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 1985.
Respect doesn’t come easily in the musical community. An artist must display an exceptional musical ability. They might stand out as an improviser, an arranger, a technician, or a composer; the skill may vary, but the requirement remains the same - excellence. A one-time act of incredible musicianship may inspire awe, but it doesn’t amount to respect. A musician needs to repeatedly perform with a high degree of artistry to earn a musical community’s respect. Once they garner respect within that given community, they face the reality that their reputation falls upon deaf ears outside that community. The true ability of earning a widespread respect requires a musician to walk across several musical worlds and master them all. Once this massive feat is accomplished the musician needs to maintain that respect on multiple fronts. Not many musicians receive long lasting and deep respect in one genre, more or less several different styles - so when a musician breeds this much respect, they are historically significant.
Jorge Dalto was born on July 7, 1948, in Jorge Perez, Argentina, where he studied music until he relocated to the United States in 1969. He found work quickly, building his reputation and eventually recording on Carmen McRae’s 1971 album Ms. Magic. His increased profile led him to New York in 1973, where he soon became a part of saxophonist Gato Barbieri’s band. He appeared on Dizzy Gillespie’s 1975 collaboration with the Machito Orchestra Afro-Cuban Jazz Moods and he won a Grammy Award in 1976 for his work as pianist and arranger on “This Masquerade” from George Benson’s hit album Breezin’
. The fusion crowd made good use of his skills - he appeared extensively with Benson, as well as with Grover Washington, Jr. on the 1979 album Skylarkin’
and Spyro Gyra on the 1983 album City Kids
. He traveled with Tito Puente, Carlos “Patato” Valdes, and Alfredo de la Re as the Latin Percussion Jazz Ensemble, recording the album Live At The Montreaux Jazz Festival. He became a member of Tito Puente’s band in the early 1980s and recorded the albums On Broadway
and El Rey
. In addition, percussionist Jerry Gonzalez hired Dalto to play on The River Is Deep
and saxophonist Paquito D’Rivera used him for Taste of Paquito
. In the midst of Dalto’s busy schedule, he formed his own group - the Interamerican Band - and then began performing and recording.
The 1985 album Urban Oasis from Dalto and his Interamerican Band includes some fine Latin Jazz with a recurring commercial edge. Dalto’s unbeatable rhythmic groove starts “Samba All Day Long,” which moves the melody towards some energetic improvisations from Dalto and flautist Artie Webb. “Killer Joe” receives a cha cha cha underpinning, which Dalto and Webb attack with solo ideas until conguero Carlos “Patato” Valdes and bongocero Jose Mangual, Sr. trade invigorating ideas. Dalto’s wife Adela adds vocals to the Brazilian-tinged, English language piece “Ease My Pain,” which includes a short but captivating piano solo. Sergio Brandao’s driving bass livens Freddie Hubbard’s “Skydive,” where Dalto shows a wide palette, moving his solo between piano and Fender Rhodes. A rubato piano statement moves into a gentle yet catchy cha cha cha on “La Costa,” providing a forum for some insightful work from Dalto and an ear-catching bass solo from Sal Cuevas. In many ways, the album captures the best of Dalto’s work in several worlds, showing his multi-lingual ability to bring out artistry in any setting.
Urban Oasis marked the beginning of countless possibilities for the Interamerican Band, but unfortunately most of those future options never emerged. Dalto had been diagnosed with cancer, and the disease overtook him during 1986. He spent most of the year outside the music scene, and in October of 1987, he died in New York at the age of 39. Jazz and Latin musicians felt the blow of such a major loss, but Dalto was never forgotten. In 1989, the Cheetah label released Rendevous
, an album that Dalto recorded with a group he dubbed as his Superfriends. This group included fusion superstars such as saxophonist David Sanborn, guitar player George Benson, drummer Steve Gadd, bassist Anthony Jackson, and more. In 1992, the previously unreleased album Solo Piano
displayed a completely different side of Dalto’s work, expanding his audience even more. 2007 saw the release of New York Nightline
, another Superfriends affair that recalled the same mix of funky backbeats, bluesy improvisation, and Latin flair. Dalto’s work maintains a timeless nature - due to the high quality musicianship that he consistently displayed and the overarching respect that his work demanded and deserved.
