Timeline Felipe Salles
Curare Records
Most contemporary jazz recordings fall into one of two categories – a thoroughly produced product with finely tuned compositions or a live recording that catches a moment in time. Long term productions result in a more polished recording and they provide many benefits to the aspiring jazz composer. Artists deal with overdubbed parts, complex arrangements, and a generally wider sonic palette in the studio, and in some cases, they generally have more time to refine their ideas. They can take multiple passes at an improvisation and then pick the best one – or better yet, they can cut and paste several different versions together into a perfect statement. The artist maintains a high degree of control over the product in this setting, and they often more clearly express their original intentions. Live recordings are completed in a shorter time period, they are usually cheaper to produce, and they sometimes contain questionable sound quality. These albums reproduce every improvisational nuance, interactive risk, and personal choice that a musician makes, and once they have played, it’s permanent. These albums capture the moment and give us a snapshot of the artist’s development at that point in time. The imperfections represent the live recording’s beauty as they give us unfiltered reality as opposed to the studio’s artificially constructed soundscapes. Both types of albums can produce high quality artistic products, leaving their mark upon the Latin Jazz world for an untold number of years. The live recording gives us a little more honest picture of a jazz composer and performer though; they must make spontaneous decisions and uphold the integrity of both their compositional structures and their performance aesthetic. Saxophonist and composer Felipe Salles and his quintet explore a number of his original pieces in a live setting on Timeline, delivering an outstanding performance full of personality, style, and a highly interactive improvisational style.
Brazilian Rhythms As A Launching Point
Salles and his group utilize Brazilian rhythms as a launching point on several compositions, eventually finding their way into a more interactive performance aesthetic. Bassist Jorge Roeder opens “Mind Motions” with a lyrical melody over a bossa nova rhythm, until Salles and alto saxophonist Jacam Manricks leap into a broad and beautiful theme that maintains its integrity over a series of time signature changes. Salles drives cutting soprano saxophone lines through the bossa nova foundation, adding some inertia to the style with a long line of rapid flurries of notes, sharp rhythmic attacks and screeching high notes. Pianist Nando Michelin creates contrast with an understated idea that grows into a strong statement, making way for an insightful improvisation from Manricks who builds a deep idea over coloristic textures from the rhythm section. Roeder and Michelin provide a unique vamp that creates underlying tension against a modern jazz melody on “Further South,” leading into a subdued unison line between Salles and Roeder. The rhythm section breaks the time feel behind Salles, who runs quick lines over moving piano chords, displaying a strong sense of thematic development that hits a high point when drummer Bertram Lehmann returns with a strong groove. While the rhythm section continues, Manricks slowly build his improvisation from a spacious idea into a passionate and screaming declaration, followed by Michelin’s finely crafted statement. Roeder, Michelin, and Lehmann provide a solid bossa nova that moves through a seven beat cycle on “Noite a Dentro,” while Salles and Manricks glide over the top with an engagingly simple melody. Michelin takes a smart idea and uses rhythmic tension to build into an assertive momentum, until Salles solos accompanied only by Roeder, cleverly using the texture change and interactive setting to focus his improvisation. The track comes to a dramatic change as the band disappears behind Roeder and he boldly constructs beautiful melodies through repetition, a wide exploration of his instrument’s range, and an entrancingly deep tone. Big dissonant band hits lead the rhythm section into a five beat structure that serves as the basis for an angular and attention grabbing melody on “The Cage.” The rhythm section reads Manricks perfectly as he begins his improvisation reflectively, indulging in space and taking his time working the band into a sweltering frenzy on squelching notes, rapid fire melodies, and aggressively interactive playing. Salles enters into his statement with only Michelin supporting him, working with a quiet intensity until Roeder and Lehmann rejoin and push Salles into a furious flight of notes. The group starts with Brazilian rhythms, but Salles’ crafty compositions and the quintet’s spontaneous nature sends them into highly original and daring directions.
Consistently Spontaneous And Exciting
Salles and his group venture into rhythmic territory outside the Brazilian world as well, but their performance aesthetic remains consistent with spontaneous and exciting improvisations. A series of steady rhythm section attacks explode into a strong Afro-Cuban 6/8 groove on “ORB,” with Salles and Manricks flying through an aggressively intensive melody. Salles expertly manipulates his tone and phrasing to build a captivatingly personal statement, followed with an assertive improvisation from Michelin, who pushes the tense setting into a flurry of montuno pieces, syncopated rhythms, and pounding chordal figures. After a skillfully constructed solo from Manricks, Roeder applies his inherent lyrical nature to the distinct rhythmic structure, completing a solid statement until Lehmann bursts into a dramatically colorful solo. An unaccompanied solo from Michelin opens “Libra” before Roeder and Lehmann outline a 6/8 swing rhythm behind Salles and Manricks’ intertwining melodic lines. Michelin gracefully journeys into the solo cycle, running long lines through a wide range while maintaining a narrowly focused sense of swing. Manricks cleverly plays around pieces of the melody before diving headfirst into a stream of bopish ideas that draw an avid response from the rhythm section. Roeder maintains a funky bass line over a cha cha cha groove on “Sphere” while Salles and Manricks travel through one of the album’s most memorable melodies. The rhythm section shrinks to a skeleton of the main rhythm while Manricks builds from sparse thoughtful lines into bold runs, followed by Michelin, who gets some extremely insightful support from Roeder and Lehmann, allowing him to create a strong solo shape. Salles charges into a thin texture as Michelin alters the harmonic and rhythmic structures behind him; Salles masterfully builds his idea into a climatic moment that transitions into a tasteful solo from Lehmann. Salles and his group display a high comfort level in these other rhythmic realms, but more importantly, they show confidence in their artistic aesthetic guiding their performance into a consistently bold direction.
An Inspiring Look At Salles The Composer And Performer
Salles’ quintet honors the depth of his pieces on Timeline, visiting each one with an exploratory enthusiasm, an unstoppable creative energy, and a high level of musical insight. Each piece offers a distinct challenge to the performers – from interesting harmonies to odd-meter time signatures and complex melodic ideas, the performers must navigate through a thick musical setting. The quintet handles this task without blinking an eye; instead, they focus their energy upon self-expression and spontaneous improvisational conversations. As a result, the engaging personal style of each individual performer and the group as a whole rises into the forefront, making the journey through Salles’ compositions about more than just the musical concepts. The performers freely take risks throughout the set, stepping in and outside of the changes, providing rhythmic contrast, and consistently pushing the envelope of their musicality. The group excels at the manipulation of texture, shifting instrumental combinations behind soloists and the using the power of the full band to drive the improvisation to another level. Both Salles and Manricks emerge as distinctive voices on the saxophone, combining the best of qualities of the modern jazz language with the intricate knowledge of Latin rhythms. Roeder shines as both a strong soloist and an insightful accompanist throughout the album; his bold tone, coupled with his infallible musical perspective ensures a steady foundation throughout the album. The live energy of the performance and the bold interplay of the musicians ensures an engaging musical experience on Timeline, providing an honest picture into the deep and inspiring world of Salles the composer and performer.
The influential meeting between bebop trumpet player Dizzy Gillespie and Cuban conguero Chano Pozo brought many benefits into the Latin Jazz world. With one of leading proponents of the modern jazz world supporting the inclusion of Afro-Cuban rhythms into the harmonic language of bebop, Latin rhythms found a legitimate connection to jazz. Gillespie’s prominence in the public eye led the to quick spread of Afro-Cuban Jazz, both in popularity and practice. The general public had already lived through a love affair with Latin ballroom dance, and the inclusion of “spicy” rhythms into jazz once again made this increasingly intellectual music appealing. Many jazz artists followed Gillespie’s lead, incorporating Cuban rhythms into a jazz context. These artists met varying degrees of success, and they all held the team of Gillespie and Pozo as their measuring stick. Cuban percussionists gained notoriety, and musicians such as Mongo Santamaria, Armando Pereza, and Ray Barretto found work with jazz artists. Many bands that had been performing a mix of Afro-Cuban rhythms and jazz previously, such as The Machito Orchestra and Tito Puente, found themselves becoming popular among jazz artists. The pioneering work of Gillespie and Pozo heralded the arrival of Latin Jazz in the public’s eye, and their brief collaboration became the cornerstone of Latin Jazz in the United States.
The team of Gillespie and Pozo composed a number of Latin Jazz originals that soon became standard repertoire; one of their most enduring compositions is the classic “Tin Tin Deo.” The piece draws upon a standard form commonly used during the bebop era, the 32 bar AABA form. The A section contains a repeated chordal figure that often serves as a vamp for the introduction, solos, or outro. Rhythmically the song has been through many different interpretations, including arrangements based upon cha cha cha, bembe, and guaguanco rhythms. In its most common performance practice, “Tin Tin Deo” utilizes an Afro rhythm with a switch into swing on the B section. The melody aligns properly with the clave, but it slyly avoids an interlocking relationship; instead the melody floats over the changes with a bold freedom. Its catchy nature can’t be denied though – after playing this song a few times, any musicians will walk away with the tune stuck in their head. “Tin Tin Deo” holds all the strong musical characteristic that makes it a favorite among many musicians, and many times artists from both the jazz and Latin world will know it well.
I’ve collected 10 outstanding versions of “Tin Tin Deo,” listed below by the album and artist that performed the track. One of the strengths of this composition is its inherent flexibility; a fact that you will hear as each musician provides a slightly different arrangement. Musicians should check out each arrangement and investigate the stylistic changes, the common breaks, and the unique voicings. They should also memorize the melody and chord changes – this tune could arise at any gig in any form, so be prepared for anything. Non-musicians will enjoy the trip through all 10 versions of “Tin Tin Deo.” It’s a fascinating journey that says a lot about the musical personalities behind some of the biggest names in Latin Jazz. Each of these musicians undoubtedly knows this piece well, but the way that they choose to arrange and record it reveals some interesting aspects of their artistic aesthetics. Take the opportunity to check out all 10 versions and build an appreciation for one of the well-established standards in the Latin Jazz world.
———- 1. Dizzy in South America: Official U.S. State Department Tour, 1956, Vol. 2, Dizzy Gillespie Gillespie composed “Tin Tin Deo” during his brief but brilliant collaboration with Cuban conguero Chano Pozo, and the tune remained in his repertoire throughout his career. As a result, he recorded the song many, many times, yet this version features one of his early big bands. The U.S. State Department recruited Gillespie as an Ambassador of Goodwill in the 1950s, funding travel and performances for his big band to South America and beyond. Gillespie hired young trumpet player Quincy Jones to serve as arranger and musical director, giving us fantastic versions of Gillespie tunes such as this one. A stuttering sax part outlines an up-tempo cross between Afro and tango, transitioning into Gillespie’s personalized reading of the melody. The band explodes into a roaring swing on the bridge, handing the melodic duties to baritone saxophone soloist Marty Flax. Screaming brass hits lead into Flax’s improvisation, leaving short spaces for him to weave twisting melodies. Flax displays prodigious bebop chops, combining his deep rich tone with bluesy chromatic lines. It’s a stunning rendition of this tune from the composer, armed with the strength of a powerful big band and Jones’ arranging skills.
