Conguero Pedrito Martinez brought his charismatic Afro-Cuban quartet to Chicago’s City Winery
Pedrito Martinez, photo by Michael Jackson
last night (Feb. 15), pleasing an upbeat crowd at the supper set (and no doubt later show, too) with an up-to-date performance of roots rhythms, solo and group singing and tightly synchronized, syncopated play. Accompanied by fleet keyboardist Edgar Pantoja-Aleman, electric bassist Alvaro Benavides, and percussionist Jhair Sala (mostly on cowbell and bongos), Martinez slapped, tapped, thumped and bumped his congas and bata drums to produce a party beat for the present, rather than Santeria rite, folkloric demonstration or featured bit within a larger salsa orchestra — though one sensed he’d be comfortable presenting himself in any of those contexts, too.
This appearance seems to have been part of the 41-year-old Grammy-nominated Martinez’ midwestern mission: he’s just been in Madison and Port Washington, Wisc. (where he inspired this exemplary blog post by Mark “Darkviolin” Underwood + photo gallery by Steven Sandick) and in March Pedrito brings his Latin thing to Moorhead, Minnesota and Mason City and Des Moines, Iowa, visits bound to do folks in those locales good. Quite evidently he’s a draw, recently contracting to make New York City’s Subrosa, a new hot spot in the meatpacking-district, his band’s home base after a ten year stand at the eatery Guantanamera in midtown. Nobody in NYC other than the Vanguard Big Band and Mingus ensembles at the Jazz Standard has a 10-year stand. Oh yeah, he announced his upcoming record will be produced by his hero Ruben Blades.
Pedrito Martinez, Jhair Sala, Alvaro Benavides and Edgar Pantoja-Aleman @ City Winery Chicago, photo by Jim dJazz
There was a poppish, post-Van Van aspect to PMG’s repertoire, as it included close vocal harmonizing, jazzy solos alternating with pseudo string chorus by Pantoja-Aleman, and rough ‘n’ tumble bass. But percussion rules when bright musicians conjure primal recollections via hands on skins and pulsing, interwoven rhythms. In the plush surroundings of City Winery Chicago — an artfully designed, airy and oaky supper-club (highly curated vino list, and try the duck tacos) seemingly twice the size of City Winery New York — PDG motivated hips, shoulders and feet (not necessarily in that sequence) of people at stage side and also rising from their seats. The band showed how to have fun without a lot of fuss. Listeners didn’t have to share the language being sung (though many seemed to), as they felt the music’s rush. And with an afternoon’s light dusting of white stuff covering the grey encrusted crystal slush of a two week old snowstorm — yeah, the tropical breeziness was easy to love.
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