Legendary timbalero Manny Oquendo brought together a wealth of musical experience and an expansive love for diverse musical styles into his overall artistic vision. From his early days as a sideman for Pupi Campos, Tito Puente and Tito Rodriguez to his days as a member of Eddie Palmieri’s La Perfecta band and his tenure a bandleader for Conjunto Libre, Oquendo fearlessly tackled pieces of salsa, jazz, mambo, and more. He remained passionately dedicated to the idea of upholding tradition, and his recorded work shines with an informed presence and authentic phrasing. At the same time, Oquendo was a brave musician, willing to explore uncharted musical territory. Although this seems like a contradiction, Oquendo saw the difference between experimenting recklessly and finding your way within tradition. He never blatantly ignored the structures and musical aesthetics that grounded Latin music; he simply found his voice in relation to that historical precedent. It’s a fine line to walk when traversing through the musical world, but Oquendo moved through it with style and ease – a fact that allowed him to travel through an interesting duality.
Most people would consider the majority of Oquendo’s recorded output as classic New York salsa, but there’s references to jazz on many different levels throughout his years of performances. Oquendo was a massive improviser, both as a soloist and accompanist – his interactive spirit captured the essence of any major jazz musician. When playing behind a soloist, he could hit accents spontaneously, fill into phrases with a coherent logic, engage in rhythmic conversations, or simply push the musicians with his unstoppable cascara. When taking a solo, Oquendo played with clarity and authority, placing notes distinctly and cleanly; he focused on traditional development and phrasing, giving his work an undeniable voice that can’t be missed. These skills made him an ideal choice for many jazz-tinged contexts throughout the salsa world, including his long stretch of work with Palmieri’s combustible ensemble La Perfecta. It also allowed him to be flexible artistically, and he could easily make slight adjustments to make his playing to fit comfortably into a Latin Jazz setting without loosing his identity. His recorded work with Libre illustrates this point brilliantly as the group would switch quickly between hardcore New York salsa and powerful Latin Jazz without dropping a beat. Oquendo was a master at walking the line between jazz and dance music, playing both at a high level – just as many people might call Oquendo a “salsa” musician, he could just as appropriately hold the title “jazz” musician.
I’ve collected several of Oquendo’s outstanding moments in a Latin Jazz context as an opportunity to look back on this side of his musicianship. These are the tracks that show a distinguishable jazz nature. Oquendo displays jazz leanings on several recorded descargas and salsa tracks, but those recordings showcase a different side of the music. The songs that I’ve collected can easily fit into the jazz world. Many of the selections come from his time with Libre, but there are a few other gems in there worth checking out. Oquendo lived a long musical career that touched many artists; let’s take a look back at some of that highly influential work.
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1. Asia Minor – Ahora
, Manny Oquendo And Libre
Oquendo spent his career firmly entrenched in the New York Latin music tradition, and he held his place in that lineage with a passionate respect, as heard on this Machito classic. There’s a moment of tension as the musicians freely support a brief unaccompanied solo from pianist Willie Rodriguez, which soon transitions into Andy Gonzalez’s bass line. The trombone section boldly enters with the familiar melody written by Roger Mozian and made classic by the Machito And His Afro-Cubans. Rodriguez takes the first run through the modal changes of this tune, taking advantage of the open context to create lush lines that benefit from clever development and an assertive rhythmic drive. The rhythm section jumps into high gear and the trombone section dives into an energetic mambo as the coro provides a repeated phrase recognizing Machito’s influence. Trombonist Jimmy Bosch assertively creates a powerful solo over this high-energy background using his cutting tone to plow through the thick texture and make himself known. A return to the main groove and the melody makes a complete circle for this tune, creating a balance between the band’s personal expression and its acknowledgement of history. Oquendo knew his artistic background, in fact he played with Puente, Rodriguez, and Machito; he held a connection to the history of New York Latin music and he appreciated its importance. This track represents the best of Oquendo’s far reaching artistic vision with a connection to the past and present of the New York sound, anchored by a man who spent a good deal of time developing it.
2. Bamboléate – Bamboléate
, Eddie Palmieri & Cal Tjader
Oquendo’s work with Eddie Palmieri’s La Perfecta always included a jazz influence, but for the most part, it stayed firmly planted in the salsa dance world – with the exception of two albums that Palmieri’s group made with vibraphonist Cal Tjader, El Sonido Nuevo: The New Soul Sound
and Bamboléate. The title track from Bamboleate provides a prime example of the explosive potential of the meeting between these two worlds. Palmieri storms into the song with a fiery montuno that sets the tone for the song, which the rhythm section supports with an assertive enthusiasm. Two vocalists enter the mix with a repeated coro, providing a framework for improvisations from the band. Trombonist Barry Rogers fills this space with passionate vigor, creating percussive rhythms with his wild, raspy tone. Tjader follows Rogers with a distinctly different approach, playing upon the softer, flowing sound of his vibes. He lets the sustain ring through his solo, but even Tjader gets a push from La Perfecta’s infectious propulsion, playing with quick runs and syncopated figures. The track really lights up when Oquendo jumps into the mix with a thunderous timbale solo. His improvisation gives a perfect example of his defined improvisational style – careful, studied, and authoritative. Oquendo’s work was never flashy; his performance was about the tasteful placement of his notes. Tjader ends the track with improvised lines over a bold trombone mambo, bringing a classic track to a close.
