Cantos Del Sexto Sol
Enrique Fernandez Round Whirled Records
As we settle into the twenty-first century, it’s important to realize that we live in a new musical world where stylistic boundaries are clearly blurred. We have more access to musical traditions from around the world than ever before; we can hear and see the musical lineages of numerous cultures performed right on our computer screens. From a listener perspective, the sights and sounds of different musical worlds sit next to each other on an equal level. It’s all sound to the everyday listener, and they’ll connect with great music regardless of its origin. This almost limitless access opens musicians to a vast pool of artistic choices that they can integrate into their work on a variety of levels. While they may choose to invest more fully in a tradition and connect the music to its cultural background, its possible for musicians to mix and match ideas from around the world. They might blend preexisting audio into new sonic collages or they might simply throw musicians from different backgrounds together, but the free combination of ideas is certainly a modern reality. Saxophonist Enrique Fernandez takes this contemporary idea to heart on Cantos Del Sexto Sol, where he brings together a number of musicians and sounds from around the world to produce an expansive twist on Latin Jazz.
Constructing A Fascinating Sonic Mix
With the help of producer Greg Landau, Fernandez constructs several pieces based on an earlier recording headed by pianist Omar Sosa. An extended timbale fill leads into a rumba inspired groove filled with wah wah drenched guitar on “Dimelo!,” where Fernandez delivers a spacious melody with layers of saxophone lines. Fernandez digs into the driving feel with a solo that employs both space and bursts of rhythmic intensity, taken to another level through interactive timbale work. An airy collection of percussion and vocal samples serves as a foundation for a harmonized mambo line from Fernandez with overdubbed solo ideas flying over the mix. A vocoded voice floats over a slow and steady percussion groove on “Bolero En El Olvido” leading into an introspective melody on a combination of flute and sax. Fernandez’s bold tenor tone lifts his solo above the shimmering quality of the rhythm section with a quiet intensity. Sosa captures the thoughtfully methodical mood of the piece with a spacious improvisation that delicately explores ideas of texture and shape. A collective improvisation between flute, piano, kalimba, and percussion slowly unfolds behind atmospheric vocals sounds on “Altiplano” until a strong percussion pattern pushes a sax melody into the forefront. Fernandez rides the intensity of the percussion part into a commanding statement that ferocious attacks a healthy series of ideas. A short collection of phrases from Sosa leads into a etherial flute solo which weaves around a collection of electronic sounds and airy vocal samples. Bombastic percussion hits open into a steady cajon rhythm on “Lamento Andino” which sets the stage for a slithering sax melody over a sly groove. Fernandez uses the hypnotic nature of the background as a launching point for a passion drenched sax solo that screams into a scorching combination of runs and high register intensity. As Fernandez switches to flute, an open exploratory vibe overtakes the music, combining percussion, vocal chants, noodling vibraphone, and more. Fernandez and Landau put together a fascinating musical journey over Sosa’s work explores influences form around the world.
Experimenting In A Latin Jazz Setting
Fernandez moves into a more focused Latin Jazz direction on other tracks while keeping an experimental edge. The rhythm section tears into a sparsely funky cha cha cha groove on “Boogaloo Nouveau” while a layer of saxophones play rhythmic lines beneath an energetic flute melody. Fernandez’s flute flies out of the melody into a wandering improvisation that draws strongly upon jazz and Cuban music conventions. Things rise to another level as Fernandez switches to bass clarinet for a driving mambo line before the saxes push their powerful sound to the end of the piece. A running sax line hits accent points from the rhythm section on the strong introduction to “Nati’s Repose” until the a soulful melody works its way through a funky groove. Fernandez skillfully wraps bluesy lines into his improvisation, bouncing around the rhythm section’s lively foundation. Some great background writing for woodwinds helps lift Fernandez’s solo to an exciting climax before smoothly falling back into the melody. Crowd noises fade into a catchy sax ostinato over a second line drum beat on “Qrsna,” before Fernandez enters with a folk flavored melody. The saxophonist displays some strong creative energy, twisting and turning the main melody in numerous different directions that hold onto the core flavor while adding new ideas. As the sax vamp disappears, Fernandez’s solo takes a decidedly Middle Eastern direction with distinctive articulations and scale choices that end the piece with an ear catching flair. A six beat percussion groove segues into an understated flute vamp on “Ciclos,” setting the stage for a cyclical melody filled with thick layers of flutes and sax. As waves of sound fly through the background, Fernandez leaps into a smart solo distinguished by quick streams of notes, expressive phrasing, and reflective pauses. The flutes return with pieces of the original melody behind Fernandez, inspiring the saxophonist to stretch his improvisation into an intensive fury before returning to the main theme. There’s some familiar Latin Jazz approaches on these tracks, but Fernandez’s experimental spirit really brings these songs alive.
