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’ll visit 1992.
When a Latin Jazz musician reaches their artistic prime, the future either holds possibilities or lost potential. Fueled by creative fires, the artists may write innovative compositions or explore new musical territory; hopefully they capture all this music on recordings. They may collaborate with other Latin Jazz masters, inspiring high energy and memorable performances. Opportunities most likely arise for us to hear these artists live, bringing our connection with the artists to another level. Yet,life may old insurmountable road blocks for the artist as well; family tragedies or obsessive addictions understandably distract them and diminish the quality of their output. The musician might shift their creative focus, prioritizing financial gain and commercial appeal over their original artistic track. In the worst of all possible scenarios, the artist may die before their time, leaving only the memories of their work. Artists that capture our imagination thrill us with future possibilities, but far too often musicians disappear and we are left with lost potential.
Born on May 29th, 1952 in New York City, Hilton Ruiz built his musical skills quickly at a young age. He started classical piano studies in his elementary years and performed at Carnegie Hall at the age of 8. He soon began stretching his musicality into jazz and Latin music, quickly advancing in both directions. Famed jazz pianist Mary Lou Williams worked extensively with the young Ruiz, helping him develop a strong bop repertoire. He soon started performing with Latin bands, and at the age of 14, he played on his first recording with Ray Jay and the East Siders. His career blossomed over the next few years, performing with a variety of jazz artists such as Joe Newman, Freddie Hubbard and Joe Henderson. Ruiz made his first serious statement as an artist with Rahsaan Roland Kirk, touring and recording on classic albums such as The Case of the 3 Sided Dream in Audio Color
and The Return of the 5000 Lb. Man
. Ruiz recorded his first album as a leader in 1975, The Piano Man, and continued to work with a variety of jazz legends. He moved deeper into Latin Jazz, recording on the 1979 album Ya Yo Me Cure
with Jerry Gonzalez, the 1981 release A Taste of Paquito
with Paquito D’Rivera, Steve Turre’s 1987 recording Viewpoints and Vibrations
, and the 1992′s Live at the Village Gate
with Tito Puente’s Golden Latin Jazz All-Stars. As Ruiz moved into the 1990s, he emerged as a strong voice in both the Latin and jazz worlds, becoming a busy sideman and a well-respected leader.
The 1992 release Manhattan Mambo showcases Ruiz’s ability to bridge Latin and jazz worlds into a rich sound charged with New York spirit. Ruiz changes Perez Prado’s “Mambo Numero Cinco” from a pop dance number into a full blown descarga, giving saxophonist David Sanchez ample opportunity to build a strong statement. The Ruiz original cha cha cha “Home Cookin’” provides Sanchez, trumpet player Charlie Sepulveda, and trombone player Papo Vazquez with a chance to explore soulful blues licks. Ruiz improvises furiously over John Coltrane’s “Impressions,” followed by a wildly passionate solo from Sanchez. Inheriting a kind nature as a bandleader, Ruiz hands the spotlight to sideman Giovanni Hidalgo on the percussion feature “Giovanni Speaks,” recognizing the music’s percussive roots and Hidalgo’s major talents. The jazz-tinged son montuno “Sure Thing” provides colorful chord changes for melodic improvisations from Sanchez, Sepulveda, and Ruiz. The album features jazz freedom and improvisation with intensive Cuban rhythms, fueled by a band full of future Latin Jazz icons.
Following Manhattan Mambo, Ruiz’s Latin Jazz career moved into high gear with a string of high profile sideman gigs and successful turns as a bandleader. He continued to work with Puente, recording several discs, including the 1995 album Tito’s Idea
and the 1996 release Special Delivery
. Mongo Santamaria employed Ruiz on his 1995 recording Mongo Returns
while Juan Pablo Torres hired him for 1995′s Trombone Man
. He kept one foot firmly planted in the straight ahead jazz world, recording with Abbey Lincoln on the album Painted Lady
and the Mingus Big Band on Que Viva Mingus!
. Despite a busy schedule, his output as a bandleader continued steadily, producing albums such as 1997′s Island Eyes
and 2003′s Enchantment
. He contributed music to film soundtracks, including the Academy Award winning 1999 release American Beauty
. In May of 2006, Ruiz traveled to New Orleans, planning to create an album to benefit victims of Hurricane Katrina. Police discovered Ruiz outside a local bar with a crushed skull and broken face bones on May 19th; after weeks of treatment, he died on June 6th. Some controversy existed as to the actual cause of Ruiz’s death; some claimed that he had been beaten while the bar declared that he suffered a severe fall. Whatever the case, the Latin Jazz world lost a major musical voice in 2006. We’re lucky to have numerous recordings that keep Ruiz’s influence alive, yet we’re unfortunately left wondering about the lost promise of the artistic potential in his later years.
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