Concert review: "Jazz legends: Arturo Sandoval" The legendary Cuban expatriate trumpeter Arturo Sandoval begins his concert with one of his signature tunes, "Tunisia Blues." "Tunisia Blues" starts off with a swinging, lazy casual sound of a trumpet. Sandoval does not interact with the audience, introduce the piece, or tell the audience a bit about his biography and band members. He simply 'digs right in' to the music. The tone is casual and confident, that of a master at the top of his musical game. Sandoval is dressed casually in a blazer and a brightly colored shirt. He does not seem nervous or particularly desirous of interacting with the audience. He simply allows the music to 'just be.'

"Tunisia Blues" has an extended trumpet solo that immediately generates the listener's attention and satisfies the audience's desire to hear Sandoval's virtuosity. The early sounds entice the listener in slowly and suddenly there is a sharp, soprano blare as the trumpet displays a quick, racing virtuosity. Sandoval's trumpet solo starts off fast and then the notes grow slower, sexier, and bluesy -- they span the range of the deepest base and the highest, reediest notes of the instrument. Some of the notes are not even pleasing to hear, but they seem to communicate a deeper meaning to the audience that transcends words, a meaning both humorous yet also profound.

It is said that Sandoval has a highly improvisational style as a musician and does not always have a clear 'set' when he sets out to play in concert. His supporting musicians followed him seamlessly and deftly. There is an ease and confidence to all of the men's playing, and it is clear that they know one another well. Even when the trumpet produces a squealing, startling sound to the listener, there is no sense of strain or flinching. The breadth of the notes Sandoval can play is astonishing -- some notes as high as a siren, others as low-sounding as a tuba.

When Sandoval puts down his trumpet to play part of the song on the keyboard, he is as casual as a man waiting in line. The other...

They are communicating with each other, but communicating with their music, rather than through gestures of conventional methods of interacting. Occasionally Sandoval looks away, smiles and bobs his head in approval, evidently pleased with the music, but this is the only sign that he is pleased and things are going according to plan.
Unlike a guitar player, a horn instrumentalist cannot interact with the audience very easily. He must puff up his cheeks and concentrate on generating the noise through the instrument. Sandoval's eyes concentrate intensely on the music, as do those of the base guitarist, saxophonist, and drums, even when not playing. Jazz requires an intense symbiosis between all participants, given that it is a musical style about relationships rather than playing set pieces. Even though these familiar jazz pieces of Sandoval's are not, strictly speaking, improvisations of the moment, there is a close bond and symbiosis between Sandoval and all of the members of his band. When the saxophone player has a solo, Sandoval is approving and even says that he "loves it," one of the few words he speaks during the concert.

"Blues for Dizzy" pays tribute to one of Sandoval's greatest inspirations, the trumpeter Dizzy Gillespie. It is the longest piece of the concert, extending nearly fifteen minutes, and contains many different shades of music and tones within its fabric. To understand this piece it is necessary to understand Sandoval's history with Gillespie. Of Gillespie, Sandoval said: "he helped me so much; he took care of me, you know...He really encouraged me to continue practicing, to be confident that someday there would be [musical] recognition" (Gullard 2012). The two met when Sandoval was just beginning his career in Cuba in 1977. "When living and working in his Communist homeland was no longer an option for Sandoval and his family, it was Dizzy Gillespie who arranged for their defection to the United States. Here, Sandoval's career flourished"…