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!

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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.

Check out Annette Aguilar online HERE.

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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.

Check out Otra online HERE.

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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.

Check out Manny Silvera online HERE.

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Check Out These Related Posts:
Weekly Latin Jazz Video Fix: Annette Aguilar
More Thoughts About JazzTimes and Latin Jazz Coverage From Bobby Sanabria
Album Of The Week: Unity, Bobby Matos Afro-Latin Jazz Ensemble
Spotlight: The Gardener, Darwin Noguera’s Evolution Quintet

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