Guitarists are few and far between in the Latin Jazz world, but Edgardo Miranda used his vast array of skills to make a career as a guitar player in the genre. His mastery of both Afro-Cuban and Puerto Rican rhythms formed the foundation of his playing, helping him spin authentic phrases in improvisations and beyond. His knowledge went beyond common salsa forms though; Miranda dug deeply into Cuban folklore and Puerto Rican jibaro music. Miranda knew the songs, traditional licks, and standard guajeos that shaped the style, and he integrated all of that into his guitar playing. He played the Puerto Rican cuatro at an equally high level, finding a place in traditional bomba and plena performances. Miranda fluently worked through jazz changes, integrating bebop lines, complex harmony, and thematic development with an equal artistry. Rock and funk rhythms played a significant role in Miranda’s voice as well, allowing him to walk into the contemporary music world at any moment. He expertly shaped his tone to fit the context of his performance, moving from clean, jazz inflected tones to dirty and loud distortion. Taste and keen artistic judgment always drove Miranda’s work – although he felt comfortable in many worlds, he never forced conflicting aesthetics upon a musical setting. These are the signs of an outstanding musician, regardless of instrument, and as a result, Miranda found a regular spot in many pieces of New York’s Latin Jazz world.
Despite his acceptance in New York’s Latin Jazz circles, Miranda appeared sporadically on Latin Jazz albums, mostly playing a supporting role. In many cases, musicians would form a more traditional ensemble including a rhythm section and wind players for their albums; Miranda would enter the mix for one or two tunes. Some artists would integrate Miranda to add a modern edge to their sound, referencing rock energy or electric textures with the guitar. Miranda could play with a fusion intensity or a jazz subtlety, so his guitar playing could add several different layers of color to a recording. Artists often included Miranda’s cuatro skill into their pieces that drew upon Puerto Rican bomba or plena. Very few guitarists played cuatro skillfully, and even fewer musicians could play the instrument with an authentic feel and approach; Miranda covered all these bases, so he was a perfect choice for any recording with a traditional Puerto Rican feel. Still other times, musicians would choose to use Miranda simply because he was an outstanding soloist, knowing that he would add a meaningful statement to his work. He found an abundance of work for many reasons; he simply acted as a guest in most cases rather than a regular band member.
I’ve collected several examples of Miranda’s work across a wide spectrum of Latin Jazz albums. Each recording demonstrates a different strength inherent in Miranda’s playing and showcases his versatility as a musician. Individually, each track stands as a prime example of his artistry, musical taste, and individual voice. As a collection, these tracks paint a more complete picture of Miranda the guitarist and Latin Jazz giant. Take a minute to check them out and remember this important figure in Latin Jazz.
———- 1. “Gumbo” – Cortijo & His Time Machine, Rafael Cortijo
Miranda took a major role in the production of Cortijo & His Time Machine, and his unique skills allowed him to build a modern sound upon Cortijo’s authentic blend of jazz, bomba, and plena. “Gumbo,” a piece co-written by Miranda, illustrates this point strongly, with a contemporary funky sound built upon a standard percussive foundation. As a fat electric bass sound rides a solid backbeat, Miranda’s funky strumming offsets the bold Fender Rhodes sound. Miranda spontaneously bursts into extended single note lines that race in unison alongside the wind players, pushing the arrangement into a powerful momentum. There’s a healthy helping of jazz improvisation with solos from most musicians, including Miranda. His heavily distorted tone cuts through the ensemble with running lines and melodic ingenuity. Miranda continues to fill around melodies and other soloists, providing a consistent interactive voice throughout the track. The song evolves through a series of tempo and feel changes, walking the line between funk and traditional Puerto Rican styles. Miranda holds down the foundation throughout the song, allowing some deep insight into the fusion of modernity and tradition that made Cortijo & His Time Machine such as classic album.
2. “Evidence” – Ya Yo Me Cure, Jerry Gonzalez
When Jerry Gonzalez recorded Ya Yo Me Cure in 1979, he was still refining the concept of the Fort Apache Band, using a larger ensemble, which frequently used Miranda on guitar. Even at this point, Gonzalez walked the tightrope between jazz and Afro-Cuban music with a rare fearlessness – here, he combines the melodic shape of Thelonious Monk’s “Evidence” with the rhythmic structure of the classic Frank Emilio Flynn descarga “Gadinga, Modongo Y Sandunga” over a ferocious rumba. The group strolls through the melody with a confident looseness, moving into passionately wild improvisations from Gonzalez on trumpet and pianist Hilton Ruiz. Miranda hangs in the back throughout this piece of the song, cleverly comping unobtrusively around Ruiz’s active chordal work. After Ruiz storms through a bebop infused solo, Miranda enters his improvisation with long interesting lines that reference Charlie Christian more than Arsenio Rodriguez. Miranda smartly plays with a dry acoustic tone, outlining the changes with a knowledgeable approach that comfortably fits into Afro-Cuban rhythmic structures. “Evidence” displays another side to Miranda’s musicianship that finds him easily playing in a more traditional jazz context.
3. “On Broadway” – On Broadway, Tito Puente
Puente rarely used guitar on his Latin Jazz recordings, so the inclusion of Miranda served as a major complement to the guitarist’s skills. Pianist Jorge Dalto establishes the familiar vamp from the 1960s hit, giving Miranda a chance to engage in a brief improvisation. Puente’s rhythm section maintains an authentic cha cha cha while Miranda infuses the melody with all the funky grease of the original recording. The rhythm section starts pushing the groove slightly as Miranda improvises carefully around the melody. After a break, Miranda switches to cuatro for a traditional montuno and then a guitar solo that walks the line between contemporary licks and the cha cha cha’s rhythmic language. As Miranda falls more deeply into Afro-Cuban phrasing, the rhythm section explodes into double time for an exciting flute improvisation from Mario Rivera. The band returns to the original feel, giving Miranda an opportunity to restate the main theme. The overall track shines as a feature for Miranda, who plays with a refined ability to work authentically among one of the music’s best rhythm sections while referencing popular music.
4. “Patato’s Night Dance” – El Hombre, Carlos “Patato” Valdes
Miranda had the ability to take even a short appearance and make it into a memorable event, as evidenced in this track from conguero Carlos “Patato” Valdes’ album El Hombre. Pianist Edsel Gomez leaps into a slightly askew groove that adds tension into the underlying intensity of the rumba. The wind players create a contrast with a flowing melody over the driving percussion, led by the soft sound of Dave Valentin’s flute. It’s a delicate balance that the band firmly holds in place with skillful musical control. Once the band does explode into a frenzied solo section, it’s Miranda who leads the charge with an authoritative series of improvisational runs. His voice quickly jumps above the mix, cutting through the band’s thick sound with a biting tone and quick runs. The wind players return after only a short spot for Miranda, moving into a unison winding line and an extended solo for Valentin. Miranda sits out most of the song, but this track shows his keen musical sensibility leading him towards a short but impactful appearance.
5. “Ponte Pa’l Monte” – My Roots & Beyond, William Cepeda
Miranda spent years exploring traditional Puerto Rican music with Los Pleneros De 21 (and beyond), so his cuatro playing fit perfectly into trombonist William Cepeda’s concept of Afro-Rican Jazz. As “Ponte Pa’l Monte” opens, Miranda improvises tipico lines around an explosive trumpet before falling into a unison melodic line with pianist Eric Figueroa. Miranda’s cuatro trades places in the forefront with the jazz tinged horn section, the churning percussion, and Cepeda’s trombone, creating an interesting textural mix. While bassist Ruben Rodriguez takes a solo, Miranda wisely disappears into the background, allowing Rodriguez to take center stage. After an explosive percussion break, Miranda assertively states his territory with rapid runs that quickly demonstrate his chops. The onslaught of notes continues throughout the solo, yet Miranda never falls into the trap of virtuosity. He creates jagged rhythmic emphasis with the beginning and ends of his phrases that wrap tightly around the bomba sica foundation. This track finds Miranda in a combination of traditional Puerto Rican music and jazz, another context where his broad skills become just the right tool for the job.
6. “Oferere” – Chango Te Llama, Daniel Ponce
Throughout Chango Te Llama, Ponce maintains a traditional connection to Afro-Cuban rhythms and jazz harmony, but there’s a distinctly modern sensibility due to the inclusion of synthesized sounds and guitar textures. Ponce creates an ominous soundscape against the consistent pulse of bata drums on “Oferere,” transitioning into an edgy rumba with jazz changes and a memorable melody. The rhythm section establishes a driving vamp that serves as the foundation for several soloists, including trumpet player Michael Mossman. Tenor saxophonist David Sanchez tears through an intensive solo, transitioning into Miranda’s improvisation that wisely builds contrasts with a subdued entrance. Miranda takes his time developing his idea, playing melodically around the changes with a clean, reverb-drenched tone. A tasteful display of chops leads Miranda smoothly back into the bata drums and the main melody. Miranda displays artistic taste throughout the track, showing his ability to contribute to a Latin Jazz setting with a smart finesse.
2009 is still young, but already it has been a memorable year. We’ve some outstanding music from established Latin Jazz artists, who continue to take Latin Jazz and push it into the future. Marlon Simon’s Afrocuban & Live, Wayne Wallace’s Infinity, and Claudio Roditi’s Brazilliance x4 are just a few of the albums from familiar faces that jump to the forefront of 2009′s Latin Jazz world. Younger artists created engaging pieces of art with Latin Jazz albums that honored tradition and explored their personal identities. Scott Oakley’s Canción Para Mi Amor, Grupo Falso Baiano’s Viajando: Choro e Jazz, and Yuri Juarez’s Afroperuano all stand as creative statements from newer voices on the Latin Jazz scene that need to be heard. Fresh faces entered the world of Afro-Peruvian Jazz, giving us some incredible albums, such as jazz pianist Geoffrey Keezer’s Áurea and Manante’s Para Los Engreidos. With eight months left in the year, we can anticipate a wealth of great music; yet, as we look back upon the first piece of 2009, there’s a sobering reality that needs to be recognized.