3. Little Sunflower – Ritmo, Sonido, Y Estilo
, Manny Oquendo Y Libre
Sometimes an artist’s interpretation of a standard resonates with such vision, that it replaces the original recording as most musicians’ source of inspiration – a situation that definitely applies to this Libre version of this Freddie Hubbard standard. Andy Gonzalez’s now legendary bass line opens this jazz classic with an unbearably swinging groove, which just explodes once the percussionists join him. Flautist Dave Valentin interjects short rhythmic phrases around off beats, creating an energetic solo that pushes the band harder. Trumpet player Jerry Gonzalez grabs the band’s momentum and simply runs with it, racing through his solo with confidence, style, and pure musicality. The band quiets behind pianist Joe Mannozzi, but the intensity stays intact, as the pianist finds a balance between lyrical lines and percussive rhythms. In an incredible highlight, Steve Turre takes a mind-boggling solo on conch shell that bounces between the rhythmic propulsion of a drum and the melodic creativity of a wind instrument. The song works on many levels as an open jam tune for the musicians to stretch their skills, and they take full advantage of this context, turning the track into an all-time must-hear Latin Jazz classic. This tune now sits among the list of must-know standards in the Latin Jazz world, a distinct result of this recording’s influence.
4. Fenway Funk- Paunetto’s Point
, Bobby Paunetto
Oquendo held a high regard for the Latin music tradition, but he never shied from experimentation, and his work with vibraphonist and composer Bobby Paunetto on the two classic albums Paunetto’s Point and Commit to Memory
illustrate this point vividly. Trombonist Ed Byrne starts a steady bass line which transitions into a straight-ahead seventies funk groove, as remaining wind players dive into a lushly orchestrated melody filled with mystery. This serves as a launching point for Paunetto, who jumps into an enthusiastic improvisation that finds a unique balance between Tjader’s distinct lyricism and Puente’s rhythmic drive. Paunetto works the group into a frenzy as the groove slowly mutates from a funk drive into a racing mozambique rhythm, transitioning into trumpet player Tom Harrell’s improvisation. Harrell thrives in this setting, weaving modern jazz melodies between the spaces on the rhythm section’s intensive mozambique. Byrne takes a turn improvising with a rhythmic solo that explodes into a massive climax through repeated syncopated figures brimming with tension. Tenor Saxophonist Todd Anderson contributes a flowing solo that cleverly mixes together laid back lyrical lines, quick runs, and a defined development into a unique statement. The wind players fall into a rhythmic vamp as Oquendo creates an assertive solo that shows a distinctly different side to his playing. His phrasing changes as he plays over the mozambique; there are traces of 6/8 and rumba quinto playing here – there’s no doubt that Oquendo has followed the lineage of this music back to its roots. The whole album reveals a different side to Oquendo as he finds a place in Paunetto’s forward thinking compositions, but his intensive solo in this track requires a listen.
5. Prelude to a Kiss / Misterio De Tus Besos – Mejor Que Nunca (Better Than Ever)
, Manny Oquendo Y Libre
Oquendo spent a good deal of time playing cooking salsa tunes, mambos, and descargas, but he was a total musician that could sound great on any type of tune, including this gorgeous ballad rendition of the Ellington classic. The trombones create a lush and slightly dark introduction, establishing a delicate and introspective mood over the rhythm section’s strolling bolero. Trumpet player Charlie Sepulveda tenderly provides a highly personal reading of the well-known melody, treating each note with a sensitive respect while the band weaves a thick arrangement around him. Vocalist Frankie Vazquez shines a drastically different viewpoint onto the jazz standard with carefully crafted Spanish lyrics and a strong performance informed by jazz vocals. Flautist Dave Valentin winds through the changes with his typical fluidity and an inspired creativity that make him seem comfortably at home between jazz and Latin styles. Vazquez returns again with Spanish lyrics forcing us to once again rethink a tune that we thought we knew well. The vocal performance on this tune provides as much momentum as the new lyrics – Vazquez finds a balance between classic jazz vocalist and Cuban crooner that really sells this interpretation. Oquendo stays out of the way through the song, simply providing a steady bongó martillo in the background – Oquendo was a master of tradition and context, and he understood when to simply support the song.
