Silvano Monasterios, The River Review

by Stamish Malcuss

Silvano Monasterios has long established himself as a pianist, composer, and arranger capable of sculpting rich emotional landscapes out of rhythm, harmony, and the cultural voices of Latin America. With The River, Monasterios offers a work of exceptional clarity, blending Venezuelan folkloric elements with the harmonic expressiveness of contemporary jazz. This self-released album, recorded with his Venezuelan Nonet at The Bunker Studio, flows like its namesake: twisting, layered, and purposeful in its journey. At each turn, Monasterios reveals his gift for compositional storytelling, supported by an ensemble that listens and responds with rare cohesion.

From the outset, The River presents itself as a jazz album with a metaphorical exploration of life’s currents, forward-moving yet reflective, turbulent yet lyrical. Monasterios writes with a clarity of vision that empowers his players to navigate shifting meters, textural contrasts, and moments of collective improvisation. The result is music that is framed with architectural composition and emotional spontaneity.

“The River (Opening)” begins with an expansive title track that introduces key thematic material with patience and elegance. Monasterios and tenor saxophonist Troy Roberts engage in lyrical exchanges that develop organically, layered over Jimmy MacBride’s supple drumming and Luisito Quintero’s dynamic percussion. The rhythmic interaction never overwhelms. Instead, it creates space for development and extensive ensemble interplay.

“Dance On The Wire” captures Monasterios at his most narrative as a soloist. His improvisation here is an expression in pacing and construction. He uses rhythmic and harmonic architecture to build steadily into an explosive climax, leading to the horns entering. As the ensemble enters with propelling hits and melodies, Monasterios’ responses let the solo’s energy surge. This is Monasterios crafting a flowing melodic arc that is as intellectually satisfying as it is emotionally moving.

“Against The Current,” true to its title, this piece thrives on resistance and friction. The harmonic terrain leans into modal hues, with intervallic voicings supporting interesting textures. Jeff Lederer’s clarinet and Roberts’ saxophone bring life to the melody’s lines and intensity to the solo spotlight. The layered voicing techniques embedded in the composition show how Monasterios provides the harmonic anchor, shifting between voicings and lyricism.

“Carmen Elena” showcases the lyrical possibilities of the ensemble. Juan Diego Villalobos’ vibraphone and Torres’ flute shimmer in counterpoint with the piano in counterpoint, offering harmonic support and conversational interplay. The melody unfolds slowly, like a letter written in longhand, graceful, deliberate, and emotionally resonant. Here, Monasterios demonstrates how the Venezuelan pulse can be as expressive in contemporary jazz’s vernacular.

In “Ambar,” Monasterios says much in his solo performance. His left hand provides the contrabass tones that are a firm yet lyrical foundation, while his right hand offers ethereal color and melodic contour. The performance feels flowing yet substantial, with each phrase carefully placed in time and intervallic color. It’s a meditation on the role of the piano in the flow of the album.

Expanding on the previous track’s themes, “Ambar’s Courage” highlights Monasterios’ command of form and rhythmic dialogue. The piano’s voicings act as connective tissue between horns and winds, painting a tonal atmosphere that is both bold and elegant. Quintero’s percussion drives the piece forward with subtle propulsion, reflecting the musical embodiment of resilience. It’s also an excellent example of contemporary jazz composition with Venezuelan roots, a valuable listening piece for those of modern Latin jazz stylings.

Closing the album with grace, “The River Between Us” underscores the collective vision of the project. Bass clarinet, flute, and brass interweave across layered textures, allowing the ensemble to speak with one voice. Group improvisation takes center stage as Monasterios guides the band through a conclusive statement that is interactive, storied, and enjoyable. It feels like the river has carried us somewhere new and gently informed us where to go.

The ensemble’s performance is as much about listening as it is about playing. Their execution of layered counterpoint and interlacing rhythmic structures speaks to Monasterios’ clarity as a composer and their own internal trust as collaborators. The recording, engineered by Aaron Nevezie and assistant Nolan Tries, provides a clear, spacious sonic field in which each instrument can be fully appreciated.

The album’s visual presentation by Victor Stabin deepens the experience: swirling lines, organic shapes, and layered hues of blue reflect the music’s fluid motion and emotional undercurrents. The elegant, wave-like script seems to have been pulled by the river itself, underscoring the sense that every element of this album is in dialogue.

With The River, Silvano Monasterios has created a deeply layered and emotionally coherent work that deserves close and repeated listening. From the expression of his writing to the elegance of his improvisation and the cohesion of his ensemble, this album is a statement of artistry and cultural integration. Like the river that inspires it, this album flows with purpose, beauty, and depth, a journey of a river of sound to our spirit.