Obsesión Anna Estrada
Feral Flight Productions
When an artist creates a strong debut release, a long list of expectations arises behind their next recording. Their audience looks for more of the same great musical ideas that thrilled them throughout the first album. There’s a certain amount of tolerance for change and growth, but in reality, they want to revisit the same feelings that they enjoyed the first time. Critics and historians scrutinize the work with a careful eye for artistic growth, musical development, and a continued level of professionalism. They expect a musician to search for self-improvement, viewing a repeat performance of the same ideas as a lazy attempt to sell product. The artist’s fellow musicians need additional challenges and a motivating factor to inspire enthusiastic creation. After a long stretch of focus upon one repertoire, the greater group of musicians will be ready for a new challenge. The musician finds themselves caught in a swirl of ideas, trying to balance the pressure of developing a new repertoire with the growth of their artistic identity. While they want to please their fans, critics, and fellow musicians, a musician needs to address the realism of their own expressions and the changing state of their artistic interests. A successful sophomore release moves beyond all these external pressures and stands on its own as a reflection of the musician’s current identity. Bay Area vocalist Anna Estrada handles these factors with style and ease on her second release Obsesión, showcasing her strong performance skills in a diverse Latin Jazz set.
A Distinct Strength In Brazilian Settings
Estrada shows a distinct strength through a jazz vocal presence in Brazilian settings. An up-tempo samba groove kicks the band into high gear on Alvaro Carillo Alarcon’s “La Mentira,” as Estrada launches into an inspired and confident reading of the melody. Saxophonist Charlie McCarthy captures Estrada’s inertia with an energetic solo that flies through the changes with a bopish ease. Guitarist Ray Scott’s acoustic integrates a different texture into the piece, contributing a lyrical solo that takes the band into a cuica feature and Estrada’s return to the main theme. Damien Masterson’s soothing harmonica glides over a laid-back bossa nova groove on Toquinho & Vinicius De Moraes’ “Carta Ao Tom 74,” leading into Estrada’s slyly understated lyric. Masterson wraps pleasing melodies around the lush harmony, expressively shaping his line with scoops, slides, and pitch bends. Pianist Jonathan Alford plays around the song’s swaying groove, infusing his rhythmic drive with a bluesy edge. Drummer Phil Thompson dives head first into a funky Brazilian groove on Edu Lobo’s “Upa Neguinho,” providing momentum while the bass and keyboards create rich layers of sound. Estrada pushes the band with an engaging vocal that darts around clever rhythmic accents and leaps between ranges. Percussionist Michaelle Goerlitz’s brief repinique feature leads directly into a skillfully developed improvisation from Scott that bounces around the groove with a quirky character. Estrada displays a confident comfort in Brazilian realms, lending a carefully crafted presence to a strong collection of jazz settings.
Diversifying the Repertoire With Cuban Styles
Estrada takes the opportunity to diversify her repertoire with a group of pieces based upon several Cuban styles. A winding horn line assertively drives a path through a powerful songo groove on Pedro Flores’ “Obsesión,” before the band settles into a guaguanco rhythm behind Estrada’s commanding vocal. Trombonist Wayne Wallace displays a strong character as he builds an attention grabbing improvisation full of tension and smart melodic development. After a quick interlude, McCarthy rides the momentum of Alford’s addictive montuno, aggressively throwing syncopated rhythms into the mix with a raspy tone. Alford delicately creates a thoughtful improvisation over a sparse danzon on Ruben Fuentes’ “Flor Sin Retoño.” Estrada provides a captivating vocal in this exposed setting, precisely placing phrases over the rhythm with dynamic contrast and a confident attitude. Alford reflects the graceful elegance of the danzon tradition with a distinctly characteristic improvisation until Estrada grabs the song with the strength of her melodic presence. The rhythm section leaps into a catchy and accessible cha cha cha groove on Burt Bacharach’s “Always Something There To Remind Me,” as Estrada interprets the well-known melody with a jazz sensibility. Scott reflects the song’s pop background with a quick and ear pleasing improvisation that easily sails over the groove. Vibraphonist Tommy Kesecher conjures memories of Cal Tjader with a winding lyrical solo full of clever melodic twists. These pieces find Estrada developing her identity as a vocalist in a different side of Latin Jazz and succeeding with style.
A Skillful Diversity
Estrada explores a variety of additional musical approaches on other tracks, showing a skillful diversity to her musicianship. Bassist Alex Baum enters with a percussive bass line on Eden Abbez’s “Nature Boy” that takes on a Middle Eastern character as percussionist Raul Ramirez supplies the foundation with a funky dumbek. Estrada interprets the classic melody with a purposeful understatement, creating an interesting contrast against the dynamic background. Scott contributes a coy improvisation on electric guitar that tastefully plays around blues ideas until Alford creates a mysterious vibe with thick spacious synthesizer lines. Scott’s solo acoustic guitar shapes a calm motion on the original “Soledad (Norah),” working as the perfect backdrop to Estrada’s vocal. The two musicians form a complimentary duo with Scott winding melodic commentary between the beautifully simple shape of Estrada’s performance. A brief guitar interlude displays Scott’s ingenuity with chordal accents, smartly placed harmonics, and moving arpeggios, leading back to Estrada. Masterson demands attention with the bold sound of his bass harmonica drenched in reverb on “Llorna,” before it evaporates into a standard harmonica statement over a soft landó. Estrada thrives in this setting with an effective vocal that skillfully tells a story with her command over dynamics and tone. As Estrada brings the song into a climax, Masterson places the deep rich sound of his harmonica against the song, creating an engaging texture. Estrada shows a rich depth to her musical identity on these tracks, demonstrating the ability to express herself in a variety of settings.