A Memorable Sonic Journey
Fernandez blends a world of influences into an intriguing musical statement on Cantos Del Sexto Sol, putting a unique spin on traditional Latin Jazz ideals. His collaboration with Greg Landau results in an intoxicating sonic adventure that blends Sosa’s unique musicianship with inspired creativity. Fernandez’s compositional ideas complement the work of Sosa’s group and interact insightfully with the embedded cultural references. Fernandez freely integrates a variety of sounds from different cultures, ranging from Cuban rhythms to Middle Eastern scales, Peruvian percussion, and more. There’s never a sense that he takes these cultural traditions lightly though; they are respectfully winded into the overall mixture. Studio manipulation and overdubbing plays a big part in Fernandez’s concept, an act that Fernandez uses to his advantage. The thick layers of woodwind instruments combined with clever harmonizations make for a distinctive sound and defined arrangement ideas. As a player, Fernandez exerts a strong improvisational voice that calls upon the influence of musicians such as Pharaoh Sanders and Gato Barbieri. His ability to be quiet and reflective at one moment and then be screaming in passionate intensity shows a wide dynamic range and broad musical concept. With all these pieces in place, Fernandez creates a memorable sonic journey on Cantos Del Sexto Sol that delivers a blend of world influences that is simultaneously exciting, surprising, and overflowing with a twenty-first century mentality.
———- Track Listing:
1. Dimelo!
2. Boogaloo Nouveau
3. Nati’s Repose
4. Qrsna
5. Bolero En El Olvido
6. Altiplano
7. Lamento Andino
8. Ciclos
———- Musicians:
Enrique Fernandez – alto, tenor, & baritone saxes, flute, and bass clarinet; Omar Sosa – keyboards and vocoder; Greg Landau – drum and percussion programming; Geoff Brennan – upright bass; Josh Jones – drums; Pauchi Sasaki – chants and Japanese vocals; Tito de la Rosa – Peruvian chants and percussion; David Flores – drums (3)
IMPORTANT ALBUMS:
Poncho Sanchez, Para Todos
Poncho Sanchez, Soul Sauce: Memories Of Cal Tjader
Poncho Sanchez & Mongo Santamaria, Conga Blue
Poncho Sanchez, Freedom Sound
Poncho Sanchez, Afro-Cuban Fantasy
Poncho Sanchez, Latin Soul
Poncho Sanchez, Soul Of The Conga
Poncho Sanchez, Latin Spirits
Scot Martin, Cafe Cubano
Poncho Sanchez, Out Of Sight
Jose Rizó’s Jazz On The Latin Side All-Stars, The Last Bullfighter
Scott Martin, Menudo & Gritz
Jose Rizó’s Jazz On The Latin Side All-Stars, Tambolero
Scott Martin, Voodoo Juice
During Episode #3 of The Latin Jazz Corner Podcast, we delivered 5 Ways To Support Latin Jazz In 2012. That was just a starting point – suggestions are one thing but specific actions are a totally different thing altogether. We’ll be returning to our 5 ways to support Latin Jazz throughout the course of 2012, with the hope that together, we’ll be able to put Latin Jazz in a better place during 2012. If you’ve got your own ideas about supporting Latin Jazz in 2012, leave them in the comments!
1. Go See Some Live Latin Jazz This will always be number one on the list – Latin Jazz is simply a performance art and we can’t really connect with the style until we see it live. Many areas have high end jazz clubs that will occasionally host high profile traveling artists, but it’s just as important to check out your local musicians. Latin Jazz takes on different shades across the country, so it’s important to realize that the local artists that ups support are one of a kind. Realize that many people across the country don’t have the privilege of seeing the artists that you have regular access to, so value what you’ve got!