The Latin Jazz world felt the sorrow of loosing several major figures, who effected broad aspects of the music world from coast to coast. Timbalero Manny Oquendo passed away, leaving behind a massive legacy of recorded works that touch large parts of the jazz and salsa worlds. His work with Eddie Palmieri’s La Perfecta, Grupo Folklorico Y Experimental, and Conjunto Libre stands as some of the best Latin Jazz and salsa in the music’s history. Promoter Ralph Mercado died in March, after spending a lifetime spreading the word about New York’s vibrant Latin Jazz and salsa scene. He ensured the recording of important albums from Eddie Palmieri, Tito Puente, Juan Pablo Torres, Michel Camilo, and more, as well as forming an all-star group that created two memorable albums. Bay Area Saxophonist Ron Stallings died recently, after following his passion for Latin music into a variety of influential San Francisco-based groups. His performances with John Santos and the Machete Ensemble, Que Calor, Wayne Wallace, and John Calloway helped fill several recordings with a substantial voice. New York guitarist and cuatro player Edgardo Miranda passed away after years of high quality musical service alongside some of New York’s finest musicians. Always a reliable sideman, Miranda performed on important albums from Jerry Gonzalez, Cortijo, Tito Puente, William Cepeda, and more. It’s a long list considering we’ve only experienced four months of 2009, and let’s hope that it ends here.
With so many artists leaving us in such a short time, I thought that we should look back upon some of their contributions and remember these artists in a thoughtful light. LJC has covered many aspects of the lives and music attached to these figures, and we’ll continue to honor their memories. As we look into the future, it’s important to remember our past and stand upon our roots as we allow the music to grow. With this in mind, I’ve added some tracked down some videos related to each of these artists and provided links to earlier LJC coverage of their lives. As we enjoy all the new music around us, let’s take a minute to reflect upon all the important work done by our predecessors!
———- Manny Oquendo Performing With Conjunto Libre
News Clip On The Machete Ensemble, Including Footage of Saxophonist Ron Stallings
Guitarist Edgardo Miranda Performing With Tito Puente
Ralph Mercado’s Tropijazz All-Stars Performing “Bembe”
Latin Jazz This Week will bring you a weekly look into news from the Latin Jazz world. You’ll find new releases, recommended performances, web finds, and more. You can check out some current sounds in the Listening Center tab at the top of the page. Performance dates will be kept in the Live Latin Jazz tab at the top of the page.
NEWS
For the past few weeks, we’ve been reporting on the Grand Opening of Tutuma Social Club, a restaurant and nightclub dedicated to great Afro-Peruvian food and daily doses of Afro-Peruvian Jazz. The Grand Opening celebration was originally scheduled for this week, but due to construction issues, the club’s debut has been postponed until Tuesday May 12th. You’ll still get all that great Afro-Peruvian Jazz that the club promises, you’ll just have to wait a little longer . . . more news as we get closer!
Last week, we reported on the passing of the great New York guitarist and cuatro player Edgardo Miranda, who performed with a wealth of Latin Jazz legends, from Jerry Gonzalez to Papo Vazquez and more. The blog over at La Fonda Boricua also remembered Miranda with a short write-up on his life and music. Check it out HERE.
Ted Panken leads an interesting interview with clarinetist Anat Cohen and Brazilian drummer Duduka da Fonseca over at Jazz.com this week. The pair has worked together often, most prominently on da Fonseca’s 2006 album Samba Jazz in Black and White. Panken goes in deep with the duo, discussing ideas around Brazilian music, da Fonseca’s background, and their ideas about collaboration. It’s an interesting article about a dynamic pair of musicians – check it out HERE.
If you’re in EUROPE this week . . . DAVID SANCHEZ WHEN: Saturday 5/2/09 WHERE:Menorca Jazz Festival
Menorca
Balearic Islands, Spain TIME: 10:00 p.m. TICKETS: 24 euros
If you’re on the EAST COAST this week . . . ARTURO O’FARRILL
Solo Piano WHEN: Wednesday 4/29/09 WHERE:Puppet’s Jazz Bar
481 5th Avenue Park Slope
Brooklyn, NY TIME: 7:00 p.m. TICKETS: $10
BLUE MAMBO WHEN: Wednesday 5/29/09 WHERE:Willie’s Steak House
1832 Westchester Ave
Bronx, NY TIME: 8:00 p.m.
CHICO O’FARRILL’S AFRO-CUBAN JAZZ ORCHESTRA WHEN: Sunday 5/3/09 WHERE:Birdland
315 W. 44th Street
Manhattan, NY TIME: 9:00 p.m. & 11:00 p.m. TICKETS: $25
CHRIS WASHBURNE & S.Y.O.T.O.S. WHEN: Sunday 5/3/09 WHERE:Smoke
2751 Broadway
New York, NY TIME: 8:00 p.m., 10:00 p.m. & 11:30 p.m. TICKETS: $20 minimum
CHUCHITO VALDES WHEN: Thursday 4/30/09 – Saturday 5/2/09 WHERE:Bank & Blues Club
Main Street
Daytona Beach, FL TIME: 10:00 p.m. TICKETS: $28
VENISSA SANTÍ WHEN: Sunday 5/3/09 WHERE:Bistro St. Tropez
2400 Market Street
Market Place Design Center 4th Floor
Philadelphia, PA TIME: 11:30 p.m.
WILLIE MARTINEZ WHEN: Thursday 4/30/09 WHERE:Nuyorican Poet’s Cafe
236 East 3rd Street
New York, NY TIME: 9:00 p.m. TICKETS: $10
If you’re in the MID-EAST this week . . . CRAIG RUSSO LATIN JAZZ PROJECT WHEN: Thursday 4/30/09 WHERE: Zorba’s
627 E Green St
Champaign, IL TIME: 9:30 p.m.
DAVID SANCHEZ
Guest Artist w/Black Hawk College Jazz Ensemble WHEN: Thursday 4/30/09 WHERE:Black Hawk College
6600 34th Ave
Moline, IL TIME: 7:30 p.m. TICKETS: FREE
LOS GATOS WHEN: Thursday 4/30/09 WHERE:The Firefly Club
637 S. Main
Ann Arbor, MI TIME: 8:00 p.m. TICKETS: $8
GRUPO FALSO BAIANO WHEN: Sunday 5/3/09 WHERE:Sam’s Chowder House
4210 North Cabrillo Highway
Half Moon Bay, CA TIME: 1:00 p.m. TICKETS: NO COVER
WHEN: Sunday 5/3/09 WHERE:Anna’s Jazz Island
2120 Allston Way
Berkeley, CA TIME: 8:00 p.m. TICKETS: $14
JOHN SANTOS SEXTET
Voices Change Lives Banquet WHEN: Saturday 5/2/09 WHERE:Oakland Åsian Cultural Center
388 9th St. # 290.
Oakland, CA TIME: 6:30 p.m. TICKETS: $45
JUAN ESCOVEDO WHEN: Wednesday 4/29/09 WHERE:Yoshi’s – Oakland
510 Embarcadero West
Jack London Square
Oakland, CA TIME: 8:00 p.m. & 10:00 p.m. TICKETS: $14
LOUIE CRUZ BELTRAN LATIN JAZZ ENSEMBLE WHEN: Saturday 5/2/09 WHERE:Steamer’s
138 W. Commonwealth
Fullerton, CA TIME: 8:30 p.m. TICKETS: $8
MARK LEVINE & THE LATIN TINGE WHEN: Monday 4/27/09 WHERE:Yoshi’s – Oakland
510 Embarcadero West
Jack London Square
Oakland, CA TIME: 8:00 p.m. & 10:00 p.m. TICKETS: 8:00 p.m. – $16; 10:00 p.m. – $10
PONCHO SANCHEZ WHEN: Tuesday 4/28/09 WHERE:The Mint
6010 West Pico Boulevard
Los Angeles, CA TIME: 11:00 p.m. TICKETS: $15 in advance; $20 at the door
WHEN: Sunday 5/3/09 WHERE:Steamer’s
138 W. Commonwealth
Fullerton, CA TIME: 7:00 p.m. & 9:00 p.m. TICKETS: $15
SCOTT MARTIN LATIN SOUL BAND WHEN: Friday 5/1/09 WHERE:Vintage Steak House
26701-B Verdugo Street
San Juan Capistrano, CA TIME: 8:30 p.m.
WHEN: Saturday 5/2/09 WHERE:Seabird Jazz Lounge
730 E. Broadway
Long Beach, CA TIME: 9:00 p.m.
WHEN: Sunday 5/3/09 WHERE:The Redondo Pier
Torrance Boulevard
Redondo Beach, CA TIME: 4:00 p.m. TICKETS: FREE
TANAORA
CD Release Celebration – Dia Real! WHEN: Monday 5/4/09 WHERE:Yoshi’s – Oakland
510 Embarcadero West
Jack London Square
Oakland, CA TIME: 8:00 p.m. TICKETS: $10
WAYNE WALLACE WHEN: Thursday 4/30/09 WHERE:Kuumbwa Jazz Center
320-2 Cedar Street
Santa Cruz, CA TIME: 7:00 p.m. TICKETS: $12 in advance; $15 at door
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Bay Area saxophonist Ron Stallings made a huge impact upon the broad San Francisco music scene, spending several decades contributing high-level musicality to Latin Jazz and beyond. Born in Houston, Texas in 1947, Stallings moved to San Francisco at the age of 8; right away, the city’s diverse musical environment inspired him and opened his eyes to numerous musical possibilities. The 1960s and 1970s found Stallings acting as a featured soloist with many of the Bay Area’s famous rock and pop acts, playing sax, flute, and sometimes singing. Stallings appears on Mike Bloomfield’s It’s Not Killing Me, Tom Fogerty’s Zephyr National, Jesse Colin Young’s Songbird, and Otis Rush’s Right Place, Wrong Time. He performed live with many more notable rock artists, including Jerry Garcia, Elvin Bishop, and Boz Scaggs, maintaining a busy and invigorating schedule. During the 1980s, he led the Monday night blues house band at Slim’s, and over the next two decades, he continued to work with artists such as Huey Lewis, Gladys Knight and Merl Saunders. Stallings consistently maintained a reputation as a first call musician on many fronts, working as a desired sideman on recordings and performances.
