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.

Punto De Vista (Viewpoint)
Frank Villafañe
When creating a piece of musical art, the musician can focus their energy upon the process or the product; the importance of each of these pieces has been the foundation of an age-old argument in the artistic community. The supporters of process believe that there are standard methods for creating a great piece of music. If the artist focuses upon their process, adheres to the correct procedures, and applies appropriate techniques, they are bound to create an outstanding piece of art. This doesn’t discount innovation; it just requires new directions to build upon established foundations. In this case, the process defines the product and the bulk of the musician’s time should be focused upon refining their process of delivery. Artists that believe in the power of the product have a defining concept for their finished piece of art and aren’t concerned with their mode of creation. The steps towards their vision may take a traditional path or they may require the musician to apply outlandish and unfamiliar techniques. As long as they reach their finished product, the process doesn’t take their attention; in fact these musicians may find an overly careful attention to process distracting. Their vision may change as a result of the process, but it will never be defined by it. Many artists choose a side and let their creative juices flow around either process or product, while other musicians find a more equal balance. Pianist, composer, and arranger Frank Villafañe applies an unusual process by constructing his music with virtual instruments on Punto De Vista (Viewpoint), but his firm musicality drives the project, resulting in a strong Latin Jazz product.

Strong Compositions Based Upon Afro-Cuban and Puerto Rican Rhythms
Villafañe constructs several solid Latin Jazz compositions based upon Afro-Cuban and Puerto Rican rhythms. An active montuno serves as a foundation for an introductory vibes improvisation on “Realization (Realizacion),” before the vibes and piano play a melody through jazz harmonies and several rhythmic changes. After a repetition of the melody, the vibes jump back into another solo, developing a longer and more fluid statement. Villafañe enters into a piano solo over a bomba foundation, playing thick chord clusters in a syncopated rhythm pattern. Villafañe places offset chords over a cha cha cha rhythm on “Esperando (Waiting),” until he breaks into a subdued melody with a defined rhythmic pulse. The texture thins into a melodic bass solo that combines individual ideas and pieces of the form until the group explodes into strong momentum for an energetic conga solo. Villafañe builds a solid piano improvisation with tipico phrasing, polyrhythmic ideas, and melodic variations that combine into an engaging statement. A rubato piano solo morphs into a rich chordal introduction on “My Teacher (Maestro),” flowing directly into an upbeat melody that combines rhythmic phrasing with pieces of a montuno. Villafañe rides off the momentum of the song with a joyful improvisation that takes the best pieces of the melody and pushes them into a new and exciting direction. Villafañe disappears as the bass develops an idea over the percussion that relies more on rhythmic prowess than melody, integrating double stops and offbeat ideas. Each of these pieces bring together solid Afro-Cuban and Puerto Rican rhythmic structures into interesting ideas that serve as fantastic foundations for improvisation.

Interesting Arrangements Of Unique Covers
Villafañe displays strong arranging skills with several cover pieces that come from interesting sources. Villafañe establishes an interesting series of piano chords over a cha cha cha groove before presenting a unique variation upon Pedro Flores’ classic melody “Obsesion.” After a muted trumpet and saxophone loosely revisit the melody, a thinly accompanied bass solo changes the mood dramatically before establishing a distinctly different series of chords. A flute enthusiastically charges into the new foundation, playing off the instrument’s rhythmic possibilities until Villafañe spins a rich series of long improvised lines. An addictive montuno groove leads into a powerfully understated melody on “Brisas Del Caribe (Caribbean Breezes),” Villafañe’s interpretation of a Chopin waltz through an Afro-Cuban perspective. Villafañe bursts into a brief yet melodically engaging piano improvisation until the vibraphone takes the piano’s original idea and twists it a bit further. Villafañe provides a staggered montuno for a conga solo that draws upon technically complex phrases and then returns with a dramatic solo that grows into a storm. A flute and muted trumpet immediately leap into a joyous melody on Chano Pozo’s “Porque Tu Sufres (Why Do You Suffer),” engaging in a playful call and response with the piano. The groove jumps into high gear with a driving montuno and intertwined violin guajeo, setting the stage for a catchy flute solo. A sharp band break leads into Villafañe’s piano improvisation, an upbeat statement that plays around the song’s rhythmic momentum with class and style. Villafañe shows a connection to various important sources here with his song choices, while his strong arrangements signal an original voice.

Integrating A Brazilian Influence
Villafañe delivers several tracks that mix the presence of Brazilian rhythms into his established Latin Jazz sound. Villafañe jumps right into an urgent melody over a bossa nova groove on “Never Enough Time (Nunca Hay Tiempo),” complimenting the song’s feeling with active left hand comping. The feel of the song moves into an Afro-Cuban direction as the bass takes a long solo that reaches across the instrument’s range with captivating melodies. The bossa nova feel returns for a short piano solo from Villafañe that morphs into a mixture of thick synthesizer patches and string sounds. A fretless electric bass gently performs a tender melody on “Poignancy (Nostalgia),” before a samba groove pushes the song forward. Villafañe’s piano enters with a short melodic statement before the vibes enter to compliment an atmospheric groove that follows the song towards a fade. The thick sound of an unaccompanied Fender Rhodes transitions into a steady bossa nova groove on “Misunderstanding (Malentendido),” followed by a dramatically developed piano melody. After a unison band break, a fretless electric bass weaves its rich tone through a thin texture, developing a basic idea into a short but engaging melodic statement. Villafañe carefully builds upon his initial idea with a piano solo over a bomba foundation that grows into a wall of electronic sounds and rhythmic phrases. These pieces add another dimension to Villafañe’s compositions, showing an artist that can draw upon a broad range of knowledge.

Choosing Product Over Process
Villafañe strikes a unique balance between process and product on Punto De Vista (Viewpoint), applying his clearly defined concept of virtual Latin Jazz to his richly informed compositions and arrangements. He has taken great care to create believable and entertaining virtual environments that never distract from the composition; instead they support it with impeccable detail. Villafañe considers both the sound of the virtual instrument and the actions of the virtual player, charting every step from the perspective of individual instrumentalists. When the vibes take a solo, they phrase like a vibraphonist or when the bass improvises, it creates bass friendly lines - Villafañe integrated all of these varying viewpoints, giving the music a lifelike quality. He displays a broad command of stylistic elements, developing authentic rhythm section parts that not only play the correct grooves, but also embellish them with percussive precision. All these details allow Villafañe’s compositions and arrangements to shine with the rich glow that they deserve. His creative melodies, rich jazz harmonies, and tightly defined arrangements are both interesting and accessible, leaving a lasting impression of musical depth and refined artistry. While Villafañe’s process may define the character of his work on Punto De Vista (Viewpoint), the product definitely takes priority as his musical instincts and stylistic knowledge support a solid collection of memorable Latin Jazz originals.

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Check Out These Related Posts:
Exploring Virtual Latin Jazz With Frank Villafañe
Spotlight: Latin Journey, Kraft/Landry/Messina
Spotlight: Blue Mambo, Blue Mambo
Spotlight: Fantagious, Ritmo Masacote

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