Paquito d'Rivera Albums (30)
What The Critics Say
Despite the title of the CD, this set does not really feature "funk tango." However, it does showcase Paquito d'Rivera's talents in bebop, Afro-Cuban jazz, Brazilian jazz; on an Astor Piazzolla tango during the adventurous "Milonga 10"; exploring a post-bop groove on the title cut; and on his own classical-type Cuban melody (taken as a clarinet-piano duet with Alon Yavnai), "Contradanza." D'Rivera is in typically brilliant and enthusiastic form on both alto and clarinet, trumpeter Diego Urcola makes a very effective debut on valve trombone in addition to taking several heated trumpet solos, three different pianists all get their spots, and the diverse repertoire makes this a continually intriguing program that will keep one guessing. But when has the great Paquito d'Rivera ever recorded an unworthy set? This CD was nominated in 2007 for a Grammy award as Best Latin Jazz Album. ~ Scott Yanow, All Music Guide
'The Jazz Chamber Trio'
Release Date 7/26/2005
Tracks 12
Label Chesky
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What The Critics Say
This delightful project features altoist Paquito D'Rivera mostly playing clarinet in a trio with cellist Mark Summer and pianist Alon Yavnai. Although their set includes originals by all three musicians, the music overall is as strongly influenced by Cuban folk music and classical themes as by jazz. D'Rivera clearly enjoys mixing together the different idioms to create new and fresh music that is filled with the spirit and joy of his brand of jazz. The versatility of the three musicians is even more impressive than their inventive repertoire, making this a unique and highly recommended item in Paquito D'Rivera's extensive discography. ~ Scott Yanow, All Music Guide
'Music of Both Worlds'
Release Date 6/15/2004
Tracks 15
Label Elephant
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'Tribute to Cal Tjader'
Release Date 3/29/2004
Tracks 8
Label Yemaya (Spain)
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What The Critics Say
Paquito D'Rivera obviously loves big-band music, and it suits him very well, both as a soloist and a writer -- it gives him a chance to bring plenty of color and crisp rhythm to his Latin sound. That he has a very strong band with him certainly helps. Frank Chastenier on piano is a standout, especially on the slow "Song for Maura," which aches with tenderness, and where D'Rivera himself shines. It's definitely a pan-Latin disc, embracing not only D'Rivera's native Cuba but also some strong touches of Brazil on "Who's Smokin'?," in addition to nods back to history, with lots of strong bop and even some of the contrapuntal melodies of Bach popping their noses over the wall here and here, courtesy of some skillful and witty arrangements. D'Rivera is never subsumed by the band, but often solos above it, mellifluous and swinging, especially on "A Lo Tristano," but with the type of silky phrasing that's long been his hallmark. He knows his jazz history, and isn't afraid to be inspired by others -- such as Al DiMeola on "Danza Caracteristica." It's a testament to D'Rivera that this is so good -- and remains thoroughly enjoyable. ~ Chris Nickson, All Music Guide
What The Critics Say
Extraordinary saxophonist, clarinetist, and composer Paquito D'Rivera shows his love for vocal quartet music and Brazilian composers on Brazilian Dreams. As one of the most influential and dynamic musicians of his time, D'Rivera's distinctive command of Afro-Cuban jazz, Brazilian jazz, big band, folklore, and world music has attracted critical acclaim and loyal audiences. Joined by New York Voices and trumpeter Claudio Roditi, among others, D'Rivera's abundant talents and joyous enthusiasm make this "live" concert recording both memorable and inspiring. Ten songs, including such classics by Antonio Carlos Jobim as "Corcovado" and "Desafinado," are elegantly performed alongside two of Luiz Bonfá's Brazilian jazz masterpieces titled "Manha de Carnival" and "Gentle Rain." The ensemble presents these great songs as a medley on this program. D'Rivera's mastery of the clarinet is a sonic joy on "Meu Amigo." He provides spirited accompaniment to the New York Voices' four-part harmony with high-quality improvisation. Additional highlights include Claudio Roditi's composition "Red on Red," which has become a standard in the Brazilian jazz repertoire. Whether leading his own ensembles or playing with renowned jazz masters, Paquito D'Rivera continues to make a decidedly fresh imprint on Latin and Brazilian jazz. ~ Paula Edelstein, All Music Guide
'Este Camino Largo'
Release Date 1/1/2002
Tracks 10
Label Disconforme SL
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What The Critics Say
This anthology of saxophonist Paquito D'Rivera's work inside and outside of Irakere in 1978 offers a view of the reedman as he was developing his mature jazz style adapted not only from the folk and dance musics of his native Cuba, but also from postmodern jazz. Among the ten tracks are cuts with Irakere as well as duets with Chucho Valdés, large-band dates (with a big-band date from Finland), and combo dates featuring countryman Arturo Sandoval on trumpet. Highlights include his own "Chikere -- Son," his reading of Valdés' "Juana 1600," and a gorgeous interpretation of Villa-Lobos' "Prelude No. 3." ~ Thom Jurek, All Music Guide
What The Critics Say
While the title would have listeners believe that these sessions are of a piece, they are actually compiled tracks from the years 1976-1978, with four different bands and five different sessions -- including two in Havana. Some of the D'Rivera's associates on these dates include the Finland Jazz Combo, Chucho and Oscar Valdes, Arturo Sandoval, Emilio Morales, and Irakere. The program contains everything from American standards such as "I Want to Talk About You," given a squealing yet lyrical read -- and "Stella By Starlight," to fiery Cuban jazz, such as the stomping "La Patica," to Brazilian-styled numbers such as " "Bossa Del Pico Electrico." Whether the accompaniment is Irakere, or the more traditional players in Europe or Latin America, D'Rivera's horn is constantly burning and twisting, creating new harmonic lines in the front as he reinvents cadences rhythmically. This is a stellar collection, and one that every fan should at least hear. ~ Thom Jurek, All Music Guide
'The Clarinetist, Vol. 1'
Release Date 6/5/2001
Tracks 10
Label Peregrina Music
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What The Critics Say
Although Paquito D'Rivera is best known for his saxophone playing, he has played the clarinet as a second instrument. But on The Clarinetist, Vol. 1 he pleasantly surprises us by playing the clarinet exclusively. The CD is also surprising in that it isn't strictly a hardcore jazz effort; this time, the Cuban musician also draws on everything from classical to tango. On a more typical D'Rivera album you will hear hard swinging bop or post-bop with a strong Afro-Cuban influence -- in other words, Latin jazz. But Latin doesn't have to mean Afro-Cuban, and on Astor Piazzolla's three-part "Aconcagua/Concerto for Bandoneon" he acknowledges another Latin form: tango. Arguably the Charlie Parker of tango, Piazzolla was a major innovator whose music contained both jazz and classical influences. Piazzolla's instrument was the accordion-like bandoneon, but D'Rivera's arrangement of "Aconcagua" contains no bandoneon -- and a concerto for the bandoneon becomes a concerto for the clarinet. Also quite compelling are two D'Rivera originals ("Brussels in the Rain" and the Dizzy Gillespie-minded "Dizzyness") and a lush arrangement of Ray Tico's "Habana." D'Rivera brings a lot of sentiment to the alluring "Habana," which isn't surprising -- he was born and raised in the city that inspired Tico's melody. Those who have admired D'Rivera's clarinet playing should make a point of hearing this chance-taking CD. ~ Alex Henderson, All Music Guide
