By: Marcos Rios
John Benitez’s second solo record, Purpose, manages to create a perfect synthesis of Benitez’s Latin jazz roots and modern jazz. Benitez brings to light honest music, which captures the listeners ears in a genuine calm while still containing the fiery essence of most Latin jazz albums. The compositions are all composed by Benitez, except “The Return” and “Pureza,” which are composed by Manuel Valera, and “YL” by Francis Benitez, all of which are arranged by Benitez. His ensemble features Will Vinson on alto sax, Manuel Valera on piano/keyboards, Tom Guarna on guitar, Steve Benitez on Drums, Pedrito Martinez and Tito Cruz on percussion, and the masterful John Benitez on bass.
Purpose opens up with a tune called “Turkish,” which begins with picturesque counterpoint, with Vinson and Guarna responding to Benitez and Valera’s lower melodic lines. Although the arrangement seems pretty complex, it still holds a pinch of Latin jazz. Vinson takes the fist solo, cutting through the ensemble while lacing motives together, creating a short but memorable solo. Manuel Valera’s superimposition of other harmonies can be heard throughout his solo on “Turkish,” creating a polytonal effect. This composition by Benitez is a gem that contains a new type of forward-looking Latin jazz.
John Benitez
Another tune I enjoy from this record is “The Return,” which begins with solo piano block chords that jump into a melodic interplay between the low and medium range melodic sections. The melodic contour comes to a rest with the use of ascending melodic ideas. The use of the synthesizer is slightly suggestive of Chick Corea’s early fusion period, and Benitez’s solo on “The Return” is highly motivic and full of energy.
“Pureza,” which translates to “purity” in English, begins with soft collective improvisation its purest authentic form between all the instruments in that leads into an arpeggiated section by Guarna, giving way to the head, which Vinson performs magnificently. Benitez’s unaccompanied solo is filled with a melodic simplicity that only true masters play with. “Pureza” is a feature of mostly all the members of the group, and even the ones playing the least still hold a great part in the performance. Their presence is felt as if the music is breathing slowly and steadily through the piece.
“YL” reminds me of Hermeto Pascoal’s music, primarily in how the melody moves throughout the piece, as well as the driving feel of the rhythm section. Another thing that hints at Pascoal’s music is the use of non-functional harmony as well as the synchronization of all the instruments during the melody. Throughout, Vinson’s sax playing evokes Miguel Zenon’s tone, and Tom Guarna enlightens us with a burning fusion solo, in which he trades with the trumpet player.
Benitez’s record is a definite buy for every jazz fan who wants to listen to new music from a master in his prime.
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