I grew up with a regular celebration of the Thanksgiving holiday, with lots of food, family, and festivities. It’s an important day in the States, where most everyone takes an opportunity to rest and clear their heads - a rare event in the hustle and bustle of our 9 to 5 world. This day provides a slice of perspective, where we can appreciate the good things in our lives, both past and present. That’s a priceless event that can frame an entire year; for this reason, I continue this tradition today as an adult with my own family.

Last year on Thanksgiving, I took the opportunity to look back upon Latin Jazz Artists That I Was Thankful For - another event that I would like to turn into a yearly tradition. I spend a lot of time writing about Latin Jazz from a variety of angles - academic, fan, musician, critic, and more. Yet, the bottom line is that I simply love this music, and I feel blessed to have it in my life. I feel forever indebted to the musicians that have given themselves to the genre, and in turn have made my life that much better. With that in mind, I’d like to give specific thanks for 3 artists that have touched me over the past year.

1. Bobby Sanabria
The first time that I heard the name Bobby Sanabria, I was reading the back of an album that I had just purchased - Tanga by Mario Bauza and his Afro-Cuban Jazz Orchestra. At the time, I wasn’t really familiar with Bauza’s work, and I certainly wasn’t aware of Sanabria. I played that album over and over, addicted to the overall drive and rhythmic propulsion on each song. The album benefited from outstanding arrangements, but behind it all, there was a powerful voice behind the drum kit - assertive and strong while always supportive. It was the first time that I had heard a drummer push the music in such a real way. I had only heard drummers play funk beats over congas to pass as “Latin Jazz drummers,” but Sanabria was playing something that made sense. I tucked the name away in the back of my head, and after a while, I noticed that it popped up quite often on Latin Jazz albums.

Sanabria’s name appeared in more than performance credits as a drummer though; he has taken on many inspiring roles over the past few years. As the leader of Afro-Cuban Jazz big bands at both the New School and the Manhattan School of Music, Sanabria has emerged as an important educator, providing a generation of student musicians with a deep exposure to Latin Jazz. He has taken students on a larger musical journey though, making large-scale artistic statements through a modernized performance of the complete Machito Kenya album and a trip through rare Tito Puente compositions. He has emerged as a public face for the music, appearing in Downbeat, Jazz Times, and just about every online jazz resource. Sanabria brings his encyclopedia level knowledge of Latin Jazz history to each of these presentations, always presenting the music with a serious tone and a humble nature. He has, of course, continued his outstanding career as a performer, leading two small groups and a mind blowing big band, as well as working as a sideman for many artists. His 2007 release Big Band Urban Folktales spent more time at the front of my iPod than just about any album last year; its depth of concept and gorgeous writing deserves repeated listens. Sanabria inspires the Latin Jazz world in many different ways.

Thank you Mr. Sanabria, for your knowledge, passion, and drive for excellence. You’ve served as a constant role model for me, inspiring me to reach higher in my artistic pursuits and work harder to support this music. Your constant support of the genre and educational outreach keeps this music alive; you provide a priceless service that we should all appreciate.

2. Sofia Rei Koutsovitis
I first heard about Sofia Rei Koutsovitis during the 2007 LJC Best of the Year Awards. Somebody entered her name as a nominee for Latin Jazz Vocalist of the Year, so I contacted her to give her the news. She kindly offered to send me her album Ojalá for review, and I began the listening process. The album fascinated me on so many levels - the composing and arranging was bold and creative, Koutsovitis’ vocals soared with emotion, and she integrated so many South American styles that I had never encountered. I was truly challenged, and it sent me on a research binge. I jumped into the Argentinean Chacarera and the Peruvian Festejo, thrilled with this whole new world. I eventually wrote and published a very positive review of Ojalá, and continued listening to my intriguing new discovery.

