The Luis D'Elias Ensemble

This disc, Orígenes y Destinos , features Luis D’Elias on guitars, cuatro and the unusual Pentola. His extraordinary playing of every all instruments features well-regulated action and varied timbres and will likely attract string instrument mavens. More importantly D’Elias has an exceptional way with his music crafted with extraordinary Venezuelan passion and folkloric splendour. He imbues the little joropos Vientos Del Sur the lilting rhythm which mimics the bob and weave of the sea and the surf of the waves too – all of this with disarming simplicity that can only be borne out of sophistication. You will notice, for example, the subtle yet palpable tension and release in the inflections and accents of the piece and the flexible advantages of playing in the instrumental arrangements that are so full of passion and colour.

Luis D'Elias Ensemble Origines y Destinos 2His outstanding rendition of Merengue Pa’l Camino boasts many impressive moments, from the suavely dispatched triplet sequences in the mid-section to the spacious, slightly disembodied sonorities that he conjures up towards the end of the merengue. That’s not to say that the rest of the album means nothing to me. On the contrary, these two songs prepare one for what happens throughout the album. Perhaps they are misplaced and should have come one after the other. Nevertheless, Luis D’Elias has obviously invested a good deal of thought and practice time into the wonderful music of the disc. Yet he pounces on the sudden and loud declamations of Vientos Del Sur and dives into the wild scales of the merengue, truly evoking the music’s improvisatory genesis.

In contrast with other Venezuelan musicians of his generation, Luis D’Elias in not only engagingly taut, he does not dive headlong into any music; rather he zeros in his attention on individual variations of tone colour and texture, revealing his fondness for expressive asides in the form of rubato, tenutos and rounding off phrases at the end of major sections in his songs. He especially gilds the joropos’ melodic lilies while the soft-grained voices of his vocalists highlight the music’s urgency with unexpected reharmonisation of the theme, which – as a strings player of considerable talent – he brilliantly underlines by slightly accelerating the basic tempo of the folk forms, mixing them with jazzy improvisations. But these folk melodies feature alluring tremulous effects and a cheeky multiple-note cadenza (in the joropo) right after the final resolution, while the merengue’s playful, almost jazzy lightness contrasts with his ensemble’s surging drive.

Thicker passages sometimes gain definition elsewhere in the disc – particularly in the two-part Tiembla Tierra. However there is greater definition through this viscosity along with ambient resonance. And the sound is fine throughout the disc.

Track List: Vientos del Sur; Noches de Lluvia; Onda; Dance, You’re On TV! Descendent; Merengue Pa’l Camino; Curiara Al Mar; Orígenes y Destinos; Tiembla Tierra I; Tiembla Tierra II.

Personnel: Lizje Sarria: vocals (3); Marianella Roja: vocals (8); Josh Plotner: flute, alto flute, alto, tenor and baritone saxophones, EWI (3, 9, 10); Milena Jancuric: flute (1); Aaron Gratzmiller: soprano saxophone (2, 4, 6, 7); Stefano Melillo: violin (1, 2, 3, 6, 8, 9, 10); Sergio Maestre: maracas and pandeiro (1, 3, 6, 7, 8, 9, 10); Luis D’Elias: guitars, cuatro, Pentola; Evan Waaramaa: piano and keyboard; P.J. Duffy: electric and acoustic bass; Brendan Pajak: drums. - Raul Da Gama - Latin Jazz Network

A couple of weeks ago, I was contacted by young NYC-based guitar player and composer Luis D’Elias. He had read and enjoyed my interview with Sofia Rei and resonated with The Music and Myth’s approach to music as storytelling. He asked if he could send me his ensemble’s debut record, Origenes y Destinos for review. I’m always excited to hear new music, especially from young or debuting composers, so I was looking forward to playing the record. I didn’t make any promises for a review, however, since I only write about the records I truly find engaging. I thought I’d play it while cleaning up my office.

About thirty seconds in, I was back at my computer writing to Luis, telling him to expect an article soon. That is how captivating this band’s music is from the very first notes. The Ensemble consists of composer/guitarist Luis D’Elias, pianist and composer Evan Waaramaa (credited with writing two of the record’s ten tracks), Josh Plotner on sax (and other instruments), P.J Duffy on bass (electric and acoustic) and Brendan Pajak on drums. Various collaborators, including vocalists Lizje Sarria and Marianella Rojas, contribute their talent to create an album of fascinatingly dynamic diversity. The compositions sound forceful and fresh, but are also amazingly polished for a debut work.