A Defined Artistic Presence
Estrada steps forward with a more defined artistic presence on Obsesión, garnering musical results that boldly stand on their own. Her daring steps through a variety of Latin Jazz approaches reflect a growing artistic confidence and an evolving connection to different styles. She plays upon her strength in Brazilian Jazz, navigating through several different rhythmic feels with ease. As Estrada stretches into Cuban rhythms, Peruvian genres, original composition, and Middle Eastern textures, she intelligently adjusts her performance approach to match the context. At the same time, Estrada displays the strength to retain an artistic identity with each shift, appearing unmistakably with a core sound at every turn. Her vocal performance resonates with a steady confidence in both Portuguese and Spanish, a canny ability to navigate through jazz harmonies with a direct melodic sensibility, and a clever approach to phrasing. Scott’s arrangements support Estrada’s strengths at every turn, featuring the vocal while leaving plenty of space for improvisation. The core group of Alford, Baum, and Thompson interpret the arrangements skillfully, balancing the necessary foundation with a healthy character. The long list of guest soloists including Wallace, McCarthy, Masterson, and Kesecher add spirit to the recordings, reflecting Estrada’s positive commitment to the music. All these pieces join into a cohesive and satisfying musical statement on Obsesión, keeping Estrada on the track for a long career full of great music.
Our current Spotlight Artist, vocalist Sofia Tosello, brings Argentinean folk music and jazz together in an organic way that displays her natural connection to both styles on her release Alma Y Luna. Tosello’s commanding vocal presence drives the show, as she guides her musicians through a variety of pieces with a healthy dose of musicality. She sings with the rich sound of experience, filling her smart phrases with specific articulations and a wide range of dynamics. At the same time, she expresses herself with the exuberance and energy of a youthful musician, showing her passion and love for the art form. Tosello’s ability to interpret the music of her native Argentina brings a rich personal side to the album and a defined sense of identity. The exposed and basic nature of the bomba leguero, guitar, and bass lends a taste of beauty to her music, while her openness to flights of improvisation infuses a bit of excitement into the mix. Her past collaborators enthusiastically support her throughout the album, delivering inspired performances from bassist Jorge Roeder, guitarist Miguel Rivaynera, saxophonist Yosvany Terry, bassist Yunior Terry, pianist Osmany Paredes, and more. There’s an elegance and style imbedded into Alma Y Luna that emanates from Tosello’s artistic personality, making it an intriguing release.
Tosello delivers a captivating performance presence that demands more attention, and fortunately, you can find her in plenty of places online. Start by going right to the source and check out Tosello’s website, a great source of information with a bio, performance schedule, videos, links, and more. If you’d like to become friends with Tosello, you can visit her MySpace Page, where you’ll find music from her album, pictures, and more. You might have moved onto that other social networking giant, so you might prefer to visit Tosello’s Facebook Page, where you can write on her wall, find lots more photos, check out a couple of her videos, sign up for her mailing list, and more. Tosello has been a regular fixture among many different New York Latin Jazz and traditional Latin groups – you can check out some of her frequent collaborators online, including Julio Santillián, Pedro Giraudo, Cocomama, and Retumba. Tosello’s album can be found on an established label – a good deal for a debut release – and you can check out Tosello’s label, Sunnyside Records, HERE. There’s a lot of possibilities to get to know this great artist better, so don’t wait, start clicking now!
Check out Tosello’s music through the links above and discover a talented and engaging young artist – you’ll be hooked right away! Tosello’s combination of jazz and Argentinean folk music shines with appeal; check it out and then pick up a copy of Alma Y Luna, a definite 2009 highlight. I’ve included some biographical information on Tosello below so that you can learn a bit more about this fantastic artist, and then a video of Tosello performing with guitarist Julio Santillán. Enjoy!
———- Sofia Tosello, a remarkable young vocalist, originally from Cordoba, Argentina, belongs to an exciting new group of artists who are changing Latin American song. Rooted in the variety of Latin American cancion traditions, including tango, chacarera, bolero filin, son and zamba, one also hears shades of the downtown “world” jazz scene, bossa nova, and a bit of funk in Tosello’s performances.
