DANILO PEREZ - The Journey (1994) FLAC (tracks+.cue), lossless

Pianist Danilo Perez's second recording as a leader is a real gem. Divided into "Time Past" and "Time Present," Perez performs music utilizing Latin and Afro-Cuban rhythms, complex time signatures, original themes, the influence of bop, and his own very strong technique. The personnel and instrumentation changes from song to song, ranging from a septet with both George Garzone and David Sanchez on saxophones (along with two percussionists playing a wide variety of exotic instruments) to a conventional trio, a duet with drummer Ignacio Berroa, and a pair of solo piano pieces. Bassist Larry Grenadier plays very well, always sounding confident during the very tricky music, while Perez displays a highly original yet logical style. Well worth several listens. by Scott Yanow
Tracklist :
1     The Capture 5'49
Danilo Pérez
2     Chains 2'11
Danilo Pérez
3     The Voyage 6'46
Danilo Pérez
4     The Arrival 5'21
Danilo Pérez
5     Awakening 1'19
Danilo Pérez
6     New Vision 7'43
Danilo Pérez
7     Panamá 2000 7'41
Danilo Pérez
8     Reminisce 8'44
Danilo Pérez
9     Flight to Freedom 7'41
Danilo Pérez
10     African Wave 4'24
Danilo Pérez
11     Libre Spiritus 2'19
Danilo Pérez

DANILO PÉREZ - Panamonk (1996) FLAC (tracks+.cue), lossless

This is one of the more interesting Thelonious Monk tribute albums of the 1990s. Pianist Danilo Perez does not really sound much like Monk except in a couple places on purpose, but he has clearly learned from Monk's music, particularly in his use of space and quirky dissonances. The trio performances range from respectful ballads and Latinized treatments of Monk tunes to originals that somehow fit logically into the mood of the set. Perez takes "'Round Midnight" and the two brief versions of "Monk's Mood" (which open and close the CD) unaccompanied, interacts closely with bassist Avishai Cohen on the other pieces, welcomes the haunting wordless vocal of Olga Roman to "September in Rio," and utilizes either Terri Lyne Carrington or Jeff Watts on the nine trio pieces. The music overall is adventurous, rhythmic, and quite joyful. A memorable outing by the talented Danilo Perez. by Scott Yanow
Tracklist :
1    Monk's Mood 1    0:42
Thelonious Monk
2    PanaMonk    4:21
Danilo Perez
3    Bright Mississippi    5:39
Thelonious Monk
4    Think Of One    4:17
Thelonious Monk
5    Mercedes' Mood    4:50
Danilo Perez
6    Hot Bean Strut    5:12
Danilo Perez
7    Reflections    5:54
Thelonious Monk
8    September In Rio 3:54
Danilo Perez
Vocals – Olga Roman
9    Everything Happens To Me 6:26
Written-By – Matt Dennis, Tom Adair
10    'Round Midnight    5:25
Thelonious Monk
11    Evidence And Four In One    4:44
Thelonious Monk
12    Monk's Mood 2    0:43
Thelonious Monk
Credits :
Bass – Avishai Cohen
Drums – Jeff Watts (pistas: 2, 4, 6, 7), Terri Lyne Carrington (pistas: 3, 5, 8, 9, 11)
Piano – Danilo Perez
Producer – Tommy LiPuma