2. Spanish Rice, Clark Terry & Chico O’Farrill The true test of a standard isn’t necessarily how many times it gets recorded, but rather who chooses to record it. In this case, “Tin Tin Deo” receives the ultimate honor as trumpet player Clark Terry, a jazz master, and Chico O’Farrill, an influential Cuban arranger, visit it on Spanish Rice. The album takes Terry out of his standard context and places him into expert Latin arrangements from O’Farrill with memorable results. The rhythm section provides a lazy pedal tone behind a lush chordal layer of brass players, quickly transitioning into an Afro rhythm for the melody. Terry travels through the A section with a bluesy flair, bending notes and adding tasteful embellishments as the trumpet section provides harmon mute colored attacks. The trumpet players ditch their mutes for a powerful harmonized interpretation of the melody, contrasted by guitarist Everett Barksdale’s quiet melodic turn. The wind players support Terry’s solo with an unexpected coro section, pushing the track forward with this new texture. Terry expertly winds brief licks around the coro, building a longer statement from connected ideas. The wind players build a vamp around the Afro groove, driving the track into a climatic conclusion. This track provides a short but interesting look at two masters exploring a classic standard in the Latin Jazz realm, gathering their collective experience into a tight arrangement and performance.
3. Tribute to the Masters, John Santos and the Machete Ensemble The members of the Machete Ensemble always displayed outstanding performance skills, but the true beauty of the group was their unique vision of Latin Jazz, which they show on their version of “Tin Tin Deo.” A series of swung band hits boldly transition into a solid Afro groove, spearheaded by pianist Rebeca Mauleon and bassist David Belove. Ron Stallings rides over the rhythm section with a cutting soprano sax tone, driving the momentum forward as the band moves into swing at the bridge. Trombonist Wayne Wallace assertively creates a strong statement over a cha cha cha groove with rhythmic accents and jagged melodic lines, shifting into high gear as the rhythm section bursts into a double time guaguanco. The rhythmic structure disappears behind flautist John Calloway’s improvisation, who freely develops a distinctive statement through an interactive conversation with Santos’ congas. Swing hits take the band back into the melody, closing an innovative vision of a classic tune.
4. Get Out of My Way, The Estrada Brothers Classic tunes like “Tin Tin Deo” live through generations of revisions, arrangements, and perspectives, resulting in lively, modern versions like this recording from The Estrada Brothers. Longtime veterans of the Los Angeles Latin Jazz scene, the Estrada group carries a deep familiarity with standards like this and generally apply witty ideas to performance. Vibraphonist Ruben Estrada, pianist Joe Rotondi, and bassist Malcom Ian Peters leap into an aggressive vamp over a driving songo groove that races towards a sparse son montuno with ferocious runs and abrupt breaks. Ruben Estrada freely interprets the melody, finding a natural propulsion from Rotondi’s montuno, while brother Henry Estrada rides a swing melody over the bridge. The band returns to son montuno for Ruben Estrada’s vibe solo, who balances his Cal Tjader influence with a virtuosic flair, gliding over the keys with a quick ease. The band quiets as Henry enters into his soprano sax statement, building behind Henry’s finely crafted statement with an interactive intensity. The group makes a brief return to the melody before jumping into the original vamp for an exciting solo from conguero Raul Rico which closes the track on a high note. The group’s combination of experience and new ideas take a well-worn standard and re-imagine it into a fresh musical experience.
5. Kenya Revisited, Live!!!, Bobby Sanabria Conducting The Manhattan School of Music Afro-Cuban Jazz Orchestra Experience may offer the benefits of hindsight, but youth presents a fresh and enthusiastic perspective that can sometimes take a standard into a new realm. Drummer Bobby Sanabria leads the Manhattan School of Music Afro-Cuban Jazz Orchestra through an exploration of the version of “Tin Tin Deo” presented by Machito And His Afro-Cubans on their classic album Kenya, adding some creative twists. Pianist Christian Sylvester Sands opens the piece with an unaccompanied solo that resonates with an addictive creative energy, as he combines dynamic contrast and lush harmonic touches into a full statement. Assertive brass hits lead into a strutting sax guajeo and a solo melodic reading from trombonist Timothy Vaughn, followed by a thickly harmonized bridge. The thick big band sound disappears as Sands reemerges with beautifully constructed improvisation that starts with ample space and grows into a thundering wave of sound above rhythmic background lines. A screaming trumpet line leads into a dramatic stop break as electric bassist Billy Norris runs into the spotlight with a chop melding fill. Norris takes the opportunity to display both his melodically intelligent side and his extensive technique on his improvisation, building his statement over increasingly dissonant chordal pads. As Norris draws his idea to a close, the band enters a propulsive moña that charges into explosive band attacks and a return to the main melody. The rhythm section disappears as the trombone section enters into a richly harmonized chorale that emphasizes the instrument’s harmonic possibilities. The band screams into aggressive hits which lead them into a half time swing while muted trombones improvise. There’s a bluesy edge to the proceedings here, until unison band hits take the group back to the Afro groove and an exciting close. Sanabria and the group take quite a ride through different possibilities on their vision of “Tin Tin Deo,” combining the best qualities of an established arrangement with a youthful perspective.
6. Afro-Jaws, Eddie “Lockjaw” Davis Sometimes a fresh perspective requires an artist from outside a song’s given genre, a unique voice that can provide an unbiased vision of the song. Tenor saxophonist Eddie “Lockjaw” Davis took a brief dip into the Latin Jazz world with his album Afro-Jaws, adding his distinct voice to a ferocious Latin rhythm section, guided by conguero Ray Barretto. The percussionists start the song with a driving rumba guaguanco as Davis lazily places the melody over the sparse setting. A strong trumpet section interjects frenetic bebop licks between melodic phrases, adding to the song’s overall momentum. The tension builds as bassist Larry Gales and pianist Lloyd Mayers enter the mix until the group explodes into a wildly swinging interpretation of the bridge. After a return to the guaguanco to end the melody, the group abandons the Latin element and jumps into a straight-ahead swing aesthetic for solos. Davis thrives in his element here, weaving blues drenched hard bop melodies through drummer Ben Riley’s lad-back swing. Clark Terry follows with a fluid flugelhorn improvisation, traveling through his range with comfortable phrases. The changes work well in a swing context, and Barretto’s masterful swing tumbao seems perfectly natural. An abrupt change back into guaguanco allows Davis to revisit the melody before Barretto ends the tune with an improvisatory flair. It’s an interesting perspective on “Tin Tin Deo,” showing us that the tune has more than enough flexibility to work in the swing world.
7. Jazz Descargas, Conga Kings Many times the chords or melody can define a standard, but the performance context can change drastically. When percussionists Candido Camero, Carlos “Potato” Valdes, and Giovanni Hidalgo came together as The Conga Kings, their performance was defined by the depth of their collaboration. A drum heavy 6/8 rhythm introduces the piece, with all three congueros contributing to the groove among a wealth of bells and shakers. Guitarist John Benthal, tresero Nelson Gonzalez, and bass player Guillermo Edghill enter with a subdued vamp over the drummers, keeping the focus upon the rich percussion work bubbling in the background. Trumpet player Alfredo “Chocolate” Armenteros joins the group with a soulful rendition of the melody, putting each piece of his extensive experience behind every note. Alto saxophonist Phil Woods takes pieces of the melody, working around an exquisitely understated arrangement. Armenteros takes the lead as soloist, subtly working through the changes with taste and style. The rhythm section unobtrusively keeps the groove behind Armenteros as the remaining wind players interject rhythmic background lines. Benthal, Gonzalez, and Edghill bring their volume to a quiet roar as the three masters take turns commenting upon the vamp through their percussive expertise. There’s an underlying sense of calm behind the musicians – Benthal, Gonzalez, and Edghill keep an unchanging motion as the congueros infuse the performance with a quiet fire. Armenteros avoids an obvious return to the main melody, improvising around the changes as his band mates stay steady. In many ways, “Tin Tin Deo” serves as a launching point for The Conga Kings instead of a defining element, letting them focus upon their performance context.
8. Cubacan, Francisco Aguabella Legendary drummers certainly carry common traits, and they often hear music in similar ways. Pozo embedded his personal traits deeply into the core of “Tin Tin Deo” and Aguabella reads the song’s soul with a fluent understanding. Bassist Tony Banda and pianist Donald Vega set up a 6/8 rhythm with a driving momentum that smoothly transforms into a cha cha cha as trumpet player Ron Blake enters with the melody. The band continues with frequent shifts between the two grooves behind the melody, held together with some interesting supportive horn writing from arranger Francisco Torres. The group flies into a double time guaguanco behind tenor saxophonist Justo Almario, who passionately builds a riveting idea around bopish melodic lines. Almario reaches into the highest register of his instrument as the band moves back into 6/8, screeching his solo into a dramatic end. Blake leads the charge back into the melody, floating over the changing pulse of the rhythm section and the rest of the wind players. Banda and Vega return to the initial 6/8 vamp while Aguabella riffs around the groove until the rhythm section explodes into a wild double time songo with Vega’s fiery montuno at the core. Aguabella demonstrates his percussion mastery over this intensive setting, firing streams of syncopated rhythms and fast licks into a coherent and exciting statement. Aguabella leads his group through an intensive percussive experience on this track, demonstrating once again that great minds, and great drummers, think alike.
9. El Conguero, Poncho Sanchez Sanchez has made a career from the able interpretation of jazz and Latin standards into solid recorded products that allow his band to display their strong performance abilities. The ambient sound of shakers and random percussion attacks introduces a slow and methodical bembe rhythm, established by Ramon Banda’s bell pattern and a steady chekere. As the piano and bass enter over the percussion, Sanchez’s horn section attacks the melody with a jazz edge and their well-known sharp, precise rhythmic phrasing. The arrangement reflects an original take on the well-known standard, with clever twists upon the common melodic direction and smooth transitions between bembe and an up-tempo son montuno. Trombone player Art Velasco takes his time developing a clearly defined idea full of rhythmic accents and jazz chromatics as the rhythm section cooks with a blazing intensity. A firm ponche figure sets-up pianist David Torres’ solo, with the rhythm section providing unobtrusive support in the background. Torres employs a jazz emphasis, running long quick lines over the rhythmic structure with an audible shape and design. After a restatement of the melody, the rhythm section hangs on the bembe pattern allowing the drummers to add quick attacks. There’s a sense of Sanchez personality throughout the track, revisiting this classic standard with a clarity and sharply defined vision that shines through as his trademark.