In 1997 Stallings traveled to Cuba and returned with a new found passion for Latin music that would strongly influence the later half of his career. While in Cuba, he experienced a different perspective on music, hearing many of the island’s top groups and listening to lectures by artists such as Juan Formell and Chucho Valdes. Stallings recognized the potential in the Bay Area’s thriving Latin music scene and immediately found ways to become deeply involved. He soon joined John Santos’ Machete Ensemble, working as a saxophonist in the group and contributing to several of the band’s important recordings. At the same time, he collaborated with pianist Mark Levine and organized Que Calor, a Latin Jazz group with some of the area’s finest supporting musicians. The band recorded one album, Keeper Of The Flame, and continued to perform live sporadically over the next ten years. When the Machete Ensemble ended its tenure as Latin Jazz innovators, Stallings continued to work with the group’s individual members, recording on albums by Machete alumni Wayne Wallace and John Calloway. In 2009, Stallings released his last recording, Dia Real, a venture into Brazilian Jazz with a group called Tanaora. Stallings jumped into the Bay Area’s Latin music scene with a passion and became a major member of the community.
Stallings’ death from cancer on Monday April 13th leaves a gap in the Bay Area Latin Jazz world, and without a doubt, it is one loss that will be remembered in this community. A number of musicians that performed with Stallings during his time on the Bay Area scene will be holding a benefit concert this Sunday April 26th at La Peña Cultural Center to honor Stallings’ memory and raise funds to offset his medical expenses. Some of the musicians scheduled to perform include John Santos, Wayne Wallace, John Calloway, Mark Levine, David Belove, Jeff Cressman, and many more. It should be an outstanding musical event and a great cause – if you’re in the Bay Area, please come out and support the memory of this fantastic musician! Full details are HERE.
A Tribute To Ron Stallings
Sunday 4/26/09 WHERE:La Peña Cultural Center
3105 Shattuck Ave
Berkeley, CA TIME: 7:30 p.m. TICKETS: $12
I’ve briefly highlighted some great Latin Jazz albums below that feature Stallings. If you’re not familiar with his work, check them out – you’ll be glad that you did. Take the opportunity to listen to his wonderful musicality and honor his memory!
———- Keeper Of The Flame – Que Calor
During Stallings study trip to Cuba that inspired his love for Latin Jazz, he traveled with another icon of Bay Area music, pianist Mark Levine – who also returned with a new passion for Latin music. Levine had years of experience in the Latin Jazz world, working as the pianist for vibraphonist Cal Tjader, so the two veteran musicians were quickly able to pull together a top-notch Latin Jazz group, which became Que Calor. Their only album, Keeper Of The Flame, includes original compositions and a number of jazz standards interpreted through creative arrangements. Tension streams through pedal tones, fiery improvisations, and a driving bomba groove on the group’s version of Bobby Hutcherson’s “Isn’t This My Sound Around Me?” Stallings provides soothing English lyrics over a cha cha cha on “Havana,” his own composition that remembers his inspirational trip to Cuba. A syncopated melody floats over a colorful montuno on Levine’s “Keeper of the Flame,” creating an addictive groove that pushes the group into a dizzying inertia. Each track resonates with a creative drive, a professional attitude, and an enthusiastic love for the music, grounded by the shared vision of Stallings and Levine. As co-leader of the group, Stallings had a huge artistic impact upon the creative process and this album provides the best insight into his overall concept of Latin Jazz.
Machetazo!: 10 Years on the Edge – John Santos & The Machete Ensemble By the time that Stallings joined John Santos & The Machete Ensemble, the group had established itself as important players on the Bay Area Latin Jazz scene. Machetazo!: 10 Years on the Edge reflects upon band’s history with tracks recorded with various configurations from 1991 – 1997. Stallings shares sax duties with Melecio Magdaluyo on several tracks, doubling on tenor, soprano, and flute. The group displays a solid foundation in folkloric Afro-Cuban music throughout the album, with creative arrangements of traditional tunes such as “Eshú Laroye” and “Changó Pachanga.” There’s a historically rooted connection to jazz as well, which the group highlights on superb interpretations of the Duke Ellington classic “Caravan” and Wayne Shorter’s “Footprints.” Santos contributes several original pieces to the album as well, including “Sueño de la Mision,” “Free At Last,” and “Caribeño.” It’s an outstanding collection that clearly shows the group’s artistic integrity and the level of importance that they held in maintaining the Bay Area’s Latin Jazz scene. Machetazo!: 10 Years on the Edge also contains several tracks that show Stallings playing in top form, displaying his newfound passion for Afro-Cuban music.
Mambo Jazz – Bobby Matos & John Santos
This West Coast Latin Jazz summit brought together two of the top bandleaders from Northern and South California, combining members of their respective ensembles into an inspiring supergroup. At this point, Stallings was an established member of Santos’ Machete Ensemble, making him an ideal representative for this larger ensemble. Much of the album delivers interesting percussion arrangements and the use of several different rhythmic styles, but a good number of tracks feature Stallings and the other wind players. “Caminando” begins with a chaotic free improvisation and then explodes into a full-blown rumba descarga with plenty of space for the wind players to trade ideas. There’s a contemporary songo feel on “Nueva Diana” allowing for a funky melody and extensive fiery solos from Stallings and the wind section. An ebullient montuno anchors the descarga on “Ya Se Ve” as Stallings trades improvisatory licks with a moving melody. The album represents an overall essential meeting of the West Coast’s best Latin Jazz musicians at the turn of the century, and Stallings stands firmly in the mix.
The Code – John Calloway The Code is flautist John Calloway’s recognition of the unspoken language shared by musicians that have played together for several years – an important component of the San Francisco Latin Jazz scene and a language spoken by Stallings. Most of the album features Calloway’s stunning writing and musicianship, but Stallings stands out as a vital presence. Stallings delivers more than his usual saxophone genius on this album though – he introduces the album highlight track “Asokere” with an original poem about the Santeria deity Ellegua on “Light Upon A Path.” As the group delves into a free improvisation, Stallings’ deep voice adds a tone of seriousness, balancing the playful spirit of the gospel-tinged vocals on “Asokere.” Calloway pays tribute to Stallings on a smart and funky composition, “El Ron De Ron.” Melecio Magdaluyo provides the saxophone magic here, blowing fiercely on bari sax, but Stallings remains in the mix in spirit. Calloway captures the spirit of community found strongly in the Bay Area Latin Jazz community on The Code, a place that housed Stallings’ creative soul for many years.
Dia Real – Tanaora
Stallings leaped into the Latin Jazz world based on his inspiring trip to Cuba, but his love for Latin Jazz didn’t end on the island. One of his last recorded projects brought together some of the Bay Area’s top musicians into Tanaora, a group primarily focused upon Brazilian Jazz. Cecilia Englehart’s vocals add a commercial tinge to many of the tracks, while the harmonic ingenuity of pianist Bob Karty and bassist David Belove and Stallings’ improvisatory flights keep the album grounded in jazz. Englehart’s percussive scatting and the contemporary samba groove underneath “Rollon” inspire some fantastic playing from Stallings and a Tania Maria influenced sound. There’s a funky smooth jazz feel combined with an underlying samba on “Love Understands,” giving Stallings a chance to play off Englehart’s sultry English lyrics. A few tracks integrate Cuban rhythms – “The Katanga Patrol” rides on an upbeat son montuno and “Bonita” maintains a steady cha cha cha – but the majority of the album stays focused upon Brazilian rhythms, providing an opportunity to hear Stallings in a different Latin setting.
———-
Don’t forget to check out the Tribute to Ron Stallings Sunday April 26th at La Peña Cultural Center in Berkeley, California. You can get the information HERE.
For more Stallings listening, you can check out: Infinity, Wayne Wallace Latin Jazz Quintet
Our current Spotlight Artist Yuri Juarez brings his brand of Afro-Peruvian Jazz into the world for the first time on his album Afroperuano, but he is hardly a stranger to the growing style. He played a major role in the stellar recording by trumpet player Gabriel Alegria, Nuevo Mundo, serving as the primary harmonic instrument and a featured soloist. In 2009, Juarez continues to perform with Alegria, touring the United States and participating in the group’s latest recording project. Juarez also acted as a second guitar voice on the LJC 2008 Album of the Year, Eric Kurimski’s Réplica. Throughout the album, Juarez traded solos with Kurimski and contributed to the overall momentum that sent the recording into a furious musicality. Afroperuano represents another stop on Juarez’s journey through Afro-Peruvian Jazz, with the guitarist stepping into the forefront of the musical mixture. Modern compositions and interesting rhythmic combinations stem directly from his broad knowledge of Afro-Peruvian traditional music and jazz. It may be his first recording as a leader, but Juarez shines like an experienced veteran, bringing all his experiences into a great collection of music.
Juarez holds a small web presence at this point, with a steadily growing list of sites incorporating his music. His Facebook page includes some info, photos, and an opportunity to interact with Juarez by writing on his wall. You can hear some of Juarez’s music, check out more photos, and become friends on his MySpace Page. Juarez can also be found quite a bit on Alegria’s various pages – check out the MySpace HERE, the Facebook page HERE, and the group’s main site HERE. As word about the album grows, I’m sure that Juarez’s web presence will expand; look for updates here!
Juarez is also playing a major role in the early stages of Tutuma Social Club, a new restaurant and live music venue opening in New York City on April 28th that will be featuring daily Afro-Peruvian Jazz performances. Tutuma represents an important step forward in the evolution of Afro-Peruvian Jazz, giving the music a regular home where artists can hone their craft and reach a wide audience. Juarez will be a regular performer at the club, accompanying a diverse crowd of artists, and serving as a member of the house band. In the club’s first couple of months, Juarez will be playing with Alegria, trumpet player Ingrid Jensen, vocalist Angela Vicente, pianist Andy Milne, and percussionist Freddy “Huevito” Lobaton. At some points, Juarez will play 2 – 3 gigs during a single day at the club! The club will be located at 164 East 56th Street in New York – in you’re in NYC, head out to the Tutuma Social Club, support Afro-Peruvian Jazz, and hear Juarez performing!
