Native Son

About the album from the label's point of view: "Well known throughout Europe for decades, the virtuoso Serbian pianist Vasil Hadžimanov only became known to drummer Michael Waldrop while performing in a Belgrade club that Waldrop dropped into during one of his yearly visits with in-laws. Later, stuck in his Pacific Northwest home during the pandemic, Waldrop thought to include Vasil in a remote recording session of his tune "Belgrade," which he had composed in 2001, reflecting the feelings of his first exposure to the city. Thrilled with the outcome, they eventually met in a Belgrade studio in 2024, joining with the equally inspired Macedonian bassist Martin Gjakonovski, to record this set of Waldrop originals as a trio. Waldrop then enlisted Brad Dutz and Jose Rossy to enhance the proceedings with an array of Afro-Cuban and Middle Eastern percussion instruments. Running the gamut from the churning percussion-fueled title track to tender ballads, and spirited tributes to masters Nana Vasconcelos and Elvin Jones, Native Son is another vibrant offering from Waldrop's growing catalog of ambitious releases."

African or South American rhythms - that's the question that arises from the first bars of "Native Son". From the harmonic structures and the ductus, one thinks that there is definitely a proximity to "Canteloupe Island". In any case, there is no reference to the polyrhythms of the Balkans, where two of the musicians of the ensemble around drummer Michael Waldrop come from. Instead, the musicians take us to the Caribbean, thanks also to the Afro-Cuban percussion we experience. "Vasconcelos" refers to the Brazilian percussionist and berimbau player Nana Vasconcelos in the title. Percussion frenzy meets keyboard playfulness. No, samba, rumba or bossa in a pure, classical style is not to be seen, nor is there any choro, which one might well expect with reference to a Brazilian musician. However, a delicate touch of "Latin Fever" pervades the piece, which is essentially determined by the colorations set by the Serbian-born pianist. Sometimes you ask yourself: Paso Doble or what? Martin Gjakonovski, who lives in Cologne, acts impressively on the strings of his woofer, as it were as an antipode to the pianist's playing, which also serves the bass sounds, but also lets the treble notes resonate. Occasionally you also get the impression that the bass player is imitating the sound of the berimbau, right?

The album also sings about "El Vino". This composition seems to be focused on the classical sound forms of a jazz trio. The listening impression allows the conclusion that Oskar Peterson and Erroll Garner are present in spirit. "Belgrade (Београд)" is a homage to the Serbian capital and bundles the first impressions of this city, which Waldrop has musically translated. Short percussion rolls unite with the flow of keys initiated by Vasil Hadžimanov. The play does not breathe the hustle and bustle of the big city and bustle. Everything seems to be proceeding at a leisurely pace. After "Still Life" follows the final piece "The Wrong Blues" in a moderate tempo and in the core wrapped in splashes of color by the pianist.

Translated from German