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. Performance dates will be kept in the Live Latin Jazz tab at the top of the page.
NEWS
John Schaffaer over at WNYC has once again brought us an outstanding Latin Jazz podcast as this week on his show Soundcheck he features the fantastic Puerto Rican saxophonist Miguel Zenón. Schaeffer talks with Zenón about plena and his conception of the plena through jazz, providing an enlightening perspective upon last year’s Esta Plena. In addition, you can hear some ear grabbing live performances from Zenón and his Esta Plena sextet - something that you have to hear. You can download or stream the podcast HERE.
If you’re on the EAST COAST this week . . . ADRIANO SANTOS BRAZILIAN JAZZ TRIO WHEN: Wednesday 2/10/10 WHERE:NuBlu
62 Avenue C
New York, NY TIME: 10:00 p.m.
ARTURO O’FARRILL
Solo Piano WHEN: Wednesday 2/10/10 WHERE:Puppet’s Jazz Bar
481 5th Avenue Park Slope
Brooklyn, NY TIME: 7:00 p.m. TICKETS: $10
CURTIS BROTHERS WHEN: Thursday 2/11/10 WHERE:Nuyorican Poet’s Cafe
236 East 3rd Street
New York, NY TIME: 9:00 p.m. TICKETS: $7
EMILIO SOLLA
CD Party For Bien Sur! WHEN: Tuesday 2/9/10 WHERE:Jazz Standard
116 East 27th Street
New York, NY TIME: 7:30 p.m. & 9:30 p.m. TICKETS: $20
ERIC KURIMSKI WHEN: Thursday 2/11/10 WHERE:Terraza Cafe
40-19 Gleane St
Elmhurst, NY TIME: 10:00 p.m. TICKETS: FREE
FRANK VILLAFAÑE & 3 TO CLAVE WHEN: Saturday 2/13/10 WHERE:Long Valley Pub And Brewery
1 Fairmount Road
Long Valley, NJ TIME: 9:00 p.m.
GABRIEL ALEGRIA WHEN: Friday 2/12/10 - Sunday 2/14/10 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: Friday & Saturday: 8:00 p.m. & 10:30 p.m.; Sunday: 7:00 p.m. TICKETS: NO COVER
HENDRIK MEURKENS WHEN: Sunday 2/14/10 WHERE:Bar Next Door
129 MacDougal Street
New York, NY TIME: 8:00 p.m. & 10:00 p.m. TICKETS: $12
HERNAN ROMERO WHEN: Thursday 2/11/10 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: NO COVER
JEAN ROHE WHEN: Wednesday 2/10/10 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: NO COVER
MIGUEL ZENON WHEN: Wednesday 2/10/10 WHERE:The American Theater
125 E. Mellen Street
Hampton, VA TIME: 7:30 p.m. TICKETS: $25 - $30
WHEN: Friday 2/12/10 WHERE:Black Rock Center For The Arts
12901 Town Commons Drive
Germantown, MD TIME: 8:00 p.m. TICKETS: $30 - $35 in advance; $35 - $40 at the door
WHEN: Saturday 2/13/10 WHERE:The Painted Bride
230 Vine Street
Philadelphia, PA TIME: 7:00 p.m. & 9:00 p.m. TICKETS: $25
SAMMY FIGUEROA’S LATIN JAZZ EXPLOSION WHEN: Friday 2/12/10 WHERE:Van Dyke Cafe
846 Lincoln Road
Miami Beach, FL TIME: 9:00 p.m., 10:30 p.m., & 12:00 a.m.
SHIRAZETTE TINNIN WHEN: Tuesday 2/9/10 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: NO COVER
VENISSA SANTÍ
with Tony Flagiello Quartet WHEN: Friday 2/12/10 - Sunday 2/14/10 WHERE:Ortlieb’s Jazz Haus
847 N 3rd Street
Philadelphia, PA TIME: 9:30 p.m. TICKETS: $125 per couple (includes dinner)
If you’re in the MID-EAST this week . . . CHICAGO AFRO-LATIN JAZZ ORCHESTRA WHEN: Tuesday 2/9/10 WHERE:Jazz Showcase
806 S. Plymouth Court
Chicago, IL TIME: 8:00 p.m. & 10:00 p.m. TICKETS: $30
DARWIN NOGUERA’S EVOLUTION TRIO
Benefit For Haiti WHEN: Sunday 2/14/10 WHERE:Old Town School Of Folk Music
4544 N Lincoln Ave.
Chicago, IL TIME: 7:00 p.m. TICKETS: $25
LOS GATOS WHEN: Wednesday 2/10/10 WHERE:Live At PJ’s
102 S 1st St
Ann Arbor, MI TIME: 8:00 p.m. & 9:15 p.m. TICKETS: $7
PAULINHO GARCIA WHEN: Thursday 2/11/10 WHERE:Katerina’s
1920 W. Irving Park Road
Chicago, IL TIME: 8:30 p.m.
WHEN: Sunday 2/14/10 WHERE:Uncommon Ground
1401 W Devon Avenue
Chicago, IL TIME: 8:00 p.m.
TUMBAO BRAVO WHEN: Sunday 2/14/10 WHERE:Sangria’s
401 South Lafayette Avenue
Royal Oak, MI TIME: 9:30 p.m. TICKETS: $5
If you’re on the WEST COAST this week . . . BRIAN ANDRES LATIN JAZZ TRIO WHEN: Saturday 2/13/10 WHERE:Havana Sol Restaurant
324 Virginia Street
Vallejo, CA TIME: 9:30 p.m. TICKETS: $10
Latin Jazz Quick Picks take a brief look at albums that might escape the attention of a general audience. In some cases, these albums don’t fit into the “Album Of The Week” or “Spotlight” categories. Other recordings might be too old at this point to find a place in the Spotlight, but too new to be considered a “classic.” Still, they each contain interesting music and they deserve attention. With the idea in mind that there are a lot of albums to cover in this setting, I’m going to move through them more rapidly than usual.
The Latin Jazz world has expanded tremendously over the past decade, yet one Latin influence that remains largely unexplored is the use of Spanish flamenco music. The application of flamenco in jazz presents some distinct challenges that sit outside the standard Latin Jazz approaches. When musicians incorporate Cuban or Brazilian music into jazz, the use of rhythmic structures drives the fusion - in both cases, the music’s percussive elements define the stylistic parameters. While flamenco music certainly relies upon rhythmic elements, it involves a unmistakable emphasis upon harmony and melody with influences from Spain, Africa, and the Middle East. Musicians need to find ways to fuse the distinct harmonic and melodic elements of jazz and flamenco without loosing the integrity of either world - a tall task indeed. Some musicians have navigated these two worlds with class and style; pianist Chano Dominguez consistently connects jazz with flamenco and conjures bold images of both traditions. Trumpet player Jerry Gonzalez jumped from years of hard bop inspired Latin Jazz into flamenco music on Y los Piratas del Flamenco without missing a beat. Still, these examples are the exception, not the rule - for the most part, the Latin Jazz world is still trying to decode flamenco.
Two recent releases dive into the fusion between jazz and flamenco, taking very different approaches to the combination. Impact from the RG Royal Sound Orchestra places flamenco elements into a big band setting, filling the flamenco world with the rich sound of a large ensemble. New World Flamenco from Tierra Negra & Muriel Anderson takes more of an instrumental rumba flamenco approach, integrating pieces of the Afro-Cuban world. Both releases offer a distinctly different perspective upon Latin Jazz - while they don’t always capture the essence of the music, they remind us of the value of flamenco music in the jazz world.
———- Impact
RG Royal Sound Orchestra
RG Records
The RG Royal Sound Orchestra takes familiar songs from the pop music world and places them in a big band context with undertones of flamenco music on Impact. A group of palmas charge forward into a trumpet soloist who provides the familiar melody on “My Way,” repeating the main theme over a thickening texture. A freely phrased melody winds through thick wind textures on “Volare” before the full band storms into an Afro-Cuban influenced arrangement with room for a tasty guitar solo and a traditional swing section. Rubato introductions from saxophone, trombone, and trumpet soloist lead into an upbeat interpretation of “I Left My Heart In San Francisco,” before electric guitarist Lindsey Blair explodes into a heavy rock fusion section. In the album’s most flamenco inspired moment, a trumpet soloist slides a legato phrase between airy guitar licks on “Hotel California” until the group jumps into the familiar melody. A trumpet soloist interprets the melody with plenty of vibrato on “As Time Goes By” leading into arranged variations on the main theme. The group brings a hearty collection of familiar tunes to life throughout Impact, utilizing big band colors and flamenco shades.
While the RG Royal Sound Orchestra strives to integrate flamenco into their repertoire, their emphasis remains upon the funky big band arrangements. The flamenco element remains consistent throughout the album, but it is mostly relegated to the background. The constant presence of palmas pushes the momentum of the songs forward, but it stays buried under a disco or funk backbeat, making it more effect than anything else. The guitarists use flamenco guitar strumming techniques, which gives a tinge of the flamenco style, but it might as well be something else - a piano or a standard big band guitar - because the carries very little impact upon the music. The group avoids any reference to the harmonic and melodic elements of flamenco music, giving the music’s Latin element an incomplete feel. While there are certain flamenco sound bytes that represent the genre, the rhythmic element alone doesn’t capture the depth of the flamenco tradition. This being said, the arrangements on Impact are strongly written, and they’re performed in a tight, coherent manner that reveals a powerful band. Unfortunately, the arrangements drive the album a little too much, leaving very little room for improvisation or personal identity. Impact does not inspire the passion of a straight ahead Latin Jazz album - it lacks many of the strong pieces of jazz or Latin music - it aims towards a wide audience with a defined big band conception of pop music.