I’ve collected a few videos of Juarez playing with a variety of different people. From a duo to Alegria’s sextet, you can see Juarez spinning his expert blend of Afro-Peruvian music and jazz. Enjoy!
———- Yuri Juarez, Lucho Gonzalez, and Marco Mosquera
Yuri Juarez Performing With Gabriel Alegria’s Afro-Peruvian Jazz Sextet
Yuri Juarez Accompanying Vocalist Victoria Villalobos
Latin Jazz This Week will bring you a weekly look into news from the Latin Jazz world. You’ll find new releases, recommended performances, web finds, and more. You can check out some current sounds in the Listening Center tab at the top of the page. Performance dates will be kept in the Live Latin Jazz tab at the top of the page.
NEWS
San Francisco Bay Area saxophonist Ron Stallings died this week after a long struggle with cancer. Stallings straddled San Francisco’s thriving jazz and pop worlds since the 1970s, but he became strongly committed to Latin music after a 1994 trip to Cuba. He became a member of John Santos’ Machete Ensemble and played on recordings by flautist John Calloway and trombonist Wayne Wallace. He formed a group with pianist Mark Levine called Que Calor, bringing together some of the Bay Area’s best Latin Jazz musicians to create some incredible music. Many musicians will be doing a tribute to Stallings this Sunday, April 26th at La Peña Cultural Center; the proceeds will help his family off-set medical expenses. Please come out and honor the memory of this incredible musician – get the details HERE.
Cuatro and guitar player Edgardo Miranda died this week, leaving behind a legacy of incredible Latin Jazz recordings and performances. Miranda played on some legendary recordings such as Cortijo & His Time Machine, Jerry Gonzalez’s Ya Yo Me Cure, Tito Puente’s On Broadway, and more. He made the rounds among New York’s active Latin Jazz scene, recordings with musicians such as Bobby Sanabria, William Cepeda, Steve Berrios, Papo Vazquez, Daniel Ponce, and more. In most of these cases, he served as a sideman, and for the most part, his legacy remains a bit in the background. His contributions will be remembered among the Latin Jazz community, and he will be missed.
Another reminder – the Tutumaya Social Club, a club dedicated to Afro-Peruvian Jazz and cuisine will be opening in New York on April 28th. There’s some great people involved in this – their current artistic director is Afro-Peruvian Jazz trumpet player Gabriel Alegria. You’ll be able to hear plenty of great musicians performing at the club – their initial line-up includes Ingrid Jensen, Sofia Rei Koutosvitis, Pilar de la Hoz, and more. The club will be located at 164 East 56th Street in New York City. It sounds like a fantastic home for the music, so go out and support the club on their grand opening, April 28th.
WHEN: Sunday 4/26/09 WHERE:VDU Grand Hall
Kaunas, Lithuania TIME: 7:00 p.m. TICKETS: 26.07 euros
If you’re in SOUTH AMERICA this week . . . EDWARD PEREZ WHEN: Friday 4/23/09 WHERE:Cocodrilo Verde
Francisco de Paula Camino 226
Miraflores, Lima. Peru TIME: 8:00 p.m. TICKETS: 20 soles
OSCAR STAGNARO WHEN: Friday 4/23/09 WHERE:Auditorio ICPNA Miraflores
Av. Angamos Oeste 120
Miraflores, Lima. Peru TIME: 7:30 p.m. TICKETS: 20 soles
If you’re in HAWAII this week . . . PONCHO SANCHEZ WHEN: Thursday 4/23/09 WHERE:Maui Arts and Cultural Center
One Cameron Way
Kahului, HI TIME: 7:30 p.m. TICKETS: $12 – $40
If you’re on the EAST COAST this week . . . ADRIANO SANTOS QUARTET WHEN: Saturday 4/25/09 WHERE:Watchung Arts Center
18 Stirling Road
Watchung, NJ TIME: 8:00 p.m. TICKETS: $16
ANNETTE AGUILAR & STRINGBEANS WHEN: Thursday 4/23/09 WHERE:Nuyorican Poet’s Cafe
236 East 3rd Street
New York, NY TIME: 9:00 p.m. TICKETS: $10
ARTURO O’FARRILL
Afro-Latin Orchestra w/Ballet Hispanico at The Black Slipper Ball WHEN: Monday 4/20/09 WHERE:Waldorf Astoria
301 Park Avenue
New York, NY TIME: 7:00 p.m. TICKETS: $1000
Solo Piano WHEN: Wednesday 4/22/09 WHERE:Puppet’s Jazz Bar
481 5th Avenue Park Slope
Brooklyn, NY TIME: 7:00 p.m. TICKETS: $10
ARTURO SANDOVAL WHEN: Friday 4/24/09 WHERE:Largo Cultural Center
1650 Broadway
New York, NY TIME: 2:00 p.m. & 8:00 p.m. TICKETS: $35 day of show; $30 in advance
BOBBY SANABRIA WHEN: Monday 4/20/09 WHERE:Dizzy’s Club Coca-Cola
Frederick P. Rose Hall
5th Floor
33 West 60th Street
New York NY TIME: 7:30 p.m. & 9:30 p.m. TICKETS: $20 – $35
WHEN: Thursday 4/23/09 WHERE:Edison Ballroom
240 West 47th Street
New York, NY TIME: 7:00 p.m. TICKETS: $195 & up
WHEN: Saturday 4/25/09 WHERE:John Addison Concert Hall
10701 Livingston Road
Ft. Washington, MD TIME: 8:00 p.m. TICKETS: $15
CHICO O’FARRILL’S AFRO-CUBAN JAZZ ORCHESTRA WHEN: Sunday 4/26/09 WHERE:Birdland
315 W. 44th Street
Manhattan, NY TIME: 9:00 p.m. & 11:00 p.m. TICKETS: $25
CHRIS WASHBURNE & S.Y.O.T.O.S. WHEN: Sunday 4/26/09 WHERE:Smoke
2751 Broadway
New York, NY TIME: 8:00 p.m., 10:00 p.m. & 11:30 p.m. TICKETS: $20 minimum
ENCLAVE WHEN: Friday 4/24/09 WHERE:Acton Jazz Cafe
452 Great Road
Acton MA TIME: 9:00 p.m. TICKETS: $12
FB LATIN JAZZ CREW WHEN: Thursday 4/23/09 WHERE:Fonda Boricua
East 106th Street
New York, NY TIME: 9:00 p.m. TICKETS: NO COVER
GARY MORGAN & PANAMERICANA WHEN: Tuesday 4/21/09 WHERE:Iridium Jazz Club
1650 Broadway
New York, NY TIME: 8:00 p.m. & 10:00 p.m. TICKETS: $25
HENDRIK MEURKENS WHEN: Saturday 4/25/09 WHERE:Westmoreland Congregational Church
1 Westmoreland Circle
Bethesda MD TIME: 8:00 p.m. TICKETS: $30
JULITO ALVARADO WHEN: Thursday 4/23/09 WHERE:Fonda Boricua
East 106th Street
New York, NY TIME: 9:00 p.m. TICKETS: $10
LAYLA ANGULO WHEN: Sunday 4/26/09 WHERE:Jules Bistro
65 St. Marks
New York, NY TIME: 8:00 p.m.
WHEN: Saturday 4/25/09 WHERE:Jazziz Bistro
5751 Seminole Way
Fort Lauderdale, FL
PAQUITO D’RIVERA WHEN: Wednesday 4/22/09 WHERE:Merkin Concert Hall at Kaufman Center
129 West 67th Street
New York, NY TIME: 7:30 p.m. TICKETS: $50 – $125
PEDRO GIRAUDO WHEN: Tuesday 4/21/09 – Wednesday 4/22/09 WHERE:Jazz Standard
116 East 27th Street
New York, NY TIME: 7:30 p.m. & 9:30 p.m. TICKETS: $20
SALLY’S TOMATO – A TRIBUTE TO CAL TJADER WHEN: Friday 4/24/09 WHERE:Newport Beach Resort
16701 Collins Avenue
Sunny Isles Beach, FL TIME: 9:00 p.m.
SAMUEL TORRES WHEN: Thursday 4/23/09 WHERE:Zinc Bar
82 West 3rd Street
New York, NY TIME: 9:30 p.m., 11:00 p.m., 12:30 a.m.
VENISSA SANTÍ WHEN: Sunday 4/26/09 WHERE:Bistro St. Tropez
2400 Market Street
Market Place Design Center 4th Floor
Philadelphia, PA TIME: 11:30 p.m.
If you’re in the MID-EAST this week . . . EDDIE PALMIERI
Tri-C Jazz Festival WHEN: Saturday 4/25/09 WHERE:Cuyahoga Community College Metro Campus Auditorium
2900 Community College Avenue
Cleveland, OH TIME: 8:00 p.m. TICKETS: $25
LOS GATOS WHEN: Thursday 4/23/09 WHERE:The Firefly Club
637 S. Main
Ann Arbor, MI TIME: 8:00 p.m. TICKETS: $8
TUMBAO BRAVO WHEN: Sunday 4/26/09 WHERE:Ypsilanti District Library
5577 Whittaker Road
Ypsilanti, MI TIME: 2:00 p.m. TICKETS: FREE
WHEN: Sunday 4/26/09 WHERE:Sangria – Royal Oak
401 S. Lafayette
Royal Oak, MI TIME: 9:00 p.m.
