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.

In the Middle
The Craig Russo Latin Jazz Project
Cagoots Records, Inc.
The Latin Jazz community generally looks towards the musical meccas for its inspirational performances and recordings. Major Latin Jazz musicians have historically based themselves in New York, and from there, musical mentors have moved to Los Angeles, San Francisco, and Miami. Younger musicians have always traveled to the meccas in order to learn the music, leaving other areas of the United States devoid of artistically challenging Latin Jazz. Yet the circulation of Latin Jazz knowledge has exploded over the past twenty years, opening extensive opportunities to curious musicians. Access to a greater variety of recordings, creation of thorough instructional books and DVDs, and travel opportunities have all made worldwide Latin Jazz education realistic. New York may still hold the most opportunities, but now anyone around the world can dedicate themselves to learning the style and produce authentic music. It’s time to open our eyes to other possibilities; fine Latin Jazz projects are emerging across the United States and around the world. Illinois based group The Craig Russo Latin Jazz Project demonstrates the possibilities of intriguing Latin Jazz outside the mecca with In the Middle, a strong Latin Jazz set that displays a high level of musical maturity, professionalism, and stylistic knowledge.

Original Arrangements of Well-Known Standards
Russo and his group create fresh and original Latin Jazz arrangements of several well-known standards. Pianist Chip Stephens drives a series of syncopated chords over a son montuno rhythm on Sonny Rollins’ “Pent-Up House,” leading into a unique phrasing of the traditional melody. Saxophonist Chip McNeil displays a comfortable familiarity with the song through a bop-influenced solo which transitions into a vamp for drummer Jeff Magby to create a quick and tasteful statement. A combination of rapid phrases, expertly placed accents, and syncopated rhythms build an exciting momentum throughout trumpet player Jeff Helgesen’s improvisation. After a rubato solo from trumpet player Tito Carrillo, “Bésame Mucho” receives a refreshing new feel as the group moves between a 6/8 rhythm and a guaguanco. Carrillo thoughtfully builds an introspective statement that moves into high gear over the guaguanco, followed by a well-constructed solo from Stephens. McNeil and Carrillo freely interpret the melody, at times avoiding it altogether, until they unite into a collective improvisation that ends the song on a high note. Stephens carefully shapes an unaccompanied solo around the melody on “What Are You Doing The Rest of Your Life?” until the band joins him on the bridge. Helgesen follows Stephen’s lead with an introspective statement, which the band supports with sensitive interaction and an unobtrusive rhythmic pulse. The group livens “I’m Getting Sentimental Over You” with an up-tempo groove, a catchy montuno, and several powerful breaks. McNeil attacks his improvisation with an aggressive approach that highlights his ability to creatively run complicated ideas through familiar changes, leading into Carrillo’s fiery solo. Stephens’ pulsating montuno provides a foundation for Russo’s drum solo, which draws strongly upon traditional phrasing. These tracks demonstrate both a connection with jazz tradition and a well-versed background in Latin rhythms that allows the group to view these songs from a unique perspective.

Interesting Song Choices of Jazz Compositions
Russo makes interesting song choices for the remaining arrangements, which draw upon less common but equally challenging compositions. The rhythm section establishes a bluesy groove behind an interesting melody shaped by dynamic contrast on “Rumble, Young Man, Rumble,” a composition from vibraphonist Monte Croft. Stephens brings together blues articulations, range displacement, rapid lines, and a rhythmic drive into an ear catching statement. The cutting tone of McNeil’s soprano saxophone tears through the chord changes with virtuosic lines that express an exhilarating journey. Russo and percussionist Ricardo Flores began Duduka Da Fonseca’s “Doña Maria” with a funky Partido Alto groove that serves as the perfect foundation for the blues tinged melody. McNeil’s rhythmic lines thrive in the Partido Alto groove, smartly countered with Stephen’s use of flowing lines and modern harmonic embellishments. After Stephen’s solo, the band explodes into a son montuno groove behind Carrillo’s fiery improvisation. The group uses transitions between a driving bomba, a sparse bolero, and an open groove to provide shape to Herbie Hancock’s “Butterfly.” Stephens introduces his solo with lush and airy ideas that soon progress into a flowing statement with an underlying momentum. McNeil builds his improvisation more quickly with rhythmic ideas that inspire subtle interplay from Stephen’s comping. These tracks reveal an ingenious side to the group; their selection of less common jazz compositions provides a springboard towards interesting musical ideas.

Several Original Compositions
The group displays an educated command over the music with their original compositions. A subdued yet catchy melody floats over a driving cha cha cha groove on “Arrival,” finding a cross between musical depth and commercial appeal. Helgesen explores the song’s melodic possibilities, interspersing a strong lyrical sensibility with quick flurries of notes. McNeil tastefully applies a mixture of bebop intensity and bluesy attitude, providing a necessary edge to the song. The rhythm section establishes an ostinato over a 6/8 groove that leads into a menacing minor melody on “A Visit To The Bob.” Stephens opens his improvisation with an understated grace, and then utilizes harmonic variations and thickening texture to work the band into a frenzy. After an aggressive statement by McNeil, Stephens and bassist Josh Walden return to the original vamp, providing a spotlight for Russo’s strong conga work. A mysterious bass line, long notes over a pedal tone, traded melodic fragments, and a persistent cha cha cha groove come together into a complex form on “Chip’s Vision.” The rhythm section drops to a coloristic background as Carrillo utilizes spacious phrasing in a statement that builds over time. McNeil and Stephens trade ideas in an extended exchange, pushing each other with intense lines and dissonant harmonies. These tracks establish the band’s unique personality and demonstrate their high level of applied knowledge in the style.

Establishing A Fresh Latin Jazz Voice
Russo and his band deliver an intelligent, creative, and professional set of music on In the Middle, establishing their credentials as a fresh Latin Jazz voice. The inclusion of several common jazz standards provides a straight-ahead feel to the album that will appeal to a wide audience while the authentic performances and creative arrangements will attract the hardcore Latin Jazz listener. The group’s choice of less popular jazz covers reveals a broad background in jazz history. Their ability to arrange these songs in a consistent Latin Jazz form maintains their sound and defines their overall approach. The group’s original compositions show their commitment to building an original personality within the genre and their ability to shape a unique idea from stylistic elements. The musicians play with conviction and enthusiasm; each member demonstrates a command over their instrument and a defined improvisational voice. Their performances reflect years of musical experience and a focused study of Latin music. The Latin Jazz meccas in the United States may still hold the greatest amount of musicians practicing the art form, but In the Middle reminds us that we don’t need to travel there to find high quality Latin Jazz.

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