———- New World Flamenco
Tierra Negra & Muriel Anderson
Tierra Negra and Muriel Anderson bring flamenco influences into the forefront of New World Flamenco, relying upon a smooth melodic sound. Anderson takes an understated approach to a repetitive melody on “White Horses” while flamenco guitarists Raughi Ebert and Leo Henrichs maintain a steady pulse in the background. Felipe Rengifo Hernandez Jr.’s energetic bongó pushes Ebert and Henrichs into a catchy chordal melody on “L’Air Du Camargue” while Anderson travels through a brief melody and a lyrical improvisation. The rhythm section maintains their constant flow while Anderson provides a melody full of distinct articulations on “Cloud Cover,” leaning the music towards flamenco melodies. There’s a definable New Age influence on “En El Bosque De Cristal,” “Summer Morning Rain,” and “View From Space,” as finger plucked chordal guitar passages mix with synthesizers. Anderson gets a chance to improvise a bit more extensively on “Cafe Au Lait,” staying close to the main melody with some rhythmic variations. The group calls upon the Middle Eastern roots of flamenco music on “Midnight Solo” as the guitarists gently play over a plodding dumbek rhythm. Tierra Negra and Anderson find a smooth balance between easy listening instrumental music and flamenco on New World Flamenco, providing another perspective on the music.
Spanish elements clearly resonate from New World Flamenco, but the group clearly sidesteps traditional ideals. We hear the presence of palmas, flamenco guitar strumming techniques, and the flamenco cajon supplying the Spanish edge. The group mellows the music’s cultural references with an emphasis upon the rumba flamenco style made popular by performers like Strunz and Farrah. The group utilizes bongó, Afro-Cuban percussion, a straight ahead Afro-Cuban bass tumbao, as well montuno-inspired patterns in the guitar lines, giving the music a pan-Latin feel. The musicians prioritize the groove and the music’s rhythmic momentum in an attempt to make the album danceable. There’s a definite commercial element to the music in the sense that it avoids the unbridled passionate dynamic curves of flamenco and the Middle Eastern tinges to the melodies. Instead the sound is constant and subdued with singable melodies that resemble instrumental pop tunes more than Middle Eastern influences. At the same time, the group downplays a relationship to traditional jazz. Most of the harmonies are based upon short repetitive chord patterns and the improvisations are very safe and very lyrical, almost leaning more towards instrumental pop music. While Tierra Negra and Muriel Anderson deliver some pieces of Spanish flamenco and other bits of jazz on New World Flamenco, they never quite commit to either world, creating a proficient and safe album that might turn Latin Jazz fans away, but appeal strongly to a smooth jazz audience.
Intelligently analyzing music consistently presents challenges that force the listener to decide which musical elements hold more weight. This becomes a monumental task in the modern Latin Jazz world, where the mass diversity of performance approaches can simply be staggering. Tradition plays a significant part in the equation, linking musicians back to their artistic influences. Latin Jazz artists need a coherent connection to Caribbean or South American music; the authentic application of traditional rhythms, melodies, or harmony speaks volumes about culture. At the same time, they need a firm foundation in the jazz language, with a working knowledge of everything from bebop charged Charlie Parker lines to modern Wayne Shorter melodies. These links to the past are important, but an over reliance upon them places the artist in a rather dry place artistically, constantly reinterpreting older works. They need to integrate contemporary musical ideals, ranging from the application of rock and funk rhythms to free improvisation and extended forms. They need to respect the innovations of their modern world and search for new sounds, including electronic instruments and different instruments from around the world. Then the artist needs to build upon their concepts and reinvent themselves over the long haul; ideally they do this in a more than superficial way that challenges both themselves and their listeners. When a listener weighs all these different pieces, they generally find artists that emphasize one piece of the puzzle over another - this unique combination shapes the musician’s identity.
The rare artist that finds a way to touch upon all these pieces presents a constant flow of inspiration - a perfect way to describe the work of innovative pianist Omar Sosa. Coming from a Cuban background, Sosa certainly creates music that respects his roots, but he doesn’t let it dominate his approach. Sosa reaches further into his cultural background, connecting his Cuban heritage with African traditions. His work includes African instruments, songs, rhythms and more; these pieces fit organically into Sosa’s music, acting as a solid grounding element. From there, any piece of the African diaspora becomes fair game for Sosa’s creative blend, ranging from hip hop to funk and beyond. Sosa mixes all of this diverse material with a healthy dose of jazz that overflows with freedom and lush harmonic depth. A shadow of Thelonious Monk sits behind Sosa, reflecting his unique sound; just like Monk in the bebop era, no one sounds quite like Sosa today. His constantly evolving series of projects range from performances with a consistent quartet to collaborations with symphony orchestras, with each context giving Sosa another change to challenge himself in new ways. His recordings reflect this sense of forward motion. Albums such as Free Roots and and Spirit of the Roots displayed early ideas; Nfumbe For The Unseen matched Sosa with percussionist John Santos; Mulatos brought in the Middle Eastern oud and Indian tablas; Afreecanos presented Sosa’s current group in a powerful display of cohesive musical concept; and Tales From The Earth combined Sosa with flautist Mark Weinstein in an engaging free jazz setting. With every new musical project, Sosa delivers a new and exciting musical idea that traces back to his roots while looking into the future, creating an ideal balance of musical concepts.
I’m anxiously awaiting Sosa’s latest recording, Ceremony, a collaboration with the NDR Big Band that will place his unconventional music in a very traditional setting. Looking forward to the promise of this album, today’s Weekly Latin Jazz Video Fix is dedicated to Sosa. The three clips below find Sosa performing with his Afreecanos quartet at the Sibiu Jazz Festival in 2009. There’s some serious music here that walks between a few different worlds, so take a long focused listen - you’ll find beauty, excitement, adventure, and more in Sosa’s music. Enjoy!
———- Omar Sosa & His Afreecanos Quartet Live At The Sibiu Jazz Festival
———-
Do you have a video to contribute to satisfy our weekly Latin Jazz video fix? If so, send it in - it’s time to feed our addiction. I’m looking for live performances, from any context. I’ll most likely be posting one video per week, but if you’ve got another idea, let’s talk. So come on Latin Jazz videographers, musicians, and fans - let’s share some of our memorable videos! Get my contact info HERE.
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. Performance dates will be kept in the Live Latin Jazz tab at the top of the page.
NEWS
The stunning diversity of Cuban saxophonist Paquito D’Rivera seems to surprise everyone who comes into contact with him, but here in the Latin Jazz world, we understand his immense talents. From his days with Cuban supergroup Irakere to jazz with Dizzy Gillespie, classical music with Yo Yo Ma, and much more, Paquito D’Rivera has spent his life creating some of the highest quality music in the world. Any time the greater world takes a look at D’Rivera, it’s a good thing, and this week, he was featured on PRI’s Global Hit. The quick interview goes through some highlights of his career and looks at recent projects - check it out HERE.
New York radio station WNYC features some outstanding programming, including the weekly Soundcheck show - a diverse program that regularly highlights outstanding modern jazz artists. This week Soundcheck host John Schaefer talks with Argentinean vocalist Sofia Tosello about her musical development and her latest album Alma Y Luna. There’s also some great live clips of Tosello performing with her band in the studio that have to be heard. It’s a great feature - download it or stream it HERE.
Congratulations to Bebo and Chucho Valdes, who won the Grammy Award for Best Latin Jazz Album for their album Juntos Para Siempre last night as part of the 52nd annual awards. It’s a great album, and truly deserves some recognition, but I can’t help but notice that the recording also won the Best Latin Jazz Album honors in the Latin Grammy Awards. It’s hard to complain when the Valdes family wins awards, but it would be nice to see the honors spread around . . . just a thought. Check out the complete Grammy Award results HERE.
If you’re in the CARIBBEAN this week . . . ARTURO O’FARRILL
Afro-Latin Jazz Orchestra WHEN: Saturday 2/6/10 WHERE:Ruth Seaton James Centre for the Performing Arts
1 Cedarbridge Lane
Devonshire, DV TIME: 8:00 p.m. TICKETS: $65
If you’re in EUROPE this week . . . EDWARD PEREZ WHEN: Friday 2/5/10 WHERE:Le Swing
Dr Cortezo 17 2a
28012 Madrid, Spain TIME: 10:00 p.m.
WHEN: Saturday 2/6/10 WHERE:Club Kathmandu
Calle de los Señores de Luzón 3
28013 Madrid, Spain TIME: 10:30 p.m.
OMAR SOSA WHEN: Saturday 2/6/10 WHERE: La Mamisele
Saubrigues, France TIME: 8:00 p.m.
If you’re in CANADA this week . . . JANE BUNNETT
Benefit For Haiti WHEN: Monday 2/1/10 WHERE:Hugh’s Room
2261 Dundas Street, West
Toronto, ON Canada TIME: 8:00 p.m. TICKETS: $25 in advance; $30 at door
If you’re in ALASKA this week . . . JOHN SANTOS SEXTET WHEN: Friday 2/5/10 WHERE:Sitka High School
1000 Lake Street
Sitka, AL TIME: 1:40 p.m. TICKETS: FREE
If you’re on the EAST COAST this week . . . ARTURO O’FARRILL
Solo Piano WHEN: Wednesday 2/3/10 WHERE:Puppet’s Jazz Bar
481 5th Avenue Park Slope
Brooklyn, NY TIME: 7:00 p.m. TICKETS: $10
Quintet WHEN: Sunday 2/7/10 WHERE:Birdland
315 W. 44th Street
Manhattan, NY TIME: 9:00 p.m. & 11:00 p.m. TICKETS: $30
BOBBY SANABRIA WHEN: Wednesday 2/3/10 WHERE:Fonda Boricua
172 East 106th Street
New York, NY TIME: 7:30 p.m. & 9:30 p.m. TICKETS: $20
CHEMBO CORNIEL WHEN: Thursday 2/4/10 WHERE:Nuyorican Poet’s Cafe
236 East 3rd Street
New York, NY TIME: 9:00 p.m. TICKETS: $7
CHRIS WASHBURNE & S.Y.O.T.O.S. WHEN: Sunday 2/7/10 WHERE:Smoke
2751 Broadway
New York, NY TIME: 8:00 p.m., 10:00 p.m. & 11:30 p.m. TICKETS: $20 minimum
CURTIS BROTHERS WHEN: Saturday 2/6/10 WHERE:Shrine
2271 Adam Clayton Powell Jr. Boulevard
New York, NY TIME: 6:00 p.m.