“As a child growing up, I remember my parents listening to Gal Costa, Caetano Veloso, Roberto Goyeneche, Mercedes Sosa, The Platters, Luther Vandross, Debussy, Duke Ellington and many others. This was my earliest musical training.” Sofia started her musical studies, and had her first professional performance, when she was just eight years old. Subsequently, she studied and developed her vocal technique with singer Marcela Benedetti at La Colmena Instituto de Musica in Cordoba. Tosello’s interest in jazz, as well as her desire to explore the international dimensions of Latin music, led her to relocate to New York, at the age of 18, to study at City College of New York. “A whole new world opened up to me. My first jazz teacher and musical mother was Sheila Jordan, and she really taught me the art of making a song one’s own. I’ve also had the opportunity of singing with many Cuban, Colombian, Peruvian, and Venezuelan ensembles. That’s how I developed my rhythmic sensibility. Singing with Pedro Giraudo’s Jazz Orchestra and Julio Santillan Septet, which fuses jazz and Argentinean folk, has forged a stronger connection with my roots.”
Sofia’s debut CD, Alma y Luna, to be released on the Sunnyside Record Label on October 6, 2009, is the outcome of a long maturation period in New York City. Alma y Luna is an innovative project that finds the vocalist accompanied by a transnational group of Latin musicians Pavel Urkiza, Yosvany Terry, Julio Santillan, Yayo Serka, Mauricio Herrera, Pedro Giraudo, Osmany Paredes, Aquiles Baez, and Miguel Rivaynera, among others. Alma y Luna, which was produced by Fernando Aponte, features Tosello’s talents both as a songwriter and as an interpreter of Latin American composers such as Pavel Urkiza, Alberto Rojo, Chato Diaz, Ana Robles, Don Pancho Terry and Julio Santillan.
With the guitarra, contrabass and bombo leguero as her starting point, Tosello recreates a musical landscape that spans all of the Americas, from New York to Cuba to Buenos Aires. Rooted in the variety of Latin Americam cancion traditions, including tango, chacarera, zamba, bolero filin, and Peruvian vals, Alma y Luna also reflects an impressive range of sounds and textures that only the global village of New York can produce. Tosello prefers to see herself as a border-crosser, not bound by the logic of genre; her musical aesthetic is best described by words like hybridity and mestizaje. Tosello’s soulful and sensitive approach combines the best of today’s global currents in jazz, Latin, and pop music while maintaining a profound respect for tradition – a feat seldom achieved by young artists.
Ms. Tosello has performed, recorded and collaborated with a wide variety of talented artists such as Pedro Giraudo Jazz Orchestra, Aquiles Baez, Julio Santillan Septet, Julio Santillan and Sofia Tosello Duo “Tribute to Borges”, Alex Cuba, Pavel Urkiza (Gema y Pavel ), Marta Gomez, La Cumbiamba eneye, Tito Castro, Cocomama, Retumba, Marvin Diz, Jose Conde y Ola Fresca, Diego Obregon y su grupo Chonta, Coba (Sebastian Cruz), Christos Rafalides, Jonathan Powell Band, Son de Madre, David Oquendo, Mariela Valencia, Pepe Vazquez, Thalia, El “Puma” Rodriguez, Octavio Cotan, Las Gardenias, Eladio “Pancho” Terry, Cable a Tierra, Cielo de Judas (Osvaldo Brizuela).
She has appeared at many noted venues including Summer Stage Central Park (NYC), Blue Note (NYC), Joe’s Pub (NYC), The Hecksher Theatre at EL Museo del Barrio (NYC), Jazz Standard (NYC), Jazz Gallery (NYC), Smoke (NYC), Drom (NYC), 55 Bar (NYC), Zinc Bar (NYC), Sweet Rhythm (NYC), The Knitting Factory (NYC), The Bitter End (NYC), SOB’s (NYC), Brooklyn Museum Stage (NYC), Queens Theatre in the Park (NYC), BAM Café (NYC), Festival del Bolero N4 (NYC), El Taller Latino Americano (NYC), FB Lounge (NYC), Aaron Davis Hall (NYC), APAP Convention (NYC), NJPAC (Newark), Madison Square Garden (w/Thalia) (NYC), Walt Disney Concert Hall (LA), Michigan Womyn’s Festival (Hart, MI), Macau International Music Festival (China), Teatro Amadeo Roldan (Cuba), and Teatro San Martin (Argentina).
———- Sofia Tosello Performing “El Picarón” With Guitarist Julio Santillán
Making a Latin Jazz statement that reflects the modern jazz language requires courage and a confident artistic presence. Many musicians shun this path, preferring a lifetime of performances that follow closely in the shadow of past leaders. In many ways, this path presents an easier road towards an artistic identity; the guidelines of the performance practice were defined long ago and someone else took the necessary risks to build them. The musician that draws upon the modern jazz language also has role models, but in many cases, the analysis of their work is happening in real time. Instead of a long history of detailed performances and analytical breakdowns, modern role models simply have their work – the contemporary Latin Jazz musician that follows their lead needs to figure everything out on their own. A complete copy of a “legendary” artist might seem like a tribute, but direct imitation of a contemporary musician seems like evidence of a thin artistic statement. Latin Jazz artists need to look deep inside themselves and discover the elements that make their artistic identity unique and find ways to intertwine those ideals with their influences. Building a Latin Jazz style upon the shoulders of modern music is a heavy task that requires a thorough artist full of integrity and depth.
