08/20/2013 The Jakarta Post, Concert review , 'Ray Sandoval: Music does not need a name'

Ray Sandoval: Music does not need a name

Latest release: Próxima Parada is Sandoval’s 5th solo CD and features the astonishing Satin Singh on percussion, whose passion for Afro-Cuban music was instrumental in shaping the wonderful sound. Sandoval’s love for music is expressed in everything he seems to do. BD/Chris O’connor
 
The Ray Sandoval Trio performed his new album, Próxima Parada, plus other tracks on a cool evening in front of a very appreciative and knowledgeable audience at the House of Masks and Puppets in Mas, south of Ubud, on Aug. 8.

Sandoval is a critically ac-claimed, award winning composer, performer and producer, excelling in both the classical and jazz genres. This is his second appearance in the Ubud Concert Series and, just like his first, it was an evening full of beautiful music played with supreme technical skill.I t was sensual, evocative and emotional, and once again the performance of “Autumn Rains” had me wiping the tears from my eyes.

Próxima Parada owes a great deal to the man’s travels through the world and is a reflection of influences along the way. Clearly, some have been very direct, such as the Afro-Cuban percussion via his work with the talented Satin 
Singh in London (who appears on the album). Others are more subtle and are represented in arrangement, style or subject, but wherever the influence or inspiration may have originated, Próxima Parada tips its hat in recognition and gratitude. 

Percussion for the concert was provided by the extraordinary and larger-than-life Columbian, Toby Senior Vega. Vega is a super percussionist and is a regular at many Latin-inspired events here, most recently at the hugely popular “Pantai Latino” music party series. His interpretations of some of Satin Singh’s complex rhythms featured on the album were wonderful, particularly on the track “I Do”, where his self-expression on this very unusual piece was perhaps most pronounced. 

Double bass was provided by Indonesia’s own Helmy Agustrian, of whom Mary, a lady in the audience, said in a stage whisper, “I could listen to that young man all night”, a comment that is difficult to fault. This was my 
first sight of the young musician, and, once again, his skill and presence for one so young show the great shape Indonesian jazz is currently in. 

For over two hours the trio performed what might be termed a global jazz set but with a distinct Latin influence. It was over in a flash and with the dance groove of the “Road to Jericho” still echoing in my head and my toes still tapping to its up-tempo beat, I watched a very content audience disperse into the damp chill of the Ubud night. 

Prior to the concert, Sandoval said about the journey that had led him to record and perform this wonderful album, “I’ve come to realize that my music has no particular category and it does not need to be labeled that way. Music that moves you does not need a name.”

Now ain’t that the truth!