{"id":8530,"date":"2017-08-05T23:53:44","date_gmt":"2017-08-06T06:53:44","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=8530"},"modified":"2017-08-06T00:19:21","modified_gmt":"2017-08-06T07:19:21","slug":"more-from-ystad-bobby-medina","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2017\/08\/more-from-ystad-bobby-medina\/","title":{"rendered":"More From Ystad: Bobby Medina"},"content":{"rendered":"

At the Ystad Sweden Jazz Festival, the American trumpeter Bobby Medina led a big band in a program that drew on his bebop credentials and his Latin American heritage. Claus S\u00c3\u00b6renson\u00e2\u20ac\u2122s XL Big Band of musicians from throughout southern Sweden was impressive in its versatility as it negotiated Medina\u00e2\u20ac\u2122s demanding arrangements. Married to a woman from Sweden, Medina is known here for his history with the festival. For the 2015 edition, he was chosen to play from the St. Mary\u00e2\u20ac\u2122s Church tower the traditional 10 p.m. fanfare assuring Ystad\u00e2\u20ac\u2122s citizens that all is well. This year, that honor went to the Japanese saxophonist Yosuke Sato.<\/p>\n

\"\"<\/p>\n

Medina paid tribute to two of his trumpet inspirations, Chet Baker and Blue Mitchell. His arrangement of \u00e2\u20ac\u0153Autumn Leaves\u00e2\u20ac\u009d incorporated a transcription for his trumpet and the saxophone section of Baker\u00e2\u20ac\u2122s solo from the 1974 CTI album She Was Too Good To Me<\/em>. His melding of Baker\u00e2\u20ac\u2122s inventiveness into the arrangement was clever and moving. The calypso-based \u00e2\u20ac\u0153Fungii Mama\u00e2\u20ac\u009d was the title tune of Mitchell\u00e2\u20ac\u2122s 1964 album The Thing To Do<\/em>. Medina\u00e2\u20ac\u2122s trumpet solo led into a harmonically resourceful alto sax solo by Ludwig Samuelsson, one of several gifted saxophone soloists in the band. Samuelsson scored again on Horace Silver\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Filthy McNasty.\u00e2\u20ac\u009d An intercultural highlight of Medina\u00e2\u20ac\u2122s set was \u00e2\u20ac\u0153Forever My Love,\u00e2\u20ac\u009d a danz\u00c3\u00b3n inspired by his Mexican ancestry. His deep and powerful flugelhorn solo preceded an equally effective guitar chorus by the XL\u00e2\u20ac\u2122s Anders Apell. Playing \"\"into a tight mute, Medina shined brightly in Tom Kubis\u00e2\u20ac\u2122s up-tempo arrangement of \u00e2\u20ac\u0153There Is No Greater Love.\u00e2\u20ac\u009d<\/p>\n

The trumpeter included in his concert a guest appearance by a young Swedish singer and dancer billed only as Frans (pictured left), whose performance had elements of hip-hop. It was entertaining if, in the context, somewhat puzzling. (Photo: M. F\u00c3\u00a4gersten)<\/p>\n

(Still more from Ystad as writing time materializes; this is a tightly scheduled festival. There is a lot of listening to do. Please stay tuned.)<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

At the Ystad Sweden Jazz Festival, the American trumpeter Bobby Medina led a big band in a program that drew on his bebop credentials and his Latin American heritage. Claus S\u00c3\u00b6renson\u00e2\u20ac\u2122s XL Big Band of musicians from throughout southern Sweden was impressive in its versatility as it negotiated Medina\u00e2\u20ac\u2122s demanding arrangements. Married to a woman […]<\/p>\n","protected":false},"author":2,"featured_media":8531,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-8530","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8530","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=8530"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8530\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/8531"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=8530"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=8530"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=8530"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}