Along two decades, the group of José Miguel Crego, "El Greco" is grabbing hard as one of the toppers in Cuban jazz for musicians and public in general and their presence is a must in such major festivals as Jazz Plaza in Havana, La Zorra y el Cuervo Café and diverse radio and TV programs. If we dig into the causes for Greco`s popularity and ubiquity, aside from his consistent virtuosity, there are plenty of reasons: good taste, tenacity, excellence, innovating spirit and professionalism.

First-line trumpeter, Greco got off the ground before jazzist audiences when he was part of Irakere`s second version, recording the main staple Tierra en Trance LP, where he was part of an amazing trio of metals along with Jorge Varona and Juan Murguía. He briefly contributed little after together with some other Irakere`s ex-members such as Germán Velazco, Carlos Averhoff and José Luis Cortés, "El Tosco", to NG La Banda`s first edition, which started the first boom of timba or Cuban salsa.

But Greco`s jazzist dreams were running to somewhere else and we founded him soon at Jazz Plaza festivals heading his own group Top Secret. He was starting then a new stage as leader.

Recorded at the Jazz Festival of Halifax, Canada (July 19, 2002), this double album Gregoriando is reproducing live performances of El Greco with a septet formed by four Cuban and two Canadian musicians. José Miguel Crego is evincing here a preference for the fluegelhorn and trumpet with muffler, using them to obtain new sonorities. But, in addition, is always present his endeavour to compose and arrange great part of his repertoire, tinging it with jazz classics, jazz-rock, samba or bossa nova.

Good examples of this are Solar by Miles Davis; Mr. P.C. by John Coltrane; Night and Day by Cole Porter, and the Antonio Carlos Jobim`s La chica de Ipanema. Some other anthems heard in Halifax were penned by El Greco.

El Greco reminds us sometimes Miles Davis during 1957-1967, with his introspective and lyric style, explosive sometimes, even at the fluegelhorn in Lover Song (bossa) or at the trumpet with muffler in Solar penned by Miles. While his ballad Song for Maggie nods to the Chet Baker`s style, the most lyric of all jazz trumpeters. However, in Joy he shows the vibrant and wild style of Irakere epoch when using the trumpet (opened) without muffler in jazz rock cuts.

As musician using his impeccable technique towards expressiveness, El Greco is not adamant to adopt a practice which remains inapprehensible for United State jazz critics, this is a tradition among the Cuban musicians, they use or insert fragments with great skill and easiness. Greco is citing here fragments of such popular classics as Fascinatin´ Rhythm, Laura, Tequila, Sabor a mí, Hey Jude, Straight, No Chaser, Desafinado, Alma llanera, Cielito lindo, Take the Train and some others with admirable precision.

The work of the ensemble amazes us due to its excellence and wealth, using at the same time in surprising harmony the fluegelhorn, tenor saxo, guitar or the three harmonized voices, many times in counterpoint. Keeping its stylistic unit, each piece is having a different treatment and each new edition is offering surprises and finesses never noticed before. A good example is all that part where he is running from a Bossa Nova rhythm and tempo to a ballad, returning afterwards to the original Cosita Suave, perfect combination of mambo and latin jazz. Night and Day is following with the classical swing in four times (walking bass) to close with the shaking Samba Faldvel.

In the second part with Solar, Joy, Mr. P.C. and La chica de Ipanema the changes in rhythm and tempo are more elaborated, also the counterpoints among soloists and the permanent interaction or interplay among soloists and the rhythmic accompaniment.
We must highlight the labor of Jeff Good Speed, who shared the musical direction with El Greco, brilliant tenor saxo in post-Coltrane sound and style, his execution of saxo soprano and flute triplicates the orchestral and timbric possibilities of the group. It is also amazing the contribution of Jorge Valdés Chicoy, one of the most extraordinary guitar players of Cuban jazz (veteran of Felipe Dulzaides, Arturo Sandoval and Hilario Durán`s groups).

Another excellent musician is pianist Bernardo Antonio (Tony) Rodríguez, who is reminding us Emiliano Salvador, a current legend in latin jazz, more than one time. Bassist Raúl Tobías Gil (Aby), stands up also with his effective solos and in the rhythmic section completed by the Canadian baterist Joan Roch and percussionist Eugenio Arango, together, they impel the group`s image with an incredible cohesion, allowing an immediate communication with the audience.
Boasting complex structures and harmonies, diverse rhythms, virtuosity and above all, original expressive ideas, this septet gathered by El Greco managed to transform the two CDs in delighting pieces from the beginning to the end, fully enjoyed not only by non-experienced audiences but also by the most diverse publics, critically acclaimed in every new edition.

Following the definition of pianist and composer Horace Silver, we could state that all this is possible gathering the essential elements of all excellent jazz, energy, emotion and adroitness. All this joined to the relaxation and fine taste form a successful combination.

Words by musicologist Leonardo Acosta for Gregoriando I and II. 2004.

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