After reading the review, Koutsovitis asked if I wanted to hear her Afro-Peruvian Jazz project, Alcatraz. I was excited to hear more of this new world, and I anxiously awaited the CD. From the first strains of “Tarumbero,” I was hooked on the album and officially addicted to Afro-Peruvian music. I repeatedly listened to the album, struggling to understand the stylistic norms of the Lando, Festejo, and Valse. I tracked down albums from influential Peruvian artists such as Susana Baca, Eva Ayllon, and Peru Negro, trying to fill-in gaps about the music’s history. Most importantly, I followed Koutsovitis’ trail of associates, hearing bassist Edward Perez’s The Year of Two Summers, guitarist Eric Kurimski’s Replica, and trumpeter Gabriel Alegria’s Nuevo Mundo. I’ve been finding YouTube videos, searching MySpace, and using my eMusic credits, all in pursuit of Afro-Peruvian music. I’m officially a Peruvian music junky at this point, harboring a deep love for the country’s rhythms.

Thank you Ms. Koutsovitis for exposing me to your brilliant artistry and introducing me to a new world of musical inspiration. The discovery of Afro-Peruvian music has been a true gift, one that has broadened my musicality.

3. Arturo O’Farrill
When I first heard that Jazz at Lincoln Center had created a Latin Jazz Big Band affiliated with their prominent organization, I felt a series of mixed reactions. On one hand, this was the news that I had been waiting to hear for years – a well-known organization with clout among both the jazz inner circle and the general population had put Latin Jazz into the spotlight. The creation of this band meant an opportunity for Latin Jazz to expand its audience and its mere existence was a bright signal of respect for the genre. At the same time, I had been turned off by Jazz At Lincoln Center’s public face, Wynton Marsalis, who used every opportunity to reinforce his museum piece perspective on jazz. I feared that the Latin Jazz side of the institution would follow this same aesthetic, keeping Latin Jazz from moving forward into new and exciting directions. The initial publicity only intensified my concern, as the group was touted as a repertoire band that looked back upon Tito Puente, Machito, and Chico O’Farrill. While I love all that music dearly, I would hope that a Latin Jazz big band backed by a major institution would focus their energy upon the advancement of the artform. The Jazz at Lincoln Center Afro-Latin Jazz Orchestra had Arturo O’Farrill at its helm – while I knew Chico O’Farrill’s work well, I wasn’t sure what Arturo’s opinion on the matter would be.

Years later, I can comfortably say that Arturo O’Farrill was absolutely the correct choice to lead the band, and he stands as a champion of the progression of Latin Jazz. He led the band through a variety of performances at Lincoln Center that both looked back upon the music’s rich history and forged ahead with new ideas and approaches. The group’s 2005 recording Una Noche Inolvidable (An Unforgettable Night) allowed the band to reflect upon history, playing Puente, Barretto, and more. They also pursued forward looking concerts such as an evening exploring modern Tango Jazz and a night dedicated to the art of Cuban bass playing. When Jazz at Lincoln Center didn’t show the type of support necessary to run an outstanding Latin Jazz ensemble, O’Farrill parted ways with the organization. He found funding, built his own support organization, found the Afro-Latin Jazz Orchestra a new performance space and kept the big band alive. Their 2008 release, Song For Chico, continued O’Farrill’s rich view of the music world with a combination of essential standards and modern, original pieces from composers like Dafnis Prieto, Jim Seely, and O’Farrill himself. In every way, O’Farrill has proved himself to be an admirable leader for the Latin Jazz community that will hold artistic vision as a priority while keeping himself firmly planted in tradition.

Thank you Mr. O’Farrill for taking Latin Jazz seriously as a major art form, full of depth and possibilities. You have shown us several times that you have the integrity and artistic insight to lead the genre into the future. With you at the helm, I’m proud to be associated with the music and I feel that the future will be bright.

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Check Out These Related Posts:
4 Latin Jazz Vocalists Forging Their Own Identities
5 Latin Jazz Guitarists Making A Contribution To The Scene
5 Latin Jazz Trends From The First Half of 2008

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