Percussionist Arturo Stable resonates with a defined modern artistic presence that sits firmly in his work both as a performer and a composer. Born in Santiago de Cuba, Stable was raised in an artistic environment, following the lead of his father, a painter and musician. His family eventually moved to Havana, where Stable’s musical studies kicked into high gear, and he later earned a degree in percussion from the Amadeo Roldán Conservatory. Stable soon left the island in search of better pastures, landing in Puebla, Mexico. He earned a post-graduate degree in music education in Puebla, before heading to Berklee School of Music in Boston to study composition. He gained many contacts during his time at Berklee, and the percussionist soon found work with a diverse range of Latin Jazz artists, from Dave Samuels to David Sanchez, and Hector Martignon. In 2004, Stable recorded his first album as a leader, 3rd Step, making a definitive move forward as an artist. He followed with the 2007 release Notes on Canvas, a fascinating personal statement that interpreted several well-known paintings through original Latin Jazz compositions. Stable’s latest release, Call, brings all these elements together with stellar performances and distinctly modern compositions. Stable’s move towards a modern sound reflects the creative and searching presence of an intelligent musical mind, expressing himself with pieces of culture and society that shine with artistic integrity.
Today’s Weekly Latin Jazz Video Fix pays tribute to the strength and purpose of Stable’s artistic vision, in all its forms. The first clip reveals the details of his new album through music as well as interviews with members of his quintet. The second video shows Stable the bandleader guiding his group through a traditional descarga at the now defunct Chacacha Club. The last video finds Stable alone, showing the refined percussion skills that have made him an in-demand player on the modern scene. There’s some heavy musicianship here that bodes well for the modern Latin Jazz world. Enjoy!
———- Arturo Stable On His Latest Album The Call
Arturo Stable Quintet Performing At Chacacha
Arturo Stable Quintet Performing Solo
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Want to hear more from Arturo Stable? Check out his older albums. Notes on Canvas
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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
There’s a good interview with saxophone player Miguel Zenon over at the great jazz podcast site The Checkout. Zenon spends some time talking about his musical ideas and his newest release Esta Plena. He also spends some time educating his audience on the details of the folkloric form Plena. It’s great to see Zenon not only focusing on this style but also taking the time to tell the world about it. Check out the interview HERE.
The folks over at NPR’s A Blog Supreme have been out and about in New York, hearing some great live jazz. Fortunately, they’ve not only seen some wonderful straight-ahead jazz, but a healthy dose of Latin Jazz as well. They’ve left their impressions of a couple of great shows – Gabriel Alegria and his sextet at Tutuma Social Club and Dafnis Prieto’s Si o Si Quartet at the Jazz Standard. Those are two show I would have loved to have seen, so it’s great to get the feedback from NPR – there’s some good pics as well. Check it out HERE.
The Latin Jazz scene in Canada is still fairly new to me, but whenever I run across something from the North, I’m always impressed with the quality of music up there. Peter Hum over at Jazzblog.ca has been one of the prime people filling me in, and this week he’s got more to share. Hum interviews Latin Jazz vocalist Amanda Martinez in anticipation of her upcoming performance at NAC’s Forth Stage. It’s a great introduction to a Latin Jazz artist that I will now be looking to find out more about! Check out the interview HERE.
OMAR SOSA WHEN: Thursday 10/29/09 WHERE:Casa de la Cultura
Calle de la Eras, 33
Caudete, Spain TIME: 9:30 p.m. TICKETS: FREE
WHEN: Friday 10/30/09 WHERE:Teatro Regio
Calle San Francisco, 21
Almansa, Spain TIME: 10:30 p.m. TICKETS: 10 euros
WHEN: Saturday 10/31/09 WHERE:Salon de Actos
Avenida Juan Carlos, 1
Higueruela, Spain
WHEN: Sunday 11/1/09 WHERE:Centro Social
Plaza de la Constitucion, 8
Casas Ibanez, Spain TIME: 7:30 p.m. TICKETS: 8 euros
SAMUEL QUINTO WHEN: Thursday 10/29/09 WHERE:B-Flat Restaurant
Rua Garcia Arosa 4450
Matosinhos, Portugal TIME: 11:00 p.m.
If you’re in CANADA this week . . . AMANDA MARTINEZ WHEN: Wednesday 10/28/09 WHERE:National Arts Center, Fourth Stage
53 Elgin Street
Ottawa, ON Canada TIME: 8:00 p.m. TICKETS: $20
If you’re in CENTRAL AMERICA this week . . . TURIYA MAREYA & JAVIER CABANILLAS WHEN: Thursday 10/29/09 WHERE:El Dragon Rojo Bar
1934 Zona Central
Tijuana, Mexico TIME: 9:00 p.m. TICKETS: FREE
If you’re in SOUTH AMERICA this week . . . ARTURO SANDOVAL WHEN: Wednesday 10/28/09 WHERE:Teatro Nescafé de las Artes
Manuel Montt 032
Providencia, Santiago de Chile TIME: 9:00 p.m. TICKETS: $15
WHEN: Friday 10/30/09 WHERE:Teatro Gran Rex
Av Corrientes 857
Ciudad Autónoma de Buenos Aires, Argentina TIME: 9:30 p.m. TICKETS: $10
Fiesta Ibertoamericana de las Artes WHEN: Friday 10/30/09 WHERE:Teatro Tapia
San Juan
Puerto Rico TIME: 8:00 p.m.
