Album of the Week: September’s Child, The Joel Larue Smith Trio

September’s Child
The Joel Larue Smith Trio
The wealth of opportunities available to modern musicians have allowed artists from every background to express themselves in the public eye, but it has also created a very crowded marketplace; for the contemporary artist, the ability to stand out among a crowd has become an essential skill. For some musicians, their wild lifestyles drive them into the public spotlight, reintroducing them to the general audience for better or worse. With each new display of public humiliation or success, these artists find themselves back in the spotlight and as a result, their music becomes noticed. This approach effectively draws an audience, but it refocuses people away from the true meaning of the music – a strategy that doesn’t work well for Latin Jazz musicians. Music forms the core of the Latin Jazz artist’s personality, and above all, it is the thing that must be noticed and appreciated. A Latin Jazz artist needs many things in their music to stand out among their peers – a studied and thorough knowledge of Caribbean and South American styles, a deep understanding of jazz harmony and improvisation, and a connection to history and tradition. Those are the basics, but there’s a much more intriguing element that pushes the artist into a league of their own: a distinct artistic approach and well-conceived musical personality. Without this, the artist sounds like any other Latin Jazz musician; with this personality in tact, the artist stands as an original voice that can be recognized immediately. Pianist Joel Larue Smith leads a trio through a set of both originals and classic compositions on September’s Child, presenting a strong voice and performance style that deserves avid attention.

Combining Afro-Cuban rhythms With A Distinct Improvisational Approach
Smith builds his trio sound upon several original compositions that use Afro-Cuban genres with an improvisational jazz approach. After a long introduction filled with unison piano and bass runs, Smith and bassist Fernando Huergo join forces to present a melody on “El Mensajero” that provides interesting twists on common themes. Smith continues this winding path on his improvisation with intriguing themes that step in and out of the chord structure and dance around rhythmic tension. A band break leads Smith into a driving montuno that serves as the basis for an intensive statement from drummer Renato Malavasi. Huergo doubles Smith on a standard montuno to introduce “Miramar,” before Smith moves into a tipico melody with a jazz edge. Smith continues playing upon the established tone, starting with fairly common lines that stretch into unique variations. The solo begins to reveals Smith’s distinct personality as he pushes the improvisation outside the limits of the chord changes and plays around rhythmic fragments. Smith moves dramatic chords over a pedal tone on “September’s Child” before he jumps into an up-tempo melody filled with a sense of urgency. A series of unison band runs send Smith racing into his improvisation, where he builds his ideas around short rhythmic lines, bluesy embellishments, and creative thematic development. After a return to the melody, Smith and Huergo set up a sparse vamp for Malavasi, who takes a busy solo full of color and texture. These songs create a distinct connection to the Afro-Cuban tradition, but Smith provides a spin at every turn with interesting arrangement ideas and a high personal performance voice.

Integrating Ideas From Traditional Jazz
Smith mixes traditional jazz ideas into his sound on several tracks, broadening his scope and raising his concept to another level. Huergo and Smith imply a gentle swing with a light vamp over an open texture on “Time Out For Love” before settling into an active ballad feel for the delicate melody. Smith’s thoughtful melodic playing leads smoothly into Huergo’s insightful statement that weaves through the chord changes with grace and style. Smith pushes the groove slightly with long beautiful lines, complimented by a freely interpreted accompaniment from Huergo and Malavasi. A timba flavored minor montuno abruptly drops into an active melody on “Narrow Escape,” until the rhythm section bursts into an up-tempo swing feel on the contrasting bridge. Smith starts his improvisation with sparse rhythmic ideas that he builds into a fuller statement through repeated phrases and displaced ideas. As Smith reaches the climax of his solo, Huergo joins him in a wildly winding unison line before the band jumps back to the main melody. Smith engages in a reflective unaccompanied solo on “Que Preciosa” before transitioning into moving melody over a combination of bolero and ballad. Huergo displays a gift for melodic invention with long breathing phrases that pull the beauty from the rich chordal structure. Malavasi and Huergo provide a free, open, and colorful background behind Smith’s improvisation as he careful develops his ideas into a lush and meaningful statement. Smith displays keen insight and a developed sense of artistry on these tracks, combining elements of both Afro-Cuban styles and traditional jazz into a personal sound.

Arrangements Of Classic Compositions
Smith connects himself to tradition with several arrangements of classic compositions, while setting himself apart with a distinct performance approach. Armando Peraza’s “Barandanga” opens with a dramatic unaccompanied piano solo from Smith before a driving montuno pushes the band into a fiery melody. Tight band breaks lead the group into Smith’s statement that draws upon the song’s rhythmic nature with tense syncopated ideas. Smith’s solo explodes into a furious montuno while Malavasi constructs a short but strong idea. The trio establishes a vamp over a 6/8 rhythm before transitioning into the melody on Wayne Shorter’s “Fall.” After the main theme, Smith races into a frantic montuno that drives the group into an up-tempo son montuno groove for solos. Smith’s improvisation matches the frenetic feel of this change, plowing through the changes with a bold musicality that simmers with tension. Smith and Huergo introduce Pedro Flores’ “Obsesion” with a traditional vamp over Malavasi’s cha cha cha groove, until the group moves into a quick bolero for a gentle reading of the melody. Huergo builds variations on the main theme, carefully twisting the phrases into an original idea that resonates with beauty. Smith follows with a respectful trip through the structure that intersperses lush melodies among modern harmonies while playing around the song’s flowing groove. The original rhythmic vamp sends the trio racing into an up-tempo version of the Mario Bauza classic “Mambo Inn,” visiting the melody with avid excitement. Smith jumps at the opportunity to improvise here, with classic phrases that stretch into long lines and tastefully injected rhythmic drive. After a return to the introductory vamp, Huergo displays an impressive set of technical skills and a vast musicality with an assertive improvisation filled with memorable statements. These tracks reveal Smith to be an artist connected with tradition, but always willing to find a place for his personal voice in the mix.

A Recording Head And Shoulders Above The Crowd
Smith’s voice resonates strongly on September’s Child, clearly presenting his concept as a composer, performer, and arranger with focused intensity. His compositions dance around Afro-Cuban rhythms and traditional jazz ideals with a knowledgeable movement that reflects a solid foundation in both worlds. His ideas often place one foot in each genre, placing his compositions firmly in clave while the band interprets them with the loose freedom of swing. Smith’s voice as a performer reflects this dual experience as well, filling his improvisations with character and ear catching intensity. He often plays melodies with a thoughtful reflection and explodes into solos with bold steps outside the harmony and rhythmic structures. Smith plays with this tension between strict rhythmic forms and open improvisational textures; at times the music shimmers with beauty while other times it roars with passion. Smith fortunately has found sympathetic band mates to support his ideas in Huergo and Malavasi. Huergo plays with a solid foundation, complimented by an active improvisational flair, and his soloing skills sparkle with beauty and excitement. Malavasi supports Smith with a varied accompaniment approach that sometimes precisely charges through Afro-Cuban rhythms and other times thins the texture with an open freedom. As a trio, the three musicians compliment each other, but they also push their band mates to new heights. Smith puts all these factors together into a strong Latin Jazz package on September’s Child, delivering a recording that stands on it’s own, head and shoulders above the crowded music world.

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