Bringing a new voice into an established music scene merges ideas and aesthetics that spawn a variety of results. An artist can serve as a creative spark in a thriving music scene. Although the area may already hold a wealth of talent, a unique voice always gets a response. When that voice becomes deeply entrenched in an area’s scene, established artists make different decisions based upon the interaction they sense with the new artist. The artist eventually soaks in the sounds of the area as well. Working as a sideman and collaborating with other musicians brings the artist in touch with performance practices unique to the area; the elements that the artist chooses to incorporate into their approach effects their output. Trumpet player Frank Cano, although not a newcomer to music, recently joined the Los Angeles music scene; his album A Beautiful Day/Un Lindo Dia brings together his strong musicianship and the straight ahead Latin swing of the L.A. sound.

Musical Voice As Song Centerpiece
Several songs present Cano’s voice as a primary song construction element. Pianist Chris Barron and bassist Rene Camacho establish a syncopated vamp to open “Validacion,” setting the stage for a flowing melody. Saxophonist Javier Vergara eases into his solo, playing off the open feeling in the rhythm section. He builds his solo into a series of intensive runs and high register screams until Cano makes a subtle melodic statement. The opening vamp returns for an intensive percussion exchange between conguero Joey DeLeon and timbalero Ramon Banda. Cano’s trumpet sensitively interprets the expressive melody on the bolero “El Dia Que Te Vi.” Barron creates an introspective statement, gracefully moving through the changes. Cano utilizes space and reflection, building his improvisation through short rhythmic phrases and slowly developing lines. As he returns to the melody, his tone and dynamic shading inspire a meditative feeling. Vocalist Melonie Jackson and flautist Danilo Lozano perform the melody to the Cha Cha Cha “A Beautiful Day/Un Lindo Dia,” creating an intriguing sound through the combination of scat singing and flute tone. Lozano creates a short but fiery solo through rhythmic articulations and fast movements. A subdued mambo leads into Cano’s solo, which builds slowly into high register virtuosity over a background line. Barron establishes a solid montuno for conga master Francisco Aguabella, who presents a lesson in tasteful phrasing. A unison melodic figure from Barron and Camacho open “Human Nature,” giving way to an up-tempo rhythmic melody. Vergara grabs the momentum established in the melody and powers through an inspired statement. The band drops the volume for a solo from Barron, who combines melodic ideas, sequential phrasing and intensive rhythms. The band plays a series of rhythmic kicks for a musically constructed and impassioned solo from Banda, who draws upon his extensive experience and interaction with the band. Cano’s original ideas set the tone for all these pieces, presenting both a centerpiece for his personality and a creative vehicle for his band.

Balancing With the Los Angeles Sound
Other tracks place Cano within a Los Angeles inspired sound, creating a fresh musical balance. The structured introduction on “Baila Mi Negra” implies a salsa setting, reinforced by the coro centerpiece. Lozano provides an interesting and energetic solo, full of offset rhythmic figures and unique flute articulations. Barron counters with a more subdued improvisation that builds tension through dissonance and syncopation. After another coro, trombonist Francisco Torres pushes the band into a frenzy through an assertive solo. A well-constructed shape and a tight rhythmic focus characterize the melody on “Sesionar.” Cano delivers a high power solo, creatively balancing offbeat notes and short fiery phrases. The band builds into a strong dynamic level for the mambo, and then quickly shifts into a supportive role for Barron’s improvisation. After Barron develops his idea, the wind players deftly move through a tricky mambo, building back into the main melody. Another highly arranged horn line leads into the dance oriented Cha Cha Cha “Ay Que Frio.” Vocalist Alfred Ortiz quickly asserts a strong presence in the main song, powering through the harmonized coro. Cano enters with a subdued solo over a typical commercial rhythm section approach. Torres sparks a bold presence with an improvisation full of chromatically descending lines, forceful rhythmic tension, and strong idea development. Ortiz solidly closes the song with his authentic vocal tone, which begs for a more extensive feature. Aguabella fuels Torres’ “Encanto” with a bembe foundation that combines both bata and congas. A floating melody moves over ethereal chord changes, soon making way for Vergara’s creative exploration. He makes use of the song’s open feeling and rhythmic intensity. Cano brings the band back down as he calmly weaves through the texture, emphasizing the rhythm’s vast possibilities. Those possibilities come alive as the band fades to solo percussion, highlighting Aguabella’s knowledgeable drum work. Cano fits smoothly among typical Los Angeles musical settings, and his ideas compliment the already strong musicianship.

A New Latin Jazz Voice
Cano creates a fresh sound on A Beautiful Day/Un Lindo Dia that combines the best elements of the Los Angeles Latin Jazz sound and his personal musicianship. As a composer, Cano brings a solid understanding of Latin music and integrates various jazz ideas. His arrangements remain fairly traditional, but the music’s straight ahead nature opens the possibility for skilled Latin Jazz musicians to express themselves. He builds extensive improvisatory sections and offers a loose environment where they can unleash their personalities. Selecting sidemen that rank among Los Angeles’ finest musicians helps Cano maintain a consistently strong musicianship; his use of producer Francisco Torres, a musical leader in several of Los Angeles’ best Latin music ensembles, guarantees a high quality product. Cano’s trumpet skills shine throughout the album, providing a sensitive melodic voice that builds clave-centric musical lines without aggressively forcing the rhythm. Cano’s inherent musicality and the clean, powerful Los Angeles sound combine into a cohesive whole throughout the album ensuring a new presence not only in L.A., but also in the greater Latin Jazz world.

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