Lists are great conversation starters and they certainly spread information in an intelligent and straight-ahead way, but they have one major drawback – they have to end somewhere. By design, lists can only include a finite number of participants; this number can be one or maybe it’s one hundred, but it has to end somewhere. The list designer needs to be selective in their choices, understanding that somewhere along the line, their selections will be limited. In a way, the finite quality of lists gives them their strength – readers can move towards new ideas in easily digestible chunks. Lists also infuse the participants with a given feeling of authority, implying a sense of superiority simply through their inclusion. Readers relate to this “best of” mentality and they are more likely to pursue the music on lists. Despite the benefits, lists still end, and regardless of the best intentions, somebody gets excluded from the list.
The current Jazz Now trend challenged writers to create a list of 5 albums that would introduce new listeners to the modern jazz world; finding only five albums posed a daunting task to say the least, but I think that I’ve found a loophole. Almost all the writers that tackled the Jazz Now challenge found their five albums, but they also included a comparable (or longer) list of honorable mention albums. The original list of albums stretched into ten albums, while others made it fifteen albums, while still more made it twenty albums. I can completely relate to this loophole, it seems only fair. Despite the fact that today’s audience look backwards for their musical inspiration, musicians have continued to move forward at full speed. Numerous high quality Latin Jazz releases have appeared over the past few years, and there seems to be no stopping in the future. Narrowing down this onslaught of fantastic music to simply five albums gives a small taste of the musical banquet in today’s Latin Jazz world, but who wants just a taste? Most people want the full seven-course meal, and they would enthusiastically encourage us to add more albums to the list. At least, I like to think that they would . . . because I can’t stop with just a taste of today’s Latin Jazz world – it’s simply too good.
I’ve compiled a short list of additions to my original list that broaden the scope of the original idea and expose the new listener to a variety of important Latin Jazz artists in the modern world. My first list purposely included a wide swipe of musicians using Latin rhythms from across the Caribbean and South America that dived into less traditional Latin Jazz performance and composition approaches. I wanted to challenge a new listener’s ideas about what constituted Latin Jazz and help them think about the genre’s inherent possibilities. While my extended list doesn’t shy away from artists with those qualities, it also includes artists that play upon some more traditional concepts. Throughout both lists though, the bottom line still remains – these are all albums that provide solid entry points into the modern Latin Jazz world. If I’ve still forgotten albums or artists, please leave your suggestions in the comments below – let’s keep on extending the list. Enjoy!
———- A Genesis, Insight
A genre’s youngest musicians often bring new concepts into the style, usually through the infusion of youthful exuberance and sheer will power. Zaccai and Luques Curtis stand on the forefront of the Latin Jazz world’s young generation, but their music stems from extensive experience, formal training, and an undying dedication to the music. Two of the busiest musicians on New York’s Latin Jazz scene, the brothers have done their homework in every way possible, integrating equal lessons from Eddie Palmieri, Hilton Ruiz, John Coltrane, and Miles Davis. The result is modern jazz that stretches freely while staying intimately connected to the clave. It breaks new ground with every track, but stays firmly tied to traditional concepts. The music bubbles with spontaneous interaction but keeps a solidly funky foundation. Through long and hard work, the Curtis Brothers have found a perfect combination of old and new concepts that represent the future of Latin Jazz – with so many years ahead of them, we can anticipate that this album is the first of many powerful statements.
Metamorphosis, Yosvany Terry
Although saxophonist Yosvany Terry in only reaching his late thirties, he has lived a comprehensive musical life, going through many artistic experiences that touch upon a variety of world. From his upbringing among folkloric musicians to his thorough classical training and a deep immersion in modern jazz, Terry has built a style that fluidly combines all of his musical experiences. His well-conceived concept and deeply rooted skills appear across Metamorphosis, which walks the line between jazz charged improvisations, traditionally formulated compositions, and funky arrangements. Terry combines electronic sounds from synthesizers to guitars with aggressive percussion and drums that lean between Latin, funk, and swing. He composes angular melodies that provide some tension against the heavy groove that struts through the background. Terry’s improvisations stream fluidly throughout the album, freely exploring the changes while quoting Charlie Parker occasionally and accessing Santeria chants at other times. Terry finds modern connections between genres here, drawing upon his personal experiences to create a sound alive and new.
Things I Wanted To Do, Chembo Corniel & Grupo Chaworo
From the days of Machito and his Afro-Cubans to the present era, the New York sound has always played a major role in the development and evolution of Latin Jazz. Some musicians have played upon the area’s ingrained sense of tradition, releasing tired rehashes of songs that have decades of history behind them. Others, such as Chembo Corniel, build upon the area’s established tradition with a new sense of enthusiasm and a creative integration of new ideas – a powerful trend that you can hear on Things I Wanted To Do. Corniel brings together a collection of New York’s most vital players, including pianist Elio Villafranca, saxophonist Ivan Renta, and drummer Vince Cherico; the results are simply stunning. Corniel brings new meaning to the word tradition, showing it as a living, breathing, and modern concept; he also shows us that the New York sound still holds plenty of room for growth.
Perspectiva Fragmentada, John Santos Quintet
Percussionist John Santos has sat at the forefront of the San Francisco Bay Area Latin Jazz scene for over two decades, defining the area’s sound. Much of this work was done with his large band, The Machete Ensemble; but after twenty years, Santos opted for a smaller group. His second recording with this format shows maturity and artistic growth, not to mention some solid composition and performance skills. He brings along some heavy weight friends from Machete along for the ride, collaborating with timbalero Orestes Vilato and flautist John Calloway. He also finds inspiration in some young blood, employing pianist Marco Diaz and bassist Saul Sierra. The combination of musicians shades Santos’ strong connection to tradition with a distinctly modern and compelling edge. This album not only reflects Santos’ influence over the Bay Area Latin Jazz scene’s evolution, but it also show his place at the front of it’s future.
Jazzambia, Paoli Meijas
When given the opportunity to lead a band, percussionists often lean towards more traditional statements, finding compositions that wrap neatly around their bag of authentic rhythms. Paoli Meijas puts this thought to rest as he explodes into a sea of modern jazz techniques on Jazzambia, letting contemporary compositions set the mood for the albums. His rhythmic structures certainly rely upon traditional forms, but he approaches these stylistic elements with flexibility and freedom – the clave becomes a liberator here, not a confining factor. Meijas also draws upon rhythms from his native Puerto Rico at several turns, exploring a musical culture that simply get far too little space in the Latin Jazz world. The able percussionist gets plenty of help along the way, with a legion of strong musicians that share his modern vision; these artists include saxophonist Miguel Zenon, drummer Antonio Sanchez, pianist Luis Perdomo, and bassist Hans Glawischnig. The album never gets caught in standard Latin Jazz traps – instead, Meijas relishes in the freedom of modern jazz, showing us a keen mind in tune to today’s music world.
Buenos Aires Tango Standards, Pablo Aslan
Much of the strength behind tango lies in its extensive composition; while tango will include bits of improvisation regularly, spontaneous creation rarely defines the genre. Just because extensive improvisation hasn’t played a major role in the history of tango doesn’t mean it can’t play a part in the future of tango, as Aslan displays aptly on Buenos Aires Tango Standards. He takes a series of compositions from the tango repertoire and reworks both the form and performance approach to place them in a jazz quartet setting. The arrangements are sparse though, as Aslan simply provided his musicians with sketches of each form. The musicians provide the excitement here, turning each tango classic into a free form trip through modern jazz. Fortunately Aslan collaborates with musicians that understand both tango and modern jazz, including trumpet player Gustavo Bergalli and drummer Daniel Piazzolla. Aslan delivers an innovative crossing point between tango and jazz that completely re-invents the definition of each genre.
The Gardener, Darwin Noguera’s Evolution Quintet
Chicago certainly has a rich history tied into jazz and blues, but Latin Jazz has sat on the fringe of the scene for quite a while. Pianist Darwin Noguera has been changing that perception slowly but surely, both with his big band the Afro-Latin Jazz Ensemble of Chicago and with his Evolution Quintet on the album The Gardener. Noguera integrates his youthful energy and advanced musicality into the album, but he also brings a variety of Latin influences from Nicaragua and Peru. There’s creative songwriting, memorable playing, and distinctive arranging. Noguera makes a major statement about the strength of his musicianship and he tells us that there’s some great Latin Jazz outside the meccas on either side of the country.
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Do you have a suggestion for a list of essential modern Latin Jazz recordings that would inspire a new listener? Let us know by LEAVING A COMMENT below – the longer the list, the better!
Some musicians cross paths repeatedly during the course of their career, resulting in a variety of artistic paths. Musicians often meet on the bandstand through pure circumstance. When they play in the same location over the course of several years, they undoubtedly spend time on gigs, building at least some camaraderie. Musicians that play in the same genre run into each other through a variety of situations. They might play in a festival, they might open a large concert for a major act, or they might share the same gig, giving them a relationship. These types of casual crossings sometimes result in good music, but they rarely provide the long-term collaborations that fuel memorable performances. Other musicians simply find each other through shared interests and background, creating an artistic chemistry that cannot be broken. The come from the same set of influences, similar upbringings, or common cultural backgrounds. They develop similar artistic visions that push each other into greater heights. They learn each other’s performance approaches, finding new ways to support and inspire their peer. They learn each other’s phrasings and anticipate upcoming improvisational ideas. Any sort of artistic bond helps build a stronger musical community, but the latter type of collaboration often drives musicians to do great things.
