From Yucatan to Rio
Gabriel Espinosa
Zoho Music
Brazilian music in the United States holds a history ripe with artistic compromises, and as a result, Brazilian Jazz has long struggled with the balance between commercialism and artistry. The mass popularity of Getz/Gilberto propelled Antonio Carlos Jobim’s music into the American spotlight, sticking the combination of rich harmonies and lyrical melodies in our consciousness. The public’s desire to hear these songs and similar bossa nova compositions drove marketers to saturate our musical landscape with them. Elevators rang with the sound of bossa nova muzak and phone lines chimed with choruses of strings piping bossa nova over a hold signal. Numerous jazz vocalists whitewashed the music with jazz interpretations of bossa nova that distinctly ignored the cultural elements of Brazil. While these public uses of Brazilin music moved the genre into the world, it also created a commercial association that pigeon holed the music as light and fluffy. Musical accessibility certainly helped Brazilian Jazz flourish and survive, but the public misconception of the style’s roots creates unnecessary pressures for an artist. In order to appeal to a wide audience, Brazilian Jazz needs to hold some of those commercial pieces, but an honest production of a musician’s artistic vision can’t be a slave to those expectations. Bassist Gabriel Espinosa walks the line between commercialism and artistry on From Yucatan to Rio, presenting a set of artistically composed and arranged Brazilian Jazz that shimmers with pop tinges.

Showcasing Espinosa’s Instrumental Compositions
Several tracks focus upon instrumental pieces that showcase Espinosa’s lushly arranged compositions. Pianist Helio Alves provides a richly understated introduction on “Nuevos Horizontes,” before clarinetist Anat Cohen enters with an expressive melodic reading. The main theme moves through the ensemble until Cohen delivers an intelligently constructed statement that benefits from her personal sense of tone and embellishment. Alves transitions into his improvisation by continuing one of Cohen’s phrases and then leaps into a rapid-fire succession of clever melodic developments. Alves establishes a funky swaggering samba groove that eases into a calm support as the full rhythm section enters behind the melody on “Azul Y Negro.” Saxophonist George Robert and trumpet player Claudio Roditi share melodic duties here, infusing the long melody with a sense of dynamics and shape through strong performances. Alves takes a simple spacious theme and builds it into an engaging succession of quick passages and rhythmic syncopations that all meld into a distinctly coherent theme. The rhythm section energetically supports Alves in an enthusiastic introduction to “Huracan” that powers forward directly into a catchy melody. The wind duo presents a sharp and precise articulation throughout the melody, adding to the song’s addictive rhythmic drive. Alves displays a keen ability to phrase with the virtuosic range of a bebop pianist while integrating a defined percussive nature that distinguishes his approach. Alves trickles through falling phrases over an airy background on “LP 07” before the rhythm section settles into a relaxed bossa nova feel behind the breezy melody. Roditi cuts through the song’s calm feel with a short statement that uses a bit of hard bop fire to push the rhythm section into a higher dynamic. Robert contrasts Roditi’s edge with long tones, a thick vibrato, and basic embellishments upon the original theme. Espinosa displays a thoughtful, detailed, and controlled compositional approach here, playing upon texture and tone to build showcases for his musicians.

An Accessible Sound That Features Vocalists
Espinosa features vocalists on several pieces, creating an accessible sound that bridges ideas of jazz and popular music. Solo piano chords lead into a swaying bossa nova groove anchored by guitarist Romero Lubambo’s rhythmic comping on vocalist Allison Wedding’s “We’ve Come Undone.” Wedding slides through the English lyric with a strong grace, playing upon the melody with her gorgeous tone and attractive phrasing. Alves follows Wedding’s lead with a restrained improvisation that weaves lyrical lines through the colorful chord changes. A thick chorus of voices creates a strong forward motion with a rhythmic scat on Antonio Carlos Jobim’s classic “Agua De Beber” before the group jumps into a cleverly harmonized version of the melody. Roditi exposes an intimate familiarity with the tune, winding bluesy lines over a rich sea of voices with a dynamic confidence. An interesting interlude once more wraps around the vocalists leading back to the melody in an album highlight arrangement that draws upon influences from Manhattan Transfer and Take Six. The rhythm section provides an upbeat samba foundation behind Wedding’s driving melody on “Remain” that provides an usual contrast to the lyrics’ somewhat sentimental mood. Roditi finds a balance between the melodic content and the song’s inherent propulsion with a strong improvisation that builds into an exciting climax. Lubambo captures Roditi’s energy with a brief but potent solo that develops an interesting and attention grabbing melody. Espinosa brings together artistic and commercial elements on these tracks, connecting improvisation, English lyrics, and accessible harmonies into a delicate tapestry.

Aiming Towards A More Commercial Sound
Espinosa aims more precisely towards an accessible sound with several songs that integrate pop elements. Robert and Alves travel through a smooth arpeggiated line, intertwining with a lush vocal scat on “Klavier Latino” until Roditi and Robert play a catchy commercial melody. Roditi tears through the song’s pop sheen with a skillfully executed improvisation that smartly makes a poignant statement in a short space. In an unexpected turn of events, drummer Antonio Sanchez takes an understated solo that emphasizes color and texture, before moving into an impassioned improvisation from Robert. The group creates an undefined and airy atmosphere as Alves improvises on “Morning Breeze,” until Robert enters into the melody with a thick vibrato while synthesizers and bird sounds fill the background. Both Roditi and Robert spend the track traveling through repetitions of the melody, staying close to the assigned parts with an accessible and defined narrowness. Roditi provides a rhythmic edge to an interesting melody over a samba groove on “Maria” as Robert and a chorus of voices wrap counter lines into the mix. Robert enthusiastically leaps into an energetic improvisation that starts with rhythmic ideas and explodes into a flurry of rapid note streams. Lubambo displays his immense talent for melodic construction on a smart statement that moves through the chords with integrity and strength. There are several pieces of lush scat, synthesized textures, and simplified melodies throughout these pieces, as Espinosa searches for a commercial sound while striving to retain his compositional approach.

An Appealing Piece Of Brazilian Jazz
The equilibrium of artistry and commercialism shifts throughout From Yucatan to Rio, as Espinosa dips into both sides of the equation. The album definitely includes extensive commercial elements that may provoke diverse reactions among the jazz community. More experienced listeners may find the strictly composed and clearly defined forms too smooth and confined. Other listeners may discover a good introduction to Brazilian Jazz that will both appeal to their ear and challenge their senses. In any case, Espinosa’s compositions include colorful collections of harmonies and long flowing melodies, all intelligently packaged long song forms. The pieces provide a good amount of meat that propels the guest musicians into strong performances. Roditi plays with finesse and fire, nailing the composed pieces while exploding into excellent examples of high-level musicianship on his solo. Robert falls into pop traps at times on his melodic interpretations, but his enthusiastic improvisations beg for more attention. Wedding presents a refined technique and a gorgeous tone, while her pop edge should sit well with the Diana Krall and Norah Jones fans. Alves consistently leaps out of the album as a distinct stylist that approaches jazz from a Brazilian point of view, injecting his improvisations with the insights of a cultural insider. These support people bring clarity to Espinosa’s vision, injecting his ideas with creative energy. The mixture of all these elements brings an appealing depth into From Yucatan to Rio, providing a firm artistic foundation to an accessible piece of Brazilian Jazz.

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