DAVID SANCHEZ WHEN: Thursday 2/4/10 - Sunday 2/6/10 WHERE:Jazz Standard
116 East 27 Street
New York, NY TIME: 7:30 p.m. & 9:30 p.m.; 11:30 p.m. on Friday & Saturday TICKETS: $30
ERIC KURIMSKI WHEN: Thursday 2/4/10 WHERE:Terraza Cafe
40-19 Gleane St
Elmhurst, NY TIME: 10:00 p.m. TICKETS: FREE
FELIPE SALLES WHEN: Saturday 2/6/10 WHERE:Shrine
2271 Adam Clayton Powell Jr. Boulevard
New York, NY TIME: 7:00 p.m.
GABRIEL ALEGRIA WHEN: Friday 2/5/10 - Sunday 2/7/10 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: Friday & Saturday: 8:00 p.m. & 10:30 p.m.; Sunday: 7:00 p.m. TICKETS: NO COVER
GREG DIAMOND WHEN: Wednesday 2/3/10 WHERE:Flutebar - Gramercy
205 West 54th Street
New York, NY TIME: 8:00 p.m.
GRUPO LOS SANTOS WHEN: Thursday 2/4/10 WHERE:Barbes
386 9th Street
Brooklyn, NY TIME: 10:00 p.m. TICKETS: $5
HECTOR MARTIGNON WHEN: Friday 2/5/10 WHERE:Fonda Boricua
172 East 106th Street
New York, NY TIME: 9:00 p.m. TICKETS: $10
HENDRIK MEURKENS WHEN: Friday 2/5/10 WHERE:Bar Next Door
129 MacDougal Street
New York, NY TIME: 7:00 p.m. & 9:00 p.m. TICKETS: $6 - 7:00 p.m.; $12 - 9:00 p.m.
JUANCHO HERRERA WHEN: Wednesday 2/3/10 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: NO COVER
MALIKA ZARRA WHEN: Thursday 2/4/10 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: NO COVER
SHIRAZETTE TINNIN WHEN: Tuesday 2/2/10 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: NO COVER
SUSAN PEREIRA & SABOR BRASIL WHEN: Tuesday 2/2/10 WHERE:Zinc Bar
82 West Third Street
New York, NY TIME: 9:30 p.m, 11:00 p.m., & 1:00 a.m. TICKETS: $10 - tables; No Cover At Bar
If you’re in the MID-EAST this week . . . CHICAGO AFRO-LATIN JAZZ ORCHESTRA WHEN: Tuesday 2/2/10 WHERE:Jazz Showcase
806 S. Plymouth Court
Chicago, IL TIME: 8:00 p.m. & 10:00 p.m. TICKETS: $30
LOS GATOS WHEN: Wednesday 2/3/10 WHERE:Live At PJ’s
102 S 1st St
Ann Arbor, MI TIME: 8:00 p.m. & 9:15 p.m. TICKETS: $7
TUMBAO BRAVO WHEN: Sunday 2/7/10 WHERE:Sangria’s
401 South Lafayette Avenue
Royal Oak, MI TIME: 9:30 p.m. TICKETS: $5
If you’re on the WEST COAST this week . . . ANNA ESTRADA WHEN: Friday 2/5/10 WHERE:Senzala
250 E. Java Drive
Sunnyvale, CA TIME: 9:00 p.m. TICKETS: $10
EDDIE PALMIERI WHEN: Friday 2/5/10 WHERE:Martin Woldson Theater at The Fox
1001 West Sprague Avenue
Spokane, WA TIME: 8:00 p.m. TICKETS: $27 - $32
ESTRADA BROTHERS WHEN: Saturday 2/6/10 WHERE:Steamer’s
138 W. Commonwealth
Fullerton, CA TIME: 8:30 p.m. TICKETS: $8
IGNACIO BERROA QUARTET WHEN: Monday 2/1/10 WHERE:Yoshi’s - San Francisco
1330 Fillmore Street
San Francisco, CA TIME: 8:00 p.m. TICKETS: $16
JOVINO SANTOS NETO WHEN: Saturday 2/6/10 WHERE:Bake’s Place
4135 Providence Point Drive
Issaquah, WA TIME: 7:45 p.m. TICKETS: $15
SANDY CRESSMAN
From Jobim To Guinga WHEN: Thursday 1/28/10 WHERE:Kuumbwa Jazz Center
320-2 Cedar Street
Santa Cruz, CA TIME: 7:00 p.m. TICKETS: $12 in advance; $15 at door
SONANDO WHEN: Saturday 2/6/10 WHERE:The Seasons
101 North Naches Avenue
Yakima, WA TIME: 7:30 p.m TICKETS: $15
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New York Encounter Michael Simon Fresh Sound Records
Musicians form their artistic approaches as a direct result of the interactions that they experience within their musical community. They get ideas from performances, rehearsals, jam sessions, and everyday conversations; the concepts that musicians share within a community percolate until they evolve into defined approaches. Some musicians spend their lives within one musical community, relying upon the trust earned during long standing artistic relationships to drive their progress. Other artists reach beyond their home base, connecting with musicians from other regions through quick trips, online communication, and more. A smaller group of artists move between communities, building connections across a country, and sometimes around the world. Each of these lifestyles potentially breed interesting artistic personalities, but a network of connections with multiple communities always results in a more diverse musician with a broad perspective. These musicians simply have access to more ideas, a larger pool of perspectives to push concept development, and countless potential collaborators. Trumpet player Michael Simon holds a connection with multiple communities around the world, ranging from his own vastly musical family to New York’s Latin Jazz circles and his current home in the Netherlands - all these elements combine into a powerful collection of music on New York Encounter.
A Strong Connection To The New York Latin Jazz Community
Several pieces reflect the influence of Simon’s relationship with the New York Latin Jazz community. Pianist Edward Simon attacks his instrument with sharp percussive patterns over a songo groove on “Mi Amigo El Machinsta,” leading the way into a tightly constructed melody that weaves through rhythmic changes. Michael Simon glides over the rhythm section nimbly, dancing his mellow tone through a careful balance of jazz class and rhythmic fire. The rhythm section lowers its dynamic behind alto saxophonist Miguel Zenón, who carefully develops his ideas with repetition before building his improvisation into a frenzy. Percussionist Roberto Quintero’s güiro keeps a steady groove behind Edward Simon’s seven beat montuno on “Sabor Íntimo” before the melody steers the rhythm section towards a combination of standard and odd time signatures. Michael Simon travels through the changing structure with a bluesy class, delivering an interesting statement with a hard bop edge. Edward Simon creates a quick contrast with a lush statement overflowing with elegance, finding his way into a nine beat montuno behind Quintero’s conga solo. The wind players race through a series of sharp rhythm section attacks on “New York Encounter” working into a melody that bounces around the group’s funky songo groove with a infectious energy. Bassist Boris Kozlov grabs the group’s energy and flies with an engaging improvisation that wraps melodies into angular rhythmic ideas. The group explodes into an exciting forward motion as tenor saxophonist Peter Brainin aggressively charges through the chord changes with clear melodic ideas and syncopated rhythms. These piece capture Michael Simon’s relationship with the New York Latin Jazz world, placing his compositional and performance voice into a mix of hard bop and Afro-Cuban energy.
Contributions From Edward Simon
Simon’s brother Edward contributes two pieces that inspire another side of the trumpet player both as a performer and leader. A series of brash syncopated attacks give way to an askew bass line that creates an addictively funky feel over a son montuno groove on “Fiestas” while the wind players trade mysterious phrases with the piano. Michael Simon uses space and thoughtful phrasing to develop a smart improvisation that reveals shades of influence from late Miles Davis. Both Brainin and Zenón start interjecting complementary ideas and Marlon Simon flies into an uptempo swing rhythm, as the band climaxes into a collective improvisation. The wind players introduce a dramatic series of notes as Edward Simon falls into a meditative vamp on “Equanimity” while Michael Simon floats an airy melody over the serene backdrop. Zenón joins Simon in long, harmonized lines until the two musicians move into a gentle call and response. The rhythm section rides the hypnotic vamp with an engaging sense of dynamics that push the intertwining lines from the wind players into a powerful wall of sound. These pieces show Michael Simon’s connection to his brother Edward’s musical approach, driving a contemplative and experimental side to the trumpet player.