Saxophonist Yosvany Terry and drummer Dafnis Prieto are two artistic peers that share a good deal of common traits. Both musicians grew up in Cuba during the Fidel Castro era with a limited access to musical genres and styles; their love for jazz and American popular music was a hard earned passion. These two musicians both received extensive classical trainings at some of Cuba’s finest conservatories, exposing them to a wide range of compositional techniques and highly refined technical abilities. At the same time, their hearts remained in jazz and they worked hard to learn the music on top of their regular studies. They both created unique identities on their instruments and found work with some of the island’s best jazz musicians. They came together in one of Cuba’s best jazz groups, Columna B, and applied their shared knowledge during some truly amazing performances. The two musicians found their way to United States shores at different times, but their impact was profound in similar ways. During their time in the States, they’ve proven themselves as interesting performers, insightful composers, influential bandleaders, and rising stars of the Latin Jazz world. Although they’ve both built impressive careers as leaders, they often support each other as sidemen. Both musicians have built a collaboration that has helped them grow and turned them into fantastic leaders, sitting at the forefront of the future Latin Jazz world.
These two musicians had already shown a great deal of influence in the music world – upon each other and upon the greater Latin Jazz scene – the future only holds more potential. Today’s Weekly Latin Jazz Video Fix focuses upon the incredible music being performed by these two artists. The first clip finds them performing together, as part of Terry’s band. The second video features Terry exclusively and the third scene captures Prieto’s Si o Si Quartet. Check out all three videos – you can see the future of Latin Jazz streaming through these clips. Enjoy!
———- Yosvany Terry & Dafnis Prieto Performing Together
Yosvany Terry & Band Performing At the San Jose Jazz Festival
Dafnis Prieto Si o Si Quartet
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Want more from Yosvany Terry? Check out some of his albums: Metamorphosis
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Do you have a video to contribute to satisfy our weekly Latin Jazz video fix? If so, send it in – it’s time to feed our addiction. I’m looking for live performances, from any context. I’ll most likely be posting one video per week, but if you’ve got another idea, let’s talk. So come on Latin Jazz videographers, musicians, and fans – let’s share some of our memorable videos! Get my contact info HERE
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
Just a reminder that our current Spotlight Artist, Yasser Tejeda & Palotre have contributed a free Mp3 download of their song “Mezclansa” from their recent release of the same name to the LJC Listening Center. So head on over there now and find out what this fantastic group is all about – there’s some serious musicianship there, it’s definitely worth checking out. Don’t wait – go the LJC Listening Center now!
Percussionist Pete Escovedo has spent enough years making incredible amounts of Latin Jazz, Latin Rock, funk, soul, and more; he’s become a treasure that many people want to see live. Even as he creeps into an older age, he still travels the country performing constantly. Reporter Tony Sauro found a minute to talk with Escovedo in preparation for a recent gig, putting together a nice interview. Escovedo talks about his music, career, and family – it’s a short but insightful look at a legend. Check it out HERE.
The Curtis Brothers stand on the cutting edge of Latin Jazz, both as performers and businessmen. Anyone who heard their last release under the name Insight, A Genesis, has anxiously been awaiting the release of their next album – Blood, Spirit, Land, Water, Freedom. The time is now, and the brothers have taken their careers into their own hands, independently producing the recording and forming their own record company, Truth Revolution Records. The group celebrates the release of this record on their own label with a concert this week in Hartford. In anticipation of the event, the Hartford Courier interviewed the Curtis Brothers – check out the interview HERE.
If you’re in EUROPE this week . . . SAMUEL QUINTO WHEN: Tuesday 9/29/09 WHERE:Sheraton Hotel
R. do Ten. Valadim 146
4100 Lordelo do Ouro
Porto, Portugal TIME: 7:00 p.m.
If you’re on the EAST COAST this week . . . ANDREA BRACHFELD WHEN: Friday 10/2/09 WHERE:South Brunswick Herb Eckert Auditorium
540 Ridge Road
Monmouth Junction, NJ TIME: 8:00 p.m. TICKETS: $5
ARTURO O’FARRILL
Solo Piano WHEN: Wednesday 9/30/09 WHERE:Puppet’s Jazz Bar
481 5th Avenue Park Slope
Brooklyn, NY TIME: 7:00 p.m. TICKETS: $10
JazzFest Falmouth WHEN: Saturday 10/3/09 WHERE:Marina Park
180 Scranton Ave
Falmouth, MA TIME: 8:00 p.m. TICKETS: LAWN: $25 in advance, $35 at the door; TABLES: $50 in advance, $75 at the door
ANDREA SANDOVAL WHEN: Thursday 10/1/09 – Saturday 10/3/09 WHERE:Sculler’s Jazz Club
400 Soldiers Field Rd
Allston, MA TIME: 8:00 p.m. & 10:00 p.m. TICKETS: $35; $45 with dinner
BLUE MAMBO WHEN: Thursday 10/1/09 WHERE:Gonzalez y Gonzalez
625 Broadway
New York, NY TIME: 9:30 p.m.
CHEMBO CORNIEL WHEN: Thursday 10/1/09 WHERE:Nuyorican Poet’s Cafe
236 East 3rd Street
New York, NY TIME: 9:00 p.m. TICKETS: $7
CHICO O’FARRILL’S AFRO-CUBAN JAZZ ORCHESTRA WHEN: Sunday 10/4/09 WHERE:Birdland
315 W. 44th Street
Manhattan, NY TIME: 9:00 p.m. & 11:00 p.m. TICKETS: $30
CHRIS WASHBURNE & S.Y.O.T.O.S. WHEN: Sunday 10/4/09 WHERE:Smoke
2751 Broadway
New York, NY TIME: 8:00 p.m., 10:00 p.m. & 11:30 p.m. TICKETS: $20 minimum
CONRAD HERWIG’S LATIN SIDE WHEN: Tuesday 9/29 – Sunday 10/4/09 WHERE:Blue Note – New York
131 W 3rd St
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: $20 – $35
CORINA BARTRA WHEN: Tuesday 9/29/09 – Wednesday 9/30/09 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: NO COVER
CURTIS BROTHERS WHEN: Wednesday 9/30/09 WHERE:Polish National Home
60 Charter Oak Avenue
Hartford, CT TIME: 8:00 p.m. TICKETS: $10
ERIC KURIMSKI WHEN: Thursday 10/1/09 WHERE:Terraza Cafe
40-19 Gleane St
Elmhurst, NY TIME: 10:00 p.m. TICKETS: FREE
GABRIEL ALEGRIA AFRO-PERUVIAN JAZZ SEXTET WHEN: Thursday 10/1/09 – Sunday 10/4/09 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: Thursday – Saturday 8:00 p.m. & 10:30 p.m.; Sunday 7:00 p.m. TICKETS: NO COVER
GEORGE DELGADO WHEN: Thursday 10/1/09 WHERE:La Fonda Boricua
169 East 106th Street
New York, NY TIME: 9:00 p.m. TICKETS: NO COVER
GREG DIAMOND WHEN: Wednesday 9/30/09 WHERE:Flutebar
205 West 54th Street
New York, NY TIME: 8:00 p.m.
LAYLA ANGULO WHEN: Thursday 10/1/09 WHERE:The Bitter End
147 Bleeker Street
New York, NY TIME: 10:30 p.m.
QUINTERO CONNECTION WHEN: Thursday 10/1/09 WHERE:La Fonda Boricua
169 East 106th Street
New York, NY TIME: 9:00 p.m. TICKETS: $10
VENISSA SANTÍ WHEN: Sunday 10/4/09 WHERE:Bistro St. Tropez
2400 Market St Market Place Design Center, 4th Floor
Philadelphia, PA TIME: 11:30 a.m. TICKETS: FREE
YOSVANY TERRY WHEN: Friday 10/2/09 WHERE:The Shrine
2271 Adam Clayton Powell, Jr. Boulevard
New York, NY TIME: 6:00 a.m. TICKETS: FREE
If you’re in the MID-EAST this week . . . TUMBAO BRAVO WHEN: Sunday 10/4/09 WHERE:Sangria – Royal Oak
401 S. Lafayette
Royal Oak, MI TIME: 9:00 p.m. TICKETS: $6
If you’re on the WEST COAST this week . . . ALFREDO RODRIGUEZ WHEN: Saturday 10/3/09 WHERE:Hollywood Bowl
2301 N Highland Ave
Los Angeles, CA TIME: 4:00 p.m. TICKETS: FREE
BOBBY MATOS WHEN: Monday 10/5/09 WHERE:Hal’s Bar & Grille
1349 Abbot Kinney Boulevard
Venice, CA TIME: 9:00 p.m. TICKETS: FREE
FRANCISCO AGUABELLA WHEN: Sunday 10/4/09 WHERE:Yerba Buena Gardens
760 Howard Street
San Francisco CA TIME: 12:30 p.m. TICKETS: FREE
FRANK CANO WHEN: Saturday 10/3/09 WHERE:Steamer’s
138 W. Commonwealth
Fullerton, CA TIME: 8:30 p.m. TICKETS: $8
GILBERT CASTELLANOS WHEN: Tuesday 9/29/09 WHERE:Onyx Room
852 5th Avenue
San Diego, CA TIME: 9:00 p.m. TICKETS: FREE
KAT PARRA
CD Release Celebration For Dos Amantes WHEN: Saturday 10/3/09 WHERE:The Jazz School
2087 Addison Avenue
Berkeley, CA TIME: 8:00 p.m. TICKETS: $20
REBECA MAULEON WHEN: Sunday 10/4/09 WHERE:Yoshi’s – Oakland
510 Embarcadero West
Jack London Square
Oakland, CA TIME: 2:00 p.m. TICKETS: $5 Kids, $16 Adults
SCOTT MARTIN WHEN: Sunday 10/4/09 WHERE:Sonoma Harvest Fair
1350 Bennett Valley Road
Santa Rosa, CA TIME: 12:00 p.m., 1:15 p.m., & 2:30 p.m. TICKETS: $6
TANAORA WHEN: Saturday 10/3/09 WHERE:Anna’s Jazz Island
2120 Allston Way
Berkeley, CA TIME: 8:00 p.m.
