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“The Quiet Side,” once a small ensemble chart is now showcased in a Big Band version and shines with exciting writing and plush arrangements. “Guarabe” is another fine example of the gorgeous style with which Clare Fischer employs harmonies as well as how effectively the musician can rock the salsa beat.
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Fischer was mystically healed in the rhythms of Brazil and the rich elements of harmony in this classic chart pay homage to that part of the musician’s muse. As to “Rainforest,” the chart is reminiscent of the fact that Dr. Fischer’s older grooving ensemble, Clare Fischer and Salsa Picante. “Canonic Passacaglia, Blues & Vamp ‘Til Ready” is a true classic, which begins with an authentic quadruple Latin canon and continues through as a triple canon in which instruments-especially brass and woodwinds-are layered with majestic grandeur as the music tumbles through a myriad grooves from raw Latin to the softest of Bossa Nova. Clave pure as crystal is at the heart of the hip and funky chart that is called by the coined name, “Funquiado,” which spins on the heat of the trumpet and all of the other instruments that gambol and frolic at the hypnotic urging of congas, timbales and drums. This is evident from the opening bars of “San Francisco P.M.” a chart that is born of a piano montuno and grows to a great mambo with guitars, keyboards and roistering percussion. But the sound of his music is singular and majestic with a self-expression that knows no boundaries. Fischer learned from the best: Igor Stravinsky, Dmitri Shostakovich, Bela Bartok and Alban Berg Duke Ellington and Gil Evans Cal Tjader, Antonio Carlos Jobim and Moacir Santos. Trumpets and trombones leap magically from one elevated plane to the next with bronzed inflection bass and keyboards vamp excitedly when called upon to, egging the melodic instruments on while a myriad of percussion push the music ever forward into stratospheric realms all combining together to occupy the silence with exquisite sound.ĭr. Fischer’s music carves the air in wide arcs and sublime parabolas, fumbling, as if the musicians were frolicking in some mythical universe, worshiping at the feet of a pantheon of Muses. The first is this: “an ordered recurrent alternation of strong and weak elements in the flow of sound and silence in speech.” The second goes thus: “the aspect of music combining all the elements (as accent, meter and tempo) that relate to forward movement.” There is a reason why both meanings are important in relation to appreciating the glorious sound of ¡Ritmo! the album by The Clare Fischer Latin Jazz Big Band (Directed by Brent Fischer) and it is this: Here is a truly special compendium of charts that pays homage to the human flow of sound and silence while employing in a most ingenious manner all of the elements, such as accent, meter and tempo-which relate to the forward movement of music-as few other Big Bands can compare in style and substance. The Merriam-Webster Dictionary has two interesting explanations or meanings of the word, “rhythm”. Here is a truly special compendium of charts that pays homage to the human flow of sound and silence while employing in a most ingenious manner all of the elements, such as accent, meter and tempo-which relate to the forward movement of music-as few other Big Bands can compare in style and substance.