The Spotlight Series highlights upcoming Latin Jazz musicians that have yet to reach national recognition. Many of these musicians thrive in local scenes and some tour in support of releases. All these musicians contribute greatly to the overall Latin Jazz scene, and they deserve our “spotlighted” attention.

While some elements of a genre are easily altered, instrumentation remains one area that never evolves easily. While variations on aesthetic approaches take some analysis to pick out, the tone of the instruments is the first things that hit our ears. We become accustomed to a certain sound in a style, and when musicians insert different instruments, we notice immediately. Stylistically unusual instruments require different playing techniques, forcing musicians to perform the music with a slightly different approach. Altering instrumentation inspires musicians to compose differently, moving instruments into different musical functions. Musicians may utilize the same set of aesthetics, but performing with an altered instrumentation requires careful thought and deliberation. Mike Freeman’s ZonaVibe tackles an altered instrumentation on In The Zone with a solid set of traditional Latin Jazz that eliminates the piano and substitutes vibraphone, marimba, and guitar.

Teaming Vibes and Guitar Into Strong Arrangements
Some tracks feature a combination of vibes and guitar, which compliment each other through well-conceived arrangements. Guitarist Bruce Saunders maintains a rhythmic comping pattern behind Freeman’s melody on the bomba “Mr. 2000″ before the two musicians play a harmonized bridge. Freeman’s solo glides through the chord progression smoothly, eventually building into a rhythmic climax. Saunders mixes syncopated rhythmic figures with jazz phrases while Freeman pushes the band with a strong montuno. Saunders adopts a distorted tone to accent pieces of Freeman’s melody on “Cha Cha Mama,” providing a bluesy underpinning to the song. Freeman switches between blues based ideas and long, flowing jazz lines, over a somewhat thin texture. Saunders attacks his improvisation with an edgy sound, playing with rock energy while executing jazz phrases. An extended percussion break opens “Afriman,” which features Freeman and Saunders playing intertwining melodic lines over a 6/8 rhythm. Freeman displays a more rhythmic sound to his improvisation, mixing static ideas with longer phrases. Saunders revives his distorted sound for his solo, displaying chops that creep closer to rock than jazz. After a return to the melody, Freeman establishes a montuno that serves as the foundation for a stirring solo from conguero Johnny Rivero. A long introduction that combines rhythmic ostinatos and band hits leads “Red Thunder” into an energetic melody played by Freeman. The band moves into high gear as Freeman jumps into an intensive solo that combines fast runs and repeated rhythmic ideas. Saunders immediately contrasts Freeman with an understated approach that focuses upon melodic development. The group revisits the melody before playing a vamp for short solos from Rivero and timbalero Harry Adorno. Each piece benefits from thoughtful construction and sensitive playing from Freeman and Saunders.

A Rich Texture Through Multiple Mallets
Other tracks emphasize the dual sound of Freeman’s vibes and marimba to shape the arrangements. The rhythm section accents strong points in Freeman’s introduction on “Todos Vuelvan,” leading into an elegant melody over a rumba guaguanco. Dramatic percussion breaks lead into a harmonized interlude between vibes and marimba, until Freeman exposes his rhythmic mastery on a marimba solo. The vibes establish a montuno as Rivero demonstrates his knowledge of the conga vocabulary, ending the song on a strong dynamic. Rivero and Adorno deliver a strong break to open “There Ya Go,” leading into an upbeat melody on vibes. Freeman navigates the changes on marimba with bebop virtuosity and percussive intensity. The group emphasizes a series of band hits, leaving space for strong solo fills from Adorno and Rivero that lead into a vibraphone solo. Freeman grounds “Horse’s Run” with a marimba montuno that ties firmly into the vibraphone melody. Adorno pushes Freeman’s vibraphone solo with funky snare drum hits, encouraging intensive runs and rhythmic displacements. A funky breakdown leads back to the melody and then a montuno for a creative exchange between Rivero and Adorno. An up-beat montuno on the vibes open “A Las Seis,” a highly arranged piece that alternates between a variety of melodic sections. After a short breakdown, the piece opens up into a descarga that allows Freeman to explore a variety of different ideas. Adorno attacks his solo with ferocious intensity, leading the song back to the breakdown to end. These songs serve as strong features for Freeman, whose prowess on both vibes and marimba lends to a richly crafted sound.

Standing as a Latin Jazz Gem
Freeman sidesteps the traditional Latin Jazz instrumentation on In The Zone, but builds upon the strengths of his band to deliver a solid Latin Jazz sound. His songwriting combines traditional Latin Jazz with creative arrangements that emphasize the rich tone of his mallets as well as the instrument’s percussive nature. His insight into writing for multiple mallet instruments helps build a full bodied sound on each track. Saunders becomes an essential partner in Freeman’s vision, providing a strong voice in the arrangements, sensitive accompaniment, and tasteful solos. The rhythm section provides solid support, unobtrusively swinging through a variety of Afro-Cuban and Puerto Rican rhythms. Freeman’s strength as a soloist carries the album, filling each song with creative explorations of the chord changes. While the instrumental format may buck instrumental tradition, the strong songwriting, thoughtful arranging, and professional performances let In The Zone stand on its own as an intoxicating Latin Jazz gem.

Click here to have these posts delivered via email. Or, click here to subscribe to the full text RSS feed and never miss another post!

Stumble it!