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¡Bien Bien! The Wayne Wallace Latin Jazz Quintet Patois Records
Some Latin Jazz artists that sustain long careers travel through bumps and detours during their lives, while others simply get better with age. This eventual outcome can’t be seen early – some artists hit their artistic stride at the beginning of their careers, while others take years to develop an artistic identity. Regardless of the quality in their early work, it’s the future paths that a musician travels that establish their legacy. Musicians simply can’t play the same thing through their lives and so a continuous musical output requires some searching and experimentation. An astute artist makes changes to their musical approaches and incorporates new elements into their style, resulting in more interesting music. Other times, musicians back up into a more classic approach that contrasts their established style. As the artist moves forward, they either experience a jagged series of successes and failures or they consistently improve upon their given concepts. Both career paths supply a big chunk of the artist’s identity, and either direction can be workable. In reality though, the artist that simply continues to increase the quality of their work becomes an ideal musical figure with an enviable body of work that appeals to a wide public audience. Bay Area trombonist, composer, and arranger Wayne Wallace continues his assent into an untouchable level of quality, delivering an outstanding set of classic Latin Jazz with his Quintet on ¡Bien Bien!.
A Unified Group Sound On Original Compositions
Wallace and his group deliver a unified group sound full of personality on a series of original compositions. Wallace improvises briefly over pianist Murray Low’s driving montuno on “¡Bien Bien!” until a thick harmonized collection of trombones present a memorable melody. A quick statement from Wallace leads into Low’s extended improvisation, which comes alive through his keen sense of melodic development. The rhythm section leaps into an aggressive vamp, providing the foundation for an exciting improvisation from drummer Paul van Wageningen, who winds percussive ideas through sharp horn hits. Low, Wallace, and bassist David Belove establish a syncopated ostinato on “Mojito Café” which builds steadily towards Wallace’s strong theme. Percussionist Michael Spiro riffs over a timba-fueled montuno until the band quiets behind Low’s smartly constructed and engaging piano solo. The rhythm section jumps back into the timba feel behind van Wageningen, building momentum into Wallace’s bold improvisation that cuts through the rhythm section with power and ease. Wallace introduces the cha cha cha groove on “Playa Negra” with a confident pick-up that sets the tone for the whole piece. A percussive figure sends Wallace flying into his improvisation, an ear catching statement that benefits from his ability to spontaneously construct solid melodies around the clave. Low continues the rhythmic emphasis in his improvisation before falling into a steady montuno while Spiro develops a tasteful conga statement. Wallace’s compositions suite his group well, and they come alive here, responding enthusiastically to the inspiring structures and space for personal expression.
Drawing Inspiration From Guest Artists
Wallace draws inspiration from a variety of guest artists that diversify the album’s sound and push the band to new heights. A trombone with a wah wah mute winds around the classic melody on Duke Ellington’s “Going Up! (Subete!)” adding color and personality to the straight-ahead melody. Low blazes through a fiery improvisation, before charging into a powerful montuno behind a rhythmic solo from trombonist Julian Priester. A short interlude sends the band racing into a ferocious groove as Wallace and trombonist Dave Martell trade an exciting series of ideas and Belove plays through a short improvisation. The triple trombone attack of Wallace, Priester, and Martell provides a rich sonority to the melody on Memo Acevedo’s “Building Bridges,” delivering a harmonized call and response. Priester’s mellow tone takes center stage with a rhythmic improvisation before a quick interlude introduces Martell’s bolder tone and slightly understated phrasing. An explosive unison break sends the band screaming into a fiery montuno while Wallace lets loose with a no-holds-barred improvisation. Wallace, Low, and Belove place a staggering vamp over a Puerto Rican bomba groove on Eddie Harris’ “Freedom Jazz Dance,” leading into a few quick pregones from vocalist Orlando Torriente amid a strong coro. Vocalist Kenny Washington presents the traditional vocalese version of the melody with some rhythmic tweaks, bringing a striking contrast between the two vocalists into the forefront. Wallace improvises over the familiar structure with the comfort of a bi-lingual musician, moving into an attention grabbing scat solo from Washington. Wallace integrates his guest artists with skill and professionalism, highlighting their individual skills and encouraging them to push the band.
Playing Upon His Group’s Strengths Through Creative Arrangements
Wallace selects the remaining material from a wide variety of jazz standards, creating original arrangements that showcase his group’s strengths. Low’s addictively propulsive montuno sends the band sailing into a tight arrangement of Sonny Rollins’ classic blues melody on “Solid.” Wallace eats up the blues changes with a nimble creativity, spinning a long stream of cleverly variated bop infused lines. The band lowers its dynamic behind Low, who uses a combination of blues licks and modern ideas to build back into the original montuno while Spiro leaps into an explosive statement. An intimate small group setting with Wallace, Low, and Belove creates an understated beauty on Ellington’s “In A Sentimental Mood,” until the percussionists subtly add a bolero beneath the group. Wallace thoughtfully constructs a gentle statement that radiates with character, due to his unique phrasing and muted inflections. Low improvises reflectively, playing off the rhythm section’s implied swing, leading into a melodically rich and rhythmically moving double bass solo from Belove. Spiro’s bata drums engage Wallace in an open conversation before van Waginengin drives the band forward with a raucous swing on John Coltrane’s “Africa,” a tribute to the late Bay Area saxophonist Ron Stallings. Low glides over the swing rhythms with a lush layer of chords that recall the distinctly modern sound of McCoy Tyner. The group bursts into a rumba guaguagnco as Wallace improvises feverishly, incorporating blazing chains of notes, screaming high notes, and creative articulations. Wallace incorporates these standards intelligently into his repertoire, providing ample opportunities for his musicians to create dramatic statements over familiar structures.
Maintaining A Journey Into Higher Levels Of Artistry
Wallace and his Quintet build upon their combined experience on ¡Bien Bien! to present one of the finest recordings in Wallace’s career. Wallace’s career has taken him through many roles – work as a sideman with many great jazz artists, a ground-breaking contribution to the development of a Bay Area Latin Jazz sound with The Machete Ensemble, and a string of releases as a band leader. In every setting, his performances, compositions, and arrangements resonated with quality. Wallace takes things to a new level here with a combination of his established skills and some new approaches. The creative arrangements and compositions that have been the cornerstone of Wallace’s sound remain, but there’s also an overall looser feel that allows for some fantastic solo statements. Wallace serves as the primary soloist, and he is simply on fire. He holds a serious set of chops and a defined musicality that walks with grace and ease between traditional jazz improvisation and hard-core clave phrasing. Low adds a significant presence to the recording, constantly pushing the band with furious montunos, and countering Wallace’s style with another clearly defined voice. Belove, Spiro, and van Wageningen insert a solid foundation at every turn, fueling the rhythms with an authentic knowledge and nudging soloists with smart interaction. The inclusion of several guest musicians supports Wallace’s overall sound, integrating diverse ideas into the mix. ¡Bien Bien! finds Wallace hitting a musical milestone as a bandleader, maintaining a journey into higher levels of artistry that seems destined to continue.
The past two weeks have been an inspiring journey over at NPR’s outstanding A Blog Supreme, which started with a post entitled “Jazz Now: Introducing The Music Of The Present Moment.” Lead blogger Patrick Jarenwattananon outlined the focus upon jazz artists of the past in most people’s minds – a good thing for the establishment of historical precedent, but a bad thing for the livelihood of the modern jazz artist. Obviously the need exists to expose a wider audience to the jazz musicians keeping the scene alive in 2009. So Jarenwattananon presented an idea: create a list of five albums you would recommend to somebody looking to get into modern jazz. He called upon several writers to submit their lists, drawing out artists such as the Bad Plus, Darcy James Argue, Gretchen Parlato, and more. Across the jazz blogosphere, writers began to join the party, submitting their lists of modern jazz albums. Fantastic posts from Peter Hum, Jason Parker, David Ryshpan were just the tip of the iceberg in terms of enthusiastic response. It seems like this trend has given modern jazz some fantastic publicity; I’ve found this truly encourage, but I did notice one small gap . . . there was a surprising lack of Latin Jazz represented in this lists.
Latin Jazz has changed drastically in the past twenty years, both in terms of the Latin rhythms found in the music and the approach to jazz improvisation. The inclusion of rhythmic traditions from Puerto Rico, Peru, Colombia, Mexico, Argentina, and greater Brazil has opened the music’s vocabulary to a completely new world. The greater use of folk music and religious traditions to more precisely reference cultural traditions has added depth and meaning to the genre. A diversity of jazz approaches has filtered into Latin Jazz, driving musicians to explore free improvisation, dissonant harmonies, fusion rhythms, and creative arrangements. A deeper investment in modern jazz has driven musicians to push the rhythmic structures into the background and focus upon solid compositions. The Latin Jazz world has undoubtedly expanded, and as a result, it has exploded into a massive amount of artistic directions. It’s time for all of us to cast aside the established stereotyped ideas about Latin Jazz and start looking at the outstanding artistry being displayed in today’s world.
With this in mind, I decided to create my own list of Latin Jazz album to follow the Jazz Now series. I’ve chosen 5 recent albums that reflect the new diversity of approaches and sub-genres apparent in the contemporary Latin Jazz world. I skipped the easy entry points that most people might suggest for a first step into Latin Jazz. I wanted to honestly show the changes in the Latin Jazz world, and I think that each album below represents a piece of that evolving world. Remember, this isn’t a “best of” list; this is a collection of 5 albums that would be a good introduction to the modern Latin Jazz world. So check out the list and see what you think – if you haven’t heard them, check them out and step into the modern Latin Jazz world. And please, leave your thoughts in the comments about your top 5 albums that represent the modern Latin Jazz world – the longer the list, the better! Enjoy!