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Check Out These Related Posts:
Revisiting Latin Jazz Classics: Live At The Montreux Jazz Festival 1980, The Latin Percussion Jazz Ensemble
Revisiting Latin Jazz Classics: Manhattan Mambo, Hilton Ruiz
Revisiting Latin Jazz Classics: Afro-Cuban Jazz Moods, Dizzy Gillespie with the Machito Orchestra
Revisiting Latin Jazz Classics: Chapter Three - Viva Emiliano Zapata, Gato Barbieri
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Wazzup Chip! Been a while. Jorge Dalto’s solo work, while enjoyable, was frustrating to this listener. As the keyboard player for George Benson during Benson’s most popular period I always felt that Jorge was trying to ‘cash in’ by making ‘Benson-ish’ type records. The reason I found it frustrating was because he was so much better than what he put on record. His playing on Paquito D’Rivera’s debut recording shows him playing at a much higher level, I have other records; ‘Afro-Cuban Jazz-Graciela & Mario Bauza & Friends’ & ‘The River Runs Deep - Jerry Gonzalez & the Fort Apache Band’ for instance, that also show Dalto playing at a much deeper level than what he shows on his solo albums. I picked up ‘Rendevous’ & ‘NY Nightline’ when they were 1st released as imports (on Vinyl) and feel that while they follow in that ‘Benson-commercial’ type format, they are FAR superior to ‘Urban Oasis’. Since they were released before ‘Oasis’, it contributed to my general disappointment. He passed WAY too early and I strongly feel that Jorge’s best work was yet to come, RIP.
BTW - CB, I sent you some music 2-3 weeks ago, did you get the package? I sent it to the PO Box address you gave me some time ago. No big deal but I’m curious as to whether it arrived or not, lemme know!
Also…..I caught the Spanish Harlem Orchestra last week here in Atlanta. All I can say is , HOLY SHIT!!!! What a swingin’, smokin’, killin band!!! Something I’ve never been able to ascertain from reading this board is whether YOU listen to Latin Dance music, or Salsa. Especially the renaissance of ‘Salsa-Dura that’s been happening (again) in NY since the turn of the century. I’ve always felt that if Big Band Swing with singers like Ella is considered Jazz (and it certainly is!), than Latin Dance (Salsa) bands should also be considered a form of Latin Jazz (I definetely feel it is!). Especially in NY, where the players regularly and frequently cross over the lines between Latin Jazz and Salsa. Furthermore, a direct comparison can be made between traditional Jazz singing involving ‘Scat’ and a Salsa sonero that improvises lyrics on the spot on a regular basis. Yikes! I’ve gone WAY off subject here, sorry. Maybe this should be considered as a future ’subject’ for discussion?;)
Chazro,
You are not “way off” subject with the comparision between Salsa Dura and Big Band Swing-I recently caught the Machito Orchestra here in the Motor City and left with the same impression,particularly because their set was half instrumentals and half salsa dura.
The Spanish Harlem Orchestra is one of the finest ensembles going-They tore the house down at the detroit jazz Festival last year-Good as their records are they must be seen live-I told Oscar Hernandez after the show that they should put out a live DVD.
Chazro - Dalto really was one of those iconic figures that died way too young. He was quite caught up in the fusion crowd, probably due to his success with George Benson. It flavored everything that he did as a leader during his life. The funny thing is that everyone who followed that crowd recorded with the same set of aesthetics in mind. Look at the guys who moved onto modern days and now their work has much more substance. Chick Corea comes to mind - I love his work in the 80s with the Electric Band, but most of it was very commercial and pop oriented. Now he’s doing a wide range of stuff from straight-ahead acoustic jazz to flamenco tinged world jazz to reuinions with Electric Band and Return To Forever. I get the feeling that if Dalto was alive today, he’d be doing some hard core Latin Jazz with serious range.
I agree that his work with other people tended to have more meat than his work as a leader. The River Runs Deep is pretty incredible - that 10 minute version of Bebop comes to mind - and Dalto works as a big part of that sound. I really like his playing on the Latin Percussion Jazz Ensemble recording too. I wonder why he actually chose not to go in that direction with his solo material. Maybe he was looking for money or a larger audience . . . or maybe he just liked playing with that commercial edge (ouch).
Urban Oasis is pretty uneven, but I think that it showcases his solo work as a Latin Jazz artist pretty well. Rendevous and NY Nightline seem like fusion projects to me. There’s definitely that Latin-tinge, but it doesn’t seem to be in the front of the musical picture. I think that all the studio guys like Sanborn and Gadd have such strong musical personalities, if just kind of overwhelms the sound. Funny, all three of the albums that we’re talking about are major examples of the 80s. The influence of production values, electronics, studio techniques, and big money can be heard so strongly. I can’t say that I miss that sound much . . .
Luis & Chazro - To answer your question Chazro, yes, I LOVE salsa - all kinds. I try to keep a focus here on the blog, so I stay on the jazz track. I spend a lot more time listening to Latin Jazz rather than Salsa, but I do love the music. I’m a big fan of Fania era stuff, and I spent quite a bit of time with my head wrapped around timba. Eddie Palmieri & La Perfecta? Doesn’t get much better than that. Not a big fan of more pop-romantica salsa, but I’ve checked it out as well. In fact, as I’m writing this, I’m listening to the Fania All-Stars Tribute To Tito Rodriguez - killer album. I think that you can’t truly play or appreciate Latin Jazz without listening to salsa.