10. Listen Here!, Eddie Palmieri The flexibility of the jazz idiom allows for a wealth of exciting collaborations, but sometimes the most interesting performances result from a long standing group. While Eddie Palmieri integrates a variety of guest artists throughout his album Listen Here!, the beauty of his “Tin Tin Deo” arrangement revolves around the strength of his core group. Palmieri and his rhythm section establish a solid cha cha cha foundation, making room for a melodic introduction from trumpet player Brian Lynch. Saxophonist Donald Harrison infuses his reading of the melody with a strong sense of personality as the remaining wind players wrap clever chordal passages into the background. Harrison actively weaves bop-charged lines through the inspiring rhythm section work, providing a serious master class on improvisation through these changes. The band supportively adds background lines and an unstoppable groove behind Harrison as he stretches across several choruses. Palmieri explodes into his improvisation with a flurry of aggressive syncopated lines which immediately push the band into a new dynamic level. The solo screams with a Palmieri intensity as he employs ample amounts of harmonic dissonance and percussive madness, delivering a classic statement. As he completes his idea, Palmieri storms into a steady cha cha cha vamp, making room for a dynamic improvisation from conguero Giovanni Hidalgo. The stunning display of conga mastery leads the group into a full throttle mambo, which leads into the track’s completion at a powerful dynamic climax. While the musicians show their familiarity with “Tin Tin Deo” at every turn, their performance resonates with the distinctive sound of the Palmieri band, a sign of a strong working ensemble.
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
Brazilian guitarist Torinho Horta will be giving a two-hour master class as part of the Healdsburg Jazz Festival next Monday June 1st at the Palette Art Cafe. Horta will talk about his left and right hand guitar technique, but he’ll also have insight into Brazilian music and his compositions – it’s a clinic for everyone! The clinic will happen from 3:30 – 5:30 and costs $75. You can hang out and have lunch with Torinho & the clinic participants for an extra $15 at 2:30. You can get the complete info online at the Healdsburg Jazz Festival Web Site HERE.
This Saturday May 30, The Jazz Museum In Harlem will be hosting an event entitled “El Barrio, Spanish Harlem: Birthplace of Afro-Cuban Jazz.” This will include a lecture from renown percussionist, bandleader, and educator Bobby Sanabria, a screening of the documentary film “From Mambo To Hip Hop – A South Bronx Tale,” a discussion of the socio-political significance of Machito & His Afro-Cubans by Felipe Luciano, and a panel discussion from René Lopez, Ray Santos, Candido Camero, Joe Conzo Sr., and Mario Grillo. The event will run from 10:00 a.m. to 4:00 p.m., so if you’re interested come on out – it’s free! This sounds like an incredible event, if anyone gets a chance to check it out, please get in touch and let me know how it went! Get all the details HERE.
Congratulations to all of the nominees in the Latin Jazz category of the 2009 Jazz Journalists Awards. LJC 2008 Latin Jazz Vocalist of the Year Kat Parra received a nod for her album Azucar De Amor, as did John Santos for Perspectiva Fragmentada, Bebo Valdes for Live At The Village Vanguard, and Arturo O’Farrill for Song For Chico. The winners will be announced on June 16 at The Jazz Standard in New York City. Get the full details on the awards HERE. Congratulations to the JJA for picking some outstanding Latin Jazz albums – we’ll be waiting to hear the results!
If you’re in THE CARIBBEAN this week . . . CONRAD HERWIG
Heineken Jazz Festival WHEN: Sunday 5/31/09 WHERE:Tito Puente Auditorium
Ave. Jesús T. Piñeiro, Esq. Expreso Luis A. Ferré
Hato Rey, PR TIME: 8:00 p.m. TICKETS: $30 – $100
EDDIE PALMIERI
Heineken Jazz Festival WHEN: Friday 5/29/09 WHERE:Tito Puente Auditorium
Ave. Jesús T. Piñeiro, Esq. Expreso Luis A. Ferré
Hato Rey, PR TIME: 11:00 p.m. TICKETS: $30 – $100
ENCLAVE
Heineken Jazz Festival WHEN: Friday 5/29/09 WHERE:Tito Puente Auditorium
Ave. Jesús T. Piñeiro, Esq. Expreso Luis A. Ferré
Hato Rey, PR TIME: 8:00 p.m. TICKETS: $30 – $100
If you’re in EUROPE this week . . . JOVINO SANTOS NETO WHEN: Friday 5/29/09 WHERE:Tinguely Museum’s Roche ’n’ Jazz
Basel, Switzerland TIME: 4:00 p.m. TICKETS: Free with museum admission
OMAR SOSA
Solo Piano WHEN: Monday 5/26/09 WHERE:Basilica dei Frari
Venice, Italy TIME: 8:30 p.m. TICKETS: 10 euros
If you’re on the EAST COAST this week . . . ARTURO O’FARRILL
Solo Piano WHEN: Wednesday 5/27/09 WHERE:Puppet’s Jazz Bar
481 5th Avenue Park Slope
Brooklyn, NY TIME: 7:00 p.m. TICKETS: $10
with the Afro-Latin Jazz Orchestra WHEN: Saturday 5/30/09 WHERE:The Saratoga Performing Arts Center
108 Avenue of the Pines
Saratoga Springs, NY TIME: 8:00 p.m. TICKETS: $25
BLUE MAMBO WHEN: Wednesday 5/29/09 WHERE:Willie’s Steak House
1832 Westchester Ave
Bronx, NY TIME: 8:00 p.m.
CARLOS JIMENEZ WHEN: Saturday 5/30/09 WHERE:El Puerto
500 West 145th Street
New York, NY TIME: 6:30 p.m.
CHICO O’FARRILL’S AFRO-CUBAN JAZZ ORCHESTRA WHEN: Sunday 5/31/09 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 5/31/09 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
Cuban Piano Summit WHEN: Sunday 5/31/09 WHERE:Bearsville Theater
291 Tinker Street
Woodstock, NY TIME: 8:00 p.m. TICKETS: $35 in advance; $40 at door
DAFNIS PRIETO
Commissioned Work In The American Music Festival WHEN: Wednesday 5/27/09 WHERE:The Greene Space
44 Charlton Street
New York, NY TIME: 8:00 p.m. TICKETS: FREE
ELIO VILLAFRANCA
Cuban Piano Summit WHEN: Sunday 5/31/09 WHERE:Bearsville Theater
291 Tinker Street
Woodstock, NY TIME: 8:00 p.m. TICKETS: $35 in advance; $40 at door
LUCIA PULIDO
Duet w/Aquiles Baez WHEN: Thursday 5/28/09 WHERE:Barbes
376 9th Street
Brooklyn, NY TIME: 8:00 p.m. TICKETS: $10
WHEN: Sunday 5/31/09 WHERE:Queens Central Library
89-11 Merrick Boulevard
Jamaica, NY TIME: 3:00 p.m. TICKETS: FREE
NEGRONI’S TRIO WHEN: Friday 5/29/09 WHERE:Taste of the Gables
65 Miracle Mile
Miami, FL TIME: 6:00 p.m. TICKETS: FREE
PILAR DE LA HOZ WHEN: Tuesday 5/26/09 – Sunday 5/31/09 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m.; Thursday – Sunday 10:30 p.m. set TICKETS: NO COVER
RODRIGUEZ BROTHERS WHEN: Thursday 5/28/09 WHERE:Fonda Boricua Lounge
East 106th Street
New York, NY TIME: 9:00 p.m. TICKETS: NO COVER
SAMMY FIGUEROA WHEN: Thursday 5/28/09 WHERE:Van Dyke Cafe
846 Lincoln Road
Miami Beach, FL TIME: 9:00 p.m.
STEVEN KROON WHEN: Friday 5/29/09 – Saturday 5/30/09 WHERE:Sweet Rhythm
88 Seventh Avenue South
New York, NY TIME: 9:00 p.m., 11:00 p.m., & 1:00 a.m. TICKETS: $20 cover; $10 minimum
VENISSA SANTI WHEN: Sunday 5/31/09 WHERE:Bistro St. Tropez
2400 Market Street
Market Place Design Center 4th Floor
Philadelphia, PA TIME: 11:30 a.m. TICKETS: $15
WILLIE MARTINEZ WHEN: Thursday 5/28/09 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 . . . LOS GATOS WHEN: Thursday 5/28/09 WHERE:The Firefly Club
637 S. Main
Ann Arbor, MI TIME: 8:00 p.m. TICKETS: $8
TUMBAO BRAVO WHEN: Sunday 5/31/09 WHERE:Taste of Ann Arbor
Main Street
Ann Arbor, MI TIME: 11:30 a.m. TICKETS: FREE
WHEN: Sunday 5/31/09 WHERE:Sangria – Royal Oak
401 S. Lafayette
Royal Oak, MI TIME: 9:00 p.m.
If you’re on the WEST COAST this week . . . ALEXA WEBER MORALES WHEN: Saturday 5/30/09 WHERE:La Furia Chalaca
310 Broadway
Oakland, CA TIME: 7:00 p.m.
BILL CUNLIFFE & IMAGINACION WHEN: Wednesday 5/27/09 WHERE:Pasadena Presbyterian Church
585 E. Colorado Blvd
Pasadena, CA TIME: 7:30 p.m. TICKETS: FREE
ESTRADA BROTHERS WHEN: Saturday 5/30/09 WHERE:Steamer’s
138 West Commonwealth
Fullerton, CA TIME: 8:30 p.m. TICKETS: $8
GRUPO FALSO BAIANO WHEN: Thursday 5/28/09 WHERE:Sapore Italian Restaurant
1447 Burlingame Avenue
Burlingame, CA TIME: 6:30 p.m.
WHEN: Sunday 5/31/09 WHERE:Palette Art Cafe
235 Healdsburg Ave, #105
Healdsburg, CA TIME: 7:00 p.m.
JOHN SANTOS WHEN: Friday 5/29/09 – Saturday 5/30/09 WHERE:Yoshi’s – Oakland
510 Embarcadero West
Oakland, CA TIME: 8:00 p.m. & 10:00 p.m. TICKETS: $28
Kenya Revisited Live
Bobby Sanabria Conducting The Manhattan School of Music Afro-Cuban Jazz Orchestra Jazzheads
Today’s young generation represents the future of Latin Jazz, but the acceptance of this responsibility requires a broad artistic vision that captures the past, present, and future of the genre. Today’s generation stands upon the shoulders of a music with a rich and often misunderstood history that reaches from coast to coast and into the depth of the Caribbean and South America. They need to understand and accept the genre’s inherent duality, soaking themselves in the complex harmonies and melodic language of jazz and the rhythmic intricacies of rumba, mambo, cha cha cha, and more. Their study of the past needs to go beyond the surface, delving deep into the works of Machito, Bauza, Puente, and all the masters that established the foundations of the Latin Jazz world. Today’s generation needs this in-depth connection to the past, but the also need to aware of the world in front of them. They can’t ignore modern trends and innovations; otherwise they risk turning the lively Latin Jazz classics into a series of static museum pieces. There needs to be a conscious awareness of both eras – rather than revisit the Latin Jazz master works of the past, today’s generation needs to re-imagine them. They need to respectfully recognize the contributions of our elders, build a deep understanding and then view them through the filters of today’s modern music world. This places the younger generation in a precarious position of maintaining the roots of our tradition without letting them become irrelevant; a task that will determine the future of Latin Jazz for many years. Fortunately, percussionist Bobby Sanabria is leading this charge, guiding The Manhattan School Of Music’s Afro-Cuban Jazz Orchestra on a creative ride through one of the most important albums in Latin Jazz history on Kenya Revisited Live.