If you’re on the EAST COAST this week . . . ANDREA BRACHFELD WHEN: Thursday 10/29/09 WHERE:The Underground Lounge
955 W End Ave
New York, NY TIME: 9:30 p.m. & 11:00 p.m. TICKETS: $10 in advance; $12 at door
ANNETTE AGUILAR & STRINGBEANS WHEN: Friday 10/30/09 WHERE:The Garden Cafe
4961 Broadway
New York, NY TIME: 7:30 p.m.
ARTURO O’FARRILL
Solo Piano WHEN: Wednesday 10/28/09 WHERE:Puppet’s Jazz Bar
481 5th Avenue Park Slope
Brooklyn, NY TIME: 7:00 p.m. TICKETS: $10
BORIQUA JAZZ NIGHTS WHEN: Thursday 10/29/09 WHERE:La Fonda Boricua
169 East 106th Street
New York, NY TIME: 9:00 p.m. TICKETS: NO COVER
CHICO O’FARRILL’S AFRO-CUBAN JAZZ ORCHESTRA WHEN: Sunday 10/25/09 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 10/25/09 WHERE:Smoke
2751 Broadway
New York, NY TIME: 8:00 p.m., 10:00 p.m. & 11:30 p.m. TICKETS: $20 minimum
DAFNIS PRIETO SI O SI QUARTET WHEN: Thursday 10/29/09 WHERE:Flynn Center
153 Main Street
Burlington, VT TIME: 7:30 p.m. TICKETS: $25
ELIO VILLAFRANCA WHEN: Tuesday 10/27/09 WHERE:Jazz Standard
116 East 27th Street
New York, NY TIME: 7:30 p.m. & 9:30 p.m. TICKETS: $20
ERIC KURIMSKI WHEN: Thursday 10/29/09 WHERE:Terraza Cafe
40-19 Gleane St
Elmhurst, NY TIME: 10:00 p.m. TICKETS: FREE
FRANCISCO MELA TRIO WHEN: Tuesday 10/27/09 – Sunday 11/1/09 WHERE:Blue Note – New York
131 W. 3rd St
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: $20 – $30
GABRIEL ALEGRIA AFRO-PERUVIAN JAZZ SEXTET WHEN: Thursday 10/29/09 – Sunday 11/1/09 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
GARY MORGAN & PANAMERICANA WHEN: Wednesday 10/28/09 WHERE:Zinc Bar
82 W 3rd Street
New York, NY TIME: 9:30 p.m. & 11:00 p.m.
GREG DIAMOND WHEN: Monday 10/29/09 WHERE:1492 Food
60 Clinton Street
New York, NY TIME: 8:00 p.m.
JESSICA MEDINA
Afro-Peruvian Vocal Series WHEN: Tuesday 10/27/09 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: NO COVER
LENNIE PICKETT
Going Afro-Peruvian Series WHEN: Wednesday 10/28/09 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. & 10:30 TICKETS: NO COVER
PAUL CARLON OCTET WHEN: Thursday 10/29/09 WHERE:DROM
85 Avenue A
New York, NY TIME: 9:00 p.m. TICKETS: $15 in advance; $17 at door
WILLIE MARTINEZ WHEN: Thursday 10/29/09 WHERE:Nuyorican Poet’s Cafe
236 East 3rd Street
New York, NY TIME: 9:00 p.m. TICKETS: $7
YUNIOR TERRY QUARTET WHEN: Thursday 10/29/09 WHERE:Zinc Bar
82 W 3rd Street
New York, NY TIME: 9:30 p.m. & 11:00 p.m. TICKETS: $7
If you’re in the MID-EAST this week . . . CHICAGO AFRO-LATIN JAZZ ENSEMBLE
Quartet WHEN: Thursday 10/29/09 WHERE:Andy’s Jazz Club
11 E. Hubbard Street
Chicago, IL TIME: 5:00 p.m. TICKETS: $5
Nonet WHEN: Saturday 10/31/09 WHERE:Las Tablas Restaurant
2942 N. Lincoln Avenue
Chicago, IL TIME: 9:00 p.m. TICKETS: $10
LOS GATOS WHEN: Wednesday 10/28/09 WHERE:Live At PJ’s
102 S 1st St
Ann Arbor, MI TIME: 8:00 p.m. & 9:15 p.m. TICKETS: $7
TUMBAO BRAVO WHEN: Saturday 10/31/09 WHERE:Radisson Hotel
17231 Laurel Park Rd
Livonia, MI TIME: 10:00 p.m.