If you’re in the MID-WEST this week . . . DAVID SANCHEZ
Guest Artist w/Baylor University Big Band WHEN: Saturday 4/25/09 WHERE:Jones Concert Hall
Baylor University
Waco, TX TIME: 7:30 p.m. TICKETS: FREE
If you’re on the WEST COAST this week . . . ALEXA WEBER MORALES WHEN: Saturday 4/25/09 WHERE:Senzala
250 E Java Drive
Sunnyvale, CA TIME: 7:30 p.m. TICKETS: $12
ESTRADA BROTHERS WHEN: Saturday 4/25/09 WHERE:Steamers
138 W. Commonwealth
Fullerton, CA TIME: 8:30 p.m. TICKETS: $8
JERRY GONZALEZ & THE FORT APACHE BAND WHEN: Saturday 4/25/09 WHERE:Yoshi’s – San Francisco
1330 Fillmore Street
San Francisco, CA TIME: 8:00 p.m. & 10:00 p.m. TICKETS: $25
JOHN SANTOS SEXTET
A Tribute To Ron Stallings WHEN: Sunday 4/26/09 WHERE:La Peña Cultural Center
3105 Shattuck Ave
Berkeley, CA TIME: 7:30 p.m. TICKETS: $12
JOVINO SANTOS NETO WHEN: Friday 4/24/09 WHERE:Ballard Jazz Walk
Ballard Avenue
Seattle, WA TIME: 8:00 p.m. TICKETS: $25
KAT PARRA WHEN: Thursday 4/23/09 WHERE:East Palo Alto Library
2415 University Avenue
East Palo Alto, CA TIME: 6:30 p.m. TICKETS: FREE
WHEN: Saturday 4/25/09 WHERE:San Carlos Library
610 Elm Street
San Carlos CA TIME: 2:00 p.m. TICKETS: FREE
MARK LEVINE & THE LATIN TINGE
A Tribute To Ron Stallings WHEN: Sunday 4/26/09 WHERE:La Peña Cultural Center
3105 Shattuck Ave
Berkeley, CA TIME: 7:30 p.m. TICKETS: $12
SCOTT MARTIN LATIN SOUL BAND WHEN: Thursday 4/23/09 WHERE:Romance Latin Restaurant
203 N El Camino Real
San Clemente, CA TIME: 7:00 p.m.
WHEN: Saturday 4/25/09 WHERE:Kobe Japanese Steak House
3001 Old Ranch Parkway
Seal Beach, CA TIME: 8:00 p.m.
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Brazilliance x4
Claudio Roditi Resonance Records
An artistic encounter of sympathetic musical personalities can inspire fine performances from all involved, often bringing unexpected qualities to the surface and almost always guaranteeing unforgettable recordings. Many professional musicians spend the majority of their time working with high quality collaborators, and they often explore interesting artistic avenues through brief gatherings of different groups. Most of the time these musicians get the job done and they provide inspiration, but on some levels, professionalism is simply not enough. When musicians share common cultural backgrounds, similar artistic interests, and identical performance aesthetics, a different type of magic arises from the collaboration. A highly energetic momentum propels the grooves into a new space, the improvisations capture an extra intensity, and the spontaneous interplay appears to be the result of telepathic communication. The performances seem effortless and natural; the artistic output resonates from the performers like a common extension of their bodies. It’s an ideal musical situation that all artists aspire towards, but few rarely capture. Musicians don’t often spend their time with collaborators that share broad pieces of their musical personalities, making those sympathetic moments more magical. Trumpet player Claudio Roditi, a long-time veteran of the Brazilian Jazz scene, gathers a sympathetic group of musicians on Brazilliance x4, resulting in a memorable recording.
Exploring Roditi’s Original Compositions
Roditi contributes several compositions to the recording, moving his musical personality into the forefront. Duduka da Fonseca dramatically introduces “Dinner by Five” with an unaccompanied drum solo before pianist Helio Alves assertively moves chords over a pedal tone and Roditi boldly states the melody. Roditi captures the song’s momentum with a blistering stream of notes before developing his improvisation with smart accents and hard bop intensity. Alves matches Roditi’s fire with virtuosic melodic runs, bluesy embellishments, and shifting thematic ideas. Roditi shapes an upbeat idea with short melodic snippets, allowing da Fonseca to insert some rhythmic commentary on “Tema para Duduka.” Alves creates his own clever twists on the melody, building a strong improvisation until Roditi blasts into an inspired statement. The band disappears allowing da Fonseca to take his time constructing a brilliant unaccompanied solo, full of color and melodic structure. Alves introduces the main theme with subtle flourishes on “Song for Nana” before Roditi tenderly restates the full melodic idea over a gentle bossa nova foundation. This understated setting provides the perfect setting for Alves, who fills his improvisation with jazz finesse and smoldering atmosphere. Roditi travels through his solo with an inventive melodic flair, weaving rapid runs and long tones back into the melody. The group attacks the melody on “Gemini Man” with a vigorous passion, driving the familiar melody through an unstoppable samba groove. Roditi displays his close familiarity with the changes, tearing through the thick momentum with a fierce tone, a technical strength, and a series of strong ideas. Alves draws upon Roditi’s inertia, wildly meshing pieces of the melody, steaming runs, and syncopated rhythmic ideas into an unforgettable display of improvisatory fire. Roditi’s compositions strike a chord with the musicians, inspiring strongly committed performances, interesting conversational interplay, and exposed improvisations.
Drawing Upon Samba Compositions
The group also draws upon samba compositions from well-known Brazilian composers, finding a common ground in familiar repertoire. The rhythm section explodes into a funky strut over a baiao groove as Roditi and Alves gallop through the inspired melody on Victor Assis Brasil’s “Pro Zeca.” Roditi captures the song’s inherent swing and character with a bluesy solo that pushes the groove with rhythmic accents and quick flights of notes. Alves cleverly twists rhythmic phrases into new ideas over the course of an interesting and winding solo, leading into an engaging and creative improvisation from da Fonseca. A unison band run leads into a syncopated melody with a naturally rhythmic nature on Raul de Souza’s “A Vontade Mesmo.” Roditi assertively wraps his ideas around the samba’s rhythmic structure, leading into an energetic statement from Alves who continues to play around the groove. The original unison run introduces da Fonseca’s improvisation, a colorful display of ideas based upon the underlying samba foundation. A stop break makes way for Roditi’s introduction of the melody on Johnny Alf’s “Rapaz de Bem,” an uplifting melody with an active series of chords. Alves leaps headfirst into his improvisation with long winding lines that he develops through strategically placed references to the melody. The mellow sound of Roditi’s flugelhorn offsets the rapid bebop flavored lines that he pushes through his improvisation, providing a distinct edge to the track. These songs create a familiar meeting point for these musicians, allowing them to explore each other’s distinct personalities in a comfortable setting.
Balancing The Repertoire With Bossa Novas
The group balances their traditional repertoire with a group of bossa novas from a variety of composers. The rhythm section indulges in a flowing momentum at the onset of Durval Ferreira and Lula Freire’s “E Nada Mais,” leading into Roditi’s brilliantly understated melodic interpretation. He maintains his burning cool beneath his soulful improvisation, letting his ideas heat to a boil over the course of multiple choruses. Alves displays a similar elegance to his solo, flavoring his statement with a blues edge that pushes the band forward. There’s an upbeat joy behind Joao Donato and Paulo Sergio Valle’s “Quem Diz Que Sabe” emphasized by the simple repetitive nature of the melody. Roditi focuses upon melodic development, using space and rhythmic emphasis to build an appealingly tasteful solo. Alves spins witty rhythmic variations around his ideas, giving way to bassist Leonardo Cioglia’s improvisation, a solid statement that resonates with his instrument’s rich tone. Roditi recalls his jazz roots with a medium tempo bossa nova version of Miles Davis’ “Tune Up,” putting a distinctly different twist on the standard. Roditi skillfully weaves lines through the changes, but there’s a distinct cool to his sound, emphasized by his use of space and his flugelhorn tone. Alves displays a comfortable familiarity with the tune, developing a strong statement that rolls through the groove with an enthusiastic edge. These tracks open possibilities for the musicians to show another side to their musicianship while supporting each other in a common setting.
An Inspiring Sympathetic Relationship Between Musicians
Roditi presents a highly engaging set of Brazilian Jazz on Brazilliance x4, resulting from the strength of the bond between his group’s members. Roditi performs with an inspired voice throughout the recording, acting as an insightful melodic interpreter and a thoughtful improviser. His balance of hard bop fire and rhythmic ingenuity combine into an attention grabbing voice, as his group simultaneously supports and pushes his performance. Roditi’s compositions sound outstanding at every turn, inflated with a pure acoustic honesty and a shimmering authentic Brazilian quality. The use of samba and bossa nova compositions from Brazilian composers seems like a natural fit here, and the musicians dig into the songs with integrity and joy. Alves shines as an especially strong voice both as an improviser and accompanist, enthusiastically taking every opportunity to shape the songs into an expressive statement. Duduka da Fonseca has contributed to the Brazilian Jazz scene for many years, and the depth of his experience can be seen here. His improvisations are complete statements that combine colorful imagery with a unique melodic sensibility, while he consistently provides an unbeatable range of Brazilian rhythms. The strength of these musicians complement each other throughout Brazilliance x4, demonstrating a sympathetic bond that fuels outstanding Brazilian Jazz – a quality that these four musicians can hopefully capture on many more collaborations.
Congratulations to our winners in the giveaway for the free Eddie Palmieri tickets. New LJC subscribers Susan Pereira and Vic Godoy will be checking out Mr. Palmieri at SOB’s in New York at the 8:00 p.m. and 10:00 p.m. shows respectively. It should be a fantastic show; we’ll be looking forward to hearing some feedback on the night from them!
If you didn’t win but you still want to check out Palmieri at SOB’s, you can still buy tickets! The show info is below:
EDDIE PALMIERI
Thursday 4/16/09 WHERE:S.O.B.’s
204 Varick Street
New York, NY TIME: 8:00 p.m. & 10:00 p.m. TICKETS: $25 in advance; $28 on day of show
I’d highly recommend it – the opportunity to see Palmieri live is always a treat. Just to give a sense of what you might expect, I’ve included a video of Palmieri performing live below. Enjoy!
When a musician develops a reputation as a reliable sideman, a strong leader, and an exciting artistic voice, the musical world seems ripe with opportunities. They reach the first call spot for numerous top-notch bands, finding a regular stream of work in an artistically invigorating environment. Other musicians rely upon them as subs and collaborators, building upon the trust established over years of hard work. Their own projects often thrive, fueled by a strong work ethic and the passionate support of their professional associations. Most importantly, a fan base of long time listeners relate to their past work in different contexts, and they want to hear more. Long standing performance commitments may remain steady or they may disappear; but a musician with a career based upon a strong performance history will find more work ahead.