DANILO PÉREZ - Central Avenue (1998) FLAC (image+.cue), lossless

Danilo Perez has invited us to step onto Central Avenue to re-examine his musical heritage. His fourth album, named for the main boulevard in his native Panama City, Panama, serves up a mix of blues, folk singing and nostalgia. Perez's fresh, liberating piano reinterprets such jazz standards as Billy Strayhorn's "Lush Life" and John Coltrane's "Impressions" by using new combinations of rhythms, tempos and instruments that ultimately spotlight his technique. Perez continues to explore the themes introduced in his previous release, Panamonk. His piano playing is now more dynamic and reflects his true virtuosity. The Rhythm in Blue Suite, which includes "Playground," "Sideways" and "Love in 5," consists of blues ballads written by Perez that are further complemented by the casual and graceful artistry of bassist John Patitucci and the impressive drumming of Jeff "Tain" Watts. Perez later showcases the vocals of Panamanian folk singer Raul Vital on "Panama Blues" in an improvisational mix of Latin-American folk and Afro-Cuban rhythms. This piece captures the essence and synthesis of Perez's creation. The result: Central Avenue is an exciting blend of musical styles that rediscover Perez's musical visions and innate rhythms...including his Latin blues. by Paula Edelstein
Tracklist :
1    Blues For The Saints    6:08
Danilo Perez
2    Impromptu (Conversations)    5:38
Danilo Perez
3    Lush Life    5:47
Billy Strayhorn
4    Playground    2:46
Danilo Perez
5    Sideways    5:31
Danilo Perez
6    Love In 5    5:26
Danilo Perez
7    Impressions    5:53
John Coltrane
8    Cosa Linda    5:11
Danilo Perez
9    Panama Blues    4:05
Public Domain
Credits :
Bass – John Benitez (pistas: 7, 8), John Patitucci (pistas: 1 to 6, 9)
Congas, Guiro, Claves, Shekere – Pernell Saturnino (pistas: 2, 7)
Cuatro – Aquiles Baez (pistas: 9)
Drums – Jeff "Tain" Watts (pistas: 2, 4 to 7, 9), Jeff Ballard (pistas: 1, 3, 8)
Percussion [Okonkolo, Iya, Itotele] – Miguel Anga Diaz (pistas: 9)
Piano – Danilo Perez
Producer – Tommy Lipuma
Tabla – Ray Spiegel (pistas: 2)
Vocals – Luciana Souza (pistas: 2, 7), Raul Vital (pistas: 9)

DANILO PÉREZ - Motherland (2000) FLAC (tracks+.cue), lossless

When most people hear the term Latin jazz, they think of a mixture of bop and Afro-Cuban rhythms -- bop mixed with son, mambo, cha-cha, guaguanco, danzón, and other Afro-Cuban styles that have been described as salsa. But Latin-flavored jazz doesn't have to be Afro-Cuban jazz; in fact, jazz is compatible with numerous Latin rhythms that didn't originate in Cuba. Technically, Danilo Pérez's Motherland is Latin jazz because it fuses jazz with Latin elements. But it isn't Afro-Cuban jazz, and it isn't the type of Cubop that people associate with Machito, Tito Puente, Mongo Santamaria, Cal Tjader, and Poncho Sanchez. Instead, this introspective, chance-taking CD finds Panamanian pianist Danilo
Pérez combining post-bop with a variety of Latin rhythms, everything from Panamanian tamborito to the samba and baião of Brazil. Pérez also uses Afro-Cuban rhythms at times, but it's important to stress that salsa is only one of the many tools in his arsenal. There is no reason why Motherland cannot be described as Latin jazz, after all, it is jazz with a strong Latin flavor. But unlike other releases by Spanish-speaking jazz artists, this excellent CD demonstrates that Latin jazz isn't necessarily Afro-Cuban jazz. by Alex Henderson
Tracklist :
1    Intro    0:45
Danilo Perez
2    Suite For The Americas - Part 1    2:55
Danilo Perez
3    Elegant Dance    5:49
Danilo Perez
4    Panafrica    4:47
Danilo Perez
5    Baile    1:57
Danilo Perez
6    Song Of The Land    5:21
Danilo Perez
7    Suite For The Americas - Part 2    5:00
Danilo Perez
8    Prayer    4:37
Danilo Perez
9    Overture    3:48
Danilo Perez
10    Rio To Panama    4:38
Danilo Perez
11    Panama Libre    6:48
Danilo Perez
12    Panama 2000    8:36
Danilo Perez
13    And Then ...    1:02
Danilo Perez
Credits :
Acoustic Bass – Carlos Henriquez, John Patitucci
Drums – Antonio Sanchez, Brian Blade
Electric Guitar – Kurt Rosenwinkel
Lead Vocals, Electric Bass – Richard Bona
Percussion, Congas, Tambourine, Maracas, Cajón – Luisito Quintero
Piano, Keyboards – Danilo Perez
Producer – Tommy Lipuma
Soprano Saxophone – Chris Potter
Violin – Regina Carter
Vocals – Claudia Acuña, Luciana Souza