Diverse Sides To Simon’s Musicianship
Michael Simon reveals a personal side to his musicianship with several pieces that explore a variety of influences. The wind players take quick stabbing attacks at the harmony before the rhythm section moves into a swing backdrop on “Blues Del Silencio Frio” for a twisting melody. Edward Simon displays some serious jazz chops as he spins a propulsive blues solo over the hard swing, mixing elements of traditional phrases and modern harmony. The rhythm section disappears as Michael Simon and Zenón trade freely structured ideas, relying upon tension to build back into a full band sound and an attention grabbing solo from drummer Marlon Simon. A dramatic introduction from the wind players explodes into an improvised and coloristic accompaniment from the rhythm section on the long scale piece “House Of Thoughs,” making a transition into a melody over a driving cha cha cha. The group ends the melody with an Afro-Venezuelan parranda, setting the stage for a brilliantly constructed improvisation from Edward Simon, full of sharp melodic edges and running melodies. A brief interlude sends the group back into a cha cha cha as Brainin slips around the groove, driving jazz infused melodies into a screaming conclusion. A richly harmonized chordal passage gives way to a Venezuelan culo e’puya rhythm on “Joy Is Within” as a beautifully understated melody glides over colorful chords. Edward Simon sounds completely comfortable within the rhythmic structure, darting around the edges of the rhythm while weaving clever melodies through the harmony. Trombonist Noah Bless inserts a blend of drama and forward motion into a smart improvisation that captures the song’s contagious spirit. These pieces show the diverse sides of Michael Simon’s musical interests, revealing some unique elements that complete his personal voice.
A Powerful Connection To Musical Communities New York Encounter displays a broad swatch of Simon’s musical abilities, bringing together all the influences of his community connections. The different pieces of this puzzle are most apparent in Simon’s compositions, which reflect a broad artistic viewpoint. Simon weaves together various musical elements including Afro-Cuban and Afro-Venezuelan styles, odd time signatures and free improvisation, as well as straight-ahead swing and extended improvisations. The seamless integration of these pieces reflect a mature musical mind with a wealth of experience. The inclusion of Simon’s brothers - pianist Edward and drummer Marlon - creates a comfortable environment that resonates with endless possibilities. There’s a sympathetic interaction in the group’s performance that only arises from a lifetime’s worth of shared musical experiences. The addition of some of New York’s best musicians inject the recording with an authentic jazz edge and an inspired sound. Bassist Andy Gonzalez and Kozlov, saxophonists Zenón and Brainin, as well as percussionist Quintero all represent a piece of New York’s long connection to Latin Jazz, a direction that bursts through the album with resounding clarity. The potent brew resulting from Simon’s connection to these various communities flows through New York Encounter with a unified strength, giving us an idea of the powerful contribution that Simon’s music can give back to Latin Jazz communities around the world.
Music relates to community in so many different ways; it’s not always just about the group of performing musicians - musicians can reach out to support other communities. In hard times, musicians are often some of the leaders in benefit events - a fact that has held true in 2010 after the tragic earthquake in Haiti. Individuals around the world contributed personal donations right away, but at the same time, musicians were quickly organizing fundraising concerts. High profile concerts such as the pop driven Hope For Haiti Now event and subsequent downloads brought in immediate loads of cash, getting the ball rolling. This blast of a worldwide major event like this helps the cause immensely, but a multitude of local benefit concerts can be just as effective. Fortunately, these events are popping up across the country at an inspiring rate, and the Latin Jazz world has been a big part of this support system. Events on the East Coast, West Coast, and Middle America have all been scheduled, showing an outreach of community past any local scene. This is where music becomes more than just the individual, it becomes about humanity - something we often forget that sits at the root of the art form.
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Some upcoming benefit concerts for Haiti, featuring Latin Jazz artists:
Saxophonist Jane Bunnett has organized a series of two fundraising concerts in Toronto at Hugh’s Room. Both nights will feature Bunnett with her group Spirits Of Havana, as well as Amanda Martinez, Hilario Duran, and many more. WHEN: Thursday 1/28/10 & Sunday 1/31/10 WHERE:Hugh’s Room
2261 Dundas Street, West
Toronto, ON Canada TIME: 8:00 p.m. TICKETS: $25 in advance; $30 at door
Bay Area Latin Jazz musicians will join together for a performance at Pier 23 Cafe in February, with proceeds going directly to the Sion Fonds Orphanage in Haiti. Performers include the Latin Jazz Youth Ensemble Of San Francisco, Sombra Y Luz, Ray Obiedo and Mambo Caribé, as well as The Bay Area Latin Jazz All-Stars, a group that includes percussionists John Santos and Jesus Diaz, trombonist Wayne Wallace, violinist Anthony Blea, and many more. WHEN: Sunday 2/28/10 WHERE:Pier 23 Cafe
Pier 23 on the Embarcadero
San Francisco, CA TIME: 2:00 p.m. - 8:00 p.m. TICKETS: $25
If you’re a Latin Jazz artist performing in an upcoming Haiti benefit, let me know, I’ll add you to the list!
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In honor of the spirit of support for Haiti being shown right now, we’re going to jump into a Latin Jazz world that we haven’t quite explored here at LJC - Afro-Haitian Jazz. This is a completely new world for me, so I’m searching here, but I’ve come up with a few interesting examples. The first clip features the group Mozayik performing “Caravan” with Haitian rhythms, live in Haiti. The second video shows Haitian musician Melanie JC Charles performing a scorching instrumental piece at SOB’s in New York. The last selection finds saxophonist Buyu Ambroise placing Haitian rhythms under Wayne Shorter’s classic tune “Footprints.” Enjoy the videos and put the concert dates above on your calendar so that you can get out and support Haiti!
———- Afro-Haitian Jazz Quintet Mozayik Performing “Caravan” Live in Haiti
Melanie JB Charles Performing Live At SOB’s In New York
Saxophonist Buyu Ambroise Performing “Footprints” With Haitian Rhythms
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Want to hear more from Haitian Jazz Artists? Check out these albums: Buyu Ambroise: Blues in Red
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Do you have a video to contribute to satisfy our weekly Latin Jazz video fix? If so, send it in - it’s time to feed our addiction. I’m looking for live performances, from any context. I’ll most likely be posting one video per week, but if you’ve got another idea, let’s talk. So come on Latin Jazz videographers, musicians, and fans - let’s share some of our memorable videos! Get my contact info HERE.
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. Performance dates will be kept in the Live Latin Jazz tab at the top of the page.
NEWS
We were lucky enough here at LJC recently to have a guest post from one of the top names in West Coast Latin Jazz, percussionist Bobby Matos, who delved into the state of Latin Jazz as an American art form - you can check out that article HERE. That same article has been published in a few places at this point, as Matos spreads the word about this music that we love. Over at The Independent Ear, they’ve followed up that article with a brief interview with Matos that digs gets his thoughts on the state of Latin Jazz and offers some great listening suggestions. Check it out HERE.
It seems like we’re always coming back to the question of “What Is Latin Jazz?” here at LJC - it’s just such a slippery subject that touches upon everything that we love about this music. It’s good to know that there are other people out there tackling the same question! In an article posted in November of 2009, West Coast percussionist John Santos gives a detailed and fact-filled explanation on the subject. Santos mixes opinion with historical facts, giving one of the best response I’ve read in a while - it’s a must read for any Latin Jazz lover. Check it out HERE.
The recent earthquake in Haiti that caused a massive death toll has reached us all, and there have been several attempts at raising money to help the people of Haiti over the past couple of weeks. The earthquake hit saxophonist Jane Bunnett hard, and she quickly moved to organize a fundraiser with some of Toronto’s best jazz musicians. You can find that listing below in our Live Latin Jazz section, but NPR’s A Blog Supreme took the time to talk to Bunnett about the fundraiser and help spread the word. There’s a good interview with Bunnett and some wonderful video of the saxophonist performing with Haitian musicians - check it out HERE.
If you’re in CANADA this week . . . JANE BUNNETT
Benefit For Haiti WHEN: Thursday 1/28/10 WHERE:Hugh’s Room
2261 Dundas Street, West
Toronto, ON Canada TIME: 8:00 p.m. TICKETS: $25 in advance; $30 at door
Benefit For Haiti WHEN: Sunday 1/31/10 WHERE:Hugh’s Room
2261 Dundas Street, West
Toronto, ON Canada TIME: 8:00 p.m. TICKETS: $25 in advance; $30 at door
If you’re in ASIA this week . . . DAVID SANCHEZ WHEN: Tuesday 1/26/10 - Friday 1/29/10 WHERE:Cotton Club - Japan
TOKIA 2F, TOKYO Building
2-7-3 Marunouchi
Chiyoda-ku, Tokyo TIME: 7:00 p.m. & 9:30 p.m. TICKETS: ￥7,500 - ￥9,500
If you’re on the EAST COAST this week . . . ANNETTE AGUILAR & STRINGBEANS WHEN: Tuesday 1/26/10 WHERE:Giovanni’s G-Bar Lounge
575 Grand Concourse
Bronx, NY TIME: 6:00 p.m. TICKETS: NO COVER
ARTURO O’FARRILL
Solo Piano WHEN: Wednesday 1/27/10 WHERE:Puppet’s Jazz Bar
481 5th Avenue Park Slope
Brooklyn, NY TIME: 7:00 p.m. TICKETS: $10
WHEN: Friday 1/29/10 - Saturday 1/30/10 WHERE:Puppet’s Jazz Bar
481 5th Avenue Park Slope
Brooklyn, NY TIME: 9:00 p.m. TICKETS: $12 w/two item minimum
BOBBY SANABRIA
Big Band WHEN: Wednesday 1/27/10 WHERE:Fonda Boricua
172 East 106th Street
Ne York, NY TIME: 7:30 p.m. & 9:30 p.m. TICKETS: $20
CHICO O’FARRILL’S AFRO-CUBAN JAZZ ORCHESTRA WHEN: Sunday 1/31/10 WHERE:Birdland
315 W. 44th Street
Manhattan, NY TIME: 9:00 p.m. & 11:00 p.m. TICKETS: $30
CLAUDIA ACUÑA WHEN: Friday 1/29/10 WHERE:Jazz Gallery
290 Hudson Street
New York, NY TIME: 9:00 p.m. & 10:30 p.m TICKETS: $20
CLAUDIA ALZAMORA WHEN: Wednesday 1/27/10 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: NO COVER
CURTIS BROTHERS WHEN: Thursday 1/28/10 WHERE:Twins Jazz Club
1344 U Street Northwest
Washington, DC TIME: 8:00 p.m. TICKETS: $10
ERIC KURIMSKI WHEN: Thursday 1/28/10 WHERE:Terraza Cafe
40-19 Gleane St
Elmhurst, NY TIME: 10:00 p.m. TICKETS: FREE
GATO BARBIERI WHEN: Monday 1/25/10 - Wednesday 1/27/10 WHERE:Blue Note - New York
131 W. 3rd St
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: Bar: $20; Table: $35
GREG DIAMOND WHEN: Monday 1/25/10 WHERE:Rose
345 Grand Street
Brooklyn, NY TIME: 9:00 p.m.
