It’s rich, dynamic, and full of the kind of musical conversation that doesn’t expire.
VOF Recordings
Mike Freeman – vibraphone, marimba, triangle, tambourine, sleigh bells, flapper toys, owl whistle, kalimba, hand claps, composition; Guido Gonzalez – trumpet, flugelhorn; Jim Gailloreto – tenor sax, bass clarinet; Ruben Rodriguez – electric bass; Roberto Quintero – congas, bongos, guiro, maracas, shakers; Joel E. Mateo – drums
Composed and recorded during a 2019 creatively fertile stretch, Circles in a Yellow Room got shelved when the pandemic hit. Now, six years later, it’s finally out—and Freeman’s vibraphone leads the way through swinging grooves, crisp horn lines, and tightly layered percussion that nods to those classic Cal Tjader sessions on Fantasy Records.
This album makes a strong first impression. Freeman’s writing is hooky, melodic, and focused. His vibes have a bright but never harsh tone. He lets phrases breathe, leaving space between notes instead of filling every bar. His technique is solid, but he uses it to serve the melody, not overshadow it.
What really stands out about ZonaVibe is how tuned-in they are to each other. Everyone gets a chance to step forward, and the trumpeter, Guido Gonzalez, really shines. His tone is gorgeous, and his solos are as thoughtful and lyrical as Freeman’s—but no one’s trying to steal the spotlight. They’re all on the same wavelength, responding to each other and building on ideas as they go.
The album’s ten tracks are steeped in clave and rooted in Freeman’s signature blend of Latin jazz, salsa, mambo, and blues. His vibraphone (and occasional marimba) sits comfortably at the center of it all—shimmering, warm, and percussive. Around him, ZonaVibe sound sharp and grounded: the aforementioned Guido Gonzalez on trumpet and flugelhorn, Jim Gailloreto on tenor sax and bass clarinet, Ruben Rodriguez on bass, Roberto Quintero on congas, and Joel Mateo on drums.
From the warm sway of ‘Valentine’ to the slinky cha-cha groove of ‘Funky Chai Cha,’ Freeman balances melodic hooks with intricate percussion. The title track, ‘Circles,’ offers a change in texture, with Gailloreto’s bass clarinet making a brief appearance near the end, adding a subtle shift in color beneath Freeman’s marimba. ‘El Cuarto Amarillo’ leans into full-on salsa, and Gonzalez’s trumpet lines punch through with aplomb.
On ‘Marble Race Rematch’ and ‘Back Slap,’ the band sounds like they’re having fun—rhythmic but loose, easy swing, no fuss. ‘The Trek’ is a fitting closer, with Quintero on percussion and Mateo on drums, locking into a groove that propels the tune forward.
Circles in a Yellow Room might have spent too long on the shelf, but it doesn’t sound like it. It’s rich, dynamic, and full of the kind of musical conversation that doesn’t expire.