By the time that Tito Puente died in 2000, Frohman had established himself as a major player in the Latin Jazz world. Puente’s passing meant the end of an era in Frohman’s career, but the strength of his reputation left him with ample musical opportunities. The Bronx Horns existed as an established Latin Jazz group, with two albums recorded and numerous live dates. The Puente band continued to tour after El Rey’s death, with pianist Eddie Palmieri serving as a guest artist. Once the band stopped performing under Puente’s name, percussionists Jose Madera and Johnny Rodriguez formed a new Palladium style big band, The Latin Giants of Jazz, and recruited Frohman as both sax player and road manager. At the same time, pianist Oscar Hernandez recruited Frohman as an original member of The Spanish Harlem Orchestra, revisiting the 1970s Fania-era salsa sound with some of the best in the genre. As Frohman moves into the future, he continues to supply the sax sound to some of the top bands in the Latin Jazz world.
———- LATIN JAZZ CORNER: After Tito died, together with Jose Madera and Johnny Rodriguez, you put together The Latin Giants of Jazz . . .
MITCH FROHMAN: Well, Johnny put that together with Joe being the musical director. And then I, being a long time member (of Puente’s band) and very close friends with Johnny and Joe, became the straw boss or the road manager of the band. But that was really something formed by Johnny and then with Joe being the musical director.
LJC: What does your role as road manager consist of?
MF: Well, I hire the guys – with Johnny and Joe’s approval, I choose the personnel. Like I said, with the approval of Johnny and Joe – if there was somebody that they wanted that I didn’t or somebody that I wanted that they didn’t, then I definitely I defer to them. I’m third in command. So I make the phone, you know, I’m kind of like the middleman, the liaison between the guys and Johnny and Joe. Kind of like the day to day stuff –telling them what time to show up, what to wear, how much we’re getting paid, that type of stuff.
And I should mention, one thing that seems to get lost in the history of all this stuff, the person that really was the leader behind the scene of the Tito Puente Orchestra was a gentleman named Jimmy Frisaura. He started the band with Tito Puente, I think back in 1948, and he died a few years before Tito. But he really kept the Tito Puente Orchestra together. He was the trumpet player and Tito’s partner in the band. He ran the band in the day to day operations; I’m kind of doing, on a much lower level, the kind of things that he did, with The Latin Giants.
LJC: Wow, that’s really interesting, I didn’t know that about Jimmy Frisaura.
MF: Yea, that gets lost in the history and that’s something. Jimmy Frisaura was in Pupi Campo’s band with Tito Puente and then they broke off and they formed The Picadilly Boys in 1948. And then a little after that, they put Tito’s name in front and it became The Tito Puente Orchestra. Without Jimmy, Tito would not been able to have a band for fifty years. He would have been one of the greatest Latin American musicians there was, and had bands, and been a featured soloists, but as far as keeping a steady, working big band together, that was because of Jimmy Frisaura.
LJC: The first album, The Latin Giants Play the Music of the Palladium, that one had a distinctly more jazz focus. I imagine as a horn player, it much have been so incredible to be playing in that big band setting.
MF: Oh, it was wonderful. And it’s always wonderful as a saxophone player to play with just a great sax section, which you don’t get a chance to do that often. Many of the bands that I play with, you know, I’m the only saxophone player in the band. They have mainly a brass section and then they’ll have one saxophone player – at the most two. But to play with an all-star five saxophone section is just wonderful. That was classic concert Latin American music.
LJC: Any favorite tracks from that album?
MF: You know, you like different things for many different reasons. There’s a track called “Sunny Ray Mambo” by Ray Santos that I have a featured solo on, so I guess I’m biased towards that. But I like all the stuff for different reasons. I don’t know . . . if you’re a rock and roll fan, what’s your favorite Beatles tune; if you’re a jazz fan, what’s your favorite Coltrane tune; I mean, there’s so much. For different reasons, you like different things. Most good musicians have diverse tastes and don’t focus on one or two things but just appreciate all good things.
LJC: One of the things that stands out to me on the second album, Trip to Mamboland, there’s one track, “Flamenco Mood,” that features one of the last recorded solos of Mario Rivera. I imagine that you spent quite a bit of time with Mario, do you have any memories of him?
MF: Yes – Mario, besides Bobby Porcelli and another wonderful musician that has passed away, Dick Mesa, Mario along with those other two, were probably my biggest influences in the Latin American music scene. Mario was probably one of the most devoted and dedicated musicians that ever existed; he lived all types of music. He was also a virtuoso doubler. He played all of the reeds, all of the flutes, trumpet, percussion – he played so many instruments. I actually used to sub for him with Tito’s Latin Jazz Ensemble, before Tito combined the Latin Jazz Ensemble and the big band. I also subbed for Mario a couple of times with Tipica ’73. Mario was first call before me, so I would sub for him in different situations. Because of his expertise, he would play tenor, soprano, flute, piccolo, and alto flute in Tito’s Latin Jazz Ensemble. So when I would sub for him, I would have to practice those other instruments that I didn’t play all the time to perform and meet the requirements of the job. So it inspired me to become a better doubler. He actually told me that he would lay all of his instruments on his couch or on his bed and he would just pick one of them up, play it for 10 minutes, put it down, and play another one for 10 minutes, put it down. He’d just get the flexibility of the embouchure and get the lips and the mouth accustomed from one instrument to the other. So that when you pick one up on a gig . . . let’s say you play saxophone for a half-hour and you have to pick up the piccolo right away, or the alto flute right away – you need that lip flexibility. So this was a good way to practice at home, switching from on to the other. So I was definitely influenced by his genius musicianship.
LJC: One of the tracks on the latest Latin Giants album, “Cookin’ The Mambo,” features you trading solo lines with Peter Brainin.
MF: Peter’s a fantastic jazz musician, he has his own voice. On “Cookin’ The Mambo,” we did two takes, and I actually liked the way Peter and I sounded on the other take. I think there were some mistakes in some of the background figures that the rest of the horn section had, so they chose to use that take. It’s a wonderful track on the record, but maybe one day they’ll release the other take. Like sometimes in jazz records they release the outtakes. But it was a wonderful experience. We did all that stuff live – me and Peter stood up in the recording session. We didn’t overdub any of the stuff; all the solos that you hear on the record were done on the spot within the context of the performance.
LJC: Touring with the band must set up some interesting financial and logistic challenge . . .
MF: Yea, it’s tough. At the level that we are, we don’t double up as far as rooms go. We tour between 19 and 21 people, depending on the budget. If we’re able to take a couple of extra coro singers, we do. If not, we tour with 19. So that’s 19 airfares, 19 hotels, 19 salaries . . . but when it’s worked, it’s a magical band. There’s no other band in the world today that plays that style of music – that Palladium style of big band music; the Tito Puente, the Machito, the Tito Rodriguez style of music – there’s no other band in the world today. I’m not saying this for egotistical reasons, its just because of the personnel there, there’s no other band that plays that music on the level of the Latin Giants. Because the musicians in the band played with the masters. They didn’t play in bands of the children of the masters; they played with the Tito Puentes, with the Tito Rodriguezes, with the Machitos, with the Mongo Santamarias, with the Eddie Palmieris, with the Celia Cruzes. These are the guys that created those records. And also with the vision of Johnny Rodriguez, who is basically the greatest bongo player for this style of music in the world, and the musical direction of Joe Madera, who I like to call the Quincy Jones of this music – he’s really reached the pinnacle of arranging in this music. Although we still have the greats like Ray Santos, and a few other people who are still with us, I think that Joe has reached the top of the field of arranging in that style of music. It’s really the equivalent to the Count Basie or the Duke Ellington Orchestra for the type of music that we’re doing.
LJC: You’ve played with the Spanish Harlem Orchestra quite a bit.
MF: I’m an original member of Spanish Harlem Orchestra. My good friend Oscar Hernandez is the leader. He was in my band, The Bronx Horns, and fortunately, he asked me to be a member of the Spanish Harlem Orchestra. I think that I’m the last original horn player that’s still in the Spanish Harlem Orchestra. Actually, I think along with one of the vocalists, Ray De La Paz, I’m one of the last original members still playing with Spanish Harlem, and fortunately, I’ve been there since the beginning. For the type of music that we play, it’s also at the top of the food chain. For what they call Salsa Dura, or the Fania All-Star style, you know, that type of seventies and eighties salsa, its as good a band out there as there is.
LJC: I see a similarity to The Latin Giants of Jazz, not musically, but what you do in terms of approach and quality.
MF: Right, it’s an all-star band, made up of predominantly musicians that came up in the New York scene during the seventies and eighties. We’ve gone through some personnel changes over the years, but that was the original concept. Where the Latin Giants represents the top of the food chain of that Palladium era type of music, the Spanish Harlem Orchestra represents the top of the food chain for the New York salsa band sound from the seventies, eighties, and the Fania All-Star period. It’s really the authentic way that the bands played it when we were coming up. I played mainly with Tito Puente and Mongo Santamaria, but there’s guys in the Spanish Harlem Orchestra that played with Ruben Blades, Ray Barretto, Johnny Pacheco, and many of the wonderful bands in that golden period in New York.
LJC: One last thing, what I see with the Latin Giants and the Spanish Harlem Orchestra is really keeping those traditions alive. What do you see for the future of those styles past Spanish Harlem or the Latin Giants? Do you see someone else picking up the ball?
MF: I’m sure. There’s wonderful musicians out there, wonderful bands. This music is not going to die, there’s always a love and appreciation for it. I’m sure that just like we came up with Spanish Harlem at a time when there was room for it to be heard, I’m optimistic that good things will continue.
