Canción Para Mi Amor
Scott Oakley Y Sus Incomparables
Invisible Music
Latin piano styles have a rich and complex background, full of colorful musicians and diverse performance aesthetics – its a world that appeals strongly to many jazz pianists, but one that takes some serious study to master. Experienced jazz pianists walk into the style with some good skills; their advanced knowledge of harmony, technical proficiency, and ability to improvise are all major benefits to a student of Latin piano. These are simply pieces of a larger puzzle though. The jazz pianist needs to make some serious adjustments to their performance approach before feeling comfortable in a Latin Jazz setting. A Latin pianist’s accompaniment style differs greatly, with montunos taking a good deal of a pianist’s time as well as a different rhythm language to comping. Their improvisations need to reach beyond the running streams of notes and swung phrasing that jazz offered them; instead they need to find an attachment to the clave and discover how to play within every space of it. The aspiring Latin pianist needs to look across the whole scope of influential pianists from classic players such as Pedro “Peruchin” Justiz to modern stylists like Eddie Palmieri and Chucho Valdes. Once they’ve wrapped their heads around the major names in Latin piano, they need to head back to their roots and examine how a jazz voice fits into the Latin music world. The transition from jazz pianist to Latin Jazz pianist requires more than a simple change of repertoire, it demands a thorough study of history, technique, and performance style. Pianist Scott Oakley made this transition from jazz pianist to accomplished Latin Jazz musician through a deep study, and he demonstrates his new voice with a modern and funky sound, grounded in tradition, on Canción Para Mi Amor.

Paying Tribute To Influential Cuban Pianists
Oakley pays tribute to influential Cuban pianists on several tracks. A massive percussion feature explodes into an aggressive break on “Para Pupi” before an addictively funky groove enters behind saxophonist James King’s melody. The band charges forward with a timba influenced momentum behind King’s improvisation, enthusiastically interacting with his quick, rhythmically displaced lines. Oakley takes a quick solo that displays his ability to cleverly manipulate a melody’s rhythmic structure. Oakley jumps right into a straight-forward melody over a son montuno rhythm on “Mi Peruchin Descarga #1,” and then sets up the open jam with a catchy montuno. He respects his role model’s influence with some fairly tipico lines while the rhythm section consistently rides the tumbao. The drummers establish a modern songo groove on “Al Estilo De César “Pupi” Pedroso” until Oakley storms into a powerful montuno while King plays a minor melody. King takes advantage of the band’s unstoppable inertia with aggressively creative lines played with a biting tone. Oakley stretches the time and plays off snippets of montuno with a well-constructed statement that recalls Pedroso’s sound. King’s flute doubles Oakley on a rhythmic melody over a son montuno foundation on “Mi Peruchin Descarga #2.” Oakley sets the band on fire with a strong montuno, pushing King’s improvisation into a new level of excitement. The band lowers down for Oakley’s improvisation that presents a refreshingly long stream of creative developments. On each track, Oakley shows that he has done his homework, and he represents each of his influence with style and ingenuity.

Compositions Reflecting An In-Depth Study
Several original compositions help further Oakley’s study, with focused explorations that allow him to practice certain elements of the music. Originally an exercise in phrasing around 3-2 clave, “La Pregunta De Tres Dos” presents an angular melody that smartly wraps around the clave. King indulges in the rhythm section’s driving cha cha cha groove, slyly spinning brash lines with bold conviction. Oakley takes a more tipico approach with classic ideas that lock strongly over the band. Oakley puts a spin on a typical piano montuno with an extra beat on “Cha Cha Cha en Cinco,” leading into a sparse melody that slyly winds around the five beat structure. King interjects short improvised phrases around the pulse, staying close to the melody while the rhythm section indulges in the unique groove. Oakley and López open “Las Perlas Caen en el Plato de Jade” with an understated groove until Lopez compliments the melody with a strong bass pulse that emphasizes every third beat. After the angular melody runs its course, Oakley pushes the tempo with a pulsating montuno that serves as the basis for King’s searing solo. The band lowers its dynamic behind Oakley who drives the momentum forward with syncopated ideas and rhythmic displacement. Oakley explores the concept of clave and changing direction on “Corremos, después Saltamos,” starting with a catchy flute melody accompanied a comping pattern closely aligned to clave. The group shifts direction behind the solos as King displays a nimble fluency on the flute with flying notes and a percussive attacks. Oakley follows with bouncing lines that leap around the groove, held together with long collections of jazz oriented phrases. These pieces show the depth of Oakley’s work, and their specific purposes reflect a smart musician mastering his craft.

The Emergence Of A Creative Voice
Oakley completes the repertoire with a collection of original compositions that display a distinct comfort in the style and a creative playfulness. The full band attacks the melody on “Canción Para Mi Amor” with a ferocious intensity, contrasted by a subtly funky interlude with Oakley and bassist Rigoberto López playing a unison line. The group roars into King’s improvisation, who grabs the wave of passion and rides it with a fearless drive. Oakley immediately counters the mood, utilizing sharp rhythmic phrases, quick breaks for air, and a quiet focus to develop a strong idea. López begins “Persiguiendo El Bajo” with a distinct groove, and as each band member joins, the song’s texture grows into an explosive melody. The band hits full throttle as King leaps into his improvisation with catchy themes and strong development. Oakley finds a balance between jazz and clave with long flowing lines that fragment into repeated phrases and a percussive intensity, building into an ear-catching statement. King’s flute floats over an interesting cha cha cha groove and angular rhythm section breaks on “Para Becky,” a song defined by outstanding arranging ideas. A barrage of bata drums enters behind the solo section, providing King with a wealth of possibilities to travel between a four and six beat emphasis. Oakley also finds inspiration in the bata, leaning upon rhythmic ideas to serve as the foundation for his soaring statement which fluidly connect these two worlds into a logical whole. There’s a defined voice in each of these pieces that demonstrate Oakley’s mastery of the style, and his current ability to express himself within the genre.

Announcing Oakley’s Arrival As A Latin Jazz Artist
Oakley demonstrates the results of his in-depth study into the world of Latin music, performing with an authentic feel, a thorough understand, and a limitless creativity on Canción Para Mi Amor. His approach to the music owes a good deal to contemporary Cuban music, integrating timba rhythm section approaches extensively. Oakley smartly walks the line between dance music and jazz though; his rhythm section plays like a timba band, but the changes, melodies, and spontaneous interaction scream with a jazz voice. As a pianist, Oakley reveals a broad spectrum of listening as he spins classic piano solo phrases and a rhythmic comfort around the clave. Oakley’s montunos show the distinct influence of Cesar “Pupi” Pedroso – complex, funky, and on top of the beat, but never overbearing. The album’s songwriting reflects Oakley’s knowledge of several Cuban styles, but it also reveals his inspired curiosity about the elements that define Cuban music. He twists and turns basic concepts in the music, exploring the boundaries of the music with defined compositional ideas. His band obviously senses this inspired feeling behind the music, as they deliver highly charged performances throughout the album. King appears as an outstanding soloist on both sax and flute, interpreting the rhythmic structures with a jazz sensibility and matching the group’s intensity at every turn. López, Oakley, drummer Raul Pineda, and conguero Robert Fernández infuse the album with passion and substance, delivering memorable performance on every track that set the album into a league of its own. Oakley traveled the path from jazz pianist to Latin Jazz musician and Canción Para Mi Amor announces his arrival; yet Oakley’s study was deeper than that – it displays a true Latin Jazz individual with a refined artistic sensibility and original voice.

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