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Diving Into Jazz Heavy Tracks
The orchestra dives deep into the classic jazz heavy tracks with enthusiastic vigor, displaying some outstanding technical abilities and top-notch soloing skills. The group recognizes the contributions of sax legend Julian “Cannonball” Adderley on A.K. Salim’s “Cannonology,” opening with moving harmonies and intertwining wind parts. Alto saxophonist Justin Janer tears through the changes with a virtuosic display of impassioned improvisatory magic paying tribute to the jazz master in a grand style as the band screams with sharp attacks. The group breaks into a percussion ensemble as the audience claps clave and the band sings a repeated coro, providing the opportunity for percussionist Giancarlo Anderson to show that he has studied the Machito Orchestra’s original bongocero Jose Mangual Sr. The sax section breezes through a laid back melody over a consistent cha cha cha rhythm on “Blues A La Machito,” weaving through percussive accents from the brass players. Trumpet player J.J. Kirkpatrick digs into the song’s soulful sound with a wah wah mute, creating a raw and funky sensation that pushes the band forward. The group builds upon Kirkpatrick’s momentum, moving into a confident swagger that resonates with the best qualities of the blues. The rhythm section dives into a powerful bembe rhythm beneath Salim’s classic theme on “Conversation” as trumpet player Jonathan Barnes rides through the band’s rich texture with a melodic reading on Harmon mute. A unison break sends the band sailing into an up-tempo mambo, before the rhythm section falls into a ferocious swing section behind tenor saxophonist Pawan Benjamin. As the band shows that it swings with a fire, tenor saxophonist Michael Davenport takes a strong solo before the sax section rips into bebop charged soli. Pianist Christian Sylvester Sands displays an advanced musical maturity with an extended introduction to the Chano Pozo classic “Tin Tin Deo.” The band visits the well-known melody before supporting an involved improvisation from Sands and a solo from electric bassist Billy Norris who develops his idea into a climatic statement. The rhythm section disappears as the trombones take center stage in a rich choral, guiding the band into a half time swing for some the of the album’s most creative arranging. The students maintain a strong connection to the album’s jazz heavy pieces, relying upon their strong set of musical skills to push the envelope.
Creating Swinging Palladium Era Mambo
The students also leave no question that they have studied their Palladium era mambo, with an equally swinging set of inspired performances rooted in Afro-Cuban dance music. The saxes hit an aggressive stride with a sharp repeated rhythmic pattern behind a virtuosic melodic display from the brass players on the up-tempo burner “Frenzy.” The trombone section proves their worth with a frenetic exchange of improvised ideas, bringing Tim Vaughn, Felix Fromm, Nate Adkins, and T.J. Robinson into the forefront. The band switches to a minor mode as Janer races over the changes with a fiery solo that slides into a crazed sax soli and an impressive improvised display from drummer Norman Edwards. Arranger Danny Rivera creates a distinctive tribute to Cannonball Adderley on “Oyeme” as he slides the chord changes to John Coltrane’s “Giant Steps” behind Salim’s original melody. The sax section harmonizes the first four measures of Adderley’s recorded solo, serving as a springboard for a mixture of modal improvisation and witty rhythmic playing from alto saxophonist Vince Nero. Trumpet player Michael Taylor screams into his solo with a bold long note that leads into a fiery statement before the band disappears for a collective improvisation from Nero and Taylor. The saxes established a percussive rhythmic pattern, guiding the band into a catchy melody on “Holiday,” playfully executed by Barnes and his Harmon mute. The winds and the rhythm section roar with an intertwining break as Barnes abandons the mute and fearlessly jumps into stream of strong hard bop fueled melodic lines. After an interesting interlude, Fromm bravely travels through the changes with a fierce improvisation before the band leaps into the melody with a thick harmonized sound. Individual band members layer into the groove on “Minor Rama” before the saxes and trombone trades pieces of the melody with an unstoppable inertia and an impeccable rhythmic feel. Baritone saxophonist Michael Sherman exposes the instrument’s finest qualities with a raging stream of notes that travels from lows to highs with a passionate bravura. A frighteningly precise soli section leads the band into a percussion feature where percussionist Christian Rivera presents a tasteful bongó solo, filled with classic licks. The orchestra proves that they have done their homework on every front, ripping through up-tempo mambos with an authentic feel and a spirited performance aesthetic.
Inspiration From Guest Artists
With their broad range of skills on full display, the orchestra makes their final connection to the original recording with some guest appearances from master Latin Jazz musicians. The rhythm section establishes a laid-back Afro feel with gentle sax kicks on Mario Bauzá and Rene Hernández’s “Kenya,” finding a nice space for Vaughn to walk his trombone through the melody. The band travels through some gorgeous textures with rich thick chords that lead into a restatement of the melody from Benjamin. In an explosive change of gears, the rhythm section flies into a no-holds barred rumba abierta as guest soloist Candido Camero shows his chops, taste, and musicality with a memorable conga solo. The sax section aggressively races through high tempo bop lines and the brass section provides sharp attacks as Camero handles the fast tempo with skill on “Wild Jungle.” Taylor drives his trumpet through the high tempo with screaming high notes until Benjamin enters with a ferocious improvised intensity over the manic groove. The band hits brash kicks as Sanabria fills through them on the drum kit, turning the spotlight to Camero, who matches the song’s momentum for a while before riding through an unaccompanied statement. The band romps through an original arrangement of “Congo Mulence” which alters the song’s basic feel by combining several different rhythmic styles. Trumpet player Anthony Stanco struts through the greasy cha cha cha with a bluesy plunger mute before handing the front spot to Davenport for soulful improvisation full of screeching high sax notes. Sands flies through an up-tempo son montuno before Norris evokes a deep Cachao influence on an acoustic bass solo and Sanabria delivers an energetic timbale solo. The band takes a totally different approach on Salim’s “Tururato” with a funky New Orleans second line feel that simply overflows with a down home appeal. Barnes soars over the riffing sax section with quick runs, screaming high pitches, and some improvised harmonies from his partners in the trumpet section. The band comes down, providing a centerpiece for Norris, who displays some impressive electric bass funk chops before Sanabria engages in the audience in a fun and spontaneous call and response. Camero and Sanabria create that final link for the students, connecting their extensive studies to the roots of the tradition in a very real and authentic way.
Keeping The Future of Latin Jazz In Good Hands
Sanabria and the Manhattan School of Music’s Afro-Cuban Jazz Orchestra display the results of an intensive study on Kenya Revisited Live, and their performance reveals a thorough understanding of the past with an eye on the future. Each track resonates with the heart and soul of the Machito classic which set the standard for excellence in big band Latin Jazz over fifty years ago. Sanabria infuses the students with an appreciation of the music, a love of the style, and an informed perspective on the inner workings of each chart. Joe Fiedler, Danny Rivera, Andrew Neesley, and Michael Philip Mossman help shape the proceeding with forward looking arrangements that are bursting with creativity while staying firmly planted in the shoes of the original tracks. Camero, one of the original musicians on the classic Machito recording, stands out as an important piece of the puzzle, connecting the past to the present. His appearance does more than simply provide credibility to the performance though, it pushes the students to excel; they do so with style and then proceed to push back with an enthusiastic passion. This give and take results in dazzling performances that range from stunningly executed band passages to inspiring improvisations and unforgettable rhythm section work. Janer, Norris, Taylor, and Edwards emerge as young jazz voices to watch with the rest of the band drives the show at an exceedingly high level. With bold mentors like Sanabria leading passionate and talented musicians like the Manhattan School of Music’s Afro-Cuban Jazz Orchestra, the future of the Latin Jazz world rests in good hands; as they show on Kenya Revisited Live, they’ve got the talent and vision to bring the past, present, and future of Latin Jazz together into a unified whole.
The Exploring series allows you to travel with me as I explore various sides of Latin Jazz that are still fairly new to me. I’ve studied and performed Cuban-based Latin Jazz quite a bit, and to a lesser degree, I’ve been involved with Brazilian influenced Latin Jazz. Today’s modern Latin Jazz world encompasses much more than the music of Cuba and Brazil though, and I feel a bit behind the times. I encourage you to join me as I broaden my horizons and learn more about a variety of Latin Jazz styles.
As 2009 continues to unfold, one fact stands apparent in the Latin Jazz world – Afro-Peruvian jazz keeps gaining strength and momentum. We moved into the year with the announcement that guitarist Eric Kurimski’s Réplica had won Latin Jazz Album of the Year at LJC, a well-deserved tribute to an outstanding collection of Afro-Peruvian Jazz performances. From there, stellar Afro-Peruvian Jazz releases have continued to arrive in 2009, including pianist Geoffrey Keezer’s Áurea and guitarist Yuri Juarez’s Afroperuano. Peruvian jazz trio Manante made an impact upon the international stage with their new album Para Los Engreidos and a growing internet presence. Trumpet player Gabriel Alegria toured a large portion of the United States with his Afro-Peruvian Jazz Sextet, thrilling audiences and inspiring students at educational clinics. Just last week, the first restaurant and nightclub exclusively supporting Afro-Peruvian Jazz opened its doors in New York City, as the Tutuma Social Club began its run with artists such as Sofia Rei Koutsovitis and Pilar de la Hoz. Afro-Peruvian Jazz has grown into a major piece of the Latin Jazz world, and we need to keep an eye on its evolution into the coming years.
It’s important to remember that Afro-Peruvian Jazz didn’t arrive out a vacuum in the past two years though, and I’ve began looking back into earlier examples of the style – leading me to New York vocalist Corina Bartra. A wonderful vocalist originally hailing from Peru, Bartra has been working in New York for several years now, spreading the word about Afro-Peruvian music and its connection to jazz. Her music background stands upon solid shoulders with degrees from Queens College, Long Island University, and the Mannes College of Music. Bartra adds musical depth and originality to her pieces with extensive arrangements, creative instrumental sections, and a distinctive vocal quality that walks the line between traditional Peruvian vocals and jazz phrasing. Her repertoire includes jazz-tinged arrangements of Peruvian folk music, jazz standards with a Peruvian twist, inspired original compositions, and quick dips into the realm of Afro-Cuban jazz. Over the course of several years and extensive performing experiences, Bartra developed a solid approach to the combination jazz and Afro-Peruvian rhythms, giving the Latin Jazz world an early shot of Afro-Peruvian Jazz.
