Influential bands that exist over a long time period provide more than just great entertainment; they often serve as schools for the musicians that constitute the group. A group with strong staying power almost always has a foundation built on the great musicianship of its core members. The lessons that these musicians share with each other, and the power of their common experiences help them grow over time. Any band that continues performing over the course of several decades will encounter personnel changes, constantly bringing new voices into the ensemble. These younger artists get an education simply by playing next to the band’s remaining core musicians, and the older band members stay fresh by learning from the new perspectives. The student and the mentor both grow through their time together. It’s a powerful experience that invariably breeds a large number of strong musicians.

The true test of these musicians’ education comes from the music they create after leaving the main ensemble. The musicians do learn an immense amount from their time in the ensemble, but they are still working from the power of the collective. When they move into the position of leader, they need to apply their lessons. Some musicians will build upon their experiences, starting with the foundation of their knowledge and then building something new. Other artists will remain true to their former band and create a copycat version of the group. Still more musicians choose to ignore their past and pursue a completely different direction. Many possibilities exist, but the results are always a telling story that reflect upon the musician’s time in the band.

Latin Jazz contains many band “legacies,” but one of the longest running groups with a variety of musicians would be Irakere. With a history of more then thirty years behind them, the group has held a long list of Cuba’s finest musicians. The group’s core musicians – artists like Chucho Valdes and Carlos Del Puerto – became the backbone of the Havana jazz scene. The younger musicians that passed through Irakere built their reputations upon their many performances with the band, and they are now too seen as influencers. Many of these musicians left the group and followed their own careers as bandleaders, leaving a trail of albums for us to examine. It’s an interesting reflection looking at these albums as a group, so let’s look back upon an influential education with 10 albums from Irakere alumni.

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1. New Conceptions, Chucho Valdes
Valdes was the creative genius behind Irakere. From the group’s origins as a trio, Valdes’ passion to play jazz pushed him into Valdes spearheaded the group until the late 1990s, when he decided to focus on his solo career. Loosening travel restrictions energized Valdes’ career, allowing him to record a series of albums for the Blue Note label, including the outstanding New Conceptions. Valdes explores straight-ahead jazz standards, including a bata-driven version of “What Is This Thing Called Love” and frenetic up-tempo rendition of Miles Davis’ “Solar.” He strings together a series of classic Ellingtonia, including a bright cha-cha-cha version of “Satin Doll,” a bolero reading of “In A Sentimental Mood,” and a ferocious romp through “Caravan.” He creatively revisits Ernesto Lecuona’s “La Comparsa” and contributes several electrifying originals, including “Los Guiros” and “Sin Clave Pero Con Swing.” This was Valdes’ last album for the Blue Note label before the Bush Administration restricted any future possibilities; although he continues to record, New Conceptions marked the end of Valdes’ stateside visibility.

2. Impacto Cubano, Carlos Del Puerto
Bassist Carlos Del Puerto had the opportunity to mix two eras of his together on Impacto Cubano as he brought together Cuban musicians and artists from his new home, Finland. There’s a distinctly modern and up-beat feel to “Chinchorrero” beneath strong improvisations from trumpet player Miguel Valdes and vocalist Joaquin Moré. The group stretches out the 6/8 foundation on “Munalongo” for improvisations from Valdes, saxophonist (and fellow Irakere alumni) Cesar Lopez, keyboard player Alexis Bosch, and Del Puerto’s daughter, flautist Grethel; the group even includes some Santeria chants around impressive percussion work from drummer Amhed Ponce and percussionist Eliel Lazo. Del Puerto’s electric bass takes center stage with a melodic solo on “My Syncopated Love” before the group opens the song into a full-blown descarga with improvisations from Bosch, Lopez, Valdes, and Moré. The album includes a heavy dose of danceable salsa, from the up-tempo son montuno “De Tu Sonrisa Vivo” to the driving cha cha cha “Frenesi” or the bolero “Mi Mejor Canción.” Del Puerto was a founding member of Irakere, and you can hear much of the group’s influence in these pieces; although Del Puerto moved around the world from Cuba, the sound and feel of Irakere never left him.

3. Cuba Jazz, Paquito D’Rivera
Irakere alumni once again benefited from the loosened travel restrictions in 1996 when D’Rivera gathered his former band mates in the States for a recording entitled Cuba Jazz. Valdes, del Puerto, guitarist Carlos Emilio Morales, and conguero Miguel “Anga” Diaz all make appearances, as well as some of their old friends, including trombonist Juan Pablo Torres and drummer Horacio “El Negro” Hernandez. D’Rivera pays tribute to Morales on “El Cura (The Priest),” giving his former band mate plenty of improvisational room. Valdes tears through D’Rivera’s “Chucho,” demonstrating his impressive technique and infallible musicality. Bebo Valdes makes an appearance as well, contributing his famous descarga “Con Poco Coco,” as well as “Miranda’s Smile.” Chucho and Bebo reveal the wisdom of two Valdes generations through a stirring rendition of Moises Simon’s “Peanut Vendor.” Cuba Jazz plays like a joyful reunion between friends, showing that years can’t erode the value of a shared musical experience.

