Latin music and Free Jazz have largely lived in a conflicting state, brought together mostly in unbalanced settings. Free jazz musicians have implied Latin genres, mostly through the inclusion of Latin percussion instruments. These instruments may not have been playing actual Latin rhythms, but the exotic implication of their sound screamed Latin music. Some Free Jazz recordings have employed authentic Latin rhythms, yet the lack of correlation to greater Latin structures weakens the connection. Free jazz sought to move beyond the confines of form, while Latin music thrived from interlocking structures. Some Latin Jazz musicians have included free blowing on their recordings, but the necessity of staying within rhythmic settings underlies the free aesthetic. Trombonist Luis Bonilla and Trombonilla take bold steps to merge Latin genres, free jazz, and a variety of other influences on Terminal Clarity.

Complete Integration of Latin Styles
Two songs specifically integrate Latin styles exclusively as their rhythmic basis. Drummer Patrick Forero and percussionist Pernell Saturnino establish an up-tempo rumba underneath bassist Ricky Rodriguez’s melodic vamp on “That’s How They Get You.” After interactive free blowing, all three wind players meet over an angular yet rhythmically aligned melody. Saxophonist Peter Brainin utilizes rhythmic articulation and register changes to build tension over an extended solo. As the percussionists rise into a higher dynamic, Brainin plays a series of intensive runs leading into a texture drop for Bonilla’s improvisation. A series of sequenced rhythmic melodies help Bonilla immediately inspire the rhythm section into a frenzy, setting the stage for a high-energy feature. After Bonilla finishes his statement, Rodriguez introduces a montuno-esqe bass figure that serves as a foundation for Forero’s solo. The wind players join into Forero’s improvisation with a lively mambo that immediately transitions into an intensive solo from Saturnino. “Mambostinato” revolves around a short, repeated and rhythmic figure from Rodriguez and a Cha Cha Cha rhythm. Saturnino immediately solidifies the music’s Latin foundation with a virtuosic and syncopated conga solo. The wind players confirm their alignment with clave through a repetitive figure that alternates between straight and syncopated rhythms. Bonilla revels in the spacious texture as his solo begins, subtly exploring the music’s inner workings. A combination of aggressive rhythmic figures and note flurries help build his improvisation into a rousing climax. After a return to the song’s melody, the wind players intertwine rhythmic cells into a unique moña. The use of traditional rhythms and structural elements strongly link these songs with Latin music amidst their free nature.

Latin Music as Pieces of a Bigger Picture
Other songs incorporate Latin elements as a smaller piece of the song structure. After a soulfully assertive opening statement from Bonilla, Forero and Rodriguez provide an open funk groove as a basis for “Where’s Sepia?” The wind players gather on a syncopated melody that refers to Latin music, while maintaining a floating sensation over the funk feel. Bonilla continues his improvisation with a variety of offset rhythms, quick notes, and extreme registers, constructing an interesting extended statement. A short return to the original melody builds into a strong son montuno groove, anchored by clave-based melody. As the rhythm section continues with a strong forwards motion, Brainin and saxophonist Donny McCaslin trade improvisational ideas. Melodic lines weave outside the harmony, then return, only to be shaken by aggressive polyrhythmic lines. Streams of steady notes lead back into the son montuno melody and a horn vamp for Forero’s climatic solo. Rodriguez opens “September’s Children” with an unaccompanied improvisation full of insightful melodic development. Saturnino solidifies a strong forward motion on the cajon, accompanying the wind players on an introspective melody. As the group segues into a more open feel, Bonilla plays long tones, defining harmony, as McCaslin improvises delicately. Brainin soon joins the group, and all three wind players intertwine their melodic ideas. The thoughtful interaction between the three musicians turns into an honest conversation, then a heated argument. The musicians then lower the intensity again and create a thin texture for Rodriguez’s improvisation. He demonstrates a sensitive balance between function and freedom, eventually giving way to the melody’s return. These songs utilize Latin music as a compositional tool, placing the styles in a bigger musical picture.

Strong Statements In Other Styles
The remaining pieces avoid the use of Latin music completely, creating strong statements in other styles. The bouncy swing and repetitive walking bass line to “Up Easy” recalls Eric Dolphy’s compositional style. Free blowing leads into a swung melody with unique note choices and several jerky breaks. All three wind players improvise, eventually making space for McCaslin’s solo. He plays off the swing feel with short rhythmic phrases, building into more rhythmically intense lines. Bonilla and Brainin provide some momentum with floating background lines, pushing McCaslin into a flurry of quick passages and dissonant note choices. The rhythm section responds enthusiastically to McCaslin’s frenetic statement, driving the song with loud fills. Bonilla provides a short improvisation before the band ends with a unified reinstatement of the melody. The ensemble opens “Terminal Clarity” with textural sounds before McCaslin’s sensitively plays the melody on alto flute. Bonilla and Brainin hold long notes beneath the flute, creating a unique harmonic canvas. As the foundation falls into a rhythmic void, Brainin begins a personal and expressive improvisation on the soprano sax. He trades phrases with Rodriguez, eventually building into a screaming sense of vitality. Brainin slowly brings the dynamic level down to a whisper, leading into the melody. These songs provide a nice balance to the album and display the musicians’ diverse abilities.

A Common Ground Between Free Jazz and Latin Music
Bonilla and his group employ solid musicality and a broad knowledge on Terminal Clarity, successfully finding a common ground for free jazz and Latin music. Bonilla’s compositional balance between written segments and experimental improvisation lays the foundation for a successful merging. His use of cha cha cha, rumba, and son montuno rhythms reference Cuba authentically, and become integral to the overall song. Bonilla’s inclusion of Mambo and Moña figures that serve as structural markers strongly connect the performance to Latin music without locking it into a standard format. The lack of a piano frees the wind players to explore new harmonic territories, but also allows the percussionists to liberally stretch Latin genres, at times simply implying clave. The careful construction of these pieces and smart application of essential elements from each genre leads to a strong statement on Terminal Clarity, which establishes an important connection into future creative endeavors.

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