New York residents have been lucky enough to have Arturo O’Farrill & The Afro-Latin Jazz Orchestra in their community for the past ten years. The group will be celebrating their ten year anniversary this weekend with two concerts. The group will play music from their ten year history and share the stage with a number of guests. The Friday night concert will serve as a fundraiser for the Afro-Latin Jazz Alliance’s educational activities across the city. There are not many bands in the country that have been as forward looking and visible as Arturo O’Farrill And The Afro-Latin Jazz Orchestra, so if you’re in New York, you don’t want to miss this ten year anniversary celebration! Find the details on the concert HERE.
2. Buy Latin Jazz Recordings
Next to attending a live performance, the best way that you can support a Latin Jazz artist is through the purchase of one of their recordings. We all need to hear new music and it’s a good idea to find a way to buy recorded Latin Jazz on a regular basis. As I suggested in the podcast, I would suggest that you mix up your buying habits in 2012 – spend some of your hard earned cash on established artists and then plunk some of that precious savings into an up and coming musician. This way, you insure that you support the past, present and future of the music.
With this in mind, I’ll recommend both an established artist and an up and coming artist with each article. Here’s this article’s suggestions: Elio Villafranca & Arturo Stable, Dos Y Mas
3. Turn A Friend Onto Some Great Latin Jazz Many of us hang around with people that share are interests, but that doesn’t mean that everyone you know will enjoy Latin Jazz. In fact, there’s a good chance that many people you know don’t even know what makes up Latin Jazz. There’s a good chance that they haven’t been exposed to great Latin Jazz and they might just like it if they had the chance. So it’s your job to provide that opportunity for them, and there are many ways that you can do that.
On the podcast, I suggested taking a friend to a live Latin Jazz event – a great idea if you can – but here’s another thought – why not turn them onto the LJC Podcast? Most people have some sort of iDevice these days, and if not, they more than likely have access to iTunes. Show them how to listen and they’ll hear some music, get the story from the artists themselves, and check out additional information. They get all those great things and it’s FREE – you can’t go wrong with that price. It’s a risk free way to turn people onto this wonderful music. In order to check out the podcast, send them HERE.
4. LIKE A Latin Jazz Artist On Facebook
When you like an artist on Facebook, you help them spread the word about their music, but they do need to get the ball rolling. Artists can’t simply create a page and expect the world to listen – they’ve got to do something with it. A Facebook page is a prime spot to share pictures, concert footage, news, and link with fans, opening to door to interaction. The artists that regularly put information out to the public are making a connection with you and they’re letting you help them – an end result that we all want.
These are the artists that we want to follow, so each article in this series will highlight a Latin Jazz musician that uses Facebook effectively. Trumpet player Gabriel Alegria and his Afro-Peruvian Sextet does a great job of posting pictures, videos, updates on concerts, and more. Check out the link below and LIKE them today! Gabriel Alegria Afro-Peruvian Sextet Facebook Page
5. Support A Kickstarter Campaign From A Latin Jazz Artist The 21st Century is as time of exchange between musician and audience on more ways than one. Gone are the days where a musician breaks the bank to record an album and then hope that the audience supports them. Today, fans can show their support to an artist before the music hits the studio and become collaborators in the process of bringing music into the world. It’s a model facilitated by sites such as Kickstarter or ArtistShare, where audience members pledge their financial support, enabling new music from their favorite artists.
Supporting Latin Jazz in 2012 certainly involves KickStarter projects and there’s a great one brewing right now from vocalist Kat Parra. Her latest recording, Las Adventuras De Pasión, features Parra’s wonderful voice in a variety of sparse settings that connect her with a number of South American, Caribbean, and Spanish traditions. The album is near completion but it still needs a few more tracks recorded as well as distribution and promotion. The details are available on Parra’s Kickstarter site, where you can see a video about the project as well as check out the rewards for your financial contribution. It’s a project well worth supporting, so start 2012 by pledging your money to Kat Parra’s Las Adventuras De Pasión Kickstarter project.
Latin Jazz This Week will bring you a weekly look into news from the Latin Jazz world. You’ll find new releases, recommended performances, web finds, and more. You can check out some current sounds in the Listening Center tab at the top of the page.
