It’s hard to believe that New York-based, multi-Grammy-winning alto saxophonist Miguel Zenon has not done a proper live album this far into his career. While a first-call side man, Zenon has made a lasting impression on the traditional jazz community with his previous seventeen albums as a leader. However, to celebrate the twentieth anniversary of his quartet, Zenon, along with band members drummer Henry Cole, pianist Luis Perdomo, and bassist Hans Glawischnig, make a joyful noise with six all-new compositions and a couple of fascinating covers. 

The quartet hits the ground running with “Abre Cuto Guri Mambo”, a powerful Afro-Cuban-inspired romp that conjures mambo. Zenon’s alto bounces off Perdomo’s percussive piano playing while dancing playfully with Cole’s and Glawischnig’s prominent backbeat. Perdomo’s mid-song solo seems inspired by the rhythmic interplay and launches the song into the stratosphere before Cole brings the music in for a landing and Zenon reasserts the central melodic theme. 

Willie Colon and Hector Lavoe’s “El Dia De Mi Suerte” from their classic 1973 album, ‘Lo Mato’, is represented here, though finely reimagined. The telepathic interaction between Zenon and the rest of the band is inspiring. Hats off to Cole, who adds his flair to the drums, creating a foundation that never makes you wish for additional percussion while tipping his hat to the original. 

“Dale La Vuelta” is a rhythmic gem. Zenon’s Alto bounces with authority, while Cole and Glawischnig provide a powerful counterpoint to the main theme. The song, which translates to “Turn It Around,” has a groove that is initially forboding yet ultimately enticing. 

“Vanguardia Subterranea”, the album’s title track, dances around with different rhythms before taking a more direct path. Zenon’s interaction with Perdomo established the mood before the band leader takes us on a flight of fancy, leading the band through a rhythmically rocking and challenging journey.

The album closer, Jorge Luis Piloto’s “Perdoname,” is another thorough reworking. The foundation of the 1990 hit from Gilberto Santa Rosa’s ‘Punto de Vista’ album honors the original salsa routes while providing the epic a nuance and subtlety which lesser musicians might overlook. Zenon’s tone and his allowance of space in the composition make the song one not to miss. Cole’s drumming is equally dynamic, and Glawischnig and Perdomo create a subtle syrhmic tension that permeates the track. Perdomo’s piano solos are also nuanced and supportive, adding a texture that enhances the proceedings. 

‘Vanguardia Subterranea: Live At The Village Vanguard’ is eight tracks of fantastic forward-leading jazz by musicians at the top of their game. Recorded over a two-night period, I get the impression that more material from the dates has yet to be released. Of course, I’d like to have a volume 2; however, this will have to do for now until Miguel Zenon Quartet releases another live album, so I can see these fine musicians live.