When shaping a distinct approach as a Latin Jazz artist, a musician can choose to let the Latin rhythms drive the sound, or they can focus upon composition and self-expression with the Latin rhythms as an integrated part of the music. The artist that focuses purely upon the rhythmic aspect of the music often leans towards dance styles and less complex harmonic writing. These musicians often rearrange standards, and complete their repertoire with commercial compositions. Musicians that simply use Latin rhythms as a foundation write original pieces that explore new harmonic territory and stretch standard forms. They create stimulating platforms for improvisation and give their musicians space to fully express their personalities. Both approaches hold important places in the Latin Jazz tradition, yet the compositional approach reaches towards new aspects of the genre. Drummer Alex Garcia looks into exciting new frontiers with his group Afromantra on Espiritu Optimista through strong compositions, inspired performances, and an undeniable enthusiasm.

Crucial Latin Elements Intertwined Into Composition
Garcia emphasizes Latin musical traditions on a variety of tracks, never letting his artistic voice get overwhelmed by the music’s rhythmic nature.  Pianist Desmar Guevara and bassist Waldo Chavez establish an assertive rhythmic pattern to open “The Uplifting Spirit of Our Soul” until saxophonist Ole Mathisen screams his way into a joyous melody.  The rhythm section provides an unobtrusive support behind Guevara’s keyboard solo and then strong pushes in Mathisen’s solo.  Guevara and Chavez once again play a rhythmic vamp, this time setting the stage for a percussion showcase from Garcia and conguero Aryam Vazquez.  Mathisen and saxophonist Jorge Castro provide an upbeat melody over a bomba rhythm on “My Word,” eventually making space for a short coro from vocalist Yordmis Megret.  A solo from Garcia quickly segues into an intensive comparsa rhythm, which provides an open space for Mathisen and pianist Pablo Vergara to trade frantic statements.  Guevara opens “Latin American Song” with a powerful timba montuno, soon moving into Mathisen playing an insightful melody over a rumba.  Guevara stretches his solo into a personal statement, eventually leaving space for an intriguing solo from Chavez.   The Latin elements of these songs become crucial pieces of the music, always intertwined into the harmonic and melodic composition.

Ingenious Compositions Standing As Pure Jazz
On many tracks, the fact that Garcia utilizes Latin rhythms becomes completely secondary to his statement as a jazz musician.   Mathisen and Vergara provide a sensitive melodic performance on “Luna and the Sun,” until Garcia and Chavez insert a subdued rhythmic propulsion into the song.  Garcia plays a rumba palito pattern with brushes behind Vergara and Mathisen’s solos, implying a clave-based pattern, but leaving ample room for interpretation.  The melody on “Lighting The World” carries a pop tinge, emphasized by Garcia’s funky Cha-Cha-Cha. Chavez constructs an elegant and melodic improvisation through the changes until Vergara builds from a flowing line into a rhythmic statement. Mathisen’s solo grows into a frenzy which subsides upon the melody’s return. Mathisen and Castro play intertwining lines through the melody on “New Dawn,” a spacious Cha-Cha-Cha. Castro’s flowing solo leads directly into a double time rumba, which serves as a backdrop for pianist Manuel Valera’s rhythmically intricate solo. A bold statement from Chavez transitions into an improvised duet from Garcia and Mathisen, full of spontaneous spirit. These songs never loose their Latin roots, yet they stand alone as ingenious compositions, deeply anchored in the modern jazz tradition.

Strong Compositions Inspire Stellar Performances
The intricate composing and inspiring musical setting bring strong performances out of all the musicians.   A stunning array of textures, angular melodies, and shifting time signatures form the foundation on “For Emiliano Salvador.”  Valera pays tribute to the deceased Cuban pianist with a fluid and energetic solo until Mathisen moves the rhythm section into high gear with a heated solo.  A series of rhythmic kicks open the door for Garcia’s extended and unaccompanied solo - a well constructed idea that builds into an improvised composition.  Mathisen applies a variety of dynamic shadings to shape the melody on “Yemaya, Goddess of the Sea,” while the rhythm section colors the music with broad textures.  Vergara utilizes complex syncopations and melodic development to build his solo.  Mathisen weaves through an open feel, eventually guiding the rhythm section into a bomba rhythm and then an intensive freedom.  Mathisen improvises feverishly to open “Green Horizons,” leading into an extended and syncopated melody.  Valera brings a new sonic element into the song with his Fender Rhodes, providing ample support and contributing a strong solo.  A repeated vamp creates a solid foundation for a virtuosic solo trade between Garcia and Aryam.   A rhythmic interplay between Vergara and guitarist Jorge Fernando Rodriguez creates a bright eye-opening introduction to “Because of You.”  Vergara threads a melodic statement over the chord changes, making way for Rodriguez’s wonderfully understated solo.  Mathisen and Garcia abruptly throw a distinct change into the song with an inspired rhythmic interchange that moves far outside the boundaries of the song.  Throughout the album, the musicians respond strongly to Garcia’s thoughtful compositions, taking the opportunity to present highly personal and professional performances.

Moving Into New Compositional Territory
Garcia emphasizes composition and personal expression on Espiritu Optimista, inspiring stellar performances from all Afromantra members. Latin music traditions serve as a foundation in all Garcia’s compositions, but they only exist as a starting point. He colors each song with harmonically rich structures, consistently evolving themes, and ever changing textures. The complete assimilation of rhythm, harmony, melody, and form move the music into an intersection between jazz composition, modern clarity, and Latin heritage. Afromantra’s members respond to this rich set of music, sensing the inherent freedom and explorative spirit essential to Garcia’s concept. Their completely exposed and passionate expressions reveal a dedication to Garcia’s concept and their skilled manipulation of the musical material create numerous exciting moments. They bring a living essence to Garcia’s compositions, allowing the music to transcend tired conventions. Garcia’s decision to explore new compositional territory and his band’s passionate commitment to this journey result in a strong unified voice leading Latin Jazz into tomorrow.

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