DANILO PÉREZ - ...Till Then (2003) FLAC (image+.cue), lossless

With Till Then, Danilo Perez pays tribute to popular composers he feels have made a difference in the world. Though the Panamanian pianist offers a few original compositions, the work of other composers -- well-known, consequential people -- is the main focus of this Tommy LiPuma-produced CD. Some of the more myopic people in the jazz world will automatically assume that if Perez is using jazz to salute popular composers, he must be thinking of Tin Pan Alley. But in fact, there are no Tin Pan Alley standards on Till Then -- no George Gershwin, no Irving Berlin, no Cole Porter, no Harry Warren. And that's just as well because as dynamic as those legends were, worthwhile popular music didn't end with Tin Pan Alley (contrary to what the Stanley Crouch/Wynton Marsalis crowd would have listeners believe). Perez, thankfully, is smart enough to realize that -- and on Till Then, he finds the acoustic post-bop possibilities in melodies by Stevie Wonder ("Overjoyed") and Joni Mitchell ("Fiddle and the Drum") as well as several Latin American legends, who range from salsa innovator Rubén Blades ("Paula C") to Brazilian star Milton Nascimento ("Vera Cruz"). Perez has long had a pan-Latin outlook -- in other words, he looks to different parts of the Latin world for musical inspiration -- and Till Then reflects that. Anyone who interprets Chico Buarque's "Trocando Em Miúdos" (another great Brazilian melody), Cuban artist Silvio Rodríguez' "Rabo de Nube," and Chilean singer Violeta Parra's "Gracias a la Vida" on the same CD obviously isn't limiting himself to any one particular area of the Latin spectrum. While Till Then is far-reaching and unpredictable, it's also focused and cohesive; clearly, Perez knows exactly what he's doing on this inspired addition to his catalog. by Alex Henderson  
Tracklist :
1     Native Soul 3'16
Danilo Pérez
2     Gracias a la Vida 4'05
Violeta Parra
3     ...Till Then 3'47
Danilo Pérez / Lizz Wright
4     Overjoyed 4'52
Stevie Wonder
5     Trocando Em Miúdos 6'36
Chico Buarque
6     Improvisation on Red 2'58
Danilo Pérez
7     Paula C 7'10
Rubén Blades
8     Rabo de Nube 3'35
Silvio Rodriguez    
9     Fiddle and the Drum 4'05
Joni Mitchell
10     Vera Cruz 9'25
Milton Nascimento
Credits :
Bass – Ben Street (pistas: 1, 4, 7, 8), John Patitucci (pistas: 2, 3, 5, 10)
Drums – Adam Cruz (pistas: 1, 4, 7, 8), Brian Blade (pistas: 2, 3, 5, 10)
Flute [Steel Pan] – Adam Cruz (pistas: 2, 10)
Percussion – Adam Cruz (pistas: 5, 10)
Piano, Electric Piano [Fender Rhodes] – Danilo Perez
Producer – Tommy LiPuma
Soprano Saxophone – Donny McCaslin (pistas: 5, 10)
Vocals – Lizz Wright (pistas: 3, 9)

JACK DEJOHNNETTE | JOHN PATITUCCI | DANILO PÉREZ - Music We Are (2009) FLAC (tracks+.cue), lossless