I’ve had the opportunity to check out a couple of Bartra’s albums over the past couple of weeks, and I wanted to pass on the information about an interesting artist that has been doing Afro-Peruvian Jazz for a while
———- Son Zumbon
Originally available in 2000, Bartra did some additional recording in 2008 and re-released the album, giving us a broad perspective of her musical concept. The majority of the album stays focused upon Afro-Peruvian rhythms, providing a healthy dose of festejo and lando, with quick dips into Cuban and Brazilian realms. The majority of the repertoire comes directly from Bartra’s compositions, but she also draws upon her band members, traditional songs, and a jazz standard. Bartra’s vocals shine in this context; she obviously understands the genre’s conventions and can phrase smoothly around the vital accent points. At the same time, there’s a unique quality and rough edge to the tone of Bartra’s voice that reflects an interest in jazz modernism and 1970s avant-garde approaches. Bartra surrounds herself with outstanding musicians from the jazz and Latin music world on Son Zumbon, who understand and fully support her ideas. Bassist Oscar Stagnaro, drummer Vince Cherico, and saxophonist Peter Brainin all appear on the album, guaranteeing a strong Latin Jazz edge, while guitarist Andres Prado and percussionist Fred Berrihill provide a solid Peruvian foundation. The album resonates with musical depth and originality, displaying a solid knowledge of both jazz and Afro-Peruvian music, as well as a defined artistic approach.
Several track stand out on Son Zumbon, due to their strong performances and original arrangements. Bartra jumps right into a spirited vocal over a lando rhythm on “No Valentin,” giving way to a fiery improvisation from Brainin, an exploratory scat, and some solid cajon work from Diaz. “Alcatrachu” cleverly utilizes Bartra’s vocal and Brainin’s lyrical soprano sax to blend two classic festejo themes, providing a nice framework for improvisations full of personality from Brainin and pianist Tino Derado. A sly cha cha cha grounds Bartra’s English vocal on “Latino Blues,” before Brainin, Derado, and Berrihill open the song into a wealth of improvised creativity. “Bailan Todas Las Razas” moves between lando and festejo, contributing shape and form to Bartra’s vocal, as well as Brainin and Derado’s improvisations. An airy and open feeling permeates the mood on the standard “Green Dolphin Street,” as the rhythm section moves between a 6/8 rhythm and double time swing, allowing Bartra to creatively stretch her lyric and pushing soloists into different directions. The group dramatically jumps into a series of hits over a festejo rhythm on “Osiris,” introducing Bartra’s distinct lyric that gives way to an outstanding statement from Stagnaro. Son Zumbon contains exciting performances from all the band members, anchored by Bartra’s original compositions and arrangements, making it a prime example of Afro-Peruvian Jazz.
Bambu Sun
Recorded in 2006, Bambu Sun represents a re-emergence of Bartra as an Afro-Peruvian Jazz artist after a departure into the world of chant and mediation. There’s an energetic sense of momentum behind Bartra’s musical presence on the album, signaling a refreshed artist with an open mind and creative spirit. Her arrangements and compositions seem inspired and her vocal performance shines with an experienced and confident sound. She stays even closer to the world of Afro-Peruvian rhythms on Bambu Sun, with only a couple of quick visits to Cuba and Brazil. The majority of the album contains Bartra originals, with short side trips into jazz standards and traditional Peruvian songs, as well as an interesting interpretation of the popular music world. Several of the same musicians support Bartra on Bambu Sun, including Cherico and Diaz. In addition, Bartra employs several other top-notch New York Latin Jazz musicians, including saxophonist Jay Rodriguez, pianist Cliff Korman, and percussionist Oscar Torres, as well as a guest appearance from jazz bassist Rufus Reid. Bartra maintains the same type of professional and creative presence that she displayed on Son Zumbon, but Bambu Sun resonates with a sense of forward motion and artistic progression that comes from experience.
That artistic development defines Bambu Sun, and the progression peeks through each track. The rhythm section closely outlines the lando rhythm on “A Saca Camote con el Pié” as Rodriguez riffs around Bartra’s Spanish lyric and Diaz creates a conversational stream on the cajon. The group creates a soothing atmosphere with a down tempo lando on “Magia y Ritmo Ancestral,” making room for Bartra’s uplifting vocal and Rodriguez’s cutting soprano sax sound. Bartra confidently scats over a double time swing feel on Wayne Shorter’s “Footprints” as the band falls into a 1960s Miles Davis aesthetic with a highly interactive performance. An inventive bass lines from David Hertzberg opens “Afro Peruvian Folk Song,” a compilation of Peruvian folk songs that draws an album highlight performance from each member, both individually and as a unit. The rich timbre of Korman’s chords fill the background on the McCartney/Lennon composition “Blackbird,” as Bartra confidently makes the lyric her own and Rodriguez infuses the song with a soulful improvisation. Bartra winds a quick series of lyrics around an up-tempo festejo on “Majoral,” setting the stage for rich improvisatory statements from both Korman and Rodriguez. Bartra’s music resonates with a new sense of purpose on Bambu Sun, as she confirms her Afro-Peruvian roots and boldly looks into new directions artistically.
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Bartra offers a creative and informed approach to Afro-Peruvian Jazz on both of these albums, showing us that the style thrived long before we found it here at LJC! Take a minute to check out Bartra’s music at her website or her MySpace. She has a new album arriving soon, so we’ll be hearing even more great Afro-Peruvian jazz in the near future. So stay tuned, and for now, enjoy Son Zumbon and Bambu Sun!
Our current Spotlight Artist Tanaóra reaffirms the strength of the Bay Area Latin Jazz scene on their current release Día Real with a set of intelligent, artistic, and accessible original pieces. There’s a professional and creative aura around the album that makes it shine with every stylistic change and original interpretation. The strong presence shouldn’t be a surprise – Tanaóra’s members include some of the Bay Area’s finest musicians that have contributed to the overall scene for many years. Led by pianist Bob Karty, vocalist Cecilia Engelhart, and percussionist Michael Spiro, the group bubbles with experience – between these three members, you’ve got connections to Orquesta Batachanga, the Machete Ensemble, Orquesta La Moderna Tradición, and more. Add bassist David Belove, drummer Paul van Wageningen, saxophonist Ron Stallings, and trombonist Jeff Cressman, and you’re making connections to gigs with Pete Escovedo, Carlos Santana, Mark Levine, Jovino Santos Neto, and more. It’s an incredible band with a heavy past that provides them with the potential to take their unique musical approach strongly into the future.
So many of the group’s members have made significant contributions to the Bay Area Latin Jazz scene, you can find plenty of information online about them both individually and as a group. The Tanaóra website offers background info on the musicians, streaming samples from Día Real, song lyrics, a calendar, and more. You can get a little closer with the group on their MySpace page. You can check out pianist Bob Karty’s website HERE, providing insight on Tanaóra, but also his work with Bay Area groups such as Edgardo & Candela, Avance, and Orquesta La Moderna Tradición. Percussionist Michael Spiro has made a name for himself both as a versatile percussionist and an in-demand educator – you can get all the details on his background, recordings, books, and teaching HERE. We did a write-up on the late influential saxophonist Ron Stallings, who spent the last years of his life performing with Tanaóra; check it out HERE. Trombonist Jeff Cressman shares a web presence with his wife Sandy and her group Homenagem Brasileira that you can check out HERE. There’s a wealth of talent in the group, and digging a little deeper will introduce you to a world of great music.
The work that these musicians have done as Tanaóra follows a high standard of excellence that they’ve displayed throughout their career. I’ve included individual information about each band member in the hopes that you can check out some of their previous work. Once you do that, jump on over to LJC’s review of Día Real and if that’s not enough, check out singer Alexa Weber Morales’ take on the album HERE. Take a chance with this group and follow the links to pick up the CD, you’ll like what you hear! Enjoy!
———- Cecilia Engelhart (voice) has recorded and performed with artists as diverse as Gerardo Batiz, Andy Bey, Ruben Blades, Theo Bleckmann, Mino Cinelu, Jay Clayton, Willie Colon, Santi Debriano, Paquito D’ Rivera, Bruce Dunlap, Rinde Eckert, Kip Hanrahan, Tania Libertad, Carman Moore, Oscar Castro Neves, Danilo Perez and Tamba Trio. She joined the Meredith Monk Ensemble as soloist and ensemble singer during a retrospective of Monk’s work at Lincoln Center for The Performing Arts in 2001 and at Mills College in 2003. She is also a regular featured soloist with the San Francisco early music group “Coro Hispano.” Cecilia is also a composer, arranger and lyricist.
Bob Karty (piano) has worked with most of the top bands on the Bay Area salsa/Afro-Cuban scene. He is an original member of Orquesta La Moderna Tradición, with whom he has recorded three critically-acclaimed CDs. On their most recent release, ‘En Canto,’ he also served as recording and mix engineer and co-producer. He also performs regularly with the salsa bands Candela and Conjunto Karabalí. His recording with the salsa band Avance (led by Santana percussionist Karl Perazzo) was nominated for a California Music Award. He has also appeared with the Pete Escovedo Orchestra, Ray Obiedo and many others. He is on the faculty of The Jazzschool in Berkeley, CA and teaches at his studio in Oakland.
Michael Spiro (percussion) is an internationally recognized percussionist, recording artist and educator, known specifically for his work in the Latin music field. Spiro’s recording and performing credits include such diverse artists as David Byrne, Dori Caymmi, Changuito, Richard Egues, Frank Emilio Flynn, Ella Fitzgerald, David Garibaldi, Gilberto Gil, Giovanni Hidalgo, Ray Holman, Toninho Horta, Bobby Hutcherson, Dr. John, Mark Levine, Machete Ensemble, Bobby McFerrin, Andy Narell, Ray Obiedo, Chico O’Farrill, Eddie Palmieri, Lazaro Ros, David Rudder, Carlos Santana, Grace Slick, Omar Sosa, Clark Terry, McCoy Tyner and Charlie Watts. In 2004 he received a Grammy nomination and a California Music Awards nomination for his work as both producer and artist on Mark Levine’s Latin-Jazz release, “Isla.”
Jeff Cressman (trombone) is a San Francisco native who has performed with a wide variety of artists, including Tito Puente, Poncho Sanchez, Pete Escovedo, Peter Afelbaum, Jai Uttal and many others. Jeff has been recording and touring the world as a member of the Carlos Santana band since 2000 and also works with the Bay Area salsa band Edgardo & Candela.
David Belove (bass) is a Kansas City native who relocated to San Francisco in 1973 and soon became the Bay Area’s most prominent Latin and Brazilian bassist. He has recorded, performed or toured with Pete and Sheila Escovedo, Tito Puente, John Santos and the Machete Ensemble, Rebeca Mauleón, Rolando Morales, Homenagem Brasiliera, Wayne Wallace, The Oakland Interfaith Gospel Choir and many more. David has also worked with Jazz artists including Joe Henderson, Blue Mitchell, Eddie Harris, Max Roach, Dizzy Gillespie, Larry Coryell, Louis Bellson, Mark Murphy and Pat Metheny. David teaches at the JazzSchool in Berkeley, CA, at Jazz Camp West and in 2004 he became an adjunct faculty member at Mills College. In addition, he teaches at his studio in Oakland where he also works on photography and graphics projects.
