Trio Nuevo +
Dave Askren
DaWay Music
The guitar trio enjoys a rich history in traditional jazz but the instrument’s small role in Latin Jazz has led many artists to neglect this format. Cuban styles have long prioritized the piano over the guitar; piano montunos drive Cuban dance music and dense piano harmonies serve as the centerpiece of many Latin Jazz groups. The guitar-like Cuban tres holds a strong place in traditional music, but the instrument’s limited ability to play complex harmonies have left it rare in the Latin Jazz world. Modern Latin Jazz groups often relegate the guitar to a novelty soloist, implying rock with a distorted tone. Jazz traditionalist guitar players sometimes serve as soloists, but rarely front a complete Latin Jazz group. With limitied opportunities, guitar players seldom get the chance to shape their voice around the complex and exposed trio setting. Working against the odds, Dave Askren validates the guitar’s placement at the front of a Latin Jazz trio with Trio Nuevo +, a strong set of music that tackles both the strength of Cuban rhythms and the depth of jazz harmony.

Creative Latin Jazz Arrangements of Jazz Standards
Askren demonstrates his mastery of traditional jazz and an understanding of Cuban rhythms with creative arrangements of several standards. Askren and bassist Eddie Resto wind through a rhythmic melody over a funk drumbeat before Askren introduces the familiar melody of Joe Henderson’s “Recordame.” As he develops his solo, Askren runs sequences through the chord changes and develops chordal ideas, evoking enthusiastic responses from the rhythm section. Resto remains on a consistent groove while drummer Walter Rodriguez experiments with improvisatory idea, taking the song back to the melody. The group pulls a Peruvian influence into the album through Rodriguez’s powerful cajon performance on Thelonious Monk’s “Epistrophy.” They set the song against a 6/8 rhythm, allowing the band to slide between a strictly straight feel and a loose swing foundation. Askren takes full advantage of the song’s dual personalities, shifting between straight syncopations and swung bebop lines before moving aside for Rodriguez’s cajon solo. Resto’s stuttering bass line anchors John Coltrane’s “Naima” in 6/8 as Askren freely interprets the melody. Askren focuses on extended melodic development during his solo, occasionally stepping outside the chords for contrast. Resto uses the bass line as a launching point for an ingenious improvisation, embellishing upon the line’s rhythmic and melodic characteristics. Resto holds a static pedal tone as Askren shifts chordal colors on the introduction to the Burke/Van Huesen standard “But Beautiful.” Askren gently plays thoughtful melodies over the rhythm section’s bolero, building the album’s most reflective statement. Resto takes a melodic turn during his solo, closely outlining chord tones and restraining from excessive syncopation. Askren integrates standard material from the jazz guitar player’s idea book and translates it successfully into a Latin Jazz setting, maintaining the integrity of both worlds.

Creative Compositions and Intelligent Arrangements
Askren’s original music and intelligent arrangements reflect a study of the Latin music tradition and applied creative interpretation. Interplay between rhythm section hits and guitar chords opens “Tiene Tyner,” leading into a frantic melody. Askren recalls pianist McCoy Tyner throughout the piece with the open sound of moving harmonies over a static chord. He utilizes space to shape his solo, eventually integrating longer lines and more dissonant note choices to create tension. Askren plays the vamp to “El Manicero,” which leads smoothly into the melody on the Laine/Fischer standard “We’ll Be Together Again.” Askren’s strong melodic sensibility guides him through an exploration of the chord changes, employing both long flowing lines and quick runs. He returns to “El Manicero” for the bass solo, giving Resto the opportunity to refer to the standard melody and develop original lines. A sensitive melody with a lush harmony anchors “PM,” moving smoothly over a cha cha cha rhythm. Repeated melodic fragments and syncopated comping maintains interest throughout Askren’s solo, taking advantage of the cha cha cha’s forward motion. Resto focuses upon percussive ideas, stretching time and syncopating lines in his short but meaningful solo. Askren intersperses a piano-like montuno into the melody on Wayne Shorter’s “Yes or No,” adding a strong drive to the open melody. He continues his forward motion throughout his solo, emphasizing fast lines and percussive effects. While guest drummer Ramon Banda holds the time, Rodriguez displays strong conga skills with a quick burst of improvisatory inspiration. Askren takes the opportunity to move his guitar through a variety of creative composition and arranging ideas on these songs, establishing his artistic voice as a strong piece of the guitar trio.

Powerful Potential
Askren brings his mix of tradition and creative vision to Trio Nuevo +, establishing the guitar trio as a strong Latin Jazz format. His creative interpretation of several standards firmly roots the group in jazz harmony, allowing Askren to shy away from the instrument’s pop music connections. His use of nylon string acoustic guitars provides a thin texture, reinforcing the delicate nature of a jazz trio. Despite the small setting, the Afro-Cuban elements remains strongly integrated into each arrangement. Askren and his group did their homework, moving the ensemble purely into the Latin Jazz realm. Resto and Rodriguez compliment Askren’s concept perfectly; their presence remains supportively in the background without loosing any strength or rhythmic propulsion. As a soloist, Resto contrasts Askren nicely, adding an authentic percussive voice that links directly to the Cuban bass tradition. Askren’s two original compositions reveal the future possibilities of this gathering; as he brings together his traditional and Latin Jazz influences, his original music deeply touches both worlds. As the group solidifies their Latin Jazz trio approach, they hold a powerful potential for creative music that guarantees a guitar trio presence in the Latin Jazz world.

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