WHEN: Wednesday 1/27/10 WHERE:Flutebar - Gramercy
40 East 20th Street
New York, NY TIME: 8:00 p.m.
JOHN BENITEZ WHEN: Thursday 1/28/10 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: NO COVER
KELSEY JILLETE WHEN: Friday 1/29/10 - Sunday 1/31/10 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: Friday & Saturday: 8:00 p.m. & 10:30 p.m.; Sunday: 7:00 p.m. TICKETS: NO COVER
LAYLA ANGULO WHEN: Thursday 1/28/10 WHERE:Puppet’s Jazz Bar
481 5th Avenue Park Slope
Brooklyn, NY TIME: 9:45 p.m. TICKETS: $6 w/two item minimum
MIGUEL ZENON
Cultural Exchange Concerts WHEN: Tuesday 1/26/10 WHERE:Zankel Hall - Carnegie Hall
57th Street and Seventh Avenue
New York, NY TIME: 11:00 a.m. TICKETS: $6 per student; $50 per teacher
NATALIA BERNAL WHEN: Tuesday 1/26/10 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: NO COVER
PAQUITO D’RIVERA
Guest Artist With The American Composers Orchestra WHEN: Friday 1/29/10 WHERE:Zankel Hall - Carnegie Hall
57th Street and Seventh Avenue
New York, NY TIME: 7:30 p.m. TICKETS: $38 - $48
PONCHO SANCHEZ WHEN: Thursday 1/28/10 - Sunday 1/31/10 WHERE:Blue Note - New York
131 W. 3rd St
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: Bar: $20; Table: $35
SOFIA TOSELLO WHEN: Thursday 1/28/10 WHERE:Jazz Gallery
290 Hudson Street
New York, NY TIME: 9:00 p.m. & 10:30 p.m TICKETS: 9:00 p.m. - $15; 10:30 p.m. - $10
WILLIE MARTINEZ WHEN: Thursday 1/28/10 WHERE:Nuyorican Poet’s Cafe
236 East 3rd Street
New York, NY TIME: 9:00 p.m. TICKETS: $7
If you’re in the MID-EAST this week . . . CHICAGO AFRO-LATIN JAZZ ORCHESTRA WHEN: Tuesday 1/26/10 WHERE:Jazz Showcase
806 S. Plymouth Court
Chicago, IL TIME: 8:00 p.m. & 10:00 p.m. TICKETS: $30
CRAIG RUSSO LATIN JAZZ PROJECT WHEN: Friday 1/29/10 - Saturday 1/30/10 WHERE:Remy’s Jazz and Cocktails
225 East Monroe Street
Springfield, IL TIME: 8:30 p.m.
LOS GATOS WHEN: Wednesday 1/27/10 WHERE:Live At PJ’s
102 S 1st St
Ann Arbor, MI TIME: 8:00 p.m. & 9:15 p.m. TICKETS: $7
PAULINHO GARCIA WHEN: Wednesday 1/27/10 WHERE:Piccolo Mondo
1642 E. 56th Street
Chicago, IL TIME: 6:00 p.m.
TUMBAO BRAVO WHEN: Sunday 1/31/10 WHERE:Sangria’s
401 South Lafayette Avenue
Royal Oak, MI TIME: 9:30 p.m. TICKETS: $5
If you’re in the MID-WEST this week . . . PABLO ZIEGLER WHEN: Saturday 1/30/10 WHERE:Ruth Taylor Recital Hall - Trinity University
One Trinity Place
San Antonio, TX TIME: 7:30 p.m. TICKETS: $17 - $78
If you’re on the WEST COAST this week . . . ALFREDO RODRIGUEZ WHEN: Tuesday 1/26/10 WHERE:Yoshi’s - San Francisco
1330 Fillmore Street
San Francisco, CA TIME: 8:00 p.m. TICKETS: $14
FRANK CANO WHEN: Saturday 1/30/10 WHERE:Steamer’s
138 W. Commonwealth
Fullerton, CA TIME: 8:30 p.m. TICKETS: $8
KAT PARRA WHEN: Friday 1/29/10 - Saturday 1/30/10 WHERE:D’Vine Jazz & Wine
775 Cochrane Road
Morgan Hill, CA TIME: 8:00 p.m. TICKETS: NO COVER
MIGUEL ZENON WHEN: Wednesday 1/27/10 - Saturday 1/30/10 WHERE:Vanderhoef Studio Theatre - Mondavi Center
One Shields Avenue
University of California
Davis, CA TIME: 8:00 p.m. TICKETS: $35
PUERTO RICO GOLDEN JAZZ ALL-STARS WHEN: Thursday 1/28/10 - Sunday 1/31/10 WHERE:Yoshi’s - San Francisco
1330 Fillmore Street
San Francisco, CA TIME: 8:00 p.m. & 10:00 p.m.; Sunday: 5:00 p.m. TICKETS: Friday 8:00 p.m. - $20, 10:00 p.m. - $16; Saturday 8:00 p.m. & 10:00 p.m. - $24; Sunday 5:00 p.m. - $5 (kids), $15 adult (with kid), $24 adult (general), 7:00 p.m. - $24
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The mixture of Latin culture and African American jazz really has a confused history that is often overlooked through modern eyes. Most people only look at the surface appearance of the style, categorizing a Latin influence into a tidy box. The common concept of the music is one that has been solidified by many musicians over several decades, and it presents a clearly defined approach. From the blaring Afro-Cuban rhythms of Tito Puente to the churning bossa nova of Getz and Gilberto and the festejo of Gabriel Alegria, musicians have found innovative ways to combine Caribbean and South American rhythms with jazz harmonies. This combination certainly resulted in some great music, but it’s only one piece of a larger picture. When we looked back across the first decade of the twenty-first century, we discovered the reoccurring theme of “What Is Latin Jazz?,” a question forced upon us by new representations of Latin culture in the jazz world. The high profile emergence of multitudes of artists pushing the limits of the genre brought the issue into the forefront of our attention in the 2000s, but it’s hardly a new idea. Latin influences and musicians have helped shape the jazz world since it’s beginnings.
Musical exchange between African-American, Caribbean, and South American musicians has been a cornerstone of jazz since it’s inception. Jazz came to life in New Orleans during the early 1900s, but only with the help of Cuban music. Pianist Jelly Roll Morton often referred to the essential “Spanish Tinge” that made jazz complete, and he showed it in his compositions through a specific left hand figure, the habanera. Puerto Rican musicians filled the ranks of Puente and Machito’s fiery Afro-Cuban big bands, building the now legendary Palladium sound; at the same time, some of those musicians found their way into Duke Ellington’s band. Trumpet player Fats Navarro, a Cuban born trumpet player, burned his way through a short but memorable life during the bebop era. Numerous Brazilian and Puerto Rican percussionists fueled the heavy grooves of fusion bands during the seventies, giving the music a “world jazz” sound. At every turn of jazz’s evolution, Latin music and musicians helped build the style into the major art form that we know today. In most cases though, Latin culture wasn’t the focus, it was just a piece of the bigger puzzle, so the essential connection to Latin music generally goes unnoticed.
———- Juan Tizol One musician who shaped the course of jazz history celebrated their 110th birthday this week - valve trombonist Juan Tizol was born on January 22, 1900 in San Juan, Puerto Rico. Born into a musical family, Tizol gained a solid musical foundation on the island, emerging as a highly trained classical musician. In 1920, Tizol made his way into Washington D.C., smuggled into the city by boat to work a steady theater gig. Nine years later, after a variety of musical jobs and an investment in a deli, Tizol gained a spot in Duke Ellington’s band. Being a fully trained musician, Tizol became a key player in the group, transposing parts, doing copywriting, and providing a distinct contrast to the rough bluesy voices in the band. Ironically, Tizol encounter race issues in the band, but not because of his Caribbean heritage - his light skin gave him the appearance of being caucasian, which led to a well-known conflict with Charles Mingus and more. Tizol began composing for the band in the early thirties, inserting a “Latin” edge into some songs, while staying with the group’s swing feel on others. 1944 marked the end of an era as Tizol left Ellington to pursue a job with Harry James in Los Angeles, bringing him closer to his wife. Tizol made a brief return to the Ellington band in 1951, only to leave again after three years. He bounced between several prominent big bands over the next ten years, retiring to Los Angeles during the sixties. Tizol lived to a ripe age of 84, dying in Los Angeles on April 23, 1984.