I don’t keep as current with Salsa as I do with Latin Jazz, but I do have all three Spanish Harlem Orchestra albums - that’s essential listening! I’ve never heard those guys live, but it must be quite an experience. With guys like Oscar Hernandez running the show, you’re guaranteed a class act. I agree Luis, they should release a DVD; I’d throw down my money.
I think that if I were to create a recipie for salsa, jazz would be an essential ingredient. Improvisation seems like such a natural part of that music. Yes, it is dance music, and yes, in a sense, it is pop music. But most of a standard salsa tune is based upon improvisation - whether it’s vocal pregones or horn/piano/bass/percussion solos. I used to play in a ‘Salsa Dura’ band here in SF with a bunch of transplanted New York players - it was different every night. Parts were created on the spot and the form always fluctuated - it was some of the most exciting music that I’ve ever played though. The line between salsa and Latin Jazz is blurry if it even exists at all. I think that I hear a community conversation coming on . . .
Here is a great feature from the Descarga journal on one of those musicians walking the fine line between salsa and latin jazz,Gilberto “Pulpo” Colon.
http://www.descarga.com/cgi-bin/db/archives/Interview57
You guys should check his new one (Pulpo’s Hot Bread) out
Those Dalto albums were part of a series of albums released in Japan on the Canyon & Electric Bird labels. They all featured an artist “& his Super friends”. I’ve got records by Bob Mintzer, Teruo Nakamura, Dalto, Dave Matthews (kybds - NOT the rock guy), Barry Finnerty, & others. Most of these records featured the NY Studio Kings, guys like Gadd, Brecker, Erskine, Pastorious, Lee, Tropea, Grolnick & others. I grew up in NY VERY much into these guys, saw them in various bands at various venues many, many times so I’ll always have a soft spot for this ‘type’ of stuff (!). I’ve always found it interesting that Jazz (in general) seems to be better appreciated OUT of our country. These records were recorded in the states but originally were only released in the Orient, I’m sure you know of many American musicians who choose to live overseas because they’re held in higher regard and can make a much better living over there (this is true and has been true for many decades). Americans, in general, have had their heads squarely up their asses when it comes to the appreciation of Jazz, don’t get me started!!!;)
Chip, the Salsa recordings you mention are of course, legendary. But I am of the firm opinion that the 1st decade of this new century will be considered an important, historic period when the history books are written! Like the old days of Fania, there is currently a ‘tribe’ of players that’ve been making amazing NEW recordings of some of the hottest, most intelligent Salsa EVER recorded. Between The Spanish Harlem Orchestra and Los Soneros Del Barrio you have a slew of musicians and records that, IMO, can be held up to ANY of the classic Salsa recordings from the old days. I’m listening to the Black Sugar Sextet as I’m typing, if you haven’t heard this I strongly suggest you check it out, amazing stuff!!
I always feel I gotta apologize for rambling the way I do, but as always, I appreciate the forum, thx CB!!
Chazro,
Check out Don Peringon y la Orquesta Puertoriquen~a for some modern classic 21st century salsa from Puerto Rico.
Wazzup Luis!
I have a record by Don Perignon as well as the record by Pulpo you mentioned. Truthfully, you know there’s exceptional Salsa being made all over the world, Columbia in particular is a strong playa in the Int’l Salsa scene. BUT….the Salsa that really floats my boat is the stuff coming primarily out of NY. Don Perignon and guys like Frankie Morales, while making great dance records (and they truly are great!), just don’t seem to be pushing that envelope the way groups like 8 y Mas and the Black Sugar Sextet do. I think that Afro/Cuban/Rican/NY/Jazz mix has always added an unmistakable EDGE to NY Salsa, always has and always will. YouknowadI’msayin? Of course on-the-edge Salsa (or Salsa Dura as it’s called these days) is being played by other bands across the country (Johnny Polanco & L.A. Amistad & La Verdad come to mind) but there’s just something about those smoky streets of NY…..;)
….About Pulpo’s Hot Bread. I think this is a good record but not a great one. There’s Jazz recordings that are just recordings of basic jam sessions and then there’s recordings of bands that really rehearse those arrangements. Of course there’s been greatness recorded in both scenarios but sometimes not. IMO Pulpo’s record is a recording of basic jammin’, extremely well-recorded, well-played and yet….I was hopin’ for more. I keep refering to The Black Sugar Sextet but compare the records and it’s easy to hear who spent a TON of time rehearsing and who didn’t. Hell, it’s all relative and strictly a matter of opinion, and you know what they say about those…!;)