The Revisiting series features albums from the past that played a significant role in Latin Jazz history. The purpose of this series is to introduce new Latin Jazz listeners to important albums and look back at these albums in historical perspective. Each entry will jump to a different point in Latin Jazz history - this week we move ahead to 1980.

Business owners can follow many business models, but often the most successful plans involve following their personal passions. While some people see a need in the commercial market, others see a change in their life that happens to be profitable. Some businesses do market research, making changes to their product based on what they think a consumer might want while some business owners excitedly reach for new improvements, eager to see the results. Many business owners develop a marketing plan while others see the opportunity to share their interests with other people. Some businesses seek to constantly reinvent their product, making changes based on the personality of each generation, while others create long lasting impact through their continuing desire to be deeply involved in their field. Both approaches may create financial successes, but long lasting and influential companies are fueled by an owner’s continuing desire to move their field forward.

Martin Cohen created the Latin Percussion in 1964, and his business model was always based upon the excellence of musicians in the Latin music scene. Cohen was initially inspired to build instruments by recurring visits to nightclubs, watching New York’s great Latin bands. He developed his building techniques through trial and error, always getting feedback from top Latin percussionists. Cohen integrated modern building techniques into his instruments, but always consulted with the percussion masters, insuring the maintenance of an authentic sound. He struggled at first, building instruments in his garage, and living from meager sales. At the same time, he built solid friendships with many influential Latin percussionists such as Willie Bobo, Tito Puente, and Carlos “Patato” Valdes, who later strengthened Cohen’s business through long-term endorsements. After Cohen had built a strong business foundation for Latin Percussion, he created the best possible publicity: he shared his passion with the world through a series of tours with LP endorsers, The Latin Percussion Ensemble.

Live at the Montreux Jazz Festival 1980 creates a festive mood, capturing five master musicians holding a descarga with familiar tunes. Violinist Alfredo De La Fe’s effects laden electric instrument opens “My Favorite Things” with an unaccompanied solo, eventually giving way to a rubato interpretation of the melody. The band then supplies a Coltrane influenced 6/8 foundation for intensive solos from Puente, De La Fe, pianist Jorge Dalto, and Valdes. Puente introduces “Pare Cochero” as “salsa we’ve been doing for a hundred years,” and then proceeds to create a strong, traditional groove. After Puente and Valdes sing the melody, De La Fe delivers a fluid solo until Dalto mixes tipico phrasing with strong thematic development. The group introduces modern Cuban fusion with the Chucho Valdes composition “Bacalao Con Pan,” held together by De La Fe’s rhythmic chords and distorted tone. After extended solo from De La Fe and Dalto, the band leaves Puente and Valdes playing unaccompanied as they trade improvisations. Valdes plays the familiar melody to “Oye Como Va” on his congas, until the full rhythm section devours the standard. The well-known coro brings the song into full swing, followed by De La Fe’s melodic solo. The musicians apply their experience on each song, turning very common standards into something extraordinary.

The Latin Percussion Jazz Ensemble albums became collector’s items for any avid Latin Jazz fan, a reflection of the musicians’ exciting performance and Cohen’s connection with the Latin Jazz world. The recording displays the musicians engaging in their shared knowledge and immense skill, resulting in a loose jam session with enthusiastic performances. While the musicians supplied the memorable performance, Cohen turned a business venture into an important entry into Latin Jazz history. For Cohen, the act of mixing business and his love for Latin music had become an established tradition. Long before this recording, Cohen indulged his interest in photography and recording, capturing pictures, audio, and videos of the top names in the Latin world. While he built his business, he also recorded the history of New York Latin music. As the years passed beyond 1980, Cohen continued to capture his idols in several mediums and then share their work with the world. Latin Percussion has grown to exemplify the standard in stateside Cuban Percussion, a reputation build upon Cohen’s love for Latin music - a fact firmly captured on Live at the Montreux Jazz Festival 1980.

Visit Martin Cohen’s website to see his wonderful pictures, videos, and more!

Revisit more classic recordings:
Tanga, Mario Bauza and his Afro-Cuban Jazz Orchestra
Concepts In Unity, Grupo Folklorico y Experimental
Palmas, Eddie Palmieri
Cal Tjader’s Latin Concert

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