NEWS
I did want to remind everyone that Episode #3 of The Latin Jazz Corner Podcast came out this past week. I’m excited about this new piece of our site and think that it holds some good promise for promoting Latin Jazz. With that in mind, a couple of requests:
I would encourage everyone to subscribe to the LJC Podcast in iTunes. While you’re there, leave a rating and a review – this helps us rank higher in the iTunes search engine, consequently having more of an effect upon our efforts to spread the word about this wonderful music.
I’m also looking for feedback about the show – would love to know what you like and what you think it’s lacking. This is a new format for me, and only being 3 episodes into the whole thing, I’m still finding my groove. What do you think? Let me know by leaving your thoughts on the LJC Facebook page or hitting up the contact page.
Stay up to date on all the latest happenings at LJC and the greater Latin Jazz world on the LJC Facebook Page, so go there and LIKE us today to stay in the loop!
Last week, Arnold Jay Smith encouraged us to Boycott The Grammys (an action that I would wholeheartedly agree with!), and he returns this week with more thoughts on Latin Jazz. In this week’s article, “Latin Jazz Lives!,” Smith restates the issue with NARAS and then takes a fascinating approach by asking Jazz Journalist Association president Howard Mandel for his take on this issue. Mandel’s comments seem a bit snarky and cynical about the whole thing – granted, this might be the way that Smith frames the conversation, but I just don’t sense a whole lot of support for Latin Jazz there. It’s definitely worth reading – some thought provoking stuff HERE.
Don’t forget, for all the latest updates on the protest against The NARAS elimintion of 31 Grammy categories, check out Grammy Watch.
NPR’s World Cafe kicked off a new program this past week entitled Latin Roots, an ambitious program that aims to dig through the history of Latin music through a combination of talk and music. Host David Dye, along with producer and Latin music specialist Aaron Luis Levinson, jump into the mix this week with a focus on salsa. The duo discusses Fania, the influence of jazz, and more, giving us some examples from Cortijo and Bio Ritmo. It’s a good listen that is both accessible and interesting, showing potential for future episodes. Take a listen to this week’s salsa episode of Latin Roots and check back in for future shows!
NPR delivered a couple of Latin Jazz gems this week – in addition to the Latin Roots show, they’ve got a streaming live performance of the David Murray Cuban Ensemble. This group delivered a fantastic tribute to a legendary singer in 2011 entitled David Murray Cuban Ensemble Plays Nat King Cole En Español. Part of the beauty of that recording was the arrangements and thoughtful authentic perspective on Cole’s original recording. Here you get to see the group take those arrangements and stretch out, giving you a wonderful compliment to the recording. There’s about an hour of David Murray’s Cuban Ensemble performing live – put aside the time to check this out, you’ll be glad that you did.
Over at the Latino Music Cafe, Hector Aviles looks back upon the Latin Music Highs and Lows, with a focus on Latin Jazz. He points out some great albums, reminding us once again what a whirlwind of wonderful music came along in 2011. The low point undoubtedly falls upon the elimination of 31 Grammy categories by NARAS, with a special focus upon the loss of the Latin Jazz category. There’s some good thoughts here – give the Highs And Lows of 2011 a read for some insightful looks back at the year.
IMPORTANT ALBUMS:
Marlon Simon And The Nagual Spirits, Rumba A La Patato
Michael Simon And Roots United, Revelación
Marlon Simon And The Nagual Spirits, Live In La Paz, Bolivia
Marlon Simon And The Nagual Spirits, In Case You Missed It
Fra Fra Sound, Dya So
Michael Simon, New York Encounter
Current
Jovino Santos Neto Quinteto Adventure Music
The concept of flow is a far reaching and powerful idea when related to musical performance. At its essence, it taps into the thought of moving from one place to another, on a physical, developmental, and artistic level. All of these types of flow occur within any group of musicians that stay together over a long period of time. Each musician flows into physical changes, gaining new technical skills on their instrument that push their music. Exposure to new ideas and indulging in experimentation inspire new ideas and internal thoughts about artistic approach, flowing into developmental changes. The flow of time forces us into evolution, guaranteeing that we become a different artist than we were at our starting point. One individual experiencing the strength of these changes can make a deep artistic impression; when a group of musicians follow these types of flow together, the impact is multiplied tremendously. After more than fifteen years, Jovino Santos Neto and his Quinteto show the results of their flow as a group on Current, a solid collection of Brazilian Jazz.