WHEN: Sunday 11/1/09 WHERE:Sangria – Royal Oak
401 S. Lafayette
Royal Oak, MI TIME: 9:00 p.m. TICKETS: $6
If you’re in the MID-WEST this week . . . JEFF JONES & MOSAIC
Dia De Los Muertos Celebration WHEN: Saturday 10/31/09 – Sunday 11/1/09 WHERE:Desert Botanical Gardens
1201 N. Galvin Parkway
Phoenix, AZ TIME: 10:30 a.m. TICKETS: Included w/Garden Admission
If you’re on the WEST COAST this week . . . FRANCISCO AGUABELLA WHEN: Saturday 10/24/09 WHERE:Steamer’s
138 W. Commonwealth
Fullerton, CA TIME: 8:30 p.m. TICKETS: $8
GILBERT CASTELLANOS WHEN: Tuesday 10/27/09 WHERE:Onyx Room
852 5th Avenue
San Diego, CA TIME: 9:00 p.m. TICKETS: FREE
JOHN SANTOS SEXTET WHEN: Sunday 11/1/09 WHERE:Yoshi’s – Oakland
510 Embarcadero West
Jack London Square
Oakland, CA TIME: 2:00 p.m. & 7:00 p.m. TICKETS: 2:00 p.m. – $5 kids, $18 Adults; 7:00 p.m. – $18
JOVINO SANTOS NETO WHEN: Saturday 10/31/09 WHERE:Methow Valley Community Center
201 S. Methow Valley Hwy
Twisp, WA TIME: 7:00 p.m. TICKETS: $15
KAT PARRA WHEN: Sunday 11/1/09 WHERE:Avonova House
417 Avon St
Oakland, CA TIME: 3:00 p.m. TICKETS: $15
NAGUAL WHEN: Friday 10/23/09 WHERE:The Fox and the Goose
1001 R Street
Sacramento, CA TIME: 9:00 p.m. TICKETS: $4
PONCHO SANCHEZ WHEN: Friday 10/30/09 WHERE:Vitello’s
4349 Tujunga Avenue
Studio City, CA TIME: 7:30 p.m. & 9:30 p.m. TICKETS: $20; 2 drink minimum
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Tales from The Earth Mark Weinstein & Omar Sosa
Otá Records
Most people associate Africa with a variety of musical styles, but in many cases, they simply can’t establish a concrete connection between African music and genres from her Diaspora. Much of the problem lies in a lack of common knowledge about authentic African music. While many listeners may recognize sound bytes, they simply lack a working understanding of West African traditional or popular music. At the same time, music from the African Diaspora generally reflects a very different personality than the sound bytes that live in most people’s consciousness. When West African citizens were brought into the New World, slavery shattered their musical foundations, and the pieces formed the basis of jazz, funk, salsa, rumba, and soul; these resultant styles only revealed traces of their African heritage. For the listener, the connection between Africa and her Diaspora remain an intangible relationship; for the musician, it becomes an artistic mystery without a simple answer. As the musician performs each of these different styles, they start to unlock different pieces of the puzzle. In order to honestly build an understanding, they need extensive experience in each style, and they often need to perform some serious research. Projects that bring these worlds together require immense dedication from all involved musicians for any chance of a successful blend. Flautist Mark Weinstein and pianist/mallet player Omar Sosa draw upon their years of deep performance experiences to build an intriguing blend of African music, jazz, Cuban styles, and more on Tales from The Earth.
Exploring Improvisational Ideas
Weinstein takes the opportunity to explore improvisational ideas over African influenced settings on many tracks. Vocalists Aho Luc Nicaise and Mathias Agbokou enter with a Santeria chant on “Invocation,” leading into an addictive groove from drums and percussion while balafon player Aly Keita improvises. As Keita settles into a steady groove, Weinstein freely creates melodies, weaving in and out of the thick texture. Sosa follows Weinstein’s statement with an assertive vibraphone solo that cleverly plays upon the percussive drive of the group. A 6/8 bell pattern segues into a melodic ostinato from Keita on “Walking Song,” as drummer Marque Gilmore changes the texture with a backbeat. Weinstein allows flowing lines to float over the active texture, creating a sense of liberty and openness to his improvisation. As Weinstein continues to explore the setting, Nicaise begins a traditional song, which creates an interesting contrast to the flute solo. Bassist Stanislou Michalak intersperses bluesy licks in between rich double stops on “Elders Speak” as Weinstein furiously improvises. The exchange between the two musicians grows more intense as they both raise the intensity of their ideas, complimented by brash percussion accents. Michalak and Weinstein reach critical mass as the percussionists join with a groove, driving the improvisations into a chaotic flight of wild phrases. A sea of bells and sparse balafon phrases provides a thin backdrop for a melodic improvisation from Weinstein on “Flirtation.” As Weinstein builds his ideas, Gilmore falls into a broken funk and Michalak infuses a rootsy blues feel into his bass line. The three musicians continue to stretch their conception, moving the music into an interesting combination of African derived aesthetics. These songs find Weinstein winding his improvisational voice around this unique setting, which inspires some impressive work.