———- 1. Si O Si Quartet Live At Jazz Standard NYC – Dafnis Prieto Si O Si Quartet In early versions of Latin Jazz, compositions generally bent to the will of the rhythmic structures, with percussive arrangements emphasizing the clave at every turn; many contemporary Latin Jazz composers bend rhythms to the will of the compositions, a fact seen clearly on Dafnis Prieto’s latest album. An exciting and spontaneous drummer with a strong technical ability, Prieto contributes a clearly defined presence to any musical context, but in a set of his own music, his brilliant compositions take center stage. He retains a clear link to his Cuban heritage through the use of authentic rhythms, but the presence of these cultural pieces is not absolutely pronounced. Prieto manipulates and embellishes the rhythms with the finesse and knowledge of a master musician, allowing him to paint broad colors while still evoking tradition. He dances around the clave agilely, leaving enough space for improvisatory interaction and modern jazz expression. In many ways, Prieto’s love for Miles Davis’ classic quintet from the sixties informs his music just as clearly as Cuban traditions. There’s shades of color throughout the arrangements, spontaneous leaps between styles, as well as equal shares of beauty and dissonance. Prieto’s music stands strongly among the view of modern jazz artistry, keeping a smart connection to Cuban rhythms.
Prieto’s latest release Live At Jazz Standard NYC illustrates these points with precision and clarity. The clever drummer introduces “Si o Si” with a broken son montuno pattern that dramatically rises into an Afro-Cuban 6/8 behind saxophonist Peter Apfelbaum’s searching tenor. There’s a ferocious intensity to pianist Manuel Valera’s repeated pattern on “Claveteo” that leans more towards a classical line than a scorching montuno, opening the door for a squelching improvisation from Apfelbaum. Although Prieto leans towards a more traditional son montuno rhythm on “Ilu-Uli,” the melody’s angular attacks inspire distinctive statements from Valera and Apfelbaum. “Me Neither” jumps frenetically between a contrasting mish-mash of styles while Apfelbaum and Valera trade ideas on saxophone and melodica. Prieto displays a mind-boggling ability to phrase around the clave on “Intro Absolute” as he maintains a blistering rumba clave while scatting a percussion solo. This impressive display leads directly into “Trio Absolute,” a showcase for the drummer’s amazing dexterity, creativity, and ability to spontaneously create a work of art. Live At Jazz Standard NYC provides a perfect introduction to authentic uses of Cuban rhythms among a new generation of Latin Jazz musicians expressing their personal voices.
2. Nuevo Mundo – Gabriel Alegria Latin Jazz built its reputation and history around the combination of jazz harmonies and improvisation with Cuban and Brazilian rhythms; while these styles still dominate the modern Latin Jazz scene, the style has been infused with a spark of creativity through the use of diverse traditions from across the Caribbean and South America. The African influenced music of coastal Peru has found an important place among the modern jazz scene, with rhythms like festejo and lando appearing extensively in many new recordings. The traditional Latin Jazz rhythm section of timbales, congas, and bongo is being augmented or replaced by a drum kit and cajon as well as cajita and quijada. In many cases, guitar replaces the piano, vocals appear on a regular basis, and a thinner, spacious texture fills each song. Musicians from Peru are studying jazz and stateside musicians are taking the leap into Peruvian rhythms, with incredible results. Fortunately, these musicians have decades of Latin Jazz history to build upon, and they have open ears to the past. While Afro-Peruvian Jazz artists have taken the opportunity to place the rhythms beneath some jazz standards, there has been a greater movement towards original composition. Musicians have built ideas around Peruvian folk music, integrated rich jazz harmonies, and opened the door to jazz improvisation. With the advent of Afro-Peruvian Jazz, a whole new approach to Latin Jazz has hit the style’s refresh button, invigorating another side to the genre.
Trumpet player Gabriel Alegria has made great strides over the past few years to produce, promote, and perform Afro-Peruvian Jazz, as seen on his 2008 release, Nuevo Mundo. Alegria builds an organic combination of Afro-Peruvian rhythms and traditional jazz, giving the impression that both styles were meant to be performed side-by-side. Drummer Hugo Alcazar storms into a blazing quick swing rhythm while the horns wrap modern jazz melodies around the groove on “Buscando a Huevito” before percussionist Freddy “Huevito” Lobaton jumps into the mix with a traditional cajon rhythm. Alegria growls with a heartfelt blues edge on the classic jazz standard “Summertime” while the rhythm section provides a simmering lando. A Miles Davis tinge flows through the melody on “Piano de Patio (y bongo)” as Lobaton comments assertively on both bongo and cajon. Alcazar plays cajon while Lobaton inserts a colorful cajita groove behind a mysterious melody on “El Norte,” leading into a tasteful guitar solo from Walter “Jocho” Velasquez. Alegria displays a strong lyrical ability on “ Las Hijas Del Sol,” spinning long melodic lines over a quiet lando rhythm and chordal support. Alegria provides a wonderful mix of high-level musicality, traditional Peruvian rhythms, and jazz artistry on Nuevo Mundo, creating a wonderful introduction into the world of Afro-Peruvian Jazz.
5. South American Suite – Felipe Salles Most people associate Brazilian Jazz with the bossa nova collaborations between Antonio Carlos Jobim and Stan Getz seen most prominently on Getz/Gilberto . . . or even worse, they imagine those horrible muzak versions of Jobim’s songs heard on elevators. Today’s Latin Jazz artists find new ways to express Brazilian identity through jazz, moving beyond the safety zone provided by the mass popularity of bossa nova or the comfortable familiarity of samba. The exploration of Brazil’s wealth of rhythmic treasures serves as a starting point for most artists, integrating rhythms from Northern Brazil and beyond. At the same time, modern Brazilian artists are moving past the idea of “pretty” music often associated with early jazz bossa novas. There’s plenty of beauty still inherent in contemporary Brazilian Jazz, but modern artists are taking daring risks compositionally and improvisation ally; while this may not sit well with the elevator crowd, it certainly makes for more interesting music. Interestingly enough, this phenomenon is hardly new – Brazilian composer Hermeto Pascoal has walked the experimental music line for many years, bringing together free jazz, fusion, vast Brazilian rhythms, twentieth century composition techniques, and just about everything else to create a massive body of work. Pascoal’s influence has spread like wildfire among Brazilian artists, but American musicians have been a bit behind the curve on stepping into a more exciting world of Brazilian music. Perhaps the popularity of Jobim, Getz, and the bossa nova circuit sidelined American artists, but times are changing; modern Brazilian Jazz is alive, well, and exciting.
Young saxophonist and composer Felipe Salles opens the door onto a brighter future for Brazilian Jazz on his impressive 2007 album South American Suite. Rogerio Boccato’s pandiero establishes the groove before Salles, flautist Jacam Manricks, and violinist Laura Arpiainen jump into a long and winding melody on “Unborn Choro,” providing a great opportunity for lyrical improvisations from pianist Nando Michelin and bassist Fernando Huergo. Salles and Manricks aggressively plow through a dissonant melody while the rhythm section moves between baião and maracatu on “Seven Days,” building into a wildly personal improvisation from Salles. The rhythm section delivers an upbeat foundation on “Somewhat Frevo” before the melody breaks the mood with rough syncopations and tough harmonies. A breezy swing informs the rhythm on “Xote Manco” beneath a sparse and beautiful melody until sharp attacks introduce a reflective mood and an eventual shift into double time. The clever piece “Three Views” plays upon our perspective of the common samba rhythm by mixing three distinct approaches – sambo-choro, partido alto, and samba in three. Salles’ serious compositional approach, daring performances, and wide view of Brazilian music on South American Suite all present a completely new vision of Brazilian Jazz – the perfect introduction for newcomers.
4. Sube Azul – Sofia Rei Koutsovitis Vocals have always played a part in Latin Jazz, but in the past, they often pushed the music towards a salsa or dance music direction; this reflects upon the music’s roots, but it also downplays the jazz connection. On the other side of the equation, jazz vocalists from the past and present have made valiant attempts to perform in a Latin context, but their lack of knowledge around stylistically appropriate phrasing made their performances a bit lacking. Today, modern Latin Jazz vocalists are emerging that display the best of both worlds – an authentic connection to Caribbean or South American traditions and a broad understanding of jazz harmonies and improvisation. In many cases, these artists spend their younger lives immersed in the native music of their country and then focus their mature musical development upon jazz, determining some distinct directions for their musical vision. Their connection to traditional Latin music sits in their repertoire – instead of an over reliance on well-worn jazz standards, modern Latin Jazz vocalists are increasingly choosing the folk music of Cuba, Brazil, Peru, Argentina, and more. This creates a distinctly personal connection to the music and offers a new improvisational context for their band mates. At the same time, these vocalists learned the jazz craft in a modern world, connecting with contemporary approaches to harmony, arranging, and improvisation. Their interpretation of folk songs or original compositions may include dissonant harmonies, interesting instrumentation, dips into free improvisation, and more. In today’s Latin Jazz world, vocalists are pushing the envelope with the same forceful artistry as instrumentalists.