Far Reaching Artistry And Cohesion As A Quintet
The core quintet is featured on several tracks, showing the far reaching artistry and cohesion as a unity. Neto establishes a funky strut with a vamp on Fender Rhodes, giving “Corrente (Current)” a reggae edge, which gets a subtle tension from saxophonist Harvey Wainapel’s rhythmic melody. The saxophonist falls into the groove with his improvisation, slowly building into a climax with tense melodic lines, followed by Neto’s bluesy electric statement. Percussionist Jeff Busch leaps into a fascinating solo, pulling a variety of sounds from the berimbau, and after a return the melody, drummer Mark Ivester develops a colorful rhythmic idea over a vamp. Bassist Chuck Deardorf solos freely over a collection of drum textures, making way for an uptempo groove on “Two Friends, True Friends.” Wainapel’s spacious melody intertwines beautifully with scatted vocals from Lena Simon and Caroline Corcoran until the saxophonist launches into a lyrical improvisation that skillfully plays upon the song’s lush texture. The band quiets to a whisper behind Deardorf, who builds a running stream of melodic ideas that lead smoothly back into the melody. Wainapel leads the band into a driving bossa nova on “Outras Praias” with a rich melodic idea that flows cleanly over Neto’s rhythmic comping. The pianist spins winding melodies that cur through the harmony with a jazz flair and bounce around the rhythm in a syncopated fashion. Deardorf skillfully develops a strong idea, thoughtfully running connected thoughts and rising melodic sequences over the whole spectrum of his bass. The deep rich tone of Wainapel’s unaccompanied clarinet sounds with a bluesy seriousness on “A Fonte (The Source),” taking on a solemn reflective quality as the band falls into place behind him. A repeat of the melody allows Wainapel to further elaborate on the main theme while the band builds the emotional depth of the song. Neto follows with an introspective improvisation that reaches into the inner edges of the music, emerging with a personal statement that completes the performance. Neto and his group fluently move through several different stylistic approaches on these tracks, showing impeccable teamwork and creative interaction at every turn.
An Inspired Addition To The Group
Vibraphonist Ben Thomas joins the group on several pieces, adding an inspired element to the group. Ivester and Busch leap into a driving samba groove on the introduction to “Vivendo No Presente (Living In The Present),” which serves as a launching point for an energetic melody from Wainapel and Thomas. Neto plays upon the addictive feeling of the song with an enthusiastic improvisation that overflows with rhythmic vitality and interesting melodic shapes. Wainapel tears into his solo with a serious edge, blazing right into Thomas’ improvisation that come alive as the percussive nature of his notes blend with the rhythm section. A combination of percussion and clapping establish an edgy rhythmic foundation for a precocious melody on “Matraca (Rattle),” that explodes forward with an unstoppable power. Neto engages in an overdubbed flute dual with himself, that cleverly builds the song’s motion with smart intertwining lines. A sudden stop break opens the door for a ferocious solo from Wainapel, who cuts through the band’s groove with a forceful series of bop fueled runs. Thomas delicately introduces “Zagaia (Spear)” with an unaccompanied solo that suddenly falls into an unabashedly funky groove. A winding melody leads into an edgy solo from Neto, who assertively plays off the song’s charging groove, until Wainapel races into a strong series of cutting lines. The combination of melody and percussion on Thomas’ solo make the vibraphonist’s idea leap from the music, while Deardorf digs deeply into the song’s funky soul with a slippery electric bass solo. A unison melodic explosion from Neto, Wainapel, and Thomas lead into a flowing melody on “Sea And Sky.” A long and winding line shared between Wainapel, Thomas, and Neto’s melodica set the stage for thoughtfully constructed improvisation from Wainapel. Neto jumps into a lively solo on melodica, making his way through the changes with a smart collection of melodies that play off interaction from Thomas and Ivester. Thomas asserts his voice strongly on these tracks, and the group responds enthusiastically, playing off his performance with a evident excitement.
