Arturo O’Farrill and his Afo Latin Jazz Orchestra is back with their Zoho release Mundoagua – Celebrating Carla Bley. Consisting of ten composition and arrangements confront our world’s most pressing issues while paying heartfelt homage to one of its most influential figures. Commissioned by The Columbia School of the Arts, this ambitious work was originally set to premiere in a pre-pandemic era but has since taken on a deeper resonance, reflecting the ongoing challenges of global warming, socio-political instability, and environmental degradation.
The album is divided into three thematic suites that traverse the spectrum of human experience. The opening suite, centered around the titular MUNDOAGUA, unfolds in three distinct movements:
MUNDOAGUA I “Glacial” is the opening statement that begins our journey with the Afro Latin Jazz Orchestra. With four meditations on the gift of water. profound meditation on water. Opening with five formal, prayer-like trumpet statements inspired by the cadence of Islamic daily prayers, the movement evolves into an improvisatory dialogue among the trumpet players. The music mimics water’s transformative journey—from the delicate drip of a drop to the expansive force of a sea—inviting listeners to reflect on water as an element and a metaphor for the delicate balance of our planet.
MUNDOAGUA II “Mundoagua” shifts dramatically into a contemporary soundscape where the urgency of rhythm and motivic fragmentation take center stage. The abrupt, news-show–esque fanfare evokes the relentless 24-hour news cycle, critiquing the profit-driven narratives that often obscure the reality of climate catastrophe. Here, swirling melodic fragments capture the violent energy of natural disasters—a musical tempest that conveys the chaos of environmental upheaval and societal fragmentation. Soloists are Larry Bustamante and Carlos Maldonado, lending their improvisations to the narrative, emphasizing connectivity of passion and structure.
MUNDOAGUA III “The Politics of Water” is the third movement that features layers of musical dialogues that mirror the murky complexities of political rhetoric. Groupings of duets and trios suggest the duplicity of buzzwords and half-truths, even as a stirring quotation from the Star Strangled Banner can be heard with in the orchestration. A resonant trombone note ushers in a heartbeat motif acting like a sonic reminder that beneath all political machinations, the pulse of life endures and our choices remain our own.
The album then transitions into the tribute suite BLUE PALESTINE, a four-part meditation on the legacy of Carla Bley. Her influence—a beacon for those who cherish curiosity, integrity, and accuracy—is interwoven into every note:
BLUE PALESTINE “Part One” opens with a hypnotic 7/8 bass pattern and understated piano lines that evoke Bley’s signature minimalism. The elegant, contrapuntal melody is enriched by soulful solos from Rafi Malkiel on trombone and Jasper Dütz on bass clarinet, creating a soundscape that is musical and deeply expressive.
BLUE PALESTINE “Part Two” shifting gears to introduces a brisk movement in 7/8, punctuated by Ricardo Rodriguez’s bass work and Roman Filiu’s soprano sax—a creative fusion of Middle Eastern and South Asian influences with a distinct Puerto Rican flavor. The music here is a celebration of cultural cross-pollination, reflecting Bley’s experimental spirit.
BLUE PALESTINE “Part Three” In a lyrical exploration of texture and tone, Mexican vibraphonist Patricia Brennan sets a meditative mood that is later embraced by Karen Mantler’s heart-wrenching harmonica solo and organ accompaniment. This segment encapsulates the essence of Carla’s creative philosophy, where playful risk-taking meets emotional depth, ultimately leading to an orchestral convergence that is both uplifting and introspective.
BLUE PALESTINE “Part Four” concludes the suite with a concise yet powerful trumpet solo by Adam O’Farrill, a musical statement that encapsulates the collective hope and homage to a mentor whose legacy continues to inspire and transform.
The final suite, DÍA DE LOS MUERTOS, brings a cultural and historical narrative to the forefront, inspired by the rich traditions of the Aztec and Mexican Day of the Dead festivities:
DÍA DE LOS MUERTOS I “Flowery Death” paints a picture of ancient ritual sacrifice through intricate layers of percussion, wind, and brass. The intriguing composition features wonderful solos by Vince Cherico, Rafi Malkiel, Ivan Renta, Seneca Black, and Sergio Ramirez. The Afro Latin Jazz Orchestra creates a dynamic narrative that honors the gravity of historical ritualism while inviting listeners to enjoy the rhythms that have the pulse of renewal.
DÍA DE LOS MUERTOS II “La Bruja” features a hauntingly beautiful trumpet statement by Rachel Therrien. This movement has an air of mysticism that resonates with the deep cultural roots of its inspiration. DÍA DE LOS MUERTOS III “Mambo Cadaverous” follows with its strikingly playful conclusion, the music adopts a cartoonish quality reminiscent of classic skeletal imagery from Mexican folklore. Abdulrahman Amer’s trombone solo punctuates the narrative, blending irreverence with an underlying respect for life’s rhythmic nature.
Recorded at Power Station Studio at Berklee, New York, with masterful engineering and production by Akihiro Nishimura, Peter Karl, Alan Silverman, and a dedicated team, the sonic clarity and meticulous orchestration of Mundoagua – Celebrating Carla Bley are immediately apparent. Each instrument—from the dynamic brass section to the evocative percussion and delicate piano lines—plays its part in a larger, cinematic dialogue about our collective responsibility and the transformative power of art.
This album has a theme that confronts the consequences of our global actions while celebrating the beauty of human connection, creative freedom, and the enduring spirit of music. Arturo O’Farrill and his Afro Latin Jazz Orchestra traverses genres and continents bring us Mundoagua – Celebrating Carla Bley. Throughout the three suites it characterizes its layered narratives, rich cultural dialogues, and virtuosic performances. The album marks a balanced contemporary jazz listening experience that resonates with intellect and heart.
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