4. Danzon (Dance On), Arturo Sandoval
Arturo Sandoval quickly signed onto the GRP label after making the United States his home and proceeded to releases a series of albums; Danzon (Dance On) was his third stateside release. Sandoval’s previous releases, Flight To Freedom and I Remember Clifford, spread him across fusion and swing with a hint of Latin influence. Danzon (Dance On) got right to the point and explored Sandoval’s Cuban roots. The songo-tinged Cubop swing of Dizzy Gillespie’s “Groovin’ High” drives headfirst into an energetic scat solo from Sandoval and a bebop saxophone solo from Ed Calle. Sandoval’s “Danzón” leans back and forth between the style’s elegant side and a huge wall of jazz oriented sound; the track also benefits from some classy piano work from Danilo Perez and flute playing from Dave Valentin. “Conjunto” finds a good balance between instrumental dance music and strong Latin Jazz and the track includes a memorable muted solo from Sandoval. Layers of synths and massive overdubbing peek through the tracks occasionally, giving a hint of the commercial tendencies that would characterize much of Sandoval’s future work; for the most part though, Danzon (Dance On) delivers a powerful Latin Jazz set that displays a focused musical vision.

5. The Cuban Timba/Fusion Project, German Velazco
Velazco began releasing albums regularly with the turn of the century, culminating in the 2006 recording The Cuban Timba/Fusion Project. The frenetic lines of “Brazo extendido” recall the virtuosity and pure intensity of Irakere, providing an up-beat solo showcase for Velazco. From the off set bass groove underneath the main melody to the funky piano breakdown halfway through the song, “Timbop” lives up to the Timba reference in the album title. The ace rhythm section builds from a sparse stuttering groove into a raging behind Velazco’s solo on “Latineando,” showing some serious jazz credibility. Bassist Roberto Riveron provides an extended solo statement at the beginning of “Nostalgias,” leading into a slow guaguanco floating behind soloists. Velazco uses his years of experience in cutting edge music to successfully fuse old school Latin Jazz with the now “classic” fusion sound and contemporary Timba to create an intoxicating mix.

6. Formula Uno, Orlando Valle “Maraca”
Maraca joined Irakere in 1988, at the age of 22, serving as flautist, keyboardist, and arranger. The group featured Valle extensively, introducing his talents to a worldwide audience. Valle left Irakere in 1994 to pursue a solo career, and after exploring a variety of direction he recording the 1996 album Formula Uno, a jazz-heavy release featuring many of his Irakere band mates, including Valdes and del Puerto. Maraca and Valdes both deliver mind boggling flurries of notes during the up-tempo “Otra Visión,” and then the two musicians apply their staggering chops tastefully on “Maraca’s Cha Cha Cha.” The group gets the opportunity to explore post-bop tendencies in the swinging “Ahora Mismo,” and then reveal a delicate side on the gentle composition “Danzón Para Celine.” The blazing horn lines and intensive improvisations on “Fórmula Uno” show an Irakere influence, while “Sangre Joven” gives a preview of future possibilities. In 2000, Maraca moved his focus towards a more dance-oriented sound with Descarga Total, featuring his new group Otro Vision. He enjoyed the luxury of eased travel restrictions; his vigorous tour schedule grew a large fan base. His following albums, Tremenda Rumba and Soy Yo enjoyed similar success, attracting a wide audience addicted to his energetic music spun with a virtuosic flair that only Maraca can provide.

7. Jazz’ta Bueno, Carlos Averhoff
Saxophonist Carlos Averhoff’s Jazz’ta Bueno reflects his new stateside home with commercially tinged jazz harmony and his homeland with authentic Cuban rhythms. There a laid back charm to the melodic cha cha cha “Swinging Gia,” as Averhoff spins smooth lines that complement the song’s feel. “Later Is Too Late” mixes a delicate danzon with a rougher jazz edge, eventually moving into a funky cha cha cha for Averhoff’s flute solo. Averhoff revisits Chucho Valdes with a skillful rendition of the Irakere classic “When The Heart Sings,” The flowing Brazilian groove on “Sambaduoro” serves as an inspiration to Averhoff, who playfully embellishes the melody and enthusiastically improvises. Chords and melodies move through “Eugenology” with a bebop flair, adding a traditional Cubop sound to the album. Averhoff shows an intimate knowledge of the Cuban bolero “Delirio,” espousing emotionally charged lines with a thoughtful improvisation. Averhoff plays upon his past and present here, making a strong statement as a solo artist.