Imaginative And Interactive Playing
Neto and his Quinteto deliver an outstanding performance on Current, full of imaginative and interactive playing that comes from years of collective flow. As a bandleader, Neto supplies direction and freedom in a free flowing way, constantly serving as a bright and powerful creative spark. It’s a wonderful duality that makes his music come alive – his artistry is in clear focus while simultaneously being open to new ideas. Neto’s compositions provide a wide variety of textures and harmonic colors, with moods ranging from playful to deeply introspective. The band reacts to each setting with vivid engagement, obviously enjoying the thrill of the far reaching musical journey. Wainapel is a perfect complement to Neto’s powerful artistic personality, enthusiastically exploring the full range of Neto’s composition and asserting his own personality in a bold yet tasteful manner. Even though he joins the group as a guest, Thomas is a perfect fit among the musicians – his lyrical percussive voice is a fantastic layer. Deardorf plays with authority and insight, working well as both a support person and a smart soloist. Ivester and Busch support the group with creativity and knowledge, tapping both into authentic grooves and colorful percussion techniques. The combination of all these elements makes Current an inspired Brazilian Jazz statement, showing a snapshot of Neto and his Quinteto, a group that has flowed through a collective growth into musical maturity.
———- Track Listing:
1. Corrente (Current) – (Jovino Santos Neto)
2. Vivendo No Presente (Living In The Present) – (Jovino Santos Neto)
3. Two Friends, True Friends – (Jovino Santos Neto)
4. Matraca (Rattle) – (Jovino Santos Neto)
5. Outras Praias (Other Beaches) – (Jovino Santos Neto)
6. Zagaia (Spear) – (Jovino Santos Neto)
7. Pra Casa (Homeward) – (Jovino Santos Neto)
8. Sea And Sky – (Jovino Santos Neto)
9. A Fonte (The Source) – (Jovino Santos Neto)
———- Musicians:
Jovino Santos Neto – piano, rhodes, flute, melodica, handclaps; Harvey Wainapel – clarinets and saxophones; Chuck Deardorf – acoustic and electric basses; Mark Ivester – drums; Jeff Busch – percussion; Ben Thomas – vibraphone (2, 4, 6, 8); Lena Simon – vocals (3); Caroline Corcoran – vocals (3)
Episode #3 is an exciting show – we’ve got over an hour of interviews, music, and thoughts on Latin Jazz, walking you deep into this wonderful style of music.
We start the show by kicking off the new year with five thoughts on how you can support Latin Jazz in 2012. It’s a great time to look ahead and see what we all can do to keep the music thriving – a mission that we all need to take seriously. I’ve tried to come up with five easy and fun ways to show your support for Latin Jazz that can make a difference. The year looks bright, so let’s do everything that we can to take the music to another level in 2012!
In the second piece of the show, we take a closer look at the outstanding 2011 release from Brazilian Jazz band Grupo Falso Baiano, Simplicidade: Live At Yoshi’s. It’s a stellar sophomore release that balances the group’s rich understanding of choro with the spontaneity of live performance. It also features a special guest performer in pianist Jovino Santos Neto, who inspires the group to reach even further heights. You’ll get to hear part of an interview that I did with percussionist Ami Molinelli about the album and then check out a fantastic track from the recording, “Feira Livre.”
If you haven’t heard Grupo Falso Baiano, you’re going to be hooked after this track. Make sure that you go over to the Grupo Falso Baiano website for more on the band and then support them by picking up Simplicidade: Live At Yoshi’s.
The final portion of this podcast episode features an interview with flautist Mark Weinstein, where we discuss his latest album El Cumbanchero. This album is another fantastic chapter in Weinstein’s creative exploration of Cuban music, where he mixes jazz with danzon in a charanga setting. Cuban pianist Aruán Ortiz provided the arrangements, which simply overflow with beauty – these magnificent works in combination with Weinstein’s flute performance make El Cumbanchero a masterpiece.
Weinstein is an important voice in Latin Jazz – from his time with Eddie Palmieri’s La Perfecta to the essential album Cuban Roots and his modern recordings, Weinstein is someone that you need to hear. If you want to get the full scoop on Weinstein’s career, check out the extensive interview with him that I published on LJC – you’ll want to read Part 1, Part 2, Part 3, and Part 4.
