SERGIO PAMIES

TIME TO SAY

Newtrad Records

Sergio Pamies, piano; Ricky Rodgriguez, bass; Jimmy Macbride, drums; Samuel Torres, percussion; Marshall Gilkes, trombone; Michael Thomas, alto & soprano saxophones; Alex Norris, trumpet /flugelhorn. GUEST ARTISTS:  Dave Liebman, soprano saxophone; Paquito D’Rivera, clarinet.

The title tune of this album encompasses Straight-ahead, Latin jazz, and high energy, percussive resonance with a soprano saxophone solo by Michael Thomas that is stellar.  When Sergio Pamies steps into the spotlight to open this tune, he offers a smooth piano introduction. Suddenly, his left hand sets the rhythm alive, like hot sauce on your food. The tune becomes quite spicy. As his solo progresses, so does the energy.  Samuel Torres accentuates on percussion, while MacBride’s trap drums help whip the rhythm into place.  This is one of six original compositions that Pamies has penned for this project.  It grows and blossoms before our eyes, like a rare South American flower. This album is Sergio’s tribute to the late, great Chick Corea.  The composition captures the wide spectrum of styles that Chick’s music embraced.  You will enjoy the Latin grooves mixed with advanced harmonies. The great Dave Liebman makes a guest appearance on this tune, playing soprano saxophone in a way that lifts the spirits.

Sergio Pamies was born in Granada, Spain in 1983 and has released four albums. He is praised for being able to merge jazz language with the Flamenco music of his culture. Pamies is currently Assistant Professor at the College Conservatory of Music at the University of Cincinnati, Ohio. He has worked at numerous universities and colleges worldwide, carrying the message of jazz, arranging, composition, and improvisation close to his chest like a stack of books.  He has taught and lectured from Spain to China, from Oklahoma to Tennessee, and from Texas to Ohio.

His composition, “Puerta de Oro” quickly becomes another favorite song of mine from his album, “Time to Say.”  It’s a tune roasted in the blues, that gives his flying fingers room to soar across the eighty-eight keys, where he shows off his technical skills and improvisational abilities.  Pamies’ fingers dance on top of an Afro-Cuban 6/8 groove. This group is powerful!  The drums are given free rein towards the end of the tune and gallop their energy across my listening room. Another tune called “Corazonada” races into my space. It showcases both the percussionist and Ricky Rodriguez on bass.  Special guest, Paquito D’Rivera is featured on the closing tune, “Nana Para Sergito” bringing his warm clarinet tones to the arrangement, first doubling the piano melody and after Sergio’s stellar piano solo, venturing out with his own solo brilliance.

Tunes like “Sleep Delirium” are more ethereal, experimental, and lean heavily towards modern jazz. Clearly Sergio Pamies is telling us not to put him in a box.  He can play it all.  On “Ultimo Rezo” (a Spanish title that translates to “The Last Prayer”) he shows off his softer side.  Here is a lovely ballad with bolero-sounding drums propelling the melody forward.  Sergio Pamies has such a soulful way of interjecting the blues into his piano playing.  His music touches my heart.

Reviewed by Dee Dee McNeil

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