Argentinean vocalist Sofia Rei Koutsovitis brings all these elements together into an intoxicating mix on her 2009 release Sube Azul. Koutsovitis phrases freely over a guitar backdrop, intertwining around lines from cellist Dana Leong on “Sube Azul” until an assertive cajon pushes the song into an assertive forward motion. The rhythm section drives a sparse groove as Koutsovitis sing with a sensitive touch and broad range on “Instante de Vos,” leading into a passionate solo from Leong. There’s a brilliant sense of shape on “Las Cáscaras” as Koutsovitis uses her wide dynamic range to build from nothing into a completely commanding presence. The tasteful use of electronics and overdubbing bring “Coplera’ to life as Koutsovitis layers her voice into rich washes of harmonized textures. Bassist Jorge Roeder establishes a strong bass line over a powerful festejo while Koutsovitis takes control of the melody on “El Mayoral,” eventually making way for a trombone solo from Leong and a captivating scat solo from Koutsovitis. The rhythm section creates a melancholy mood while guitarist Juancho Herrera riffs around Koutsovitis’ understated vocal on “Imaginaria” rising into a moving groove for improvisations from pianist Leo Genovese and saxophonist Dan Blake. There’s a lot of deep artistry throughout Sube Azul and an absolutely engaging vocal performance from Koutsovitis, providing a great example of modern Latin Jazz vocals at their finest.
3. Off & On – The Music Of Moacir Santos – Mark Levine And The Latin Tinge All of the other artists on this list reside on the East Coast, but it’s important to remember that the West Coast holds a rich and thriving Latin Jazz scene. Both the San Francisco Bay Area and the Los Angeles area have long housed a number of important artists that in many cases haven’t received the same historical accolades as their New York counterparts. Still, the reality exists that the West Coast Latin Jazz scene carries a great deal of history that involves some pretty influential Latin Jazz figures. Musicians such as Cal Tjader, Francisco Aguabella, John Santos, Rebeca Mauleon, Pete Escovedo, Justo Almario, and more have called the West Coast their home and established a defined sound for the area. While the West Coast Latin Jazz sound often gets typified by Latin Rock or Latin Fusion approaches, artists have long shown greater depth. West Coast artists have freely incorporated more stylistic mash-ups into Latin Jazz and taken some serious time to experiment. Many West Coast musicians have made strong connections to Cuban musicians, and over the course of the past ten years, a number of Cuban musician have moved into Los Angeles and San Francisco. As a result, much of the music’s sound has leaned in a decidedly modern Cuban direction. At the same time, the musicians have kept solid connection to Brazilian music and more. For many years, the West Coast has held a clear vision of Latin Jazz, one that continues into the modern day.
San Francisco based pianist Mark Levine and his group The Latin Tinge dive fully into a West Coast Latin Jazz sound with their 2009 album Off & On – The Music Of Moacir Santos. The repertoire draws upon the work of Brazilian composer Moacir Santos, who developed a relationship with Levine during his time in Los Angeles. Levine became a huge fan of Santos’ work, and this creative collection of his compositions serves as a fitting tribute. Santos’ most popular piece “Nana” gets an energetic facelift through a cha cha cha groove and lively improvisations from Levine and flautist Mary Fettig. A smart arrangement finds Levine and Fettig playing off each other on “Early Morning Love” as the rhythm section provides an upbeat samba. A strutting bass clarinet line moves the groove ahead on “Suk-Cha” before the group leaps into a catchy melody and engaging solos from bassist John Wiitala and Fettig. A racing rumba flies behind an active exchange between Fettig and Levine on “Haply Happy,” moving towards a solo from Fettig and an exciting conversation between percussionist Michael Spiro and drummer Paul van Wageningen. Fettig switches to soprano sax over a driving baião rhythm on “Tomorrow Is Mine,” providing an perfect setting for Levine’s masterful improvisatory skills. There’s a dual jolt of West Coast Latin Jazz here with a dive into the Music of Moacir Santos and the powerful performance of Mark Levine and the Latin Tinge – an essential introduction to West Coast Latin Jazz.
Our current Spotlight Artist Yasser Tejeda brings the best of several musical worlds into one engaging mix that touches upon Dominican tradition, reaches deeply into modern rock and fusion sounds, and stretches the idea of Latin Jazz to the further reaches of its boundaries. Their use of merengue, palo, and more Dominican rhythms brings a refreshing edge into the Latin Jazz world rarely touched upon by most musicians. Their use of the rhythms goes beyond the simple placement of a merengue underneath some jazz changes; they creatively blend each style with a combination of rock energy and jazz sophistication. The group cleverly finds connections between the traditional music of their heritage and the current music of their generation, delivering an intoxicating mix with a wide appeal that’s not afraid to challenge the listener. They approach this mix with an interesting balance of respect and no holds barred musicality that resonates with an unmistakable identity and charges forward with a passionate drive to express that distinct personality. Tejeda’s ingenious songwriting and solid guitar skills lead the group with style, guiding the ensemble with a clean crisp sound at times while roaring into a chaotic sense of forward motion full of distorted shredding elsewhere. Tejeda’s musicians follow his lead with confidence and commitment, even taking the charge to push their leader to greater heights.
Tejeda has obviously put extensive thought and time into the development of his musical identity, and fortunately he puts the same type of energy into promoting it, so you can find him extensively online. You can become friends with Tejeda at his MySpace page and check out the extensive streaming music and live videos. If you’d like to listen to some of Tejeda’s music, join his street team, check out photos, or become a fan, take a spin over to his Reverb Nation page and get the full scoop. Maybe you’d like to hire Tejeda and Palotre, so you need more information – you can find it all at his Sonic Bids page, including photos, video, audio, and bio. You might want to make a more personal connection with Tejeda, so the perfect place would be his Facebook page where you can start a conversation on his wall and stay up to date on the latest news. Get the real time updates from Tejeda about his performances, recordings, and more by following him on Twitter – check out his Twitter page HERE. You can watch Tejeda and Palotre in action on his YouTube page, and stream videos from their studio session as well as some of Tejeda’s performances with the group Untapped. There’s plenty of possibilities to learn more about Tejeda online, so take advantage of the links and dive into Tejeda’s music.
There’s no better way to get closer to an artist than to carry their music with you though, and Tejeda is allowing you the possibility to do just that – he has generously contributed the track “Mezclansa” to the LJC Listening Center! Head over to the Listening Center now, download the track, load it onto your iPod, and get a feel for this exciting music. Once you do, you’re going to want to hear more; then it’s time to pick up the full album – believe me, you’ll be glad that you did! So head over the LJC Listening Center and check out “Mezclansa” – it’s Tejeda’s gift to you. Enjoy it!
After you download “Mezclansa” from the LJC Listening Center, take a look below to learn more about Tejeda and Palotre. I’ve included some biographical information Tejeda, and then some background information about the group as well as a quote about the album. Beneath that, you’ll find a video of the group performing the song “Coconut Grove” from the album. There’s a lot to like here, so take the opportunity to hear it all – enjoy!
Yasser Tejeda & Palotre
Yasser Tejeda was born in 1985 and raised in Santo Domingo, Dominican Republic. At the age of 11, he began lessons with a private teacher. After a few years he enrolled in the National Conservatory of Music in Santo Domingo and in 2004 took private lessons with David Fiuczynski. At the age of 17 he began his musical career doing gigs, recordings and concerts outside the Dominican Republic in venues such as Carnegie Hall, Shea Stadium, and United Palace. He has played with numerous famous artists from the Dominican Republic such as Grupo Negros, Ilegales, Panky y Los Manolos, Luis Dias, Xiomara Fortuna, Tony Vicioso, Irka Mateo, Jose Duluc, Roldan Marmol and Marassa. In January 2007 he was awarded the World Scholarship Tour from Berklee College of Music. Entering the school a year after, in the Spring of 2008, Yasser Tejeda has performed with Skip Smith, Jetro Da Silva, Ron Madhi, David Fiuczynski, Jovol Bell, Kyle Miles, Tim Turner and others. Most recently, he has been working toward the release of his first album as a composer, arranger and producer: Mezclansa, recorded in Santo Domingo, Dominican Republic, Dec 07 Jan 08
Equally well-versed in Caribbean roots, popular and jazz musical idioms, Palotre is without a doubt one of the most exciting musical projects to emerge out of the contemporary Caribbean. These young Dominican musicians have successfully undertaken the difficult task of fusing a wide variety of genres and taking them to a new level. Their focus on the traditional and popular music of the Dominican Republic, such as palos, gagá and merengue, is particularly refreshing, given that the Dominican Republic is a nation of great musical complexity and achievements that has remained undeservedly marginalized on the world music stage. Also significant—for cultural as well as political reasons—is Palotre’s musical exploration of the porous boundaries between the Dominican Republic and Haiti, sister nations that have a long tragic history of conflict. Members of the youngest generation of a venerable lineage of Dominican musical giants like Xiomara Fortuna, Luis Dias, Juan Luis Guerra, Tavito Vasquez, Tony Vicioso, Duluc, Irka Mateo and Michel Camilo, Palotre honors their elder’s trajectories and innovations and at the same time forge a path of their own.
Bill Milkowski On Yasser Tejeda & Palotre New Album Mezclansa
Palotre invigorates the bachata and merengue tradition with a post-Hendrix, post-Jaco, post-Bob Marley aesthetic that is positively brimming with hip ideas and an edgy electric quality while remaining fundamentally rooted in groove. Led by the exciting guitarist-composer Yasser Tejeda, a talent worthy of wider recognition, this accomplished band from the Dominican Republic carves out some fresh new territory on the modern jazz scene with Mezclansa
Some Latin Jazz musicians deliver unexpected thrills and chills with each new release, providing a different musical adventure with every track while other musicians serve as stylistic rocks, consistently turning out high quality, straight-ahead Latin Jazz. Both types of artists hold strong musical skills, they’ve simply chosen different artistic pathways to define their careers. They also both serve as important pieces of the musical community – the more traditional musician ensures the perseverance of tradition and the experimental artist pushes the advancement of the genre. Both types of artists find a following, but in general, the stylistic rocks retain a greater popularity among a wide audience; their audience knows what to expect from them and they consistently come back for more. They act as the genre’s standard bearers, traveling around the world, sharing their traditional statements. These artists open the door for the more experimental musicians, acclimating people’s ears to Latin rhythms before they face the challenge of unusual artistic approaches. For most people, the rock solid consistent artists serve as the face of the genre and their doorway into the music’s history and depth – they are the first stop in many people’s journey through Latin Jazz, and as a result, their work is of the utmost importance.