El Cumbanchero is really a fantastic album that brings together all of Weinstein’s experience into an important statement. You don’t want to miss this one – here’s a link to pick up Mark Weinstein’s El Cumbanchero.
Remember, you can stay up to date with the latest happenings in the Latin Jazz world and on LJC in a couple of ways:
Latin Jazz This Week will bring you a weekly look into news from the Latin Jazz world. You’ll find new releases, recommended performances, web finds, and more. You can check out some current sounds in the Listening Center tab at the top of the page.
NEWS
Exciting things continue to happen here at LJC, providing you with even more important content about the music that we love. Here’s a couple of things that you should know:
Southern California readers should be aware – we’ve got a few more pairs of tickets left for the concert by Cuban pianist Aruan Ortiz and his trio this Friday 1/13. Just go over to the LJC Facebook page, LIKE us, and post on the wall that you’d like to go. Once you do, I’ll be in touch with you to confirm the details.
The LJC podcast is also now available in iTunes, giving you the opportunity to subscribe to the show and get all future episodes automatically. I would encourage you to jump to the Latin Jazz Corner Podcast in iTunes, subscribe (for free!), and give the show a rating/review. The ratings help our podcast rank higher in the iTunes directory, meaingin that more people will discover the podcast, allowing us to spread the word about Latin Jazz to a wider audience. By the way, we’re days away from episode #3, featuring Grupo Falso Baiano and an interview with Mark Weinstien about his recent album El Cumbanchero!
Stay up to date on all the latest happenings at LJC and the greater Latin Jazz world on the LJC Facebook Page, so go there and LIKE us today to stay in the loop!
One of my most pleasant discoveries this year was listening to pianist Harold Lopez Nussa, first on Ninety Miles, the collaboration between David Sanchez, Chiristian Scott, and Stefon Harris, and later on his own album El País De Las Maravillas. After that inspiration, I was definitely inspired to go back and check out other albums with his playing, and I can now easily count myself as a Lopez-Nussa fan. A a result, I’m always pleased to see his name and he more about his outstanding musicianship. A recent article from CubaHeadlines brings some insights about Lopez-Nussa’s current music and some future plans. It’s some good info about an impressive up and coming artist.
The Grammy Awards are right around the corner and fortunately, a good deal of attention is turning back towards the poorly conceived move by NARAS to eliminate 31 categories. Daily Yonder seems to think that it’s no big deal to eliminate 31 categories because the Grammys don’t really matter anyways. Over at Jazz Insights, Arnold Jay Smith encourages you to Boycott The Grammys. There’s lots of noise around the elimination of the 31 categories right now . . . Let’s make even more. This was an awful decision that only hurts musicians – let NARAS know that!
Drummer and bandleader Bobby Sanabria has been a leading voice in the protest against the elimination of the Grammy categories. This week, Sanabria and his attorney Roger Maldonado were interviewed by The Progressive Radio Network regarding their involvement in the major lawsuit against NARAS concerning the category elimination. You can jump ahead to the interview by moving ahead to the 22-minute, 28-second mark. It’s another great statement about the lawsuit against the elimintion of 31 Grammy categories.
Don’t forget, for all the latest updates on the protest against The NARAS elimintion of 31 Grammy categories, check out Grammy Watch.
It seems like just yesterday that Jazz At Lincoln Center announced the formation of the Afro-Latin Jazz Orchestra led by pianist Arturo O’Farrill. Here we are with several top-notch albums, a non-profit organization, a robust educational program, and a strong international reputation behind the group as they approach their 10 year anniversary. The group will celebrate their ten year anniversary next week with two concert at their new home at New York’s Symphony Space. The concerts will feature guest appearances by an impressive line-up that includes Ray Santos, Edmar Castaneda, Randy Weston, and many more. It sounds like an amazing event – get all the details about the concerts HERE. Don’t forget, you can get all the details about the evolution of the group in our interview with Arturo O’Farrill – Part 1, Part 2, Part 3, Part 4, and Part 5.
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Cantos Del Sexto Sol
Stumble it!
