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.

La Belleza . . .
Craig Enright
Collaboration can exist on many levels, often depending upon the bandleader’s perspective on the matter. For some the simple act of playing music together exists as collaboration, and in the world of improvising music, performance evolves from a vital partnership. In this realm, there can be a divide between bandleader and sideman that places most of the group in a supporting role while the bandleader steps into the spotlight. The performance revolves around the bandleader’s primary artistic concept and each member of the group works together to support that single vision. Collaboration starts to become more vital once the sidemen move out of a supporting role and stand on more equal footing with the bandleader. At this point, the musical concept begins to integrate influences from all the musicians and as a result, it grows into a broader and often richer idea. There’s an understanding that grows between band members based upon their common background; the interactions become more natural, the experimentation becomes more daring, and the performances are fueled with more conviction. In many ways, an act of full collaboration leads towards a more organic and interesting product that can inspire and entertain. Saxophonist Craig Enright steps into a strongly collaborative space with his Latin Jazz quintet on La Belleza . . ., presenting a group of original compositions with a modern jazz flair.

A Group Expression Over A Straight-Ahead Latin Jazz Foundation
Enright and his group provide several tracks with a straight-ahead Latin Jazz foundation. Pianist Enrique Haneine makes an introspective statement over a jazz influenced son montuno groove on “Great Days” until Enright enters with an unassuming yet firm melody. The band quiets as bassist Alex Hernandez makes a graceful melodic statement, which builds into a series of repeated phrases that filter directly into Haneine’s solo. The pianist quickly builds energy around his ideas, raising the dynamic level with a colorful improvisation before Enright rides the group’s momentum through his improvisation. Enright jumps right into a winding melodic line interspersed with dramatic band hits, establishing a frenetic feel on “Taller and Louder.” Haneine starts with energetic lines, building his ideas into a thunderous series of syncopated phrases and then moving away as Hernandez displays a command of the music’s rhythmic language with his improvisation. Enright captures the spirit of the melody with long twisting melodies that strike at the core of the song until Haneine sets up an offset montuno for a head-spinning improvisation from conguero Aryam Vazquez. Enright and Haneine join together on a repeated phrase that plays off rhythm section hits on the melody to “Condigo Latino.” Enright starts his improvisation slowly with long notes and legato phrases which building into long stretches of modern jazz ideas combined with rhythmic interplay. Haneine reveals a Tyner influence with open chords and intensive flurries of notes until Enright sets up a dramatic vamp for an energetic exchange between Vazquez and drummer Ludwig Afonso. Haneine establishes an uplifting mood with a major vamp while Vazquez provides a laid-back tumbao on “Iowa Folk Song,” leading into Enright’s joyful melody. Haneine explores this setting with a quiet reverence at first, taking his time to develop his idea with unique scale choices and implied harmonies. Enright takes a more traditional approach, mixing winding lines with a bluesy underpinning and stretching his ideas until they evolve back into the original melody. The group employs an interactive small group Latin Jazz approach on these tracks, mixing modern harmony with dramatic performance approaches that gel into a distinctive blend.

Mixing Funk And Elements Into The Balance
The group mixes funk and blues elements into two tracks, creating a unique balance with their Latin Jazz sound. The rhythm section establishes a funky swagger over a contemporary samba groove on “You Know Who,” which melds perfectly against Enright’s bluesy melody. Haneine begins with short phrases that wander through the groove until they grow into rhythmically intensive ideas that push the rhythm section into an excited state. Enright embraces the funky foundation quietly with carefully placed blues phrases, and witty embellishments upon the original melody. While Afonso and Vazquez set up a steady 6/8 groove, Haneine reaches inside the piano and plays a staccato line, creating an intriguing groove on “Bata Boogie,” until Enright jumps into a melody that mixes blues ideas with the song’s triplet foundation. Afonso and Hernandez move into a full shuffle as Enright swings soulfully through a catchy improvisation. Haneine contrasts Enright with an almost Monkish take upon the song, while Hernandez lays on the funk with an electric bass running through a wah-wah pedal which provides a totally different sonic perspective. These songs add an important contrast in the album, giving it a soulful foundation without moving too far away from the group’s original concept.

Integrating A Modern Jazz Element
A few pieces integrate a modern jazz element into the blend, finding a path between Latin and Jazz. Haneine provides a gentle unaccompanied introduction on “Una Humilda Cancion,” providing a thoughtful transition into Enright’s emotionally charged reading of the melody. Afonso executes some wonderful ballad brushwork while Vazquez maintains a steady bolero rhythm behind Enright, giving the song a quiet yet steady feel. The song offers an opportunity to see a different side of Haneine’s musicianship, who plays with a delicate touch and a playful sense of swing throughout his stunning improvisation. Enright’s rhythmically staggered melody charges over the salsa charged rhythm section at the onset of “La Belleza . . . (esta en la diversidad)” until the group burst into a driving swing feel. The group continues to shift between feels as both Enright and Haneine grab onto the opportunity to build statements that play upon the song’s rhythmic diversity. After a brief return to the original melody, Haneine assertive sets up an intense montuno that provides an inspiring setting for Afonso to develop an explosive statement. Enright stretches long notes over a bolero setting on “Closure” until he joins with the rhythm section on a rhythmic vamp that pushes the song into a medium tempo son montuno. Hernandez carefully explores this setting with understated melodic lines that slowly build into a fuller statement. Enright plays subtle lines over the thin texture, preferring melodic beauty over dexterity, until Haneine takes a different approach with wandering melodic snippets that create tension and dynamics in his solo. These pieces find a strong connection with modern jazz, with ideas that range from swing to ballad settings, allowing the musicians to expose all sides of their artistry.

Firmly Rooted In The Collaborative Process
The collaboration between Enright and his group raise La Belleza . . . to a high level of musicianship, resulting in an engaging set that draws upon several artistic directions. Enright appears as a strong voice on the album, both as a player and a composer - he wrote every song and leads the group through each one. Yet Enright avoids running the group with an iron fist; he obviously values the artistic contributions of his group members and lets their voices fuel a major piece of the album. Whether they support or contrast his voice, Enright revels in their performances, reacting to their ideas and enjoying the ride. The musicians rise to the occasion and insert their presence without forgetting their primary role. At every turn, the musicians serve as supportive players and interactive elements; the group exudes a sense of conviction and focus that lead to exciting performances. Enright’s writing contributes a good deal to this setting as well, providing pieces with interesting harmony, singable melodies, and open forms that lend themselves to embellishment. There’s a conscious give and take over a firm foundation through La Belleza . . . that offers more than just a look into Enright’s current state as a musician; it gives us a look at what Enright’s musicianship and collaborative process can inspire - the results leave us with an album of interesting and exciting music.

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Check Out These Related Posts:
Spotlight: Bridges, Chiemi Nakai & Emmanuel Bizeau
Spotlight: In The Zone, Mike Freeman Zonavibe
Spotlight: Alone Together, Andy Nevala

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