———- Sitting Between Jazz And Latin Culture Tizol’s career presents a perfect example of the foggy relationship between traditional jazz and Latin culture - he was a musician that easily “sat between” jazz and Latin music. His legacy remains firmly attached to Ellington, one of the most influential voices in tradition jazz. His contributions to the group behind the scenes, as a performer, and as a composer helped the group stake their place in history and create some of the world’s most memorable music. Ellington respected Tizol and his abilities, a fact reinforced by his willingness to include several Tizol compositions into the group’s repertoire, which was dominated by Ellington and Billy Strayhorn pieces. His composition “Perdido,” a swing tune, caught the imagination of jazz musicians and listeners around the world; it continues to be a highly played standard. Many Latin Jazz musicians remember Tizol as a ground breaking Puerto Rican musician that connected Latin culture with the Ellington band. Another famous Tizol composition, “Caravan” sits among the most cherished Latin Jazz standards in the genre, recorded hundreds of times, using countless creative arranging techniques. He made significant strides on both sides of the fence, gaining respect and notoriety among the jazz audience and Latin musicians alike.
Tizol’s “Latin” Compositions With The Ellington Band Tizol’s use of Latin elements in his compositions certainly opened the door for Latin rhythms in jazz, but it also served to keep a grey area around Latin culture in the music. Tizol’s pieces certainly broke the band out of its swing mold, forcing the rhythm section into straight eighth notes. Still, although the band’s foundation made these changes, the wind players continued to swing melodies at points; there was definitely not a unified group concept around clave. A great example of this tension around a disjointed concept exists on the band’s recording of Tizol’s “Moon Over Cuba” from Never No Lament: The Blanton-Webster Band - Tizol’s thick vibrato holds the straight feel, but the saxes distinctly swing behind him. At the same time, many of the band’s performances avoided a direct connection to rhythms from Cuba or Puerto Rico, instead blending cultural elements into an unidentifiable mix. Check out “Porto Rican Chaos” from Duke Ellington: 1933-1938 (vol. 3) - despite the title’s spelling, there’s an implication of Puerto Rican identity here. A three-two clave pattern can clearly be heard throughout the recording, but the drum kit keeps a tango-esqe pattern and a shaker leans the rhythm towards swing. Despite the admirable attempt to integrate Latin rhythms into the group, the band always seemed ready to jump into swing, and they always played with more vigor when they did. The group starts on a vague straight-eighth groove during “Conga Brava,” once again from Never No Lament: The Blanton-Webster Band. There’s certainly a professional conviction, but the band explodes into swing about forty seconds into the track and they sound absolutely inspired. All these elements create an interesting contradiction - Tizol attempted to bring a Caribbean element into the music, but his statement of culture became blurred into an unintelligible message.
Questions About Latin Culture In Jazz Tizol’s place in the jazz world brings a serious set of questions into play, forcing us to examine the role of Latin culture in jazz. Tizol’s contributions to the Ellington band were significant - he added songs to the group’s repertoire, he was a long time member of the brass section, and he worked behind the scenes to make the band more musically functional. Why doesn’t the jazz world remember Tizol with the reverence of other Ellington alumni like Billy Strayhorn, “Cootie” Williams, or Louie Bellson? Tizol specifically tried to bring compositions with Latin influences into the band, but they lacked a specific connection to Latin culture. There were certainly less resources available to learn the music at that time, but there were plenty of Puerto Rican musicians in New York during the thirties - if members of the Ellington rhythm section really wanted to get it right, they could have found some help. With this in mind, its curious to wonder why the performance of these pieces were taken so lightly - were they seen as novelty to the band? History has certainly been written around the racial issues experienced by African American jazz musicians, a seriously heavy subject. Still, Latino musicians such as Tizol must have felt a double whammy in the same situations, experiencing discrimination while dealing with the downplay of their culture. Why don’t the jazz history books address these issues? I’m not sure that I know the answers here, I’m really just thinking aloud - but the facts seem to demand answers to these questions.
Bringing Important Contributions Into The Forefront There’s a whole wealth of Latin musicians that sit in the background of jazz history, and a number of instances where Latin music pushed the genre forward - it’s time to bring those contributions into the forefront. In general historians consider jazz an African-American art form, and the dominance of the culture in the music in undeniable. Music never maintains a strictly isolationist policy though, and its important to recognize the whirlpool of cultures that brought jazz into its modern state. Cultural elements from the Caribbean and South America certainly have played an important role in jazz development, from the music’s origins to modern day. Latin musicians like Juan Tizol worked in the trenches of jazz, wrote important compositions, and developed the conventions that we now consider standard in the jazz world. Sometimes they used Latin rhythms and at other times, they didn’t; that’s not the issue here though. The issue remains that musicians like Tizol made significant contributions to the evolution of jazz, yet they sit outside the realm of wide public recognition. It’s time to stop treating Latin culture like a second class citizen in the jazz world and embrace its influence - an act that would show respect and admiration for the work of Juan Tizol and all the Caribbean and South American musicians that have made jazz an incredible art form.
Warm rains and gentle breezes conjure images of soft ballad settings and smooth melodies in the jazz world; they seldom capture the fire and passion inherent in Latin Jazz. Lately, the winter weather has held more than a simple shower though - heavy storms have been attacking my world in many ways. Pounding sheets of rain have made my commute into work slow and treacherous. Dark clouds covered the sky, making my day dark, dismal, and overcast. Thunder and lightning lit up the darkness then sent rumbling waves of sound shooting through my house, scaring the dog and distracting my family. Throughout all the gloomy weather, all three of my kids and myself fell under nasty colds, keeping us home from school and work respectively, staying in bed days at a time. With all this activity brewing through my week, one might think my head would be anywhere but in the Latin Jazz world . . . but I just can’t help myself.
As the winter weather finally hit Northern California officially recently, I’ve dug into my Latin Jazz collection for a group of songs that represented my recent days. These tracks relate to rain, storms, wind, clouds, and thunder in one way or another, bringing the season and Latin Jazz into one harmonious collection. I have been under the weather lately, so my outline of the tracks will be a little more sparse than usual - I’ve been home ill this week, and I’ve spent more time in bed than at the computer. Still, I couldn’t help sharing this list of rainy day Latin Jazz tracks, hoping that this group of songs would brighten up the winter days for all of us. Track down all these songs; it’s a good collection of music that will surely make a great addition to your iPod - enjoy!
———- Lluvia Azul - Chapter Three: Viva Emiliano Zapata, Gato Barbieri
Saxophonist Gato Barbieri explores the blue rain on this track from his classic album Chapter Three: Viva Emiliano Zapata. Barbieri provides some great solo work on this recording, but the true beauty of the track lies in arranger Chico O’Farrill’s delicate pen. His thick voicings send tonal colors sailing over a dramatic introduction, creating a smooth transition into a cha cha cha groove. Barbieri’s sax screams over the rhythmic ostinato provided by the ensemble’s steady wind section, reinforcing the rhythm section’s propulsion. As Barbieri takes the lead with a distinctive improvisation, his personality moves into the forefront momentarily. He bounces back into a melodic lines, riding the arrangement through an Afro-Cuban 6/8 section, a return to cha cha cha, and a leap into a double time samba. O’Farrill writes around Barbieri’s strengths here, and the feel changes push the saxophonist into a ferocious improvisation. The combination of two great musical personalities bring excitement, passion, and style into this strong track.
Second Wind - Papa Mambo, The John Santos Quintet
John Santos’ Quintet captures the subtle sounds of a strong breeze on the Ray Vega composition “Second Wind” from the group’s first recording Papa Mambo. Saul Sierra’s understated bass line, coupled with soft chords from pianist Marcos Diaz, and sharp attacks from timbalero Orestes Vilato set the stage for a light melody. A driving montuno from Diaz pushes the groove forward into an energetic improvisation from flautist John Calloway, who winds through the changes with strong melodic construction. The wind picks up into a powerful gust with an aggressive solo from Vega. The trumpet player breathes some hard bop fire into the song, with twisting lines that dance around the chords with chromatic intensity. Diaz captures Vega’s momentum and races forward with an unstoppable rhythmic propulsion and a percussive flair. Diaz builds tension as the group flies into a masterful improvisation from Vilato, bringing the group into a perfect storm. Although the track’s title only references wind, the group’s passion captures the full throttle of a classic downpour with a vengeance.
Come Rain Or Come Shine - Impressions, Claudio Roditi
Here’s That Rainy Day - Walking with My Bass, Nilson Matta The traditional jazz world holds the crown for classic rain titles, and two Brazilian musicians tap into those tunes with unique interpretations. Trumpet player Claudio Roditi applies his vast improvisatory skill to the memorable Arlen/Mercer tune “Come Rain Or Come Shine” on the album Impressions. Roditi places the song over an up-tempo bossa nova feel, putting a slightly different take on the standard swing tune. The melody benefits from the style’s rhythm drive, dancing over the rhythm section with a gentle lilt. Roditi displays a defined improvisatory presence on a boppish solo, running through quick lines with a fervent intensity. Saxophonist Idriss Boudrioua and pianist Dario Galante both take strongly invested solos as well, bringing the classic to life. Bassist Nilson Matta explores another standard ballad, “Here’s That Rainy Day,” once again through the eyes of an driving bossa nova on his album Walking with My Bass. Performed in a trio setting, the melody gets an understated treatment from pianist Helio Alves while the rhythm section floats beneath. Alves travels through several choruses, displaying his undying gift for melodic invention, steadily building into thicker textures of sound. Matta takes a turn at the changes as well, using his able technical facility to wrap quick runs around compelling melodic ideas. While the jazz world might take the cake on rain themed songs, these two Brazilian musicians show that Latin Jazz musicians easily brave the storm.