Paul van Wageningen (drums, Latin percussion) was born in Amsterdam, where he attended the Amsterdam Conservatory. He moved to New York in 1976 to be closer to the American Jazz scene. Since his relocation to the San Francisco Bay Area in the late 70s, he has gained recognition as one of the premier drummers in the area of multicultural drumming, receiving three Grammy nominations. Paul has performed both in the United States and abroad with many of the top global-beat jazz groups such as Pete Escovedo, Andy Narell, Gonzalo Rubalcaba’s trio, Paquito D’Rivera and the Caribbean Jazz Project, Jovino Santos Neto, Claudia Villela and Ricardo Peixoto, Nestor Torres and Dori Caymmi.
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
My apology to all LJC readers for our lack of posts this past week. There are only a couple of weeks out of the year where my teaching job needs to take every ounce of my attention, and this past week was one of them. As our semester is drawing to a close, my students performed in a fantastic series of concerts, including an exhilarating Latin Jazz show. It was a good week, but I’m glad to have my focus back where it should be – LJC!
Tomas Peña conducted a fantastic interview with Argentinean bassist Pedro Giraudo recently, which can be found on Jazz.com this week. Giraudo discusses his musical development, his compositional approach, and goes into depth about his new album El Viaje. It’s an interesting conversation with a thoughtful musician who is creating some of the Latin Jazz world’s most intriguing music for large ensemble. Check out the interview HERE.
If you’re in SOUTH AMERICA this week . . . MANANTE WHEN: Tuesday 5/19/09 WHERE:Jazz Zone
Av. La Paz 646
Pasaje El Suche Miraflores
Lima, Peru
Barranco, Lima, Peru TIME: 8:00 p.m. TICKETS: 20 soles
If you’re in EUROPE this week . . . JOVINO SANTOS NETO WHEN: Monday 5/18/09 WHERE:Jazz Kongress
Schützenallee 12
79102 Freiburg im Breisgau, Germany TIME: 8:30 p.m. TICKETS: 15 euros
OMAR SOSA
L’Altro Suono Festival WHEN: Saturday 5/23/09 WHERE:Teatro Comunale Luciano Pavarotti
Via del Teatro 8 – 41100
Modena, Italy TIME: 9:00 p.m. TICKETS: 17,16 euros
If you’re in CANADA this week . . . HENDRIK MEURKENS WHEN: Thursday 5/21/09 – Friday 5/22/09 WHERE:The Rex
194 Queen Street West
Toronto, ON TIME: 9:30 p.m. on Thursday; 9:45 p.m. on Friday
If you’re on the EAST COAST this week . . . ARTURO O’FARRILL
with the Iolani Stage Bands WHEN: Sunday 5/24/09 WHERE:Hawaii Theater
1130 Bethel Street
Honolulu, HA TIME: 4:00 p.m. TICKETS: $7
CHICO O’FARRILL’S AFRO-CUBAN JAZZ ORCHESTRA WHEN: Sunday 5/24/09 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 5/24/09 WHERE:Smoke
2751 Broadway
New York, NY TIME: 8:00 p.m., 10:00 p.m. & 11:30 p.m. TICKETS: $20 minimum
EDDIE PALMIERI WHEN: Saturday 5/24/09 WHERE:Loisaida Festival
Avenue C between 12th and 13th Streets
New York, NY TIME: Event runs from 11:30 a.m. – 6:30 p.m. TICKETS: FREE
ETERNAL TANGO ORCHESTRA WHEN: Thursday 5/21/09 WHERE:World Financial Center Winter Garden
220 Vesey Street
New York, NY TIME: 6:00 p.m. TICKETS: FREE
FB LATIN JAZZ CREW WHEN: Thursday 5/21/09 WHERE:La Fonda Boricua
East 106th Street
New York, NY TIME: 9:00 p.m. TICKETS: NO COVER
HECTOR MARTIGNON WHEN: Thursday 5/21/09 WHERE:Nuyorican Poet’s Cafe
236 East 3rd Street
New York, NY TIME: 9:00 p.m. TICKETS: $10
LATIN JAZZ ALL-STARS WHEN: Saturday 5/23/09 WHERE:Northbank Riverwalk
Jacksonville, FL TIME: 9:30 p.m. TICKETS: FREE
LAYLA ANGULO WHEN: Sunday 5/24/09 WHERE:Jules Bistro
65 St. Marks
New York, NY TIME: 8:00 p.m.
MAGOS HERRERA WHEN: Wednesday 5/20/09 WHERE:Jazz Standard
116 E 27th Street
New York, NY TIME: 7:30 p.m. & 9:30 p.m. TICKETS: $20
NEGRONI’S TRIO WHEN: Sunday 5/24/09 WHERE:Blue Note Jazz Club
131 W. 3rd St
New York, NY TIME: 12:30 p.m. & 2:30 p.m. TICKETS: $24.50
PAPO VAZQUEZ WHEN: Sunday 5/24/09 WHERE:Van Cortland Park
Broadway and 246th Street
Bronx, NY TIME: 1:00 p.m. TICKETS: FREE
SOFIA REI KOUTSOVITIS WHEN: Tuesday 5/19/09 – Sunday 5/24/09 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m.; Thursday – Sunday 10:30 p.m. set TICKETS: NO COVER
SUSAN PEREIRA & SABOR BRASIL WHEN: Saturday 5/23/09 WHERE:Shanghai Jazz
24 Main Street
Madison NJ TIME: 6:30 p.m. & 8:30 p.m.
YOSVANY TERRY
Large Ensemble Commission – “Identities” WHEN: Thursday 5/7/09 WHERE:Jazz Gallery
290 Hudson St
New York, NY TIME: 9:00 p.m. & 10:30 p.m. TICKETS: $15
If you’re in the MID-EAST this week . . . LOS GATOS WHEN: Thursday 5/21/09 WHERE:The Firefly Club
637 S. Main
Ann Arbor, MI TIME: 8:00 p.m. TICKETS: $8
TUMBAO BRAVO WHEN: Saturday 5/23/09 WHERE:Traditional Arts Weekend
401 S. Lafayette
Royal Oak, MI TIME: 9:00 p.m. TICKETS: $5
WHEN: Sunday 5/24/09 WHERE:Sangria – Royal Oak
401 S. Lafayette
Royal Oak, MI TIME: 9:00 p.m.
If you’re on the WEST COAST this week . . . ANNA ESTRADA WHEN: Thursday 5/21/09 WHERE:Senzala
250 E. Java Dr.
Sunnyvale, CA TIME: 7:30 p.m. TICKETS: $10
KAT PARRA WHEN: Saturday 5/23/09 WHERE:Yerba Buena Gardens
2760 Howard Street
San Francisco, CA TIME: 1:00 p.m. TICKETS: FREE
PONCHO SANCHEZ WHEN: Friday 5/22/09 WHERE:Vitello’s
4349 Tujunga Avenue
Studio City, CA TIME: 7:30 p.m. & 9:30 p.m. TICKETS: $20 cover; 2 drink minimum
WHEN: Sunday 5/24/09 WHERE:Spaghettini
3005 Old Ranch Parkway,
Seal Beach, CA TIME: 7:00 p.m. TICKETS: $20 – open seating; $40 – reserved seating
SCOTT MARTIN LATIN SOUL BAND WHEN: Wednesday 5/20/09 WHERE:Claremont City Hall
207 Harvard Ave.
Claremont, CA TIME: 4:00 p.m. TICKETS: FREE
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Unity Bobby Matos Afro-Latin Jazz Ensemble LifeForceJazz Records
When we discuss Latin Jazz, we too often think about the separate elements of the music; yet unity can be found throughout the Latin Jazz world, both musically and socially. At its most basic level, Latin Jazz takes Caribbean and South American rhythms, and then combines those pieces with jazz harmony and improvisation. Early experiments forced the two musical worlds together and resulted in stiff, clunky statements that leaned more towards novelty than artistry. Once musicians started recognizing the close relationships between the roots of jazz and Latin music, they started seeing a unified whole that could be considered a new style. As the genre moved into today’s modern musical world, musicians examine the elements that unify artistic aesthetics behind jazz and Latin music and consequently, new hybrids and innovations arise frequently. This common background unifies more than simple musical ideas, it also brings people together in new and exciting ways. Musicians from Cuba play alongside Brazilian, Peruvian, and Argentinean musicians, as well as artists from the United States; they may not all speak the same language, but they all find common ground over Latin Jazz. Artists perform Latin Jazz all across the United States – musicians from New York, San Francisco, Miami, and Los Angeles all build their own unique variations upon the genre. Put players from every area in a room together, and they can bond over their common knowledge of Latin Jazz and come together into a cohesive unit. The key to a successful Latin Jazz performance is understanding the unifying factors behind the music – when a group of musicians see these elements, they are unstoppable. Percussionist Bobby Matos and his Afro-Latin Jazz Ensemble find this common ground on Unity, delivering a rich set of original compositions, creative arrangements, and percussion features that reach back to the music’s roots.
Creative Arrangements of Standards
Matos unifies the past and present with creative Latin arrangements of several jazz and salsa classics. Bassist John B. Williams and pianist Theo Saunders set up a beautifully understated groove over a son montuno rhythm on Wayne Shorter’s “Mahjong,” as the wind players twist through the sly melody. The band kicks into high gear as saxophonist Pablo Calogero aggressively tears through the modal texture and trombonist Dan Weinstein infuses strong melodic ideas with angular rhythms. Saunders energetically mixes long jazz lines with percussive ideas into an engaging statement, leading into a restatement of the melody and some collective improvisation from Calogero and Weinstein. The band leaps into a funky bomba as Calogero and Weinstein move to flute and violin for a unique texture on the melody to Ray Rivera’s “Cuchy Frito Man.” Weinstein displays some impressive versatility with a stunning violin solo, spinning rapid melodies and rhythmic attacks around the groove. The band takes some time to relish in the greasy groove around the melody, leaving space between kicks to feature the rhythm section. Calogero sensitively wraps his breathy tenor saxophone tone around the melody on Horace Silver’s classic ballad “Peace” while Weinstein provides supportive harmony notes above a steady bolero rhythm. There’s an effective sense of emotion behind Calogero’s improvisation, as he throws himself into personal melodies that travel through the complete range of his instrument. Saunders follows Calogero’s lead with a thoughtful improvisation that softly winds through the rich chord changes with a gentle creativity. Weinstein pushes Saunder’s churning montuno into an addictive groove with a burning violin guajeo on Tito Rodriguez’s “Oiganlo” as Calogero elegantly states the melody on flute. A series of percussion hits sends Calogero screaming into his improvisation, as he flies over the high-energy groove with an inspired passion. The rhythm section intensifies the montuno as Matos jumps into a timbale solo, attacking the song with an informed and enthusiastic energy that leads to an album highlight performance. Matos provides a smart and modern perspective on several classic tunes with these tracks, bringing together aesthetics of the past and present into a solid concept.
