Infinity
Wayne Wallace Latin Jazz Quintet
Patois Records
Working as a bandleader requires a musician to perform an impressive juggling act that brings together several different artistic elements. First and foremost, a bandleader needs strong performance skills that can serve as a focus for listeners and an inspiration to their fellow musicians. They need to choose musicians with strong musical foundations that allow them to cover a broad spectrum of musical approaches. The bandleader needs to find good repertoire that will keep their musicians challenged and inspired while simultaneously entertaining their audience. For some bandleaders, this means composing original pieces that meet the needs of their musicians and audience. Other bandleaders might wade through the repertoire of several groups, finding unique choices and creating personalized arrangements. Certain bandleaders might chose a combination of these two approaches, mixing both original compositions and arrangements into their repertoire. At the core of all a bandleader’s various skills, they need a solid musical concept that acts as the balancing element. A successful bandleader consistently balances their concept and juggles all the pieces at a dizzying rate - an admirable task to say the least. Trombonist Wayne Wallace serves as the picture perfect bandleader on Infinity, juggling original compositions, interesting arrangements, and a diverse ensemble while maintaining his solid musical concept.

Strong Skills As A Composer
Wallace displays his strong skills as a composer on several original Latin Jazz compositions. A series of sharp band attacks frame the melody on “Infinity,” with Wallace adding short melodic phrases. Wallace gradually builds from spacious ideas to long lines until bassist David Belove develops an intriguing statement that winds melodies throughout the range of his instrument. Pianist Murray Low takes a more refined approach with flowing melodies until he explodes into an aggressive montuno behind an exciting solo from timbalero John Santos. The rhythm section establishes a subdued cha cha cha on “Cha Cha De Alegria” until the wind players enter with a smooth melody. Wallace trades ideas with Roger Glenn, who moves fluidly between flute and vibraphone. The two veteran musicians build a fire over the steady cha cha cha rhythm giving the song an assertive boost. The band breaks down to the piano montuno behind a repeated coro, entering again behind a strong solo from conguero Michael Spiro. Low’s up-tempo montuno introduces Wallace melody on “TBA,” which repeats with a thick horn harmony. The band lowers its dynamic behind the quiet intensity of Low’s statement, until Wallace creates a striking contrast with his sharp tone and rhythm ideas. Drummer Paul van Wageningen fills between repeated melodic phrases with careful rhythmic placement until Low introduces the original montuno for Santos’ timbale solo. Wallace proves himself to be a strong composer, creating interesting settings for his musicians to express themselves.

Finding A Balance On Arrangements
Wallace shows an inherent skill for adapting compositions from other musicians using his distinct Latin Jazz approach on several tracks. The rhythm section jumps into a solid samba rhythm on Jovino Santos Neto’s “As Cores Da Menina,” leading into the rich melody. Wallace explores the chord changes thoroughly, winding clever melodic ideas around the rhythmic structure. Low uses rhythmic emphasis to push his improvisation forward, building into a driving batucada foundation from the rhythm section. Low introduces Eubie Blake’s “Memories of You” with a gentle solo, leading into Wallace’s thoughtful interpretation of the melody. Wallace takes his time developing a solo over the changes, mixing a lyrical insight with bits of bebop phrasing. Low follows Wallace’s lead with an introspective statement that pays respect to the depth of the composition while integrating his personal voice. A funky songo groove sizzles until Wallace enters with the classic melody to Freddie Hubbard’s “Straight Life.” He takes an extended solo here, letting his aggressive phrasing ride off the rhythm section’s addictively funky groove. Low takes a fiery solo on Fender Rhodes, garnering active response from the rhythm section before Wallace closes the track with the melody to another Hubbard classic “Mr. Clean.” Wallace finds a nice balance on these tracks, combining elements of the original composition with his own unique ideas.

Integrating Vocalists
Wallace diversifies his sound with several vocal features that lean towards dance tracks. Vocalist Jackie Ryan quietly moves through the introduction to Gershwin’s “Love Walked In,” only accompanied by Low, until the band bursts into an assertive salsa groove. Ryan proves adept at phrasing over the Afro-Cuban setting, strongly capturing the melody and scatting through a unison line with Wallace’s trombone. The arrangement opens up with extensive room for improvisation, as Wallace, Low, and Spiro all take strong solos. “Songo Colorado” opens with a tight exchange between wind players and rhythm section, before moving into a catchy melodic idea in the winds. The rhythm section falls into a timba influenced groove as vocalist Orlando Torriente spins rhythmic pregons between the coro. Wallace plays off the song’s inherent energy with a creative solo that leads directly into a winding extended phrase played by all the wind players. Wallace, Low, and Belove navigate through a complex unison line on “Close Your Eyes,” before Ryan enters with an attention grabbing performance. Low builds tension with syncopated rhythms and harmonic dissonance, until Wallace captures his momentum and runs through an exciting improvisation. Spiro and van Wageningen trade improvisations as Ryan, Wallace, Low, and Belove travel through rhythmically displaced melodic phrases. Wallace’s inclusion of Torriente and Ryan provide a different texture to the album, providing some pleasant contrast.

Juggling His Ideas With Style And Ease
Wallace keeps several musical elements actively moving at a high level on Infinity, juggling his ideas with style and ease. As a composer, Wallace intelligently blends modern jazz harmony, an intimate knowledge of Cuban rhythms, and creative insight into a distinct voice with depth. His pieces serve as interesting journeys through his ideas, but they also include inspiring improvisational settings for his musicians. Wallace takes compositions from other musicians and skillfully adapts them into his concept, providing a new slant on each song. He varies his approach with each track, carefully balancing between a respect for the original composition and a re-imagining of it. Wallace’s trombone playing consistently serves as a source of inspiration. His rhythmic momentum, sharp tone, lyrical inventiveness, and jazz melodicism come together strongly into a powerful voice. Wallace has chosen a strong set of musicians to interpret his work that both support his ideas and integrate some of their own. The rhythm section moves through each style with strength and personality, while the vocalists add an accessible element without sacrificing any musical integrity. These elements form a cohesive whole for Wallace on Infinity, and he juggles them all without fail, showing the signs of a great bandleader that never drops the ball.

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Check Out These Related Posts:
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Album of the Week: Perspectiva Fragmentada, The John Santos Quintet
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