6. Lester Leaps In – On the Move! (¡Muevete!)
, Manny Oquendo Y Libre
This Lester Young classic sits well against a moderate son montuno, benefiting from the band’s tight arrangement. After a brief introduction, the rhythmic melody swings assertively above the powerful rhythm section. Trombonist Papo Vazquez takes a creative solo that integrates the best elements of the Cuba’s rhythmic language and bebop’s complex harmonic dialect. The rhythm section pushes the groove, but for the most part stays out of Vazquez’s way while short background lines build the texture. Pianist Willie Rodriguez takes a turn improvising over the classic changes, spinning expansive strings of melodies full of interesting chromatic turns. The band explodes into an aggressive and melodically catchy mambo as the rhythm section pushes the groove into a strong forward motion. As the group moves into high gear, the full trombone section trades phrases, exposing the broad base of improvisational skills in the band. After the trombone players drive the band into an unstoppable drive, a conga solo builds momentum over the background line, riding the band’s groove to an exciting finish.
7. Igor’s Dream – Pure Emotion
, Chico O’Farrill
Great musicians jump at the opportunity to work for great writers, and when Chico O’Farrill decided to record a big band Latin Jazz album in 1995, top-notch musicians such as Oquendo and several members of Libre joined him. Conguero Jerry Gonzalez, drummer Steve Berrios, and bassist Andy Gonzalez open the tune with a strong groove that serves as the foundation for Oquendo’s bongó improvisation. As the full force of the big band’s horn section enters, Oquendo tastefully builds his line that moves out of the spotlight and becomes part of the track’s overall flow. He fills the spaces between horn lines and interacts with the flute soloist, demonstrating skillful phrasing and a big picture view of his instrument. Trombonist Papo Vazquez and trumpet player Philip Michael Mossman enthusiastically trade ideas with Vazquez blazing through quick runs and Mossman reaching piecing high notes. Baritone saxophonist Pablo Calogero attacks his improvisation with a frenzied passion, moving nimbly through the instrument’s full range with bebop-fueled lines. The band lowers its dynamic level behind pianist Arturo O’Farrill, who builds a distinctly different statement with winding lines and bluesy embellishments that reveal his close ties to the jazz world. Bassist Andy Gonzalez plays his instrument with a percussive intensity throughout his solo, as he improvises over only Oquendo’s bongó, clave, and shekere. Oquendo and Gonzalez engage in some interesting interplay, showing the established musical relationship and massive knowledge base between the two musicians. As the group returns to the melody, Oquendo continues to improvise smartly throughout the groove. This track has it all – some inspiring solos from several master musicians and a prime example of Oquendo’s fabulous presence as a bongocero.
8. Donna Lee/A Gozar Y Bailar – Con Salsa, Con Ritmo
, Manny Oquendo Y Libre
At first thought, a Latin Jazz version of Charlie Parker’s “Donna Lee” can send shivers down anyone’s spine – this song generally sits as a blazing fast bebop scorcher; yet Oquendo and Libre always throw original surprises into the mix. An extremely tipico break opens the track into an elegant danzon feel, anchored by Oscar Hernandez’s gentle piano melody. The wind players leap into Parker’s classic melody over the danzon, giving the song a completely different perspective; at the slow tempo, it almost sounds like an ideal jazz danzon. As the melody closes, Oquendo delivers a razor sharp habinico, Hernandez jumps into montuno, and a coro enters, announcing the beginning of the mambo section. Parker has left the building at this point, but the open chord progression provides an opportunity for several band members to improvise, starting with a short statement from flautist Dave Valentin. Trumpet player Mike Lawrence improvises with a heavy dose of cool, while trombonist Ed Byrne attacks his solo with a rhythmic drive that plays strongly off the rhythm section. Saxophonist Ronnie Cuber lends a jazz edge to the descarga, cutting through the band with his biting tone before trombone player Papo Vazquez kicks the band into high gear with his aggressive statement. The group hits a strong ponche figure, announcing Hernandez’s extended solo that resonates with rhythmic tension and classic piano figures. The band explodes into a screaming mambo, giving Valentin a chance to improvise towards the track’s end. In reality, there’s very little Parker on this track, it’s more of a straight-ahead descarga; but the clever juxtaposition of styles makes this track a must-hear experience.
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Check Out These Related Posts:
Manny Oquendo (1931 – 2009): A Career Based On Tradition And Innovation
7 Great Latin Jazz Albums From Ralph Mercado And RMM Records
5 Important Recordings Featuring Carlos “Patato” Valdes
Essential Cachao Recordings, Part 1: Cachao In Cuba
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