At first glance it might appear that Jack DeJohnette’s Music We Are is simply a jazz piano trio recording, albeit one that has a compelling lineup since the other players include pianist Danilo Perez and bassist John Patitucci. That said, appearances can be, and in this case are certainly, deceiving. These musicians have all played together before in other contexts: DeJohnette and Patitucci have worked together on a pair of Steve Khan’s recordings, while Perez and Patitucci are members of Wayne Shorter’s quartet. The music here ranges widely. One highlight among many is the straight-ahead Latinized modern jazz of “Cobilla.” Here Patitucci’s upper-register playing on the electric bass is nothing short of startling but is balanced by the multi-layered, double-timed percussive attack by DeJohnette as Perez comps large chords inside the syncopation. The opening cut is the delightfully playful and inventive “Tango African,” on which DeJohnette and Patitucci multi-track more than one instrument -- in the former case it’s the melodica on top of drums, in the latter it’s electric bass over an upright one. Perez stretches the melodica’s simple melody, harmonically enhancing it while responding in sprightly ways to the rhythm section’s dancelike vibe. But then there’s the great improvisational flavor on this record as well: “Seventh D” is a piece DeJohnette has recorded before but here it appears in two movements. The first is a gorgeous Latin groove with Perez showcasing his contrapuntal post-bop chops taking the melody and knotting it tightly while swinging the entire way; in the second part, it’s Patitucci's chance to solo on some of the same themes articulated earlier, with double-timed comps by Perez in polyrhythmic ways as DeJohnette pushes both with his trademark-style double tom-tom attack. “Panama Viejo” is an improvisational ballad with Patitucci’s arco work articulating a melancholy melody as Perez improvises on the chord structure of the piece and DeJohnette shimmers his cymbals and hi-hat to create a timelessness and space in the proceedings. This is a solidly enjoyable yet very expansive take on the piano trio format. It was obviously a blast to record it as well. This is evidenced by the bonus DVD that includes a 20-minute documentary on the making of the album.
by Thom Jurek
Tracklist :
1    Tango African 5'29
Composed By – Jack DeJohnette
2    Earth Prayer 7'10
Composed By – Danilo Perez, Jack DeJohnette, John Patitucci
3    Seventh D, 1st Movement 5'34
Composed By – Jack DeJohnette
4    Seventh D, 2nd Movement 4'34
Composed By – Jack DeJohnette
5    Soulful Ballad 3'51
Composed By – Jack DeJohnette
6    Earth Speaks 5'00
Composed By – Danilo Perez, Jack DeJohnette, John Patitucci
7    Cobilla 6'19
Composed By – Danilo Perez
8    Panama Viejo 5'00
Composed By – Ricardo Fabrega
9    White 5'43
Composed By – Danilo Perez
10    Ode To MJQ 9'34
Composed By – Danilo Perez, Jack DeJohnette, John Patitucci
11    Michael 3'50
Composed By – John Patitucci
Credits :
Double Bass [Upright Bass], Electric Bass, Liner Notes – John Patitucci
Drums, Melodica, Producer, Liner Notes – Jack DeJohnette
Piano, Keyboards, Liner Notes – Danilo Perez

DANILO PÉREZ - Panama 500 (2014) FLAC (tracks+.cue), lossless

Panamanian-born pianist Danilo Pérez's 2014 album, Panama 500, is an expansive effort that showcases his trio as they delve deep into the music and folkloric traditions of Pérez's homeland. Pérez has long investigated the music of Latin America, seeking to combine the rhythms and melodies he grew up with and the expansive harmonies of contemporary jazz. In that sense, Panama 500 has much in common with the pianist/composer's 2010 album, Providencia. As with that release, Panama 500 finds Pérez delivering a set of articulately structured compositions that combine his love of jazz, classical, and Latin American folk music. There is even a three-part "Canal Suite" positioned at the center of the album that crosses the lines between folk music, modern creative improvisatory jazz, and orchestrated classical music. Joining Pérez here is his longtime working trio featuring bassist Ben Street and drummer Adam Cruz. Also backing Pérez on various tracks are his fellow Wayne Shorter Quartet bandmates, bassist John Patitucci and drummer Brian Blade. Ultimately, Panama 500 is an ambitious work that showcases all of Pérez's immense technical skills, jazz knowledge, and deep, abiding love of his Latin American roots. by Matt Collar
Tracklist :
1    Rediscovery Of The South Sea    8:39
2    Panama 500    4:12
3    Reflections On The South Sea    5:17
4    Abia Yala (America)    8:30
5    Gratitude    4:30
The Canal Suite   
6    Land Of Hope    3:09
7    Premonition In Rhythm    1:50
8    Melting Pot (Chocolito)    4:23
9    The Expedition    4:11
10    Narration To Reflections On The South Sea    0:17
11    Panama Viejo    6:12
12    Celebration Of Our Land    0:47