For close to thirty years, conguero Poncho Sanchez has firmly held his place in the Latin Jazz world as a stylistic rock, consistently producing top-notch Latin Jazz in a very traditional and very exciting way. As a young musician in the Los Angeles area, Sanchez fed his healthy musical appetite with Latin Jazz artists such as Mongo Santamaria and Tito Puente, Fania era salsa bands, and classic rhythm and blues. His reputation steadily grew until vibraphonist Cal Tjader recruited Sanchez for his band in 1975, effectively sending Sanchez into the big leagues of the Latin Jazz world. Sanchez traveled the globe with Tjader, refining his skills as a percussionist and jazz musician, but also learning the inner workings of the music business. His knowledge grew as Sanchez stayed with Tjader until his death in 1982, and by the time that Concord Records employed Sanchez as a bandleader, he was ready to step into the greater music world. His first Concord release, Sonando!, followed directly in Tjader’s footsteps, presenting solid arrangements of jazz standards over Latin rhythms all anchored by excellent soloists and an extremely tight rhythm section. Sanchez continued this formula with several more albums, including Bien Sabroso, El Conguero, Fuerte, and La Familia, building a loyal fan base and an ever-growing reputation as one of the genre’s best bandleaders. He joined forces with legend Mongo Santamaria on the 1995 album Conga Blue and reflected upon his time with Tjader on the album Soul Sauce: Memories of Cal Tjader, reinforcing his status as an important piece of West Coast Latin Jazz history. Sanchez embellished his sound at times, but never changed it; on the 2007 release Raise Your Hand, Sanchez dives into rhythm and blues, but the album also contains a healthy dose of traditional Latin Jazz. The now classic Sanchez sound has remained constant throughout his career, making him one of the genre’s most important standard bearers and most popular figures throughout the world.
Sanchez releases his twenty-forth album on the Concord Records label next week, Psychedelic Blues, a solid recording that sidesteps the rhythm and blues of Raise Your Hand and focuses firmly upon the classic Latin Jazz approach that has long defined the percussionist. In celebration of this new recording, today’s Weekly Latin Jazz Video Fix will be dedicated to Sanchez with a couple of videos from the Sanchez of past and present. The first video discusses Psychedelic Blues through some interviews with Sanchez, a look at the band’s studio time, and samples of the album’s tracks. The second clip finds the Sanchez band in action, performing their trademark blend of Latin Jazz, salsa, and entertainment with a tune entitled “El Conguero.” Both videos show Sanchez at his best, providing a rock solid link to a classic Latin Jazz tradition. Enjoy!
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Do you have a video to contribute to satisfy our weekly Latin Jazz video fix? If so, send it in – it’s time to feed our addiction. I’m looking for live performances, from any context. I’ll most likely be posting one video per week, but if you’ve got another idea, let’s talk. So come on Latin Jazz videographers, musicians, and fans – let’s share some of our memorable videos! Get my contact info HERE
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
Drummer, historian, bandleader, and educator Bobby Sanabria will be hosting a preview of the first two parts of the upcoming PBS documentary Latin Music U.S.A. next Saturday September 26th at the Jazz Museum In Harlem. This FREE preview of this very important documentary will also feature a discussion with producer Pamela Aguilar and director Dan McCabe. The event will start at 11:00 a.m. and last until 4:00 p.m. – it’s a great opportunity to get a closer look at this fantastic piece of work that will premiere on PBS on October 12th. If you’re in the New York area next Saturday, don’t miss this one – get all the details HERE.
Congratulations to the nominees for Best Latin Jazz Album for the tenth annual Latin Grammy Awards. The nominees are: Forests from The Brazilian Trio, Kenya, Revisited Live!!! from Bobby Sanabria & The Manhattan School of Music Afro-Latin Jazz Orchestra, Sepulveda Boulevard from Charlie Sepulveda & The Turnaround, Nouveau Latino from Nestor Torres, and Juntos Siempre from Chucho Valdes & Bebo Valdes. The Grammy Foundation did a good job of selecting some outstanding nominees this time around – get the full scoop HERE.
Percussionist Poncho Sanchez is set to release his 24th album next week, Psychedelic Blues, and NPR Jazz is offering a stream of the full album HERE. Make sure that you check it out, there’s some classic Sanchez on there. In addition, Felix Contreras reflects upon the Sanchez sound and the course of the percussionists career, recalling many interviews over the course of the past two decades. It’s a good read that looks back on the Sanchez legacy – check it out HERE.
Is Latin Jazz really a style or just a simple commercial marketing term meant to marginalize Latin music (and musicians)? That’s a loaded question that tackles many important issues in the style. Over at the Jazz Latino New York blog, Jose Cruz asks these questions and reflects upon a conversation about that very topic with the late great Ray Barretto. It’s an interesting perspective on an important topic. Check it out HERE.
Social Media has become an important part of any modern musician’s career, yet some artists truly lack the knowledge to use these tools effectively. Over at Latino Web Cafe, Hector Aviles has launched into a series that explores the evolving world of Latin Music in social media. It’s a thought-provoking article that will make us all rethink our Facebook, MySpace, and Twitter accounts. Check it out HERE.
If you’re in SOUTH AMERICA this week . . . MANANTE WHEN: Monday 9/21/09 WHERE:Jazz Zone
Av. La Paz 656
Pasaje El Suche Miraflores
Lima, Peru TIME: 8:00 p.m. TICKETS: 20 soles
If you’re in EUROPE this week . . . OMAR SOSA WHEN: Wednesday 9/23/09 WHERE:Bielskie Centrum Kultury
Bielsko-Biala, Poland
SAMUEL QUINTO WHEN: Thursday 9/24/09 WHERE:B-Flat Restaurant
Rua Garcia Arosa 4450
Matosinhos, Portugal TIME: 11:00 p.m.
If you’re in ASIA this week . . . EDDIE PALMIERI WHEN: Tuesday 9/22/09 – Saturday 9/26/09 WHERE:Blue Note – Tokyo
Tokyo, Japan TIME: 7:00 p.m. & 9:30 p.m.
If you’re on the EAST COAST this week . . . ANNETTE AGUILAR & STRINGBEANS WHEN: Friday 9/25/09 – Saturday 9/26/09 WHERE:Creole Restaurant
2167 Third Avenue
New York, NY TIME: 8:00 p.m. & 10:00 p.m. TICKETS: $15
ARTURO O’FARRILL
Solo Piano WHEN: Wednesday 9/23/09 WHERE:Puppet’s Jazz Bar
481 5th Avenue Park Slope
Brooklyn, NY TIME: 7:00 p.m. TICKETS: $10
CHICO O’FARRILL’S AFRO-CUBAN JAZZ ORCHESTRA WHEN: Sunday 9/27/09 WHERE:Birdland
315 W. 44th Street
Manhattan, NY TIME: 9:00 p.m. & 11:00 p.m. TICKETS: $30
CHRIS WASHBURNE & S.Y.O.T.O.S. WHEN: Sunday 9/27/09 WHERE:Smoke
2751 Broadway
New York, NY TIME: 8:00 p.m., 10:00 p.m. & 11:30 p.m. TICKETS: $20 minimum
EDMAR CASTANEDA TRIO
Opening For Paquito D’Rivera WHEN: Tuesday 9/22/09 – Sunday 9/27/09 WHERE:Blue Note – New York
131 W. 3rd St
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: $20 – $35
ELIO VILLAFRANCA WHEN: Friday 9/25/09 WHERE:Philadelphia Museum Of Art
26th Street and the Benjamin Franklin Parkway
Philadelphia, PA TIME: 5:00 p.m. TICKETS: FREE with museum admission
ERIC KURIMSKI WHEN: Thursday 9/24/09 WHERE:Terraza Cafe
40-19 Gleane St
Elmhurst, NY TIME: 10:00 p.m. TICKETS: FREE
GABRIEL ALEGRIA AFRO-PERUVIAN JAZZ SEXTET WHEN: Thursday 9/24/09 – Sunday 9/27/09 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: Thursday – Saturday 8:00 p.m. & 10:30 p.m.; Sunday 7:00 p.m. TICKETS: NO COVER
JANE BUNNETT
Berklee BeanTown Festival WHEN: Saturday 9/14/09 WHERE:Dunkin Doughnuts Stage
594 Columbus Ave
Boston, MA TIME: 3:10 p.m. TICKETS: FREE
MITCH FROHMAN WHEN: Thursday 9/24/09 WHERE:The Van Dyke Cafe
846 Lincoln Road
Miami, FL TIME: 9:00 p.m.