NAME: Scott Martin/poncho sanchez para todos.jpg)
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NAME: Steve Pouchie/steve pouchie vibe mania.jpg)
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This will always be number one on the list – Latin Jazz is simply a performance art and we can’t really connect with the style until we see it live. Many areas have high end jazz clubs that will occasionally host high profile traveling artists, but it’s just as important to check out your local musicians. Latin Jazz takes on different shades across the country, so it’s important to realize that the local artists that ups support are one of a kind. Realize that many people across the country don’t have the privilege of seeing the artists that you have regular access to, so value what you’ve got!/elio villafranca arturo stable dos y mas.jpg)
Many of us hang around with people that share are interests, but that doesn’t mean that everyone you know will enjoy Latin Jazz. In fact, there’s a good chance that many people you know don’t even know what makes up Latin Jazz. There’s a good chance that they haven’t been exposed to great Latin Jazz and they might just like it if they had the chance. So it’s your job to provide that opportunity for them, and there are many ways that you can do that.
The 21st Century is as time of exchange between musician and audience on more ways than one. Gone are the days where a musician breaks the bank to record an album and then hope that the audience supports them. Today, fans can show their support to an artist before the music hits the studio and become collaborators in the process of bringing music into the world. It’s a model facilitated by sites such as Kickstarter or ArtistShare, where audience members pledge their financial support, enabling new music from their favorite artists.
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NPR’s World Cafe kicked off a new program this past week entitled Latin Roots, an ambitious program that aims to dig through the history of Latin music through a combination of talk and music. Host David Dye, along with producer and Latin music specialist Aaron Luis Levinson, jump into the mix this week with a focus on salsa. The duo discusses Fania, the influence of jazz, and more, giving us some examples from Cortijo and Bio Ritmo. It’s a good listen that is both accessible and interesting, showing potential for future episodes. Take a listen to this week’s /david murray cuban ensemble plays nat king cole en espanol.jpg)
NPR delivered a couple of Latin Jazz gems this week – in addition to the Latin Roots show, they’ve got a streaming live performance of the David Murray Cuban Ensemble. This group delivered a fantastic tribute to a legendary singer in 2011 entitled David Murray Cuban Ensemble Plays Nat King Cole En Español. Part of the beauty of that recording was the arrangements and thoughtful authentic perspective on Cole’s original recording. Here you get to see the group take those arrangements and stretch out, giving you a wonderful compliment to the recording. There’s about an hour of 
Over at the Latino Music Cafe, Hector Aviles looks back upon the Latin Music Highs and Lows, with a focus on Latin Jazz. He points out some great albums, reminding us once again what a whirlwind of wonderful music came along in 2011. The low point undoubtedly falls upon the elimination of 31 Grammy categories by NARAS, with a special focus upon the loss of the Latin Jazz category. There’s some good thoughts here – give the /jon gold bossa of possibility.jpg)
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In the second piece of the show, we take a closer look at the outstanding 2011 release from Brazilian Jazz band Grupo Falso Baiano, Simplicidade: Live At Yoshi’s. It’s a stellar sophomore release that balances the group’s rich understanding of choro with the spontaneity of live performance. It also features a special guest performer in pianist Jovino Santos Neto, who inspires the group to reach even further heights. You’ll get to hear part of an interview that I did with percussionist Ami Molinelli about the album and then check out a fantastic track from the recording, “Feira Livre.” /mark weinstein el cumbanchero.jpg)
The final portion of this podcast episode features an interview with flautist Mark Weinstein, where we discuss his latest album El Cumbanchero. This album is another fantastic chapter in Weinstein’s creative exploration of Cuban music, where he mixes jazz with danzon in a charanga setting. Cuban pianist Aruán Ortiz provided the arrangements, which simply overflow with beauty – these magnificent works in combination with Weinstein’s flute performance make El Cumbanchero a masterpiece. 
One of my most pleasant discoveries this year was listening to pianist Harold Lopez Nussa, first on Ninety Miles, the collaboration between David Sanchez, Chiristian Scott, and Stefon Harris, and later on his own album El País De Las Maravillas. After that inspiration, I was definitely inspired to go back and check out other albums with his playing, and I can now easily count myself as a Lopez-Nussa fan. A a result, I’m always pleased to see his name and he more about his outstanding musicianship. A recent article from CubaHeadlines brings some insights about /guisando caliente coolantro.jpg)