In the same way with the Bronx Horns, I would like to continue that tradition of Latin Jazz and smaller groups. Where the Latin Giants and Spanish Harlem are a bigger level, I’d like to follow the Tito Puente Latin Jazz Ensemble, the Mongo Santamaria Latin Jazz Band – the smaller Latin Jazz groups. With the Bronx Horns, I’d like to continue that tradition. So with each of the groups that I’m playing in, we’re trying to continue the traditions and further the music of the different eras that I’ve been fortunate to be a part of.
———-
Thanks to Mitch Frohman for spending this time with me discussing his career, it was a fun, informative, and engaging conversation! Make sure that you check out all three parts of the interview. From here, you can jump to:
Part 1 where Frohman discusses his early career, entry into the Puente band, and his time with Mongo Santamaria
Part 2 where Frohman discusses his development of The Bronx Horns
When a group of musicians share a common background, musical philosophy, or goal, the music that they create often shines with a special glow. Their shared experiences allow them to find sympathetic ideals that make the process of music making an easier experience. They can listen more closely and blend tone, phrasing, and stylist interpretation into a unified whole. Their improvisational exchanges start rising to a magical level that can’t be explained in words, but simply experienced. Sometimes these magical moments are brief and fleeting, one incredible gig that never again becomes a reality. Every musician desires those magical moments in their performances though, so when they encounter a group of like-minded musicians, they should certainly strive to keep them together.
Mitch Frohman found the right combination of musicians while working as a member of Mongo Santamaria’s band and he took the necessary steps to keep the group together. Santamaria’s horn section at the time included Frohman, saxophonist Bobby Porcelli, and trumpet player Ray Vega. All three musicians had worked with Puente, shared a broad knowledge of both jazz and Latin music, and they were at the top of their game. They found a common voice as a section, and they recognized the power of that unity before they left Santamaria’s group. The three musicians gathered together, found a rhythm section, compiled some original compositions, and formed The Bronx Horns. The new band offered a distinct sound and years of experience; they recorded two albums and performed around the world. As The Bronx Horns became a strong voice in the Latin Jazz world, the formation of the group marked another milestone in Frohman’s career.
———- LATIN JAZZ CORNER: One of my favorite Mongo albums that you play on is Live at Jazz Alley. That had Ray Vega and Bobby Porcelli on there with you, which seemed like a step into The Bronx Horns. How did you guys start that group and what was your initial inspiration?
MITCH FROHMAN: Well, we were getting many, many compliments over the years – we had a wonderful blend together. You know, Bobby is one of the greatest alto players alive, playing this music. I’m sure that I can also speak for Ray; for me and Ray to play alongside Bobby was just a wonderful experience. Plus I had played with Bobby for many, many years, next to him in Tito Puente’s band, so I was very fortunate to have that influence in my playing. We all grew up in the Bronx, and when we were introduced on every gig, it would be, “ And from the Bronx, New York – Bobby Porcelli. And from the Bronx, New York – Ray Vega. And from the Bronx, New York – Mitch Frohman.” And you know, some people would kind of chuckle and call us the Bronx Boys, or the guys from the Bronx. It kind of rang a bell in my head. When we all left Mongo’s band in the early nineties, I kind of wanted to keep the horn section together, and I had some music that I had written. So I called some rehearsals, and got a rhythm section together. Basically, I changed it to the Bronx Horns, because I thought it was a catchy name, but it was also true. We all grew up in the Bronx and I basically started The Bronx Horns with the same horn section that we had in Mongo’s band, because we had a nice sound together.
LJC: The rhythm section that you guys had initially – and the rhythm section that you have now – is massive! How did you get those guys together?
MF: Well, when you’re in the business for a long time, you have relationships with people. These are all guys that I had been working with in different situations over the years, and I loved their playing. So these were just guys that were professional associates of mine.
MF: I actually wrote that song during my years with Mongo, and we played it with Mongo Santamaria – he included it in the repertoire. I was actually hoping that he was going to record it, but I never got the opportunity to record it with him. Now I’m kind of happy because I was able to record it on my first album. But that tune was actually first played during my tenure with Mongo’s band.
LJC: Most of that album is compositions from you, Ray, and Bobby – were a lot of those songs that you had written earlier or did they come together around the album?
MF: Well, there was another song on the record that was called “Get Back In” which Bobby Porcelli wrote probably 30 years earlier – another one that Mongo played but never recorded. And then there were some songs that we had played years earlier with a big band that I had with this piano player Joe Mannazi in the early eighties. I had tunes like “Mitch’s Mambo” and “King Jacob” and some other tunes that were on that CD. I had big band versions of that which I then scaled down for three horns to record. I’m not exactly sure when Ray had written his tunes . . . well, I know there’s one tune on the record, “Mambo Melani,” that Ray wrote for his first daughter, so that was probably a recent tune, because his daughter had just been born, not too long before we recorded the record. Some tunes were tunes that had been written a long time ago by Bobby or myself, and some tunes were written fairly recently for the recording.
LJC: I saw you guys play in the late nineties at the San Jose Jazz Festival, it’s an incredible live group. I know you guys are all very busy – initially did the group get out and perform much?
MF: Well, I was still playing steady with Tito Puente’s band, so that was always my primary job, as far as my steady monetary employment for supporting my family. We did some touring, you know, we did some festivals around Europe and the United States. Never on a full time basis though. Basically the first record company that put Catch the Feeling out ripped us off and never paid me a penny in royalties. We had a licensing deal with them which has since expired, so now I own the product. Then the records were re-released by company called 32 Jazz in the late nineties, and within a year, that company went bankrupt and I never got a penny from them. I basically had not the best luck with record companies, although the record company Timeless that recorded us on the Silver in the Bronx album, we did get paid for the CD. But after the initial tours that we did in Europe for them, they basically never supported or promoted the CD. What we got, we got on reputation, which was nice, but I didn’t hustle the band that much, it was more of a part time thing. What I’m doing now, I’m starting to make a push this year, with a website, thebornxhorns.com, and I’m making a push to get the band out more. I’ve added a vocalist, Frankie Vazquez, so that, kind of like what Tito used to do with his Latin Jazz Ensemble, and his big band, where he would play maybe half a set Latin Jazz and then maybe half a set typical dance music for the people. I’m doing the same thing with The Bronx Horns where we have the ability to play the typical dance music and also the Latin Jazz, depending on the requirements for the gig and for the audience. So I’m making more of a push right now to get the band back out there.
LJC:Silver in the Bronx was a great record, how did you decide to create the tribute to Horace Silver – was it an appreciation of his music or did it seem like a natural fit for Latin Jazz?
MF: A combination of both. I was always a big fan of Horace Silver’s music and his music lent itself so effortlessly to our Latin rhythms. So I took a long time in compiling a list of songs and then going down and conferring with some of the guys. There were so many songs to choose from – we would make a list, come up with about 30 or 40 tunes, and then knock it down to 15 or 20 tunes, and then knock it down to a final list. And then I came up with the idea of picking which rhythms we would apply to each tunes. Instead of just doing the regular formula – maybe one tune would be a mambo jazz tune, another tune we would play a cha cha or boogaloo. Another tune we’d play an Afro-Cuban 6/8, another tune we’d play an Afro or a bolero. Just using many different forms of the Latin rhythms, and seeing which ones fit the melodies of Horace’s tunes. And then the other thing was choosing which tunes to give which the arrangers. For example, Marty Sheller, who did the arrangement and was the original trumpet player for Mongo’s “Watermelon Man” – I specifically gave him a tune called “Home Cookin’” to do in that cha cha-boogaloo feel. I wanted that type of feeling and he’s as good as anybody in the world for that kind of thing. And then the other arrangers – Joe Madera and Oscar Hernandez – Ray Vega contributed a few arrangements; they took tunes that they felt would show off their arranging strengths. So we put a lot of thought into it and I’m very proud of how it came out.
LJC: Around that time, Tito Puente died. You’ve said a lot of great things about Tito, but if you could isolate one thing that you took away from those years, what would that be?
MF: That’s hard to pin down. I was in his band for 25 years! It’s not one thing. He was a hard worker; the music was always the first thing in his life. He had his own school of music. There was also the school of Machito. It was like the Count Basie band and the Duke Ellington band – they were all great but they had their own styles and schools of music. It was a very exciting way of playing. It was a very percussive way of learning how to play this music. Also I guess seeing how to play this music in an exciting fashion without always having to play super loud. Tito could play exciting and fast, but with the sensibilities of a jazz drummer. He was a studied percussionist; he had the technique in his wrist. Where maybe some other Latin percussionists play more with their arms, Tito had the sensibilities of the great wrist action. It was learning how to play this music at many dynamic levels but in a very exciting way. You know, the show must go on. And basically playing all styles of Latin music, which I feel is a lost art with a lot of the bands today. Where the bands will either just play salsa or they’ll just play merengue or they’ll just play bachata. We had more than 1000 tunes in the book and we would play every type of function available. The first time I ever played a merengue was in Tito Puente’s band. We had merengues in the band, we had cumbias, we had paso dobles, and we had danzones. It was just “salsa.” He always used to joke how the word salsa was just a ridiculous marketing term. You know, we didn’t just play mambo, cha cha, and bolero, we played all types of Latin American rhythms. We even played some big band jazz tunes when we would play some society parties where they would want a couple of swing tunes mixed in. He even had that in the book. I got the appreciation of all forms of Latin American music and rhythms that we played. He was a very diverse musician. When I joined his band, I didn’t really know anything about Latin flute, but the person whose place I took did the Latin flute solos. So I basically immersed myself in learning that style, and I think that I’ve become a fairly good Latin flute player over the years. And that was something that I developed in his band.
———-
In Part 3 of our interview, discussing some of Frohman’s current projects. We take a look at The Bronx Horns, The Latin Giants of Jazz, The Spanish Harlem Orchestra, and more. Come back tomorrow, you don’t want to miss this!
