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.

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Check Out These Related Posts:
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Spotlight: Viajando: Choro e Jazz, Grupo Falso Baiano

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