Generoso Jimenez brought a strong rhythmic voice to Latin Jazz trombone playing that left an undeniable influence. His assertive melodic sensibility relied on basic scalar ideas and polyrhythmic syncopation; Jimenez’s playing established a percussive Latin Jazz trombone sound. Jimenez’s cutting tone and huge sound set a standard for trombone playing - his ability to break through the rhythm section demonstrated the instrument’s powerful possibilities. His high profile position as Beny Moré’s musical director brought Jimenez massive exposure and left his imprint on numerous recordings. His legacy remains a necessary study for any Latin Jazz musician . . . especially trombone players.

The Beny Moré classic recording “Que Bueno Baila Usted” became attached to Jimenez, due to Moré’s call to him on the recording and the energetic trombone solo. A repeated I-IV-V montuno serves as the foundation for this song, a loosely structured descarga. For the most part, Moré improvises through the recording, inserting ideas between short coros. Short mambos break this pattern, but the focus remains upon Moré. The one moment that the group moves the spotlight, it lands on Jimenez, who delivers with a memorable solo. His statement is short - 22 measures, but Jimenez’s pure energy drives the statement into the listener’s consciousness. It stands as a defined and inspired moment in Cuban popular music history.

Some Points of Interest:
*Jimenez’s Ability to Freely Combine Triplets With 8th Note Figures
Jimenez’s natural movement between triplets and 8th notes creates tension and implies a time stretching effect. Look at the figures in measures 1, 4, and 15 - each one takes a small group of notes and transforms them from 8th notes into triplets. The rhythms evolve into a consistent phrase that subtly syncopates the notes, definitely a key piece of Jimenez’s phrasing.
*Rhythmic Displacement of 8th Note Figures
Jimenez sets up short groupings of 8th notes and then repeats them; only he starts at different points in the measure. In measures 8 - 11, he moves a collection of five 8th notes through three unique pieces of the measure. He moves two 8th notes through several rhythmic placements in measures 15 - 18. The resultant syncopations imply a percussive quality to the solo, which becomes more prevalent through Jimenez’s brash tone.

Make sure that you check out this recording it’s a classic piece of Cuban music history. In addition, you really need to hear Jimenez play this solo - the feel and intensity can only be captured through listening. It’s available on a variety of compilations, box sets, and Beny Moré albums. Even in such a short solo, there are a variety of licks that can be transferred to other songs. Take the time to study it; follow the links below for the transposed versions - enjoy!

Generoso Jimenez “Que Bueno Baila Usted” Trombone Solo (C)
Generoso Jimenez “Que Bueno Baila Usted” Trombone Solo (Bb)
Generoso Jimenez “Que Bueno Baila Usted” Trombone Solo (Eb)

For more on Generoso Jimenez:
El Gran Trombon

Some additional transcriptions:
Jerry Gonzalez Trumpet Solo on “Obsesion”
Mario Rivera Tenor Sax Solo on “Mambo Diablo”
Carlos Del Puerto Bass Solo on “Chucho”

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