Venezuelan pianist and Latin Grammy nominee Gabriel Chakarji augments his trio for his studio recording debut New Beginning, redefining the relationship between jazz and Afro-South American/Caribbean music with eight original and innovative compositions. He features several fellow Venezuelan musicians who are equally connected to the Afro-Venezuelan lineage: vocalist Carmela Ramirez, percussionist Daniel Prim, and percussionist Jeickov Vital. Longtime collaborators of Chakarji in his trio, drummer Jongkuk Kim (JK) and bassist Edward Perez, are aboard as well two consummate horn players, trumpeter Adam O’Farrill and tenor saxophonist Morgan Guerin.
“Mina/San Millan” opens the album with the push and pull tension created by the syncopated figures of the trio ostinato against the steady beat provided by Prim and Vital. Guitarist and writer Juanma Trujillo notes in the liner notes, “you will hear the exacting precision of Kim and Perez over the dense polyrhythmic cycles created by the Culo e Puya, Cumacos and Pailas (typical drums in a variety of Afro-Venezuelan styles).” The unique instrumentation on this release; the pairing of piano trio with a drumline of Venezuelan percussion; offers a diverse array of textural and dynamic possibilities. It’s yet another example of the fine differences between folkloric traditions we’ve heard from artists in the Dominican Republic, Puerto Rico, Cuba, Argentina, Brazil, and others in the Southern Hemisphere, not to mention the various percussion flavors in Africa. This is all part of what makes these meldings of Afro/South American/Caribbean styles with jazz so fascinating. There is commonality but enough distinct variations between the countries too.
Chakarji’s story begins in Caracas, Venezuela, where his professional career began at age 16. Born into a musical family, Chakarji’s first professional gigs were in the church before he became deeply immersed in Afro-Venezuelan music. As a first-call musician, Chakarji was afforded the opportunity to play many different types of music such as Joropo and Merengue as well as Jazz and folkloric music with the likes of Aquiles Báez, C4 Trio, Gonzalo Teppa, and Linda Briceño. At the age of 21, Chakarji received a full scholarship to attend the New School for Jazz and Contemporary Music, thus beginning a new chapter in New York City.
Chakarji is part of a generation of musicians from the Venezuelan diaspora who have taken it upon themselves to understand South American folklore and how this artform fits within the large umbrella of jazz and improvised music in the United States. “All my influences of South-American, Caribbean and Black-American music have one source in common: Africa,” Gabriel notes, adding, “we’re trying to bring out all the shared elements, the places where many musical traditions live together, instead of focusing on the genres and stereotypes. We need more of this spirit in a society that suffers from racism, prejudice, and wars. We want to create a space where music can shift paradigms.”
As Trujillo notes in his informative liner notes, these compositions are designed to operate within the intersection of jazz and Afro-South American/Caribbean idioms rather than a crude juxtaposition of something jazzy over an Afro-Venezuelan beat or vice-versa. For example, listen to the intricate syncopated rhythmic approach to “No Me Convence” which ends with vocal chanting on the outro, reflecting the folkloric aspects followed by the pensive trio styled “Melodia de Agradecimiento” featuring terrific lyrical bass work by Perez. Yet, there are underlying structural elements that tie the two contrasting pieces together.
Horn players Guerin and O’Farrill bring moments of warmth, texture, and individualism to this release with their stunning performances. Guerin’s robust tone adds to Chakarji’s melody as both engage in spirited dialogue while Gurerin also displays aggressive soloing on the title track. O’Farrill displays inventiveness as well, especially shining on “Montuno Quince,” a standout piece, also marked by complex rhythms, challenging ensemble parts, and adventurous excursions from both horns.
Chakarji’s piano serves up these intricate, off-center cadences that the other musicians feed off and embellish. Even a casual listener without information could easily discern that Chakarji is clearly the leader of this brigade. It’s his vision, as he weaves trio pieces with those of the larger ensemble. Musicians who have roots in folkloric influences can often choose one of two paths, to continue the tradition or to expand upon it. New Beginning is a young, confident musician who has taken the latter path and can be counted on to take us on more adventures like this one. Chakarji leaves us several lasting impressions – his intricate rhythmic structures, his impeccable piano playing, and the unpredictability of the compositions. It’s quite a ride.