Prominently Featuring Vocals
Several pieces feature vocals prominently, calling upon a number of traditional songs and chants within an improvisational context. Nicaise begins “River Crossing” with a strong and confident song until a flurry of percussion storms into the mix amid subtle improvising from the rest of the band. The song takes on a definitely different feel as it moves over a funky drumbeat, jazz-fueled bass fills, and repeated balafon patterns. Sosa pushes the song into a furious forward motion with the smart insertion of quick improvised lines and sharp accents on the vibraphone. A thick layer of closely intertwining percussion patterns leads into understated improvising from Weinstein, Michalak, and Keita on “Men’s Talk.” As the drummers fade into the background, Nicaise leaps into a powerful traditional song, moving forward as the band improvises around him. The group cleverly plays with texture as Weinstein makes an improvised journey through the diverse musical landscape with lush elegant lines. A Cuban rumba pattern burns beneath an impassioned improvisation from Weinstein on “Spirit Messenger.” Nicaise and Agbokou enter with repeated phrases that frame Weinstein’s solo, which quickly reaches a furious drive. The band breaks down to racing percussion and vocals, leaving the song in a traditional mode, making the connection to Africa very apparent. The inclusion of vocals on these tracks connects the work more explicitly to African traditions, making the link with music of the Diaspora even stronger.
Emphasizing Pieces Of The Diaspora
Other pieces lean the group towards implications of the African Diaspora by emphasizing different musical elements. Guitarist Jean Paul Bourelly establishes an assertive funk line over a 6/8 rhythm while Sosa keeps a steady marimba pattern on “Children At Play.” Bourelly pushes the band into high gear with a rock-tinged chordal pattern while Weinstein enthusiastically improvises. Sosa dives into an energetic statement, drawing off the band’s forward motion and inspiring some active response. Gilmore’s laid-back drum groove, Sosa’s rich vibrato chords, and Weinstein’ long flute tones infuse “Celebration” with a soulful funkiness. Weinstein plays upon this vibe with the deep rich tone of his bass flute, spinning bluesy lines full of long wandering phrases. Sosa lets the percussion ride their groove before slowly entering into a vibraphone solo, which he builds into a thick frenzy of notes. A gospel-tinged soulfulness fuels Bourelly’s Motown influenced guitar groove and Gilmore’s ultra laid-back groove on “Praise.” The group follows this groove with a hypnotic faithfulness while Sosa inserts lush shimmering chords and Nicaise improvises an inspired vocal. A syncopated balafon ostinato explodes into a massive groove on “Gratitude” as Gilmore hits a heavy funk beat and Sosa nails a catchy marimba vamp. Sosa gradually opens his line into an engaging solo, which pushes the band with a sense of addictive enthusiasm and an upbeat attitude. Both Nicaise and Agbokou interject short vocal phrases that playfully move around the band’s unstoppable groove. These songs demonstrate the vast range of African influence in several contemporary musics, and they highlight the musicians’ vision between the different genres.
Bringing The Connection Into A Clear Light
Weinstein and Sosa find organic connections between African music and styles from the Diaspora on Tales from The Earth, delivering a wonderfully creative statement of African identity. The album draws extensively upon improvised settings, wisely disregarding the notion of a composed tribute to the country. Without the crutch of a pre-composed score, the musicians draw upon their most natural musical instincts. Weinstein and Sosa gathered an interesting group of musicians that cut across African and the Diaspora; their first instincts naturally result in authentic connections to Africa, Cuba, and beyond. The improvised setting brings the best pieces of jazz improvisation into the forefront, allowing the musicians to escape the trap of complex chord changes and simply express their personal identities. Both Weinstein and Sosa appear completely at ease in this context, producing both relaxed and intense music that draws upon the organic connection and tension between Africa and the Diaspora. Keita contributes a strong connection to African music with a wealth of authentic balafon patterns that blend into the music perfectly. Michalak and Gilmore add a healthy dose of tension into the mix, emphasizing their connections to funk, soul, and jazz. Nicaise and Agbokou provide a strong bridge between musical worlds, throwing equal doses of Cuban Santeria chants and African percussion into the music. With all these pieces in place, Weinstein and Sosa let all the musical elements freely interact on Tales from The Earth, resulting in a beautiful musical statement that brings the connection between Africa and her Diaspora into a clear light.
Every musical community needs a place to gather, share thoughts, and bond over their common interests. When this community exists on a local level, this central gathering place might be a club, a house, or school. Local musicians might get together and jam, demonstrate new musical ideas, and refine their brewing artistic concepts. Other times, musicians might simply talk about new releases they like, discuss recent concerts, or go over important musical history or elements. These types of community events help the overall musical scene grow quickly, and they enable extensive collaboration. These types of places also spread education about tradition, musical culture, and overall artistic appreciation. As a result, the musical scene develops a built-in support system that encourages enthusiastic creation and a sense of pride around their work. The community needs the gathering place as a starting point; without the place, musicians are limited in their ability to communicate. When the community exists on a larger level, across a state, country, or around the world, the community still has a need to gather, they might just have to be a bit more creative about the venue.
Ten years ago, the Latin Jazz community had a number of localized scenes, but in many ways, these different pockets of activity needed some way to connect. While many musicians had befriended each other through their travels, their conversations remained disjointed, isolated to phone calls. The internet remained young in the 1990s, still lacking the type of social media connection we’ve now taken for granted. Duke University started some of the earliest online gathering points for communities, developing Usenet groups, an online bulletin board system. Usenet groups allowed for an ongoing conversation, but in the nineties, most of these groups covered large topics; the rec-music-afro-latin Usenet group served as the popular forum for most Latin music lovers. This group benefited from contributions by Latin musicians throughout the world, but the range of the group was broad – members discussed Latin Jazz, salsa, folkloric music, Latin pop, and more. Latin Jazz fanatics had to sort through a tall stack of messages to find their golden content – a need existed for a Latin Jazz gathering place, someone simply needed to organize it.