“Vietos del Dur” starts with a soft guitar, the feel of which took me back to Brill Frisell’s first chords on John Zorn’s The Mysteries. Then, about thirty seconds in, something extraordinary happens: the listener is met by the melody of a spellbinding violin, courtesy of guest collaborator Stefano Melillo, and invited into a lush soundscape of profound musicality, where various instruments are ebbing and flowing through a variety of sounds of Venezuelan influence as they take turns surpassing each other in playfulness.

Everything comes together perfectly in this opening track which immediately establishes the band as a highly skilled and imaginative group of musician and Berklee schooled composer D’Elias as a careful storyteller, whose understanding of musical rhetoric belies his young age. It’s a truly superb and well-chosen opening track that sets the bar very high for the rest of the record. Unfortunately, it’s just a bit too high for the following song “Noches de Lluvia” which, in spite of some very entertaining solos, feels rather generic and falls short of maintaining the incredible magnetism established by the first track.

At this point I have to express the one small criticism I can bring the record throughout. In a move indicative of their youth, the clearly gifted players sometimes focus just a bit too much on showcasing their virtuosity and do so at the expense of the overall musical cadence and narrative cohesion (think Al Di Meola’s first few records). However, this minor setback does not affect the overall enjoyment of the record and is entirely expected from a band at this early stage in its musical journey. In fact, this reminds me of a particular review I received for my debut novel, Mindguard, where a reader stated: “Much of the writing displays that wordy, needlessly complex over-eagerness common to debut writers”. This is a homologous situation.

The flow is quickly reestablished with the enchanting “Onda” (The Wave), a splendid track benefitting from expert vocals courtesy of Lizje Sarria. The Colombian musician brings a touch of jazz and helps shape a highly addictive track which could comfortably linger in the Top 40s in various countries and genres, and likely will. The dynamic of the track is exceptional, with Sarria’s spot-on vocals transitioning from pensive and surreal to sexy and effervescent with great ease. In fact, I am very impressed with this singer’s delivery, so expect to see more of her in The Music and Myth in the future. The band does a great job of shadowing the mesmerizing vocals. Nowhere is their chemistry more evident than on this track. If I were them, “Onda” is the song I would use to promote the record.

Next off is “Dance, you’re on TV” a fun composition by pianist Evan Waaramaa, notable especially for its high-energy playing and a groovy saxophone solo courtesy of Aaron Gratzmiller. “Descendant”, another Waaramaa composition, softens the tempo with its laid-back surfer groove, a well-timed change of pace that demonstrates skilled track placement (a quality that is lamentably rare even in the work of seasoned musicians).

In fact, D’Elias stated in the press release: “The main aesthetic that the album tries to capture is that of a story about music itself. It’s about my own musical origins and where those can go as they interweave with everything I learn and everyone I meet.” This anecdotal approach is evident both in the compositions themselves as well as their placement in the body of work, as the record unveils its deepest layers in extended start-to-finish listening sessions.

“Merengue Pa’l Camino” and “Curiara al Mar” at times fall into the same trap as “Noches de Lluvia”, but are both “saved” by extremely careful timing. In case of the former, Melillo’s violin enriches the track in a way that just cannot be overstated while the latter benefits from smooth-sounding bass and drum solos that invite the listener to hit “repeat”.

Next off is the title track, in my opinion the highlight of the record. It starts off with D’Elias’ guitar accompanying the delicate, youthful voice of Marianella Rojas, who sings (originally in Spanish):

The road, without your steps, is no road

The days don’t begin if your eyes are closed

The future doesn’t lie in the past

But you can’t get there if you don’t see how much you’ve walked

Every road has to begin with just one step

Victory is most appreciated when you know you’ve fought

And hope is never lost

If you believe in yourself

Wherever you’ll go

You’ll soon find out*

*translation provided by the composer

This gorgeous introduction, that lasts about two minutes, is absolutely fantastic. I played it about five times before I even moved on to the rest of the track. I couldn’t help but think how good it would have sounded as the theme for season two of True Detective, instead of Cohen’s humdrum spoken-word snoozer. After the powerful intro, the song blossoms into a joyful folk dance, then takes the listener through a series of thoroughly enjoyable, sometimes overlapping solos before coming full circle with a vocal epilogue. A splendidly crafted track and a nice sample of Nella Rojas’ talent.

