
The album hits the ground running with “Awesome Blues,” which listeners can get a taste of as a single that is available now! This quirky blues in 7/4 time is kicked off by Debriano’s driving rhythmical bassline and is joined by the ensemble gradually. The call and response that takes place between the ensemble and Debriano are clean and precise. Amazing solos were taken by Robinson, Brachfeld, and O’ Connell add to the fire that is set by Debriano in the beginning and the virtuosic solos by the maestro himself and Tommy Campbell are nothing short of brilliant. It’s a single that is for sure to leave you wanting more! The good news is that listeners won’t have to wait long as the full album is available on January 22nd! But feel free to burn out your listening devices to this jam, as I did!
The groove continues with “Funky New Dorp”- a medium tempo bluesy shuffle that feels so good to listen to. One can truly tell Debriano is at home playing funk as much as he is with Latin music, unabashedly showcasing the diversity of his roots. Robinson takes a breathtaking solo full of color and virtuosity. “For Heaven’s Sake” is a heartfelt acapella performance by Debriano, which displays his sense of phrasing, control of the bass, and his ability to tell a story. O’ Connell’s beautiful playing sets the stage for the pianist’s composition, “Beneath the Surface” with Debriano joining playing arco bass in an intimate duo conversation.
One can almost imagine a being swimming beneath the surface of the water looking up into the light. It is a most impressive display of artistry from the two veteran musicians, whose years of musical experience culminate in this gem. The scenery changes with “Toujours Petits,” which has a folkloric feel to it. The tune pays tribute to Debriano’s three children and one can tell it is filled with love and joy and it can definitely bring tears to the listener. The band comes back together as they play a rendition of Ornette Coleman’s “Humpty Dumpty” which is an intriguing collective improvisation taken to new extremes. It is so intriguing to listen to, and the conversations that are had within the circle of musicians are very connected, unlike Humpty Dumpty himself! “Natural Causes” makes an energy-charged entrance with the melody, before slowing things down as Blachfeld takes the stage with a solo filled with sensitive melodic playing. Robinson follows telling a completely different story to compliment what Blachfeld did before. Again, Robinson’s playing is awe-inspiring and inspirational.
The tempo shifts again as O’ Connell takes a solo that is marked by rhythmically and harmonic inventiveness that builds and is finally released as the melody comes back in. Debriano’s “Ripty Boom” is a blues in 6/8 which showcases Blachfeld and Robinson as the primary soloists over Debriano’s hypnotic bassline. Debriano’s solo is full of spirit and soul and is perfectly in line with the theme of this album. “La Mesha,” co-written by Kenny Barron and Kenny Dorham, is a slow, magical ballad that can put one in a trance. The final selection of the album is Kenny Barron’s classic, “Voyage” and it is an appropriate way to end this spiritual journey that Debriano has undergone in this album. This Afro-Cuban rendition of Barron’s tune definitely puts a new spin on things. But to not forget where he comes from it transitions into swing during Robinson’s solo, much like Sonny Rollins’ “St. Thomas.” Campbell trades with the ensemble before taking a chorus by himself, and then the Afro-Cuban melodic interpretation returns. It is a great arrangement that concludes this magnificent album.
The pull between multiple cultural identities can be both a gift and a curse, and I am glad artists like Santi Debriano are discussing it through music. Debriano has definitely become a jack of all trades and master of them all! His cultural affluence has been equally catered to allowing him to be at home in many musical idioms, that while can be distinctive at times, has also melded into this wonderfully gifted voice that we are blessed to hear. I can only imagine that it has been a spiritual journey the maestro has undergone, and this is but just a flash of that spirit.
For more information, please visit the artist’s social media pages or click on this link
- www.santidebrianomusic.com
- www.facebook.com/
santidebrianojazz - https://trrstore.bandcamp.com/album/flash-of-the-spirit
Image, photography by Steven Sussman, courtesy of TRRC
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