Willy Rodriguez

Seeing Sounds

Self-released

Drummer-composer Willy Rodriguez makes his debut with Seeing Sounds, not a Latin jazz record that we might expect from the experienced Puerto Rico-born, New York based musician but one that ventures into the avant-garde. Joining Rodriguez in his trailblazing adventure are trumpeter Jason Palmer, saxophonist Hery Paz, pianist Leo Genovese, bassists John Hébert and Kenneth Jimenez, special guest artist, saxophonist Dave Liebman, on two tracks, and sound designer Tehn Vega on one. Palmer and Genovese are long-time collaborators and along with Pazz and the two bassists form the core unit. Nonetheless NEA Jazz Master Liebman is the primary impetus for Rodriguez moving to the world of free improvisation and although he appears on only two tracks, serves as a spiritual guiding light for the project as well.

The drummer having grown up as the son of timbalero in Puerto Rico, he first began on the timbales and was well versed in Afro-Caribbean before attending the summer program at the Berklee College of Music in San Juan, Puerto Rico, later attending the famed school in Boston where he was exposed to the likes of like Elvin Jones, Tony Williams, Roy Haynes, Jack DeJohnette, and Terri Lyne Carrington. Cutting his path in NYC where he resides, Rodriquez has worked with both modern jazz artists George Garzone, Melissa Aldana, John Ellis and naturally in Latin jazz. In 2019, he recorded with Chilean superstar Mon Laferte, and earned a Latin Grammy for his contributions to her highly regarded album Norma. In 2022, Rodriguez stepped into the legendary drum chair of progressive rock band The Mars Volta for their much-anticipated, eponymous reunion album. During this same period, he received multiple invitations to explore free jazz, spurred on principally by Liebman.

The strains of opening “Beyond the Struggle” will be familiar to most as it’s inspired by John Coltrane’s “Psalm” and Cuban saxophonist Paz does a commendable job immersing himself in Coltrane’s spiritual approach while Genovese, Jiminez and the leader provide a cushioning backdrop that eases out in sublime calm. “Roy’s Masterplan” inspired by intricate rhythm ideas from the great Roy Haynes, features feisty dialogue between Palmer and Paz, both in intense searching mode. Palmer’s “Where There’s A Will, There’s A Way,” veers into more straight-ahead and swinging territory with an animated turn from bassist Jimenez as well as expressive lines from the trumpeter and Genovese, both who soar gleefully propelled by the leader’s kinetic work on the traps.

.“Guani,” composed by Paz, is named after the long beaked hummingbird found in various parts of the Caribbean.  The ensemble paints a colorful portrait of the bird as Leibman on soprano trades improvised verses with Paz on tenor with Palmer stepping forward and the ensemble bringing it to a rousing rhythmic climax. Ornette Coleman’s “Fixed Goal’ is rife with tension as Paz takes a fierce, aggressive path navigating the angular patterns, quoting Monk at various signposts along the way as Jiminez lays down a rock-hard bass line. More rhythmic challenges color “Waltz Dilemma” which bounces between time signatures deftly handled by Jiminez and Rodriguez. Genovese comps behind Paz before launching a glistening solo. Then, any adherence to form or meter gives way to Paz’s wild, dissonant excursion before a peaceful closing resolution.

The Rodriguez original “The Infinity of Your Love” depicts the ensemble in a far more tender mood, with Liebman’s soprano and Palmer’s trumpet weaving lines around each other, in and out of harmony with yet another exclamatory ending, punctuated by Genovese.  The leader’s drumming shines brilliantly in his duet with the ever-animated Paz in

“The Red-tailed Hawk is Going to Eat Your Babies”, featuring field recordings by music producer Tehn Vega. “Un Pequeño Desahogo (A Little Relief)” serves as a brief two-minute interlude before crashing cymbals and thunderous toms and snares introduce the solo piece “Self-Love.” In a final bow, the ensemble nods to influential drummers Ralph Peterson Jr. and Bob Gullotti in Genovese’s rollicking piece “Praise,” unleashing again the muscular energy of Paz, blistering rapid runs from Palmer, and a locked-in, motoring rhythm section.

Rodriguez, though leaning toward the free improvised side, steers a ship that carries plenty of accessible, straight-ahead cargo too.  His debut brims with a wealth of contagious energy.

• Jim Hynes

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