Intensity increases with “Tiembla Tierra I” and Pajak’s ominous drums that dictate a more aggressive pace and foretell the powerful ending with Venezuelan protesters screaming their disgruntlement as the track breaks down into pure rock. “Tiembla Tierra II” picks up where its predecessor left off. It’s a powerful and unexpected ending, with chants of “The earthy is trembling!” whose intensity and sequential relevance remind me of the ending to 2004’s Macadam by Romanian funk band Blazzaj, a similar record in scope, if not in sound.

With an extremely fortunate combination of talent, intelligence and exceptional musical education, The Luis D’Elias Ensemble have created a true work of culture. In Origenes y Destinos, the band has a debut record that receives a standing ovation from The Muisc and Myth! - Andrei Cherascu - The Music and Myth

Name: Luis D’Elias Ensemble

Nominated for: Best International

Members (if applicable): Luis D’Elias (guitar and compositions), Evan Waaramaa (piano and compositions), P.J. Duffy (bass), Brendan Pajak (drums)

Location: New York City

Website: www.luisdeliasensemble.com

What was the first thing that came to mind when you learned you were nominated? After a shortage of breath, basically the first thing that came to mind was “It IS possible to do this thing we are doing!” And then “How awesome it is that Venezuelan Joropo is going to Canada in a couple of weeks!”

What will you do if you win? Definitely return to Canada and perform this music. Will do that either way though, since I love Canada.

Why should you win? This music (Venezuelan music) is something that I believe is truly unique and is worth sharing. One of our bandmates said that since Cuba and Brazil already had its day, it is the time for Venezuelan and other South American rhythms to take center stage.

If you weren’t nominated, who would you be rooting for? After getting this far, they all deserve to win. It’s such a challenge to kickstart an independent music project, so I’m really rooting for all to succeed.

Other comments? We are very grateful and happy for the labor that the people behind the TIMAs do. It’s tough world for music in general out there, and building these communities is definitely crucial in providing a platform for all the amazing art that so many people are investing their hearts in. It’s an honor to be part of this community for sure. - RazMataz Magazine

Luis D’Elías contesta apresurado el teléfono en Nueva York, donde vive desde hace tres meses. Dejó el país en 2011 con un título de ingeniero eléctrico de la USB para estudiar en la Universidad de Berklee, en Boston. Y aunque la Gran Manzana le resulta abrumadora, es allí donde mañana presentará su primer disco, Orígenes y destinos, junto con la banda The Luis D’Elías Ensemble. El álbum contiene 10 canciones, todas compuestas por él entre los años 2011 y 2014.

“Todo comenzó cuando empecé a estudiar en el Taller de Jazz Caracas. En ese momento me puse a componer y mezclé merengue caraqueño con lo que aprendía en ese momento”, cuenta el músico sobre el disco, que mañana saldrá a la venta en iTunes, Amazon y CDBaby.

Hacer música venezolana es la manera que D’Elías ha encontrado de mantener su nexo con el país. “Así siento que no me he ido, lo hago no solo para que el mundo la escuche sino para que músicos de otras nacionalidades se entusiasmen y también la toquen. Es una vocación por Venezuela”, afirma.

Mientras estuvo en Boston, el artista buscó a otras personas interesadas en los ritmos nacionales. Se encontró con los estadounidenses Evan Waaramaa, Brendan Pajak y P. J. Duffy. “Les encanta el joropo, lo estudiaron con Leo Blanco en Berklee. También tocaron con el percusionista Frank Vielma”, cuenta.

Al proyecto luego se unieron los venezolanos Stefano Melillo y Marianella Rojas, así como Josh Plotner y Aaron Gratzmiller, de Estados Unidos. En Orígenes y destinos colaboran también el caraqueño Sergio Maestre, la colombiana Lizje Sarria y la serbia Milena Jancuric.

Entre junio y julio, The Luis D’Elías Ensemble se presentará en Nueva York y Boston. Preparan una gira que los llevará a las ciudades natales de los otros integrantes, también Washington y Miami. Sin embargo, la meta de D’Elías es tocar en Venezuela.

“Quiero ir este año para presentar el proyecto en su casa. Espero poder compartir con gente de todas las nacionalidades y también mostrar a los venezolanos cómo extranjeros tocan nuestra música”, concluye. - El Nacional