WHEN: Friday 9/25/09 WHERE:Museum Of Contemporary Art
770 NE 125th Street
North Miami, FL TIME: 8:00 p.m. TICKETS: FREE
PAQUITO D’RIVERA WHEN: Tuesday 9/22/09 – Sunday 9/27/09 WHERE:Blue Note – New York
131 W. 3rd St
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: $20 – $35
RAY MARTINEZ WHEN: Thursday 9/24/09 WHERE:Fonda Boricua
169 East 106th Street
New York, NY TIME: 9:00 p.m. TICKETS: NO COVER
TRIPLE PLAY WHEN: Saturday 9/26/09 WHERE:Coquito
31 Forester Avenue
Warwick, NY TIME: 10:00 p.m. & 11:30 p.m. TICKETS: $20 in advance; $25 at door
WILLIE MARTINEZ WHEN: Thursday 9/24/09 WHERE:Nuyorican Poet’s Cafe
236 East 3rd Street
New York, NY TIME: 9:00 p.m. TICKETS: $7
If you’re in the MID-EAST this week . . . CRAIG RUSSO LATIN JAZZ PROJECT WHEN: Friday 9/25/09 WHERE:Robbie’s
4 S Old State Capitol Plaza
Springfield, IL TIME: 5:30 p.m. TICKETS: NO COVER
DARWIN NOGUERA WHEN: Saturday 9/26/09 WHERE:Park 52
5201 S Harper Ave
Chicago, IL TIME: 8:00 p.m.
801 West Washington St.
Indianapolis, IN TIME: 6:15 p.m. TICKETS: $20 in advance; $30 at door
TUMBAO BRAVO WHEN: Sunday 9/27/09 WHERE:Sangria – Royal Oak
401 S. Lafayette
Royal Oak, MI TIME: 9:00 p.m.
If you’re in the MID-WEST this week . . . PONCHO SANCHEZ
Tucson Latin Jazz Festival WHEN: Friday 9/25/09 WHERE:Leo Rich Theatre
260 S Church Ave.
Tucson, AZ TIME: 7:00 p.m. TICKETS: $35
If you’re on the WEST COAST this week . . . BOBBY MATOS WHEN: Monday 9/21/09 WHERE:Typhoon
3221 Donal Douglas Loop South
Santa Monica, CA TIME: 8:00 p.m. TICKETS: FREE
ESTRADA BROTHERS WHEN: Saturday 9/26/09 WHERE:Steamer’s
138 W. Commonwealth
Fullerton, CA TIME: 8:30 p.m. TICKETS: $8
GILBERT CASTELLANOS WHEN: Tuesday 9/22/09 WHERE:Onyx Room
852 5th Avenue
San Diego, CA TIME: 9:00 p.m. TICKETS: FREE
WHEN: Sunday 9/27/09 WHERE:Onyx Room
852 5th Avenue
San Diego, CA TIME: 9:00 p.m. TICKETS: FREE
JAZZ ON THE LATIN SIDE ALL-STARS WHEN: Saturday 9/29/09 WHERE:Brea Jazz Festival
Downtown Brea
Brea, CA TIME: 7:30 p.m. TICKETS: FREE general admission; $40 reserved seating
JOVINO SANTOS NETO WHEN: Sunday 9/27/09 WHERE:Argosy Jazz Cruise
1101 Alaskan Way
Seattle, WA TIME: 12:00 p.m. TICKETS: $50 for adults; $29 for children; 4 and under FREE
NAGUAL WHEN: Friday 9/25/09 WHERE:Shady Lady
1409 R St
Sacramento, CA TIME: 9:30 p.m. TICKETS: NO COVER
WHEN: Saturday 9/26/09 WHERE:Zap Creative Group
304 N. 12th Street
Sacramento, CA TIME: 9:30 p.m. TICKETS: $5 Donation To UC Davis Children’s Hospital
PETE ESCOVEDO WHEN: Friday 9/25/09 WHERE:Bones & Blues
10950 South Central Ave.
Los Angeles, CA TIME: 9:00 p.m. TICKETS: $15 in advance; $25 at the door
1st Annual Latin Music Festival Stockton WHEN: Friday 9/26/09 WHERE:McLeod Lake Amphitheater
221 West Center Street
Stockton, CA TIME: Event runs 1:00 p.m. – 9:00 p.m. TICKETS: $20 – $35
SANDY CRESSMAN & HOMENAGEM BRASILEIRA WHEN: Saturday 9/26/09 WHERE:Senzala Night Club
250 E. Java Dr.
Sunnyvale, CA TIME: 7:30 p.m. TICKETS: $10
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Each area holds musicians that garner widespread acclaim for their artistic skills, but only certain artists earn an avid respect. These musicians spend lifetimes refining their craft and performing in a number of artistic contexts. Their artistry rarely stops at the mastery of an instrument; they also build influential voices as composer, arrangers, bandleaders, and educators. As a result, their music touches countless people, makes connections in a variety of styles, and their names become regular fixtures in record collections nationwide. Musicians from their hometown make time to perform with these artists whenever possible, seeing the opportunity as more than a job – more like a musical opportunity. Even the area’s busiest musicians find time to perform with these artists, sharing their respect for the high-level artistry on display. These artists gain a reputation that travels far and wide, reaching past the boundaries of their local music scene and into a national arena. They soon earn opportunities to perform with musicians from across the nation and a whole cast of musicians across the country share a mutual sense of respect for the artist. As these musicians continue their journeys across the country, they make a strong effort to stay in touch with this artist and when in town, they take the time to do some playing with the artist. It’s a natural progression for an artist with an undying love for music that commits their life to the pursuit of strong performance skills, a defined artistic concept, and attempts to share that passion with the world.
The Bay Area Latin music scene holds many musicians with a strong background, but trombonist, composer, and arranger Wayne Wallace has earned major respect in many circles across the country. A San Francisco native, Wallace built his musical skills at San Francisco State University and soon cut his teeth on the rich North Beach jazz scene in the 1970s. He found a home in many musical circles, but kept a strong interest in the Latin Jazz world. In the 1980s, he dove headfirst into the heart of the Latin Jazz world, becoming an early member of the groundbreaking Machete Ensemble. He served as a core piece of this band’s sound, working alongside John Calloway and Rebeca Mauleon as one of the group’s prime composers. At the same time, Wallace joined percussionist Pete Escovedo’s Latin Jazz Ensemble, acting as a featured soloist as well as a composer and arranger for the group. Along the way, Wallace found time to perform with a number of top musicians across many genres, including Ray Charles, George Duke, Sammy Davis Jr., Gladys Knight, Patti Labelle, McCoy Tyner, and many, many more. Wallace has served as an active educator, teaching jazz and Latin music at San Francisco State University, San Jose State University, the Stanford Jazz Workshop, the Jazzschool in Berkeley, and more. In the past ten years, Wallace has become an important bandleader and producer, recording a number of Latin Jazz albums. He founded Patois Records, a label responsible for the promotion of his own music as well as several other Bay Area Latin Jazz artists. Looking at Wallace’s numerous important achievements, it’s not wonder that he gains so music respect and admiration from musicians across the country.
Today’s Latin Jazz Photo Album features Wallace captured in action during a set with his Latin Jazz Quintet at The San Jose Jazz Festival in August. His band includes some of the Bay Area’s top musicians from the Latin Jazz world, including pianist Murray Low, bassist David Belove, percussionist Michael Spiro, and drummer Paul VanWageningen. In an undeniable show of respect for Wallace’s massive musical skills, his group had a number of special guests, including fellow trombonists Steve Turre and Doug Beavers. It was a great concert that showcased some of the elements that make the Bay Area music scene so exciting. Enjoy!
———- Wayne Wallace
Murray Low
David Belove
Michael Spiro
Wayne Wallace
Steve Turre
Doug Beavers & Steve Turre
Wayne Wallace
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Looking for more from Wayne Wallace? Check out some of his albums: ¡Bien Bien!
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Do you have pictures to contribute to the Latin Jazz photo album? I’d love to have everyone in the Latin Jazz community contribute! I’ll be posting five to ten pictures a week – I’m looking for live performance shots, not promo pics. I’d like to keep them centered around one artist per week, but if you’ve got another idea, let’s talk. So come on Latin Jazz photographers, musicians, and fans – let’s put some more memorable pictures in the Latin Jazz Photo Album! Get my contact info HERE.
The more that I discover about the Latin Jazz scene in the United States, I find myself consistently amazed by two things. Firstly, there are simply a massive number of groups performing Latin Jazz everywhere across the country. We have meccas like New York, San Francisco, and Los Angeles, but those aren’t the only places to find Latin Jazz. Explore almost any major city in the United States and a Latin Jazz group appears. The extent of their contributions may not equal some of their better-known counterparts, but they are working just as hard to keep this music alive in their area. I’m also staggered to find that a good number of these artists have recorded one, two, or maybe more albums. There are an immense amount of albums recorded every year; while major figures deliver some of this music, most of the recordings come from working musicians. Since most independent artists don’t have the publicity funds available to more established musicians, the majority of these albums appear under the radar, and unfortunately, we miss most of them. As a huge number of musicians across the country continue to produce fantastic music, many people continue their lives unaware.
Today’s Quick Picks Coast-To-Coast take us on a brief journey through both of those ideas. We’re going to look at three albums that appeared over the last five years that deserve wider attention. These albums are too old at this point to find a place in the Spotlight, but too new to be considered a “classic.” Still, they each contain some fantastic music. With the idea in mind that there are a lot of albums to cover in this setting, I’m going to move through them more rapidly than usual, just touching on main points. These three albums also represent a trip from coast to coast, proving the Latin Jazz has a home across the country. Our first group resides in New York; our second band has a home in New Orleans; the last group creates music in Los Angeles. Regardless of area, each group of musicians brings some serious artistry into the mix, proving that quality Latin Jazz can be found across the country. I’ve followed each Quick Pick with a link to the artist website that you can check out these musicians further. Enjoy!
