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.

Soñando Vuelos
Anna Estrada
Ferel Flight Productions
Many people have spoken on the idea of music as a language, but that simple statement undermines the complexity of communication. Music expresses ideas, emotions, and stories through the use of specific language tools that emanate from distinct sources. All musical content draws upon a set of basic musicality concepts; phrasing, dynamics, articulations, and rhythmic momentum can all be used to construct a statement. On a deeper level, musicians can build their ideas upon specific stylistic elements, pulling together pieces of several genres. The choice of stylistic elements starts to make cultural connections that resonate with concepts of country, race, and heritage. The social conventions that shape our understanding of genre and cultural connection fuel the song with another layer of listener interpretations. All these possibilities combine into a complex linguistic world; a carefully constructed statement can pull these elements of musical language together eloquently – a sloppy mixture of ideas can be a complete mess. Smart singers stand poised to communicate ideas effectively – in addition to an effective use of these linguistic tools, they have the benefit of lyrics. Vocalist Anna Estrada pulls together a variety of communication techniques to make a rich statement on Soñando Vuelos, a rich vocal Latin Jazz set.

Drawing Upon Repertoire From Brazilian Composers
Estrada dives into the Brazilian Jazz tradition on several pieces from Brazilian composers. Drummer Paul Van Wageningen winds a driving samba groove through a rhythmic line from the wind players on Carlos Lyra’s “Influencia Do Jazz” until Estrada jumps into the mix with her upbeat vocal. Spinning quick Portuguese lyrics through a clever melody, Estrada breaths life into the song before guitarist Ray Scott enters with a smart improvisation. Mary Fettig follows with a colorful solo leading into pianist Murray Low’s lush series of chordal passages. Estrada shows tasteful restraint with her vocal on Guinga’s “Bolero De Satã,” taking her time to build the vocal into an intriguing resolution. Pianist Frank Martin follows Estrada’s lead with a carefully developed statement that grows from a spacious beauty into a series of running lines. Bassist David Belove weaves through the rich harmonic structures with a powerful set of melodic ideas that lead smoothly into Estrada’s vocal. Scott provides an unassuming introduction to Marcos Silva’s “Você Ainde Existe” before Estrada enters with a commanding vocal. The song’s smart melodic shape allows Estrada an opportunity to shape a melody with well planned dynamics and phrasing. As the rhythm section moves into a soft bolero, Scott crafts a long and expressive statement that melodically explores his instrument’s range. While the rhythm section unobtrusively sails through a baiao rhythm, Estrada enters with a gentle scat on Hermeto Pascoal’s “Menina Ilza.” Martin, Scott, and Belove layer into the texture behind Estrada, building a smart variation that supports Estrada’s strong vocal work. The rhythm section sets up a funky vamp on the basic groove, letting Fettig spin a spirited solo that compliments the song’s momentum. Estrada demonstrates a strong connection to the language of Brazilian Jazz, communicating the work of Brazilian composers with expression and confidence.

Influences Outside The Brazilian Realm
Estrada shows range with a variety of influences outside the Brazilian realm. The percussionists establish a driving Peruvian lando rhythm underneath Scott’s improvisation on Armando Manzanero’s “Adoro.” Estrada carefully develops the Spanish lyric, wrapping each word with thoughtful dynamic shadings. After a brief display of improvisatory cajon work from percussionist John Santos, Scott provides a short but meaningful solo before Estrada returns. A catchy series of horn mambos place Clifton Davis’ “Never Can Say Goodbye” over a salsa rhythm before Estrada enters with the lyric made popular by the Jackson Five. Percussionist Michael Spiro adds winds some strong bongo work between rhythmic breaks until Estrada improvises short pregones around a repeated coro. Fettig assertively jumps into an energetic alto sax solo, inspiring an avid response from the rhythm section. There’s a tipico feel to the son arrangement on Ignacio Pineiro’s “Salome,” which Estrada contrasts with an exaggerated vocal. Trombonist Wayne Wallace injects some improvised power between coros before letting Estrada fill the spaces with pregones. Low eases into an improvisation with short melodies, quickly building tension with offset rhythms and dissonant note clusters. Estrada shows that she speaks many musical languages here, touching upon a variety of diverse genres.

Integrating English Lyrics Into Latin Arrangements
Estrada makes connections between musical and cultural differences with strong English lyrics on several Latin arrangements. The rhythm section pushes into an upbeat samba on Jovino Santos Neto’s “Takes My Breath Away (Ciranda)” leading into Estrada’s dynamic lyric. Estrada smartly accentuates the music’s rhythmic element, keeping the Brazilian setting intact around the English lyric. Scott jumps into an energetic solo, followed by Martin’s attention grabbing improvisation full of rapid lines. Fettig smoothly improvises over a cha cha cha foundation on “Dreaming Now (Dark Delishious Dream),” before Estrada takes center stage. Estrada strays from traditional rhythmic phrasing here, but the strength of her lyrics drive this piece forward with a meaningful momentum. Fettig returns with a slightly bluesy and commercially tinged improvisation that once again links back into Estrada’s vocal. The group enters with a clever introduction on Antonio Carlos Jobim’s “Two Kites,” that combines winding wind lines, Estrada’s scatting, and a swaying bossa nova groove. Estrada returns to her comfort zone with the Brazilian foundation, and her mastery over the music’s rhythmic phrasing push the lyric forward. Scott makes a distinctly melodic statement which transitions gently into a rich flute solo from Fettig. Estrada displays a broad range of skills on these songs, combining a variety of languages into a rich mixture.

Communicating In The Most Effective Way Possible
Estrada demonstrates a deep understanding of musical languages on Soñando Vuelos, communicating with clarity and expression. As a vocalist, Estrada adds depth to her performance with a wide palette of musical tools, ranging from a powerful dynamic ability to precise rhythmic phrasing. Her understanding of Brazilian genres adds another layer of meaning to her work; the cultural connection remains clear throughout these selections. Her choice of important Brazilian Jazz composers fills her repertoire with cultural weight and authenticity. Estrada’s use of Afro-Cuban and Peruvian rhythms, as well as pop material, allows her to speak to a wider audience with a clear voice. When moving between English, Spanish, and Portuguese, Estrada considers the ramifications of mixed styles and compensates with strong musical elements – in the end, the mixtures never clutter the songs, they simply embellish them. Wayne Wallace’s arrangements add a rich polish to the overall album, supporting it with a sense of creativity and professionalism. Estrada uses some of the Bay Area’s best Latin Jazz musicians, providing an authentic foundation and unbeatable performance. Throughout Soñando Vuelos, Estrada handles the complexities of musical language with style and ease, reminding us that the effective application of music’s linguistic elements make it the most effective form of communication today.

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