The Lord Of Thunder - The Orisha Suite, Michael Philip Mossman
Any good storm needs a heavy dose of thunder and lightning, so it makes perfect sense that a good list of weather intensive Latin Jazz songs should include a tribute to the Santeria deity of thunder, Chango. Trumpet player and arranger Michael Philip Mossman explores musical interpretation of several deities on his album The Orisha Suite, and he visits Chango on the track, “The Lord Of Thunder.” Right from the downbeat, Mossman captures the passion of the orisha with a driving bass and piano groove beneath an explosive hard bop melody. After the group navigates the angular rhythmic breaks throughout the melody, Mossman jumps right into a fiery solo, driven my a boppish intensity. Mossman plays off the dissonant edges of the harmony, utilizing his deep knowledge of clave to build tension. Tenor saxophonist Todd Williams runs long streams of quick notes through the texture, blending sharp edged licks into the mix for balance. Pianist Arturo O’Farrill announces his improvisation with a ferocious run that characterizes his impassioned solo, filled with dissonant tension and beautiful releases into the chord changes. A winding interlude from Mossman and Williams sets up quick solos from drummer Horacio “El Negro” Hernandez and conguero Ray Barretto, who light burning fires under the band. There’s a lot of power in a bolt of thunder and in Chango - a fact that Mossman represents fully on this track.
Lluvia, Viento Y Caña - Master Sessions, Vol. 1, Israel “Cachao” Lopez
Anything served as ample inspiration for the master of the descarga, Israel “Lopez” Cachao, who reflects the weather in the jam session “Lluvia, Viento Y Caño” from Master Sessions, Vol. 1. In reality, Cachao’s title probably refers to the use of a rainstick, wind instruments, a the woodwind reeds, but we’ll throw a double meaning on it here. A long sound from a rain stick sets the tone for the song, followed by a structured statement from the wind players. There’s an almost classical elegance to the written part for the wind players, as they travel through intertwining parts with grace and style. The legendary bassist gets the party started with an unaccompanied bass solo that serves as a transition into the groove, brining in the percussionists. The groove move forward with Cachao’s classic feel, grounded by the bassist’s stuttering line and Nelson Gonzalez’s steady tres montuno. As a coro repeats a short melodic figure, trombonist Jimmy Bosch fills the spaces with his rhythmic approach to improvisation. Bosch rides the groove with an assertive drive, hitting the clave from every direction and inspiring a wealth of interaction from the percussionists. Bosch’s momentum sends the group into spontaneous moña, framed by playful lines from saxophonist Justo Almario and trumpet player Alfredo “Chocolate” Armenteros. The group dances through the storm on this track, relishing in the joys of playing in the rain.
When we think about Latin Jazz in the modern musical world, we often conjure thoughts of Afro-Cuban styles - a natural thought considering the genre’s impact upon Latin Jazz; yet Brazilian styles have been just as influential. In fact, Brazilian music captured the imagination of the United States unlike any other Caribbean or South American genre. When Stan Getz began his explorations of bossa nova, the world turned its head towards jazz with a magnitude that hadn’t been experienced in a while. The iconic album Getz/Gilberto won the 1965 Grammy Award for Album Of The Year - a feat that wouldn’t be repeated until Herbie Hancock’s won the honor 43 years later in 2008 for River: The Joni Letters. Bossa Nova became a regular piece of the jazz landscape, with musicians learning semi-authentic interpretations of Antonio Carlos Jobim’s vast songbook. Samba entered the jazz world to a lesser extent, but at least many musicians recognized its existence. For many years, when jazz musicians wanted to throw a “Latin” tune into the mix, they generally called upon some form of a bossa nova or samba. During the fusion wave of the seventies, musicians once again turned to Brazilian rhythms as a point of inspiration. Groups like Chick Corea’s Return To Forever and Joe Zawinul’s Weather Report drew heavily upon sounds and rhythms from Brazil, but for the most part, they were soaked in rock heavy rhythms. Brazilian music certainly found a permanent home in the jazz world, but slowly crept back from the cutting edge - far too many string saturated muzak interpretations of Bossa Nova and samba rhythms that quickly mutate into rock beats placed Brazilian music in the backseat of the Latin Jazz world. Strangely enough, Brazil housed their own cutting edge jazz musicians, such as Hermeto Pascoal, but here in the States, Brazilian jazz simply needed some champions that would reinvigorate the style.
The genre found its champions in 1990 when three transplanted Brazilian musicians came together to form Trio Da Paz. Drummer Duduka da Fonseca journeyed to the States in 1975, immediately working towards establishing a Brazilian music presence in New York. With a growing interest in the music around jazz fusion, da Fonseca built some traction around his groups, integrating artists such as Eliane Elias, Randy Brecker, and Bob Mintzer into his music. Both guitarist Romero Lubambo and bassist Nilson Matta moved to New York in 1985, setting the stage for the formation of the trio. When Lubambo first arrived in the States, he quickly found steady employment with Brazilian singer Astrud Gilberto, before the rest of the jazz world started turning their attention towards him. Matta began working with a diverse spectrum of artists, from jazz saxophonist Joe Henderson to Brazilian trumpet player Claudio Roditi and classical cellist Yo Yo Ma. The musicians really found a inspiring and sympathetic setting when they joined forces as a trio though, grabbing the jazz world’s attention with a stunning debut recording, Brasil from the Inside. They followed this impressive debut with a clever group of arrangements that showcased music from the classic film Black Orpheus. The group kept albums coming over the next few years, delivering two more releases, Partido Out and Café. The latest releases from Trio Da Paz include 2005’s Somewhere and the 2008 collaboration with vibraphonist Joe Locke, Live at JazzBaltica. In addition, each member of Trio Da Paz established important careers as leaders outside the group, recording a collection of albums - next month we can expect a new album from Matta, Brazilian Journey. These three musicians have revitalized Brazilian jazz, and continue to keep the style moving forward.
Brazilian music remains a vital and important part of the Latin Jazz world, we simply need more musicians like Lubambo, Matta, and da Fonseca burning the fire. With this in mind, we’re dedicating today’s Weekly Latin Jazz Video Fix to some of the true champions of Brazilian jazz, Trio Da Paz. The first video finds the group performing a subdued version of Antonio Carlos Jobim’s “Wave” that shows their sensitivity and connection to the Brazilian repertoire. The second clip places them within their own repertoire, stretching out on da Fonseca’s “Dona Maria.” The last selection combines the group with another Brazilian musician, vocalist Maucha Adnet. There’s some great Brazilian jazz here that makes a great argument for a deep exploration of the style - enjoy!
———- Trio Da Paz Performing Jobim’s “Wave”
Trio Da Paz Performing “Dona Maria”
Trio Da Paz Performing With Brazilian Vocalist Maucha Adnet
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Want to hear more from Trio Da Paz? Check out these albums: Black Orpheus
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Do you have a video to contribute to satisfy our weekly Latin Jazz video fix? If so, send it in - it’s time to feed our addiction. I’m looking for live performances, from any context. I’ll most likely be posting one video per week, but if you’ve got another idea, let’s talk. So come on Latin Jazz videographers, musicians, and fans - let’s share some of our memorable videos! Get my contact info HERE.
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without missing a beat. Still, these examples are the exception, not the rule - for the most part, the Latin Jazz world is still trying to decode flamenco.
from the RG Royal Sound Orchestra places flamenco elements into a big band setting, filling the flamenco world with the rich sound of a large ensemble. 
from Tierra Negra & Muriel Anderson takes more of an instrumental rumba flamenco approach, integrating pieces of the Afro-Cuban world. Both releases offer a distinctly different perspective upon Latin Jazz - while they don’t always capture the essence of the music, they remind us of the value of flamenco music in the jazz world. 
Intelligently analyzing music consistently presents challenges that force the listener to decide which musical elements hold more weight. This becomes a monumental task in the modern Latin Jazz world, where the mass diversity of performance approaches can simply be staggering. Tradition plays a significant part in the equation, linking musicians back to their artistic influences. Latin Jazz artists need a coherent connection to Caribbean or South American music; the authentic application of traditional rhythms, melodies, or harmony speaks volumes about culture. At the same time, they need a firm foundation in the jazz language, with a working knowledge of everything from bebop charged Charlie Parker lines to modern Wayne Shorter melodies. These links to the past are important, but an over reliance upon them places the artist in a rather dry place artistically, constantly reinterpreting older works. They need to integrate contemporary musical ideals, ranging from the application of rock and funk rhythms to free improvisation and extended forms. They need to respect the innovations of their modern world and search for new sounds, including electronic instruments and different instruments from around the world. Then the artist needs to build upon their concepts and reinvent themselves over the long haul; ideally they do this in a more than superficial way that challenges both themselves and their listeners. When a listener weighs all these different pieces, they generally find artists that emphasize one piece of the puzzle over another - this unique combination shapes the musician’s identity. 
and and 
displayed early ideas; 
matched Sosa with percussionist John Santos; 
brought in the Middle Eastern oud and Indian tablas; 
combined Sosa with flautist Mark Weinstein in an engaging free jazz setting. With every new musical project, Sosa delivers a new and exciting musical idea that traces back to his roots while looking into the future, creating an ideal balance of musical concepts.
, a collaboration with the NDR Big Band that will place his unconventional music in a very traditional setting. Looking forward to the promise of this album, today’s Weekly Latin Jazz Video Fix is dedicated to Sosa. The three clips below find Sosa performing with his Afreecanos quartet at the Sibiu Jazz Festival in 2009. There’s some serious music here that walks between a few different worlds, so take a long focused listen - you’ll find beauty, excitement, adventure, and more in Sosa’s music. Enjoy!