8. Nuestro Hombre en La Habana, José Luis Cortes
Following his time in Irakere, Cortes timba to the world with his cutting edge salsa band NG La Banda; the group also made moves into jazz occasionally as seen on Nuestro Hombre en La Habana. The epic 28-minute piece “Portal” evolves from a sparse backbeat into a huge wall of sound behind an extensive solo from alto saxophonist Rolando Feliciano Pérez. Rodolfo Argudín offers some free improvisation until the band jumps into a massive groove for tenor saxophonist Rafael Miguel Jenkez’s solo on “Sala” – another huge track clocking in at 15 minutes. There’s an ethereal feel to “Cuarto” as hug synth pads fill the foundation underneath exploring solos from Pérez, trumpet player Elpidio Chapottín, and Argudín. “Cocina” drives forward with a fusion feel and serves largely as a solo feature for Cortes, who aggressively tears through the piece without hesitation. Nuestro Hombre en la Habana contains all the trademarks of the NG La Banda sound – explosive horn lines from “los metales de terror,” outstanding rhythm section work from musicians like bassist Feliciano Arango and drummer Calixto Oviedo, and contemporary elements – but there’s much more here than your typical timba. This collection of music goes beyond the sphere of Latin Jazz or modern dance music; it’s mixture of Cuban folklore, jazz harmony, hip hop drumbeats, free improvisation, and more make it one of the most cutting-edge Latin Jazz albums to come from Irakere’s former members.

9. Pasaporte, Miguel “Anga” Diaz
Miguel “Anga” Diaz recorded with an extensive list of musicians following his time with Irakere, but his first album as a leader was a collaboration with his hero, Tata Guines – the 1994 release Pasaporte. The two percussionists dubbed their backing group The Cuban All-Star, and what an line-up it was – the group included saxophonist Cesar Lopez, flautist Richard Egues, trombonist Carlos Alvarez, pianist Frank Emilio, bassists Feliciano Arango and Carlos Del Puerto, as well as their musical director, Orlando “Maraca” Valle. Jazz fans will find a healthy share of interesting material on the wildly spontaneous “Descarga Pa’Gozar” and the hip and funky track “Anga.” There’s a ton of hot dance tracks as well, from “Blem, Blem, Blem” featuring Merceditas Valdes to “Rumberos De Ayer” featuring Raul Planas. Listeners will of course find plenty of amazing percussion work, including the opening duet statement “Presentacion” and the traditional rumba “Donde Va Mulata?” Diaz returned to a steady stream of sideman gigs following Pasaporte, and recorded the 2000 instructional DVD Anga Mania!; he recorded a second albums as a leader in 2006 – Echu Mingua, but unfortunately suffered a tragic heart attack months later, robbing the world of an important percussionist.

10. Andante, César Lopez y Habana Ensemble
César Lopez served as a primary soloist in Irakere, showing the ability to make a firm statement in the band’s many stylistic endeavors – a skill that he displays prominently on the 2006 album Andante. There’s a boppish flair shooting over the intensive Cuban rhythms on “Pitacatacán,” while “Sapo Que Rueda” compliments an up-tempo descarga with a fusion edge. The group charges into full force fusion mode on “Geishas en La Habana,” complete with jazz-rock drumming, a Fender Rhodes solo, and funky guitar comping. “Santa Cruz” delivers a more even mix of Cuban rhythms and drum kit backbeats, that at times recalls Irakere; yet Lopez dips into sappy melodies and careful soprano sax playing. Lopez dips into smooth jazz territory with his regrettable cover of “How Deep Is Your Love” and the overly sentimental “Piccadilly.” He creates a passable dedication with “Tribute To Stevie Wonder,” but it’s pretty much easy listening instrumental pop. Lopez performs masterfully throughout the album; he brings the energy and virtuosity from his Irakere performances and refines it with the hindsight only captured through experience. His choice of repertoire and musical direction leaves a desire for something more though – a step outside the careful and commercial world of this recording and a move back into the constantly exciting world shown in his Irakere work.

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Check Out These Related Posts:
Looking At The Bigger Picture: Irakere Alumni On Video
Completing The Picture: Two Early Paquito D’Rivera Re-issues
Revisiting Latin Jazz Clasics: The Best of Irakere
Carlos Del Puerto Bass Solo on “Chucho”

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