Abel Mireles

Animo

Sunnyside

This is the debut as a leader for saxophonist and composer Abel Mireles, born and raised on the Southern border in the infamous Juarez -Tijuana region. For once, his story brings some ‘brightness” to this locale that we otherwise rather automatically label with crime, drugs, gangs, cartels, and the like. Mireles is a survivor although his father, to whom the album is dedicated, was unfortunately not. Yet, while alive, he gave the younger Mireles access to music programs in an area where they were not available in the schools. Mireles eventually furthered his schooling at UT El Paso and William Paterson University in New Jersey, just miles from NYC.

Yet, as you listen it’s only the name and a couple of titles such as the tongue twisting “Xochipitzahuatl” and “Perspectiva” that offer the Latin clues.  To be clearer, he is a straight-ahead player, firmly ensconced in the post-bop mode with modal compositions that lie closer to those of Coltrane than any Latin composer. It only makes sense then, that McCoy Tyner disciple, pianist Benito Gonzalez is a key member of this quartet. He’s joined by bassist Myles Sloniker and drummer E.J. Strickland. Mireles’ wife, Candice Reyes, adds vocals on the two covers, Sam Rivers’ “Beatrice” and the standard “Softly As in a Morning Sunrise,” the latter a Coltrane staple as well.  It’s a sumptuous offering, running 71 minutes.

Mireles comes off self-assured, polished, and as an insistently aggressive blower. We hear it immediately in the first series of quarter notes in the opener, “Heart Pain” as the stomping notes later blossom into more lyrical lines to Gonzalez’ steady comping. As Mireles stretches out, he engages in a mix of bop and blues, blowing a series of choruses. “What to Do” begins with a semblance of a Latin groove but then takes on a hard swinging quality. Mireles switches to soprano on “Xochipitzahuatl” (which means a spray of flowers), a traditional Aztec tune that alternates between three quarter and four-four meters, with Gonzalez channeling his inner McCoy and Mulgrew Miller.

“Perspectiva” has Mireles returning to tenor for this mid-tempo, syncopated ballad that features an expressive pizzicato run from Sloniker and a shorter turn from Gonzalez. The title track, which means “cheer up” is an elegiac ballad for Mireles late father, played fervently by Mireles on tenor while the quartet plays delicately in support (some of the few delicate moments here).  “Listen” launches off like a rocket, as the band is essentially in a Coltrane-like Giant Steps mode, with all four members at full throttle, pushing the envelope. “Good Angry” takes the tempo down a notch but features more aggressive blowing from the leader while “Forgive” starts on a more pensive note, building to rapid runs from Gonzalez and what by now, are the almost familiar clusters of notes by Mireles, who eventually decelerates, going out calmly in the spirit of the title.

Candice Reyes takes on two oft-covered tunes, sounding like a second horn paired with Mireles on “Beatrice” before her lovely alto takes the forefront, followed by an expressive solo from the leader. The group’s take on “Softly As In a Morning Sunrise” is on the upper end of lively renditions of this well-worn standard.  Nonetheless, Reyes displays nuances in her approach, best enjoyed just shy of two minutes in with only Sloniker in accompaniment.

Although it would be difficult to anoint Mireles as a stellar composer based on these relatively predictable modal and post-bop compositions, they serve him well as player. Realizing that his writing will eventually likely grow to be more inventive, his forceful energy here is remarkable and bodes well for future recordings.

Jim Hynes

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