Guitarists are few and far between in the Latin Jazz world, but Edgardo Miranda used his vast array of skills to make a career as a guitar player in the genre. His mastery of both Afro-Cuban and Puerto Rican rhythms formed the foundation of his playing, helping him spin authentic phrases in improvisations and beyond. His knowledge went beyond common salsa forms though; Miranda dug deeply into Cuban folklore and Puerto Rican jibaro music. Miranda knew the songs, traditional licks, and standard guajeos that shaped the style, and he integrated all of that into his guitar playing. He played the Puerto Rican cuatro at an equally high level, finding a place in traditional bomba and plena performances. Miranda fluently worked through jazz changes, integrating bebop lines, complex harmony, and thematic development with an equal artistry. Rock and funk rhythms played a significant role in Miranda’s voice as well, allowing him to walk into the contemporary music world at any moment. He expertly shaped his tone to fit the context of his performance, moving from clean, jazz inflected tones to dirty and loud distortion. Taste and keen artistic judgment always drove Miranda’s work – although he felt comfortable in many worlds, he never forced conflicting aesthetics upon a musical setting. These are the signs of an outstanding musician, regardless of instrument, and as a result, Miranda found a regular spot in many pieces of New York’s Latin Jazz world.
Despite his acceptance in New York’s Latin Jazz circles, Miranda appeared sporadically on Latin Jazz albums, mostly playing a supporting role. In many cases, musicians would form a more traditional ensemble including a rhythm section and wind players for their albums; Miranda would enter the mix for one or two tunes. Some artists would integrate Miranda to add a modern edge to their sound, referencing rock energy or electric textures with the guitar. Miranda could play with a fusion intensity or a jazz subtlety, so his guitar playing could add several different layers of color to a recording. Artists often included Miranda’s cuatro skill into their pieces that drew upon Puerto Rican bomba or plena. Very few guitarists played cuatro skillfully, and even fewer musicians could play the instrument with an authentic feel and approach; Miranda covered all these bases, so he was a perfect choice for any recording with a traditional Puerto Rican feel. Still other times, musicians would choose to use Miranda simply because he was an outstanding soloist, knowing that he would add a meaningful statement to his work. He found an abundance of work for many reasons; he simply acted as a guest in most cases rather than a regular band member.
1. “Gumbo” – Cortijo & His Time Machine, Rafael Cortijo
2. “Evidence” – Ya Yo Me Cure, Jerry Gonzalez
Bay Area saxophonist Ron Stallings made a huge impact upon the broad San Francisco music scene, spending several decades contributing high-level musicality to Latin Jazz and beyond. Born in Houston, Texas in 1947, Stallings moved to San Francisco at the age of 8; right away, the city’s diverse musical environment inspired him and opened his eyes to numerous musical possibilities. The 1960s and 1970s found Stallings acting as a featured soloist with many of the Bay Area’s famous rock and pop acts, playing sax, flute, and sometimes singing. Stallings appears on Mike Bloomfield’s 
, Tom Fogerty’s 
, Jesse Colin Young’s 
, and Otis Rush’s 
. He performed live with many more notable rock artists, including Jerry Garcia, Elvin Bishop, and Boz Scaggs, maintaining a busy and invigorating schedule. During the 1980s, he led the Monday night blues house band at Slim’s, and over the next two decades, he continued to work with artists such as Huey Lewis, Gladys Knight and Merl Saunders. Stallings consistently maintained a reputation as a first call musician on many fronts, working as a desired sideman on recordings and performances.
, and continued to perform live sporadically over the next ten years. When the Machete Ensemble ended its tenure as Latin Jazz innovators, Stallings continued to work with the group’s individual members, recording on albums by Machete alumni Wayne Wallace and John Calloway. In 2009, Stallings released his last recording, 
, a venture into Brazilian Jazz with a group called Tanaora. Stallings jumped into the Bay Area’s Latin music scene with a passion and became a major member of the community.
– John Santos & The Machete Ensemble
– John Calloway
Juarez is also playing a major role in the early stages of Tutuma Social Club, a new restaurant and live music venue opening in New York City on April 28th that will be featuring daily Afro-Peruvian Jazz performances. Tutuma represents an important step forward in the evolution of Afro-Peruvian Jazz, giving the music a regular home where artists can hone their craft and reach a wide audience. Juarez will be a regular performer at the club, accompanying a diverse crowd of artists, and serving as a member of the house band. In the club’s first couple of months, Juarez will be playing with Alegria, trumpet player Ingrid Jensen, vocalist Angela Vicente, pianist Andy Milne, and percussionist Freddy “Huevito” Lobaton. At some points, Juarez will play 2 – 3 gigs during a single day at the club! The club will be located at 164 East 56th Street in New York – in you’re in NYC, head out to the Tutuma Social Club, support Afro-Peruvian Jazz, and hear Juarez performing!
Congratulations to our winners in the giveaway for the free Eddie Palmieri tickets. New LJC subscribers Susan Pereira and Vic Godoy will be checking out Mr. Palmieri at 
When a musician develops a reputation as a reliable sideman, a strong leader, and an exciting artistic voice, the musical world seems ripe with opportunities. They reach the first call spot for numerous top-notch bands, finding a regular stream of work in an artistically invigorating environment. Other musicians rely upon them as subs and collaborators, building upon the trust established over years of hard work. Their own projects often thrive, fueled by a strong work ethic and the passionate support of their professional associations. Most importantly, a fan base of long time listeners relate to their past work in different contexts, and they want to hear more. Long standing performance commitments may remain steady or they may disappear; but a musician with a career based upon a strong performance history will find more work ahead.
MF: Well, I hire the guys – with Johnny and Joe’s approval, I choose the personnel. Like I said, with the approval of Johnny and Joe – if there was somebody that they wanted that I didn’t or somebody that I wanted that they didn’t, then I definitely I defer to them. I’m third in command. So I make the phone, you know, I’m kind of like the middleman, the liaison between the guys and Johnny and Joe. Kind of like the day to day stuff –telling them what time to show up, what to wear, how much we’re getting paid, that type of stuff. 
, that one had a distinctly more jazz focus. I imagine as a horn player, it much have been so incredible to be playing in that big band setting.
, there’s one track, “Flamenco Mood,” that features one of the last recorded solos of Mario Rivera. I imagine that you spent quite a bit of time with Mario, do you have any memories of him?
MF: Yes – Mario, besides Bobby Porcelli and another wonderful musician that has passed away, Dick Mesa, Mario along with those other two, were probably my biggest influences in the Latin American music scene. Mario was probably one of the most devoted and dedicated musicians that ever existed; he lived all types of music. He was also a virtuoso doubler. He played all of the reeds, all of the flutes, trumpet, percussion – he played so many instruments. I actually used to sub for him with Tito’s Latin Jazz Ensemble, before Tito combined the Latin Jazz Ensemble and the big band. I also subbed for Mario a couple of times with Tipica ’73. Mario was first call before me, so I would sub for him in different situations. Because of his expertise, he would play tenor, soprano, flute, piccolo, and alto flute in Tito’s Latin Jazz Ensemble. So when I would sub for him, I would have to practice those other instruments that I didn’t play all the time to perform and meet the requirements of the job. So it inspired me to become a better doubler. He actually told me that he would lay all of his instruments on his couch or on his bed and he would just pick one of them up, play it for 10 minutes, put it down, and play another one for 10 minutes, put it down. He’d just get the flexibility of the embouchure and get the lips and the mouth accustomed from one instrument to the other. So that when you pick one up on a gig . . . let’s say you play saxophone for a half-hour and you have to pick up the piccolo right away, or the alto flute right away – you need that lip flexibility. So this was a good way to practice at home, switching from on to the other. So I was definitely influenced by his genius musicianship.
MF: Peter’s a fantastic jazz musician, he has his own voice. On “Cookin’ The Mambo,” we did two takes, and I actually liked the way Peter and I sounded on the other take. I think there were some mistakes in some of the background figures that the rest of the horn section had, so they chose to use that take. It’s a wonderful track on the record, but maybe one day they’ll release the other take. Like sometimes in jazz records they release the outtakes. But it was a wonderful experience. We did all that stuff live – me and Peter stood up in the recording session. We didn’t overdub any of the stuff; all the solos that you hear on the record were done on the spot within the context of the performance. 
MF: I’m an original member of Spanish Harlem Orchestra. My good friend Oscar Hernandez is the leader. He was in my band, The Bronx Horns, and fortunately, he asked me to be a member of the Spanish Harlem Orchestra. I think that I’m the last original horn player that’s still in the Spanish Harlem Orchestra. Actually, I think along with one of the vocalists, Ray De La Paz, I’m one of the last original members still playing with Spanish Harlem, and fortunately, I’ve been there since the beginning. For the type of music that we play, it’s also at the top of the food chain. For what they call Salsa Dura, or the Fania All-Star style, you know, that type of seventies and eighties salsa, its as good a band out there as there is.
MF: I’m sure. There’s wonderful musicians out there, wonderful bands. This music is not going to die, there’s always a love and appreciation for it. I’m sure that just like we came up with Spanish Harlem at a time when there was room for it to be heard, I’m optimistic that good things will continue. 
When a group of musicians share a common background, musical philosophy, or goal, the music that they create often shines with a special glow. Their shared experiences allow them to find sympathetic ideals that make the process of music making an easier experience. They can listen more closely and blend tone, phrasing, and stylist interpretation into a unified whole. Their improvisational exchanges start rising to a magical level that can’t be explained in words, but simply experienced. Sometimes these magical moments are brief and fleeting, one incredible gig that never again becomes a reality. Every musician desires those magical moments in their performances though, so when they encounter a group of like-minded musicians, they should certainly strive to keep them together.
. That had Ray Vega and Bobby Porcelli on there with you, which seemed like a step into The Bronx Horns. How did you guys start that group and what was your initial inspiration?
was the first Bronx Horns album . . .
LJC: I saw you guys play in the late nineties at the San Jose Jazz Festival, it’s an incredible live group. I know you guys are all very busy – initially did the group get out and perform much?
album, we did get paid for the CD. But after the initial tours that we did in Europe for them, they basically never supported or promoted the CD. What we got, we got on reputation, which was nice, but I didn’t hustle the band that much, it was more of a part time thing. What I’m doing now, I’m starting to make a push this year, with a website, 
LJC: Around that time, Tito Puente died. You’ve said a lot of great things about Tito, but if you could isolate one thing that you took away from those years, what would that be?