Music relates to community in so many different ways; it’s not always just about the group of performing musicians - musicians can reach out to support other communities. In hard times, musicians are often some of the leaders in benefit events - a fact that has held true in 2010 after the tragic earthquake in Haiti. Individuals around the world contributed personal donations right away, but at the same time, musicians were quickly organizing fundraising concerts. High profile concerts such as the pop driven Hope For Haiti Now event and subsequent downloads brought in immediate loads of cash, getting the ball rolling. This blast of a worldwide major event like this helps the cause immensely, but a multitude of local benefit concerts can be just as effective. Fortunately, these events are popping up across the country at an inspiring rate, and the Latin Jazz world has been a big part of this support system. Events on the East Coast, West Coast, and Middle America have all been scheduled, showing an outreach of community past any local scene. This is where music becomes more than just the individual, it becomes about humanity - something we often forget that sits at the root of the art form.
The mixture of Latin culture and African American jazz really has a confused history that is often overlooked through modern eyes. Most people only look at the surface appearance of the style, categorizing a Latin influence into a tidy box. The common concept of the music is one that has been solidified by many musicians over several decades, and it presents a clearly defined approach. From the blaring Afro-Cuban rhythms of Tito Puente to the churning bossa nova of Getz and Gilberto and the festejo of Gabriel Alegria, musicians have found innovative ways to combine Caribbean and South American rhythms with jazz harmonies. This combination certainly resulted in some great music, but it’s only one piece of a larger picture. When we looked back across the first decade of the twenty-first century, we discovered the reoccurring theme of “What Is Latin Jazz?,” a question forced upon us by new representations of Latin culture in the jazz world. The high profile emergence of multitudes of artists pushing the limits of the genre brought the issue into the forefront of our attention in the 2000s, but it’s hardly a new idea. Latin influences and musicians have helped shape the jazz world since it’s beginnings. 
One musician who shaped the course of jazz history celebrated their 110th birthday this week - valve trombonist Juan Tizol was born on January 22, 1900 in San Juan, Puerto Rico. Born into a musical family, Tizol gained a solid musical foundation on the island, emerging as a highly trained classical musician. In 1920, Tizol made his way into Washington D.C., smuggled into the city by boat to work a steady theater gig. Nine years later, after a variety of musical jobs and an investment in a deli, Tizol gained a spot in Duke Ellington’s band. Being a fully trained musician, Tizol became a key player in the group, transposing parts, doing copywriting, and providing a distinct contrast to the rough bluesy voices in the band. Ironically, Tizol encounter race issues in the band, but not because of his Caribbean heritage - his light skin gave him the appearance of being caucasian, which led to a well-known conflict with Charles Mingus and more. Tizol began composing for the band in the early thirties, inserting a “Latin” edge into some songs, while staying with the group’s swing feel on others. 1944 marked the end of an era as Tizol left Ellington to pursue a job with Harry James in Los Angeles, bringing him closer to his wife. Tizol made a brief return to the Ellington band in 1951, only to leave again after three years. He bounced between several prominent big bands over the next ten years, retiring to Los Angeles during the sixties. Tizol lived to a ripe age of 84, dying in Los Angeles on April 23, 1984. 
Tizol’s career presents a perfect example of the foggy relationship between traditional jazz and Latin culture - he was a musician that easily “sat between” jazz and Latin music. His legacy remains firmly attached to Ellington, one of the most influential voices in tradition jazz. His contributions to the group behind the scenes, as a performer, and as a composer helped the group stake their place in history and create some of the world’s most memorable music. Ellington respected Tizol and his abilities, a fact reinforced by his willingness to include several Tizol compositions into the group’s repertoire, which was dominated by Ellington and Billy Strayhorn pieces. His composition “Perdido,” a swing tune, caught the imagination of jazz musicians and listeners around the world; it continues to be a highly played standard. Many Latin Jazz musicians remember Tizol as a ground breaking Puerto Rican musician that connected Latin culture with the Ellington band. Another famous Tizol composition, “Caravan” sits among the most cherished Latin Jazz standards in the genre, recorded hundreds of times, using countless creative arranging techniques. He made significant strides on both sides of the fence, gaining respect and notoriety among the jazz audience and Latin musicians alike. 
Tizol’s use of Latin elements in his compositions certainly opened the door for Latin rhythms in jazz, but it also served to keep a grey area around Latin culture in the music. Tizol’s pieces certainly broke the band out of its swing mold, forcing the rhythm section into straight eighth notes. Still, although the band’s foundation made these changes, the wind players continued to swing melodies at points; there was definitely not a unified group concept around clave. A great example of this tension around a disjointed concept exists on the band’s recording of Tizol’s “Moon Over Cuba” from 
Tizol’s place in the jazz world brings a serious set of questions into play, forcing us to examine the role of Latin culture in jazz. Tizol’s contributions to the Ellington band were significant - he added songs to the group’s repertoire, he was a long time member of the brass section, and he worked behind the scenes to make the band more musically functional. Why doesn’t the jazz world remember Tizol with the reverence of other Ellington alumni like Billy Strayhorn, “Cootie” Williams, or Louie Bellson? Tizol specifically tried to bring compositions with Latin influences into the band, but they lacked a specific connection to Latin culture. There were certainly less resources available to learn the music at that time, but there were plenty of Puerto Rican musicians in New York during the thirties - if members of the Ellington rhythm section really wanted to get it right, they could have found some help. With this in mind, its curious to wonder why the performance of these pieces were taken so lightly - were they seen as novelty to the band? History has certainly been written around the racial issues experienced by African American jazz musicians, a seriously heavy subject. Still, Latino musicians such as Tizol must have felt a double whammy in the same situations, experiencing discrimination while dealing with the downplay of their culture. Why don’t the jazz history books address these issues? I’m not sure that I know the answers here, I’m really just thinking aloud - but the facts seem to demand answers to these questions. 
There’s a whole wealth of Latin musicians that sit in the background of jazz history, and a number of instances where Latin music pushed the genre forward - it’s time to bring those contributions into the forefront. In general historians consider jazz an African-American art form, and the dominance of the culture in the music in undeniable. Music never maintains a strictly isolationist policy though, and its important to recognize the whirlpool of cultures that brought jazz into its modern state. Cultural elements from the Caribbean and South America certainly have played an important role in jazz development, from the music’s origins to modern day. Latin musicians like Juan Tizol worked in the trenches of jazz, wrote important compositions, and developed the conventions that we now consider standard in the jazz world. Sometimes they used Latin rhythms and at other times, they didn’t; that’s not the issue here though. The issue remains that musicians like Tizol made significant contributions to the evolution of jazz, yet they sit outside the realm of wide public recognition. It’s time to stop treating Latin culture like a second class citizen in the jazz world and embrace its influence - an act that would show respect and admiration for the work of Juan Tizol and all the Caribbean and South American musicians that have made jazz an incredible art form. 
Warm rains and gentle breezes conjure images of soft ballad settings and smooth melodies in the jazz world; they seldom capture the fire and passion inherent in Latin Jazz. Lately, the winter weather has held more than a simple shower though - heavy storms have been attacking my world in many ways. Pounding sheets of rain have made my commute into work slow and treacherous. Dark clouds covered the sky, making my day dark, dismal, and overcast. Thunder and lightning lit up the darkness then sent rumbling waves of sound shooting through my house, scaring the dog and distracting my family. Throughout all the gloomy weather, all three of my kids and myself fell under nasty colds, keeping us home from school and work respectively, staying in bed days at a time. With all this activity brewing through my week, one might think my head would be anywhere but in the Latin Jazz world . . . but I just can’t help myself.
Lluvia Azul - 
Second Wind - 
Come Rain Or Come Shine - 
, Nilson Matta
The Lord Of Thunder - 
Lluvia, Viento Y Caña - 
When we think about Latin Jazz in the modern musical world, we often conjure thoughts of Afro-Cuban styles - a natural thought considering the genre’s impact upon Latin Jazz; yet Brazilian styles have been just as influential. In fact, Brazilian music captured the imagination of the United States unlike any other Caribbean or South American genre. When Stan Getz began his explorations of bossa nova, the world turned its head towards jazz with a magnitude that hadn’t been experienced in a while. The iconic album 
won the 1965 Grammy Award for Album Of The Year - a feat that wouldn’t be repeated until Herbie Hancock’s won the honor 43 years later in 2008 for 
. Bossa Nova became a regular piece of the jazz landscape, with musicians learning semi-authentic interpretations of Antonio Carlos Jobim’s vast songbook. Samba entered the jazz world to a lesser extent, but at least many musicians recognized its existence. For many years, when jazz musicians wanted to throw a “Latin” tune into the mix, they generally called upon some form of a bossa nova or samba. During the fusion wave of the seventies, musicians once again turned to Brazilian rhythms as a point of inspiration. Groups like Chick Corea’s Return To Forever and Joe Zawinul’s Weather Report drew heavily upon sounds and rhythms from Brazil, but for the most part, they were soaked in rock heavy rhythms. Brazilian music certainly found a permanent home in the jazz world, but slowly crept back from the cutting edge - far too many string saturated muzak interpretations of Bossa Nova and samba rhythms that quickly mutate into rock beats placed Brazilian music in the backseat of the Latin Jazz world. Strangely enough, Brazil housed their own cutting edge jazz musicians, such as Hermeto Pascoal, but here in the States, Brazilian jazz simply needed some champions that would reinvigorate the style.
. The group kept albums coming over the next few years, delivering two more releases, 
and 
. The latest releases from Trio Da Paz include 2005’s 
and the 2008 collaboration with vibraphonist Joe Locke, 
. In addition, each member of Trio Da Paz established important careers as leaders outside the group, recording a collection of albums - next month we can expect a new album from Matta, Brazilian Journey. These three musicians have revitalized Brazilian jazz, and continue to keep the style moving forward. 
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Saxophone Player Mitch Frohman