Original Compositions And A Unified Group Sound
Matos and Saunders draw upon their broad knowledge of jazz and Latin rhythms to create several original compositions that brings a unified group sound into the forefront. The rhythm section establishes a driving plena rhythm on Matos’ “Da’ Londons From Da’ Bronx,” while Calogero and Weinstein ride through a catchy minor melody. Weinstein bounces his trombone around the plena’s rhythmic accents, creating an ear-grabbing statement. Calogero creates a contrast with rapid jazz lines that rip through the texture while Saunders frames fragments of the melody around sharp percussive phrasing. Weinstein and Calogero explode into a high-energy melody on the top of Saunders’ “No Down, No Feathers,” creating a strong propulsion over the up-tempo son montuno. Calogero quickly digs into his improvisation with a ‘Trane-like intensity and a biting tone, ripping through the changes with blistering groups of notes. Weinstein creates contrast with short phrases before charging into an aggressive series of ideas that run straight into Saunders’ solo. Williams uses double stops to add some weight to a sparse modal groove on Matos’ “Bronx ‘Trane,” while Weinstein improvises on violin and saxophonist Frank Fontaine states a deeply searching melody. Just as the song starts to build intensity, Saunders changes the pace with a purposely-understated statement that slowly pushes the song towards a higher level. Fontaine recalls the song’s namesake with a raspy, vocal-like tone on his tenor saxophone, racing into lines filled with squelching intensive passion. Saunders boldly places Tyner-esqe suspended chords over a fast cha cha cha rhythm on his “McCoy,” until the wind players nimbly wind through a clever melody. The band maintains a driving momentum as Saunders pays tribute to Tyner with a deeply musical solo, matched by Calogero’s assertive display of Coltrane fueled virtuosity. Weinstein wisely creates a stark contrast with spacious phrasing that rebuilds the momentum into an unstoppable inertia for conguero Robertito Melendez’s energetic and attention grabbing solo. Matos and Saunders play upon the group’s cohesive musical approach here, delivering strong compositions that emphasize the band’s strengths and highlight their personal voices.
A Strong Bond With The Music’s Roots
Matos displays a strong bond with the music’s roots through a series of tracks featuring percussionists playing a variety of Cuban and Puerto Rican rhythms. Many of the tracks integrate some fine drummers from New York’s Latin music scene, including Chembo Corniel on congas and Phoenix Rivera on drum set. The bi-coastal group thrives in this collaborative setting, delving into folklore and beyond with authentic performances and deeply invested improvisations. Melendez joyfully quintos over a driving rumba on “Ritmo Yambu” while Corniel provides a powerful lead voice on requinto during the high-energy “Bomba Sica.” There’s a funky undertone behind “Soul Zambique” as Matos and Melendez take turns improvising and the group digs into a spiritual sensation during “Rimto Bembe” with Corniel speaking through the tumbador. Williams steps into the forefront on “Algo Diferente,” riffing around a chordal bassline while Matos and Melendez keep a driving rumba moving behind him. The short track turns into a feature for Williams, who breaks into a total improvisation, showing both a studied knowledge of phrasing around the clave and a serious set of acoustic bass chops. Corniel, Matos, and Melendez all gather on congas while Rivera keeps a funky beat on “Iyesa Afro Beat,” a witty look at the common African heritage of the music. Guitarist Binky Griptite adds a syncopated single note line while The Mighty Echos provide a repetitive coro, taking this short track into an interesting direction. Matos emphasizes the importance of the music’s roots on these tracks, showing a strong connection to his background with authentic performances.
An Emphasis On Unifying Elements
Matos and his group build upon the common elements of jazz and Latin music on Unity, constructing a solid set of heavy Latin Jazz fueled with passion, knowledge, and artistic integrity. Matos’ years of experience inform his performance at every turn; he consistently plays with taste, style, and commitment. He supportively plays behind his musicians, staying in the background with a solid cascara while they improvise until he explodes into the spotlight. Matos had been around the Latin Jazz world for many years, and he knows the repertoire well. His creative arrangements pay tribute to the original standards that he selects, but they also fit into Cuban and Puerto Rican contexts with a natural ease. Both Matos and Saunders appear as strong composers, with songs that authentically draw upon Latin rhythms, but also follow a jazz tradition stepped in John Coltrane’s influence. Calogero and Weinstein contribute significantly throughout the album, acting as the frontline voices that carry the listener through each idea and melodic statement. Weinstein’s dual ability to move between trombone and violin reflect a refined musical personality; he brings a bold voice equally to both instruments, instilling a diverse sound into the group. The percussion tracks complement the jazz pieces perfectly; it’s consistently apparent that Matos and his band stand firmly upon an honest connection to the music’s roots. There’s several different pieces that inform the exciting music found on Unity, but it always flows as a cohesive unit – due to Matos’ smart band leading and his emphasis of the music’s unifying elements.
The Spotlight Series highlights upcoming Latin Jazz musicians that have yet to reach national recognition. Many of these musicians thrive in local scenes and some tour in support of releases. All these musicians contribute greatly to the overall Latin Jazz scene, and they deserve our “spotlighted” attention.
Día Real Tanaóra Moondo Records
Listeners often criticize the difference between commercial appeal and artistic integrity, yet they often overlook the fact that these two different aesthetics can live side by side in the same recording. Widely accessible elements can be found throughout the jazz world, from one-chord funk grooves to sequenced synthesizers and distorted guitar solos. Purists frown upon these elements, claiming that they “water down” the rich nature of jazz harmony and improvisation. In many cases, these musical pieces do dilute jazz, but they can also enrich it, challenge listeners, and force musicians to explore new territories. When musicians integrate commercial elements into music with a desire to sell CDs, they overlook the artistry needed to authentically blend two traditions. If an artist defers to accessible elements due to a lack of knowledge, they lack the resources to pull two different worlds together. The musician that deeply understands jazz, Latin music, funk, and more can honestly cross between genres, maintaining a genuine respect for the roots and lineage of each style. Artists that include electronic sounds and rock elements into their overall musical vision take the time to integrate these elements with sufficient depth, taste, and style. The difference between these approaches lies in intention, background, knowledge, and artistic vision – when all these factors are in place, musicians create outstanding statements that reach a wide audience. The San Francisco Bay Area group Tanaóra brings together all of these pieces on Día Real, artistically combining jazz, Brazilian music, Afro-Cuban styles, and funky grooves into a widely accessible mix filled with artistic depth.
Original Compositions With Brazilian Rhythms
The group finds it strength in several original compositions that emphasize Brazilian rhythms while keeping the music accessible with a funky undertone. Pianist Bob Karty introduces “Día Real” with a short and thoughtful improvisation before vocalist Cecilia Engelhart leaps into a Portuguese lyric over a lush sea of strings. Saxophonist Melecio Magdaluyo starts his solo with memorable phrases that he skillfully develops into longer strings of rhythmically interesting ideas and running notes. The band quiets behind bassist David Belove, who weaves through the synthesized texture with bluesy lines, leading the group back to Engelhart’s soulful vocal. A unison run guides the band into an addictively funky groove behind Engelhart’s English lyric on “Love Understands,” balancing the song’s form with a more traditional samba section. Guitarist Jeff Buenz attacks his improvisation with an aggressive attitude, perfectly complimenting the song’s funky nature. Karty turns up the heat on his solo with driving syncopated rhythms and a strong melodic development. The rhythm section builds a funky foundation beneath Engelhart’s scatted vocal on “”Rollón,” quickly pushing the momentum forward with a change into samba. Karty subtly builds upon the rhythm section’s groove with strongly developed catchy lines until saxophonist Ron Stallings dives into his improvisation with an assertive rhythmic drive. Engelhart returns with an enthusiastic restatement of the melody, leading the band into an explosive batucada style samba section that closes the track with a bang. Brazilian rhythms arise as a strength for the group, and these performances showcase their authentic connection to the music along with their funky edge.
Demonstrating Diversity With Different Influences
Many songs bring together different influences with a healthy dose of Afro-Cuban rhythms, displaying an inherent diversity to their music and a creative blending of stylistic boundaries. Karty and Belove soften a driving Afro-Cuban 6/8 rhythm with a Yellowjackets-esqe chordal vamp on “El Pez,” creating a smooth foundation for Engelhart’s sultry Spanish vocal. Stallings cuts through the band with a biting soprano sax tone, tearing through the changes with a melodicism reminiscent of Wayne Shorter. There’s a sudden texture change behind Karty’s solo, who inventively creates harmonic variations and utilizes tension to build an exciting statement. Engelhart and trombonist Jeff Cressman push a melody over an energetic son montuno rhythm on “The Katanga Patrol,” taking brief dips into a bubbling bomba rhythm. Stallings captures the rhythm section’s unstoppable momentum with an engaging soprano sax solo, handing the spotlight off to Karty, who takes his time building his ideas into an intricate statement. After a return to the main melody, Cressman grabs the band with assertive rhythmic ideas and builds into a powerful climax. The band cuts loose and has some fun with a funky groove on “Jam #1.” Stallings riffs around the groove with bluesy soprano sax ideas while Engelhart mixes scat and Portuguese lyrics. The track serves as a short but fun outtake, showing another side to the group. These songs step outside the Brazilian realm and demonstrate the band’s diversity across several genres.
Reinventing Classic Standards
The group reinvents some classic standards with inventive arrangements that bring together all their interests and influences. Karty delivers a tender unaccompanied solo and then sensitive accompaniment behind Engelhart’s captivating vocal on Tadd Dameron’s “If You Could See Me Now.” The rhythm section builds into an interesting variation on a bossa nova that mixes Brazilian percussion and an Udu drum, giving Engelhart ample inspiration to twist the melody into an expressive statement. Karty thoughtfully winds melodies through the changes, expanding upon the track’s contemplative nature. Magdaluyo slices through an addictive cha cha cha groove with rhythmic lines on Antonio Carlos Jobim’s “Bonita” before the band segues into bossa nova behind Engelhart’s English vocal. Engelhart caresses the melody through the soft Brazilian setting until the band explodes back into a cha cha cha for a driving tenor sax solo from Stallings. The band breaks away from the changes for a standard descarga montuno as a catchy coro and Magdaluyo’s memorable flute work rides over a cha cha cha. A bebop charged unison line drops into Engelhart’s voice, accompanied only by son montuno percussion on the Burke and Vanheusen classic “Polkadots and Moonbeams,” until the band pushes Engelhart into a album highlight performance with a strong samba rhythm. Karty follows Engelhart’s lead with an inspired and melodically captivating solo, until Stallings aggressively winds tenor sax lines around the son montuno. After an enthusiastic return to the melody, Karty and Belove fall into a timba breakdown and a driving montuno while percussionist Michael Spiro breaks into a strong conga solo. The group displays a creative spirit as well as a broad knowledge of jazz and Latin styles on these arrangements that deliver some of the album’s best tracks.
