Jorge Sylvester Afro-caribbean Experimental Trio | In The Ear Of The Beholder

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In The Ear Of The Beholder

by Jorge Sylvester Afro-caribbean Experimental Trio

Original Compositions and Arrangements written specifically for Alto Saxophone, Electric Bass, and Drums . The ACE TRIO utilizes the Rich Spectrum of Rhythms from Africa and the Caribbean as a vehicle to create New and Undiscovered Rhythmic-MelodicLines
Genre: World: African
Release Date: 

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  Song Share Time Download
1. Tambor - the Mix
12:44 album only
2. Sly Mangoose
7:42 album only
3. Corazon Rebelde
5:39 album only
4. Por La Clave
10:14 album only
5. In the Ear of the Beholder - Por La Clave Part Ii
17:44 album only
6. Songoajira
9:26 album only
7. King's Higway
6:52 album only
8. Tropicando
5:29 album only


Album Notes
BEGIN WITH A SOUND -- A Rhythm -- Just one Pitch -- at the door to our Imagination . The Sound opens this door , through which we discover the liberty of the mind of a musical artist -- Jorge Sylvester . THE MUSIC ON THIS RECORDING unfolds A JOURNEY of ARTISTIC IMAGINATION through a great planetary crossroads and crucible -- THE CARIBBEAN .

The opening sounds of TAMBOR - THE MIX - the insistent rhythmic chant of the alto saxophone's middle F# , and the stately reply of the bass guitar and drum - reveal that this journey will not be a tourist's "Caribbean Cruise ", but rather a fearless power dive into deep currents of musical imagination . The musical aquanauts who navigate these Caribbean Sea depths are collectively The ACE ( Afro-Caribbean Experimental ) Trio - a collaborative ensemble led by composer/arranger/saxophonist Jorge Sylvester , in association with drummer/percussionist Bobby Sanabria , and bassist Donald Nicks . This recording is
Jorge Sylvester 2nd CD as a leader , and it speaks a powerful musical language of individual and collective imagination .

TAMBOR - THE MIX is the story of a rhythm thrust across an ocean along trade winds and equatorial currents . The story tells of the flowing breath of the living , and of the implacable grip of the dead ; of Tamborito , the national dance of Panama , and of Tambor de Mina , the Orixa worship festival of Maranhao State , Brazil ; of playful street music , and of secret dream music . All this is told by the story of a rhythm taken by force in the early 19th century from the West African Gulf of Guinea to northeastern Brazil , thence up the coastline to the ports of Sao Luis , Brazil , Colon , Panama , to echo and resonate in this music.

POR LA CLAVE and IN THE EAR OF THE BEHOLDER - POR LA CLAVE PART II are the dual centerpieces of this recording . POR LA CLAVE offers extended " dance on the clave " rhythmic choreography .
IN THE EAR OF THE BEHOLDER personifies the clave rhythm as the protagonist in a tragic drama in two acts . Act I gradually builds to a point of extreme conflict , and then ends in a tentative resolution .
Act II is imbued with a profound ritualistic intensity that seems to nullify all the transitory conflict of Act I .

SONGOAJIRA , KING'S HIGHWAY , and TROPICANDO close this recording with a quality of relaxation and poise in more familiar musical genres . SONGOAJIRA and KING'S HIGWAY explore duet treatments of the Saxophone and Bass Guitar , first harmonically , then contrapuntally . Donald Nicks' bass guitar work on SONGOAJIRA is outstanding in its evocation of an entire family of guitars , and in the virtuosity of the improvisation . TROPICANDO is a showcase for the astounding Bobby Sanabria " percussion orchestra ".

BY Ramsey Ameen

Panamanian - born , New York - honed alto saxophonist Jorge Sylvester has produced a set of challenging island - accented Jazz with his aptly named Afro - Caribbean Experimental Trio .
Soloist / Composer Sylvester , bassist Donald Nicks , and drummer / percussionist Bobby Sanabria explore various Latin rhythmic structures .
"IN THE EAR OF THE BEHOLDER " BESPEAKS VARIETY IN THE FORM , with each track opening up a different vista .


Sounds like more, but really the only components to " BEHOLDER " are Jorge Sylvester - Alto Saxophone
hand claps , voice , cuica voice effect , maracas , cow bell .
Donald Nicks - Bass , fretless bass .
Bobby Sanabria - drumss , bells .
What's even more surprising is that this is live studio music . That is , there's no overdubbing or additives after the fact . How Jorge can part his lips from the reed then grab a cow bell is beyond me , and yet the 8 instrumental jazz tunes go off a hitch or honk .


As for Sylvester , he's one of the most capable soloist holding an alto saxophone today .
"POR LA CLAVE " , for instance , is full of outright Ornette-ish inflections with ample support once again from the rhythm section . There are several gutbucket textures here that evoke the wailing harmonic breadth of some of jazz's best improvisers , from Eric Dolphy to Sunny Simmons . Nicks solos on electric bass during this number , and Sanabria is all over his kit . The musicians hold back , let one another work , jump back in and never miss a beat . It's a restrained but flawless stream of emotive improvising and it heralds one of the greater underlooked talents of the day . Jorge we never knew ye !

CD REVIEW : Joe S. Harrington " NEW YORK PRESS "

JORGE SYLVESTER alto-saxophone , conductor, composer, arranger born in Colon, Panama attended the Panama Conservatory of Music and the University of Panama. He received a Bachelor of Science in Music from the State University of New York College at New Paltz in 1981 . A unique innovator in the idiom of creative music, Sylvester’s sound is reminiscent of another time in jazz history when artists like Dolphy and Ornette were exploding on the scene and experimenting with concepts that would ultimately revolutionize music at large . A throwback to the future, Mr Sylvester has been on the cutting edge of that scene since 1980 when he first came to New York City. His blend of African-Caribbean Rhythms with new music is what gives Sylvester his distinguish voice
An impressive composer and arranger , his music moves, entices and stirs the imagination, as visual as it is physical, his ability to transform colors into sounds and sounds into textures place him in the company of the great expressionist painters .



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EXCELLENT ! Get hold of this one if you can
As for Sylvester, he's one of the most capable soloists holding an alto today - POR LA CLAVE , for instance, is full of outright Ornette-ish inflections with ample support once again from the rhythm section. There are several gutbucket textures here that evoke the wailing harmonic breadth of some of jazz's best improvisers, from Eric Dolphy to Sonny Simmons.