DiCosimo and Pagán are reviewed by Exclusive Magazine

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Pagan DiCosimo

EXCLUSIVE MAGAZINE

by Anne Carlini

 

 

 

 

 

 

 

 

 

Title – ‘Con Moto’
Artist – DiCosimo and Pagán

For those unaware, renowned pianist/keyboardist Bill DiCosimo and renowned bassist/vocalist Edgar Pagán have journeyed together as both friends and musicians for well over twenty years and now come to the fore as a duo with their very own solo project.

Released on January 8th, 2021 via SUBCAT Records, their individual artistic presences have finally blended as one on Con Moto (which means “with movement”) to bring forth this rather wondrous collection of works that embody funk, blues and timba, all imbibed with a flourishingly distinctive Latin flavor.

1. ‘So It Begins’
2. ‘Magic Carpet Ride’
3. ‘Samba Pagan’
4. ‘Blues Clues’
5. ‘Cisco Kid’
6. ‘Taino Spirt’
7. ‘Show the World’

Opening with the slow funk groove of the rhythmic ‘So It Begins’ they back that up with a totally out of the blue musical experience in a spot on rendition of the Steppenwolf classic ‘Magic Carpet Ride,’ which is itself backed by the free flowing majesty of the Latin-inspired ‘Samba Pagan.’

The Hammond organ of DiCosimo comes out to play on the slow, minimalistic early ’70s funk of ‘Blues Clues,’ and that’s backed by a rendition of WAR’s ‘Cisco Kid,’ with the album rounding out on the Latin swirls and twirls of ‘Taino Spirit’ (and which recalls the indigenous people who at the time of the conquest by the Spanish Conquistadors formed the inhabitants of the Caribbean islands of Cuba, Hispaniola, Jamaica, Puerto Rico, Bahamas and the Northern Antilles), closing on the mid-tempo ode to a peaceful planet, and sung by Bob Halligan Jr., ‘Show the World.’

Contributors to the album are Jeff Lorber, Gary Novak, Jeff Richman, Jose Varona, Paulie Cerra and more.

Kari Gaffney

Kari Gaffney

Since 1988 Kari-On Productions has helped artists get an even footing in the industry through jazz promotion in the genres of Jazz, World & Latin Jazz through Jazz Radio and Publicity. Why do we do both, because they compliment each other, and we care about fiscal longevity for the artist.

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