18 JAZZTIMES SEPTEMBER 2019
1Ì
ver the course of his distinguished recording
career, Miguel Zenón has frequently drawn in-
spiration from the folk traditions of his native
Puerto Rico. On his new album, Sonero, out August 30
on the Miel Music label, he channels the late salsa pio-
neer Ismael Rivera—a little-known artist in the United
States but revered elsewhere.
“He’s always been one of my heroes,” says the 42-year-
old alto saxophonist, who grew up in San Juan. “He’s
kind of like this mythical figure in Puerto Rico and
other parts of Latin America.”
On a muggy afternoon in mid-June, Zenón discussed
some of the other musicians who have influenced him—
including Wayne Shorter, Brad Mehldau, and Danilo
Pérez— in his first Before & After at his apartment in the
Hudson Heights section of Manhattan.- Fabian Almazan Trio
“Benjamin” (This Land Abounds With Life, Biophilia). Almazan,
piano; Linda May Han Oh, bass; Henry Cole, drums. Recorded
in 2018.
BEFORE: It sounds really familiar—the playing, the way
it’s put together, the sound of it. A first guess would be
Fabian Almazan and his trio—because of the sound
of the trio, and because I can recognize the drummer.
We use the same drummer. And also because of the
tightness of the arrangement. Super-talented guy. I have
to admire what he’s doing, not only musically, but the
way he’s handling his label. He has this mission toward
dealing with the environment and all that stuff.
He has a very specific way of playing, too. That’s why
I said it’s familiar. I find a lot of younger pianists have a NOAHSHAYEMiguel Zenón
The esteemed saxophonist and composer takes his first B&A challenge
BY MATTHEW KASSELA LISTENING SESSION THAT PUTS ARTISTS' KNOWLEDGE TO THE TEST
BEFORE & AFTER