Reaching A Wide Audience And Maintaining Artistic Integrity
Tanaóra shows the potential to reach a wide audience with an abundance of accessible tracks on Día Real, building upon a solid foundation of artistic integrity. Engelhart shines throughout the album with a rich, appealing vocal sound, a tri-lingual ability to work through different repertoire, and thoughtful phrasing. Her vocal work carries that unique ability to deliver an artistically informed performance while appealing to a broad spectrum of listeners. Karty anchors the group with a tasteful approach to harmonies, a lyrical improvisation approach, and a swinging montuno. His voice remains supportively present throughout the recording, consistently guiding the group through their diverse repertoire. Spiro sits in the background through most of the recording, but his knowledgeable approach to each groove provides the meat of the band’s sound. All of his percussion textures add an authentic flavor to the music and enable the band’s frequent style shifts. The band utilizes a strong set of creative arrangements that both honor tradition and blur the edges of stylistic boundaries. The resultant mixture holds the potential to both entertain the listener and introduce them to the traditional flavors of Brazilian, Afro-Cuban, and Puerto Rican music. That duality fuels Tanaóra’s distinct characteristics on Día Real, delivering an enjoyable and accessible listening experience that appeals to a higher artistic integrity.
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 those of you in the San Francisco Bay Area, there’s an incredible Latin music education opportunity starting this week – acclaimed percussionist, bandleader, and educator John Santos will be offering a multi-week course on the Afro-Cuban rumba. Santos will cover the different styles in depth, starting with the music’s early roots on the docks of Cuba, traveling through the many regional variations, and ending in the continuing modern day versions of rumba. The courses, offered in collaboration with SFJazz, will be held on Tuesday nights in The Museum of the African Diaspora. Get the full details HERE.
If you’re in SOUTH AMERICA this week . . . MANANTE WHEN: Monday 5/4/09 WHERE:La Noche
Avenida Bolognesi 307 (El Boulevard)
Barranco, Lima, Peru TIME: 11:00 p.m. TICKETS: NO COVER
If you’re in EUROPE this week . . . OMAR SOSA WHEN: Tuesday 5/5/09 WHERE:Theatre Duchamp-Villon
Rouen, France TIME: 8:30 p.m. TICKETS: 19 euros
PAQUITO D’RIVERA
European Premiere of Paquito D’Rivera compositions “Conversations With Cachao” WHEN: Saturday 5/9/09 WHERE:Metropole Orchestra
Heuvellaan 33
1217 JL HILVERSUM
Amsterdam TIME: 8:30 p.m.
If you’re in CANADA this week . . . JANE BUNNETT WHEN: Thursday 5/7/09 WHERE:The Grand Theater
218 Princess St
Kingston, ON K7L, Canada TIME: 8:00 p.m. TICKETS: $34 – $39
If you’re on the EAST COAST this week . . . ARTURO O’FARRILL
Solo Piano WHEN: Wednesday 5/6/09 WHERE:Puppet’s Jazz Bar
481 5th Avenue Park Slope
Brooklyn, NY TIME: 7:00 p.m. TICKETS: $10
WHEN: Sunday 5/10/09 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 . . . LOS GATOS WHEN: Thursday 5/7/09 WHERE:The Firefly Club
637 S. Main
Ann Arbor, MI TIME: 8:00 p.m. TICKETS: $8
PONCHO SANCHEZ WHEN: Saturday 5/9/09 WHERE:Gem Theater
1616 E. 18th Street
Kansas City, MO TIME: 8:00 p.m. TICKETS: $30 – $50
TUMBAO BRAVO WHEN: Sunday 5/10/09 WHERE:Sangria – Royal Oak
401 S. Lafayette
Royal Oak, MI TIME: 9:00 p.m.
If you’re on the WEST COAST this week . . . ARTURO SANDOVAL WHEN: Monday 5/4/09 WHERE:Kuumbwa Jazz Center
510 Embarcadero West
320-2 Cedar Street
Santa Cruz, CA TIME: 7:00 p.m. & 9:00 p.m. TICKETS: $28 in advance; $31 at door
WHEN: Tuesday 5/5/09 – Wednesday 5/6/09 WHERE:Anthology
1337 India Street
San Diego, CA TIME: 7:30 p.m. TICKETS: $43
PETE ESCOVEDO WHEN: Saturday 5/9/09 WHERE:Theater 39
Beach & Leavenworth
San Francisco, CA TIME: 8:00 p.m. & 10:30 p.m. TICKETS: $25 – $65
PONCHO SANCHEZ WHEN: Friday 5/8/09 WHERE:Carson Community Center
801 East Carson Street
Carson, CA TIME: 8:45 p.m.
SAN JOSE STATE UNIVERSITY LATIN JAZZ ENSEMBLE WHEN: Wednesday 5/6/09 WHERE:San Jose State Concert Hall
1 Washington Square
San José, CA TIME: 7:30 p.m.
SCOTT MARTIN LATIN SOUL BAND WHEN: Saturday 5/9/09 WHERE:Victoria Gardens Cultural Center
12505 Cultural Center Drive
Rancho Cucamonga, CA TIME: 6:30 p.m. TICKETS: FREE
WHEN: Sunday 5/10/09 WHERE:Mayfair Park
Clark and South Street
Lakewood, CA TIME: 11:00 a.m. TICKETS: FREE
SONANDO WHEN: Tuesday 5/10/09 WHERE:Olympic College
1600 Chester Avenue
Bremerton, WA TIME: 11:00 a.m.
SONOMA STATE LATIN JAZZ ENSEMBLE WHEN: Thursday 5/7/09 WHERE:Warren Auditorium
1801 East Cotati Avenue
Rohnert Park, CA TIME: 7:30 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
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The influential meeting between bebop trumpet player Dizzy Gillespie and Cuban conguero Chano Pozo brought many benefits into the Latin Jazz world. With one of leading proponents of the modern jazz world supporting the inclusion of Afro-Cuban rhythms into the harmonic language of bebop, Latin rhythms found a legitimate connection to jazz. Gillespie’s prominence in the public eye led the to quick spread of Afro-Cuban Jazz, both in popularity and practice. The general public had already lived through a love affair with Latin ballroom dance, and the inclusion of “spicy” rhythms into jazz once again made this increasingly intellectual music appealing. Many jazz artists followed Gillespie’s lead, incorporating Cuban rhythms into a jazz context. These artists met varying degrees of success, and they all held the team of Gillespie and Pozo as their measuring stick. Cuban percussionists gained notoriety, and musicians such as Mongo Santamaria, Armando Pereza, and Ray Barretto found work with jazz artists. Many bands that had been performing a mix of Afro-Cuban rhythms and jazz previously, such as The Machito Orchestra and Tito Puente, found themselves becoming popular among jazz artists. The pioneering work of Gillespie and Pozo heralded the arrival of Latin Jazz in the public’s eye, and their brief collaboration became the cornerstone of Latin Jazz in the United States.
, Dizzy Gillespie
, Clark Terry & Chico O’Farrill
, John Santos and the Machete Ensemble
, The Estrada Brothers
, Conga Kings
, Francisco Aguabella
, Poncho Sanchez
, Eddie Palmieri
As 2009 continues to unfold, one fact stands apparent in the Latin Jazz world – Afro-Peruvian jazz keeps gaining strength and momentum. We moved into the year with the announcement that guitarist Eric Kurimski’s 
Cecilia Engelhart (voice) has recorded and performed with artists as diverse as Gerardo Batiz, Andy Bey, Ruben Blades, Theo Bleckmann, Mino Cinelu, Jay Clayton, Willie Colon, Santi Debriano, Paquito D’ Rivera, Bruce Dunlap, Rinde Eckert, Kip Hanrahan, Tania Libertad, Carman Moore, Oscar Castro Neves, Danilo Perez and Tamba Trio. She joined the Meredith Monk Ensemble as soloist and ensemble singer during a retrospective of Monk’s work at Lincoln Center for The Performing Arts in 2001 and at Mills College in 2003. She is also a regular featured soloist with the San Francisco early music group “Coro Hispano.” Cecilia is also a composer, arranger and lyricist.
Bob Karty (piano) has worked with most of the top bands on the Bay Area salsa/Afro-Cuban scene. He is an original member of Orquesta La Moderna Tradición, with whom he has recorded three critically-acclaimed CDs. On their most recent release, ‘En Canto,’ he also served as recording and mix engineer and co-producer. He also performs regularly with the salsa bands Candela and Conjunto Karabalí. His recording with the salsa band Avance (led by Santana percussionist Karl Perazzo) was nominated for a California Music Award. He has also appeared with the Pete Escovedo Orchestra, Ray Obiedo and many others. He is on the faculty of The Jazzschool in Berkeley, CA and teaches at his studio in Oakland.
Michael Spiro (percussion) is an internationally recognized percussionist, recording artist and educator, known specifically for his work in the Latin music field. Spiro’s recording and performing credits include such diverse artists as David Byrne, Dori Caymmi, Changuito, Richard Egues, Frank Emilio Flynn, Ella Fitzgerald, David Garibaldi, Gilberto Gil, Giovanni Hidalgo, Ray Holman, Toninho Horta, Bobby Hutcherson, Dr. John, Mark Levine, Machete Ensemble, Bobby McFerrin, Andy Narell, Ray Obiedo, Chico O’Farrill, Eddie Palmieri, Lazaro Ros, David Rudder, Carlos Santana, Grace Slick, Omar Sosa, Clark Terry, McCoy Tyner and Charlie Watts. In 2004 he received a Grammy nomination and a California Music Awards nomination for his work as both producer and artist on Mark Levine’s Latin-Jazz release, “Isla.”
Jeff Cressman (trombone) is a San Francisco native who has performed with a wide variety of artists, including Tito Puente, Poncho Sanchez, Pete Escovedo, Peter Afelbaum, Jai Uttal and many others. Jeff has been recording and touring the world as a member of the Carlos Santana band since 2000 and also works with the Bay Area salsa band Edgardo & Candela.
David Belove (bass) is a Kansas City native who relocated to San Francisco in 1973 and soon became the Bay Area’s most prominent Latin and Brazilian bassist. He has recorded, performed or toured with Pete and Sheila Escovedo, Tito Puente, John Santos and the Machete Ensemble, Rebeca Mauleón, Rolando Morales, Homenagem Brasiliera, Wayne Wallace, The Oakland Interfaith Gospel Choir and many more. David has also worked with Jazz artists including Joe Henderson, Blue Mitchell, Eddie Harris, Max Roach, Dizzy Gillespie, Larry Coryell, Louis Bellson, Mark Murphy and Pat Metheny. David teaches at the JazzSchool in Berkeley, CA, at Jazz Camp West and in 2004 he became an adjunct faculty member at Mills College. In addition, he teaches at his studio in Oakland where he also works on photography and graphics projects.
Paul van Wageningen (drums, Latin percussion) was born in Amsterdam, where he attended the Amsterdam Conservatory. He moved to New York in 1976 to be closer to the American Jazz scene. Since his relocation to the San Francisco Bay Area in the late 70s, he has gained recognition as one of the premier drummers in the area of multicultural drumming, receiving three Grammy nominations. Paul has performed both in the United States and abroad with many of the top global-beat jazz groups such as Pete Escovedo, Andy Narell, Gonzalo Rubalcaba’s trio, Paquito D’Rivera and the Caribbean Jazz Project, Jovino Santos Neto, Claudia Villela and Ricardo Peixoto, Nestor Torres and Dori Caymmi. 