———- No Cheap Dates
Annette A. Aguilar & Stringbeans
Annette A. Aguilar and Stringbeans deliver an intoxicating mix of Cuban and Brazilian jazz on No Cheap Dates, pulling together a combination of standards and original compositions. The group dives deeply into Afro-Cuban rhythms with a version of Ignacio Piñeiro’s “Mayeya No Juegues Con Los Santos” blending traditional son with a floating string arrangement. Aguilar’s marimba lends a gentle sound to a bomba version of Chick Corea’s “Spain,” adding a percussive edge to the strings. She reveals her connection to Tito Puente with a marimba solo on El Rey’s “Picadillo,” trading ideas with harpist Ellen Uryevick-Adams. The band shines on the Brazilian pieces, finding an unstoppable momentum on Milton Nascimento’s “Veracruz” and Chico Buarque’s “O Que Sera.” Aguilar’s musicians contribute a couple of strong compositions, ranging from “Facil,” an up-tempo son montuno from bassist Harvey S to the swaying Partido Alto of guitarist Jane Getter’s “Tortola.” The group provides a distinct sound, putting a unique twist upon a variety of standards and originals.
There’s an undeniable and individual quality behind Aguilar’s sound on No Cheap Dates. Throughout the recording the percussion stays authentically rooted in traditional rhythms, providing a constant forward motion. Aguilar and her group understand the music’s core nature, and especially on the Brazilian pieces, the rhythm section swings hard. The arrangements utilize a rich string section, softening the overall sound; the result leans towards charanga instrumentation without following that tradition too strictly. Instead, Aguilar finds a balance between Latin rhythms and symphonic arranging that smoothes the music’s rough edges without loosing its inherent intensity. The inclusion of violins, cellos, concert hard, and a variety of concert percussion keeps the music firmly rooted between two worlds. The result casts New York Latin Jazz in a new light, making No Cheap Dates worth a serious listen.
———- Todo Pa’La Gente
Otra
Otra creates music for the masses on their album Todo Pa’La Gente without reservation, delivering high-energy Latin Jazz that will please dancers as well as jazz listeners. There’s a joyful descarga aesthetic behind “Mid-City Mambo,” giving trumpet player Eric Lucero, pianist Rob Block, and guest bongocero Anthony Cuccia a chance to stretch their improvisational ideas. A searing jazz melody leads into a salsa-fueled coro on “Candela,” opening into enthusiastic improvisations from Lucero, saxophonist Brent Rose, and bassist Sam Price. Block arranges the standard “Nature Boy” into a smoldering cha cha cha, filled with sharp breaks and bluesy improvisations from Lucero, Block, and conguero Humbero “Pupi” Menes. There’s a solemn seriousness as the band delves into traditional territory with the 6/8 arrangement of “Obatala,” taking their audience on a 15-minute ride that sizzles with double time solos and ethereal textures. A tight rhythm section arrangement wraps around the jazz fueled melody on “Baila Mi Son,” framing some outstanding improvisations from Rose, Block, and guest trumpet player Bob Garrett. Otra provides a wide range of musical meat that’s impossible to resist on both a jazz and dance level.
Otra doesn’t make any pretense about their brand of Latin Jazz on Todo Pa’La Gente; they deliver straight-ahead dance floor ready Cuban rhythms that bristle with spirited jazz improvisation. The groove reigns supreme throughout the album, and Otra’s rhythm section keeps the momentum charging forward. Menes, Price, Block, and timbalero Cristobal “El Canon” Cruzado keep the clave in place at all times, creating a swinging tumbao that moves the music. Each member of Otra brings strong jazz chops into the mix as well, embellishing the music with defined improvisational voices. These are studied musicians with a strong sense of jazz history and a keen ability to interpret the music. Both Block and Price contribute a long list of compositions, filling the album with original pieces that reflect the unique characteristics of the band. Their compositions and arrangements show a mutual understanding of the band members’ skills as they write around their bandmates’ strengths. Otra brings the best of both worlds together on Todo Pa’La Gente, presenting a collection of music filled with integrity, energy, and pure groove.
———- Origen
Manny Silvera
Bassist Manny Silvera displays a strong knowledge of Latin Jazz styles as well as an ability to integrate jazz creatively on Origen. Horn players twist bluesy phrases over Silvera’s walking bass line on “Origen” before an abrupt break sends the band sailing into a timba-fied son montuno where Silvera plays an impressive solo. Danny Weinstein’s pizzicato violin adds a charanga feel to the funky cha cha cha on “Cha Cha Mongo” leading into enthusiastic improvisations from trumpet player Mario Gonzales, pianist Albeniz Quintana, and Weinstein. “De Colombia A Cuba I” and “De Colombia A Cuba II” place Silvera and his group in a timba descarga that burns with intense improvisations, scorching melodies, and contrasting breakdowns. Electric piano sounds and a swinging bossa nova drum beat infuse “Bossa Bosa” with a sixties appeal while flautist Anthony Gil and guitarist Ron de Jesús spin melodic solos. Silvera brings his baby bass into folkloric contexts on “En Colombia” and “Interlude,” flexing his ample bass skills over very traditional rumba and guiro contexts. Silvera combines the old and new, drawing upon his historical knowledge to find the right mix of jazz and Cuban rhythms over several tracks.
Silvera’s skilled compositional approach provides the core appeal on Origen, inspiring some great performances from his musicians. He stretches his ideas across a wide spectrum of Latin Jazz approaches, reflecting influences from Mongo Santamaria to timba. Silvera understands the inner workings of each era, ably creating distinctive compositions that maintain the integrity of each approach. As a bass player, Silvera maintains a solid tumbao, controlling the groove with a firm hand and a keen ear. His solo chops resonate with taste and style, making potent statements through rhythmic ideas and melodic shapes. Silvera’s inclusion of folkloric pieces bring his sense of history and bass skill together in an authentic setting, allowing him to connect the pieces in a very real way. He utilizes the skills of some of the Los Angeles area’s top Latin Jazz musicians, including Weinstein, Gil, Roberto Melendez, and Jose “Papo” Rodriguez, among others. Silvera’s skills as a composer and bassist stand proudly on display throughout Origen, presenting a smart and skilled artist making an engaging statement.
Lists are great conversation starters and they certainly spread information in an intelligent and straight-ahead way, but they have one major drawback – they have to end somewhere. By design, lists can only include a finite number of participants; this number can be one or maybe it’s one hundred, but it has to end somewhere. The list designer needs to be selective in their choices, understanding that somewhere along the line, their selections will be limited. In a way, the finite quality of lists gives them their strength – readers can move towards new ideas in easily digestible chunks. Lists also infuse the participants with a given feeling of authority, implying a sense of superiority simply through their inclusion. Readers relate to this “best of” mentality and they are more likely to pursue the music on lists. Despite the benefits, lists still end, and regardless of the best intentions, somebody gets excluded from the list.
A Genesis, Insight
Things I Wanted To Do, Chembo Corniel & Grupo Chaworo
Perspectiva Fragmentada, John Santos Quintet
Jazzambia, Paoli Meijas
Buenos Aires Tango Standards, Pablo Aslan
The Gardener, Darwin Noguera’s Evolution Quintet
Some musicians cross paths repeatedly during the course of their career, resulting in a variety of artistic paths. Musicians often meet on the bandstand through pure circumstance. When they play in the same location over the course of several years, they undoubtedly spend time on gigs, building at least some camaraderie. Musicians that play in the same genre run into each other through a variety of situations. They might play in a festival, they might open a large concert for a major act, or they might share the same gig, giving them a relationship. These types of casual crossings sometimes result in good music, but they rarely provide the long-term collaborations that fuel memorable performances. Other musicians simply find each other through shared interests and background, creating an artistic chemistry that cannot be broken. The come from the same set of influences, similar upbringings, or common cultural backgrounds. They develop similar artistic visions that push each other into greater heights. They learn each other’s performance approaches, finding new ways to support and inspire their peer. They learn each other’s phrasings and anticipate upcoming improvisational ideas. Any sort of artistic bond helps build a stronger musical community, but the latter type of collaboration often drives musicians to do great things.
– Felipe Salles
Equally well-versed in Caribbean roots, popular and jazz musical idioms, Palotre is without a doubt one of the most exciting musical projects to emerge out of the contemporary Caribbean. These young Dominican musicians have successfully undertaken the difficult task of fusing a wide variety of genres and taking them to a new level. Their focus on the traditional and popular music of the Dominican Republic, such as palos, gagá and merengue, is particularly refreshing, given that the Dominican Republic is a nation of great musical complexity and achievements that has remained undeservedly marginalized on the world music stage. Also significant—for cultural as well as political reasons—is Palotre’s musical exploration of the porous boundaries between the Dominican Republic and Haiti, sister nations that have a long tragic history of conflict. Members of the youngest generation of a venerable lineage of Dominican musical giants like Xiomara Fortuna, Luis Dias, Juan Luis Guerra, Tavito Vasquez, Tony Vicioso, Duluc, Irka Mateo and Michel Camilo, Palotre honors their elder’s trajectories and innovations and at the same time forge a path of their own. 
, followed directly in Tjader’s footsteps, presenting solid arrangements of jazz standards over Latin rhythms all anchored by excellent soloists and an extremely tight rhythm section. Sanchez continued this formula with several more albums, including 
, 
, 
, and 
, building a loyal fan base and an ever-growing reputation as one of the genre’s best bandleaders. He joined forces with legend Mongo Santamaria on the 1995 album 
and reflected upon his time with Tjader on the album 
, reinforcing his status as an important piece of West Coast Latin Jazz history. Sanchez embellished his sound at times, but never changed it; on the 2007 release 
, Sanchez dives into rhythm and blues, but the album also contains a healthy dose of traditional Latin Jazz. The now classic Sanchez sound has remained constant throughout his career, making him one of the genre’s most important standard bearers and most popular figures throughout the world.