In 1999, Latin Jazz fanatic Luis Moreno recognized that need and acted upon it. As he tells it:
The Latin Jazz e-group has its roots in the old Usenet group rec.music.afro-latin. I’d been a member of that group for years and made many friends there. One of these is Goyo Pappas. I posted a message to the group one day about a recording by Mark Levine’s group Que Calor – Keeper Of The Flame.
Goyo replied, “Hey, why hadn’t you told me about this album before?!”
“You know what we need?” I said, “A group devoted to Latin Jazz!”
I didn’t think too long about it. I was aware that there were different sites on the internet that offered the service. So I started one on e-groups which was later bought out by Yahoo. I started by inviting many of the participants of rec.music.afro-latin and then I spent years scouring the internet for contacts to Latin Jazz musicians and inviting them. The group was an instant smash. It doubled and doubled in size and attracted all of the industry people. It was clear that the need had been great.
A few months later I invited Goyo to help moderate and he has been a moderator ever since. At different points of expansion and contraction there have been other moderators and even a period of unmoderated status, but Goyo and I are able to handle the volume well now.
A Poignant First Post
Moreno posted the first message to the e-group on October 17, 1999, and it summed up the group perfectly – “A forum for Latin Jazz aficionados to work out their obsession or make it worse.” Many early group members took this message to heart and jumped right into the sense of community imbedded in the music. Within a week, 84 messages had been posted to the group and a number of important musicians and radio personalities had given into their obsession. Pianist Mark Levine, drummer Chuck Silverman, and guitarist Pablo Menendez all jumped into the conversation within the first week. Latin Jazz radio mainstays Arturo Gomez and Awilda Rivera both extended the discussion with several messages. Within the next week, the group reached 157 messages and new members included saxophonist Jane Bunnett, drummer Willie Martinez, and percussionist Rafael Ramirez. By the time the group reached a month, it was a definite success with 407 messages and a multitude of new members.
Early Conversations The conversations in those early days reflected different themes that would become ongoing forces behind the group – a quest to discover new artists, an unquenchable thirst to describe the music on a deeper level, and an avid appreciation for high quality Latin Jazz. In that first month, the group started long conversations about several active Latin Jazz musicians that were heating up the scene, such as Gonzalo Rubalcaba, Tony Martinez, and Chucho Valdes. Listening recommendations started in that first week with posts about Nuyorican Nights from Chris Washburne and the SYOTOS Band, Best Friends from Giovanni Hidalgo and Humberto Ramirez, and Celebrating Chico Buarque De Hollanda from Edsel Gomez. The group dug into the meaning behind the word Maferefun, the title from a Tony Martinez album and the bandages that Mongo Santamaria would wear on his fingers during performances. There was plenty of awareness about live performances, with posts about the Havana Jazz Festival, the San Francisco Jazz Festival, as well as dates from the Susie Hansen Band and Ray Vega. In every way, the Latin Jazz discussion group became a prime meeting place for the international Latin Jazz community to indulge their passion.
Looking At History Through The E-Group Digging through the Latin Jazz group’s archives delivers some serious historical landmarks that frame the music in an interesting way. During the first month, Goyo sent out a question about a Moacir Santos recording, and who was the first to send a detailed reply to his query? Mark Levine, of course, whose current album Off & On presents an incredible tribute to Santos. Several messages recall a different political era when pressures eased between the United States and Cuba, allowing for Stateside performances from Irakere, Los Van Van, and more. A 1999 article posted to the group discussed a “Latin Jazz” breakthrough with cutting edge music from Paquito D’Rivera, David Sanchez, Valdes, and Rubalcaba. Discussions around the first Latin Grammy presentations question the motivation behind some moves, wondering whether music or industry drives the awards. Numerous posts include reviews about the recent releases of the time, providing time sensitive details to everything from Tribute to the Masters by John Santos and the Machete Ensemble to Latin Spirits from Poncho Sanchez and Descarga Total by Orlando “Maraca” Valle. The group frames major events in the music with fascinating perspectives; looking into Tito Puente’s death reveals a flood of messages with personal reflections and historical facts. With all ten years of the e-group’s messages cataloged on Yahoo, we’ve got a collection of incredible facts and opinions available for research and more.
An Essential Online Gathering Place
For the past ten years, the Latin Jazz e-group has provided an essential online gathering place for the Latin Jazz community, one that we should celebrate. Over the years, the Latin Jazz group has also become a place where both personal and professional connections have formed. Musicians discussed the art form and business behind Latin Jazz; fans sent messages to their heroes; managers, promoters, writers, and radio personalities connected with musicians. It’s a place where a question about Latin Jazz might inspire a detailed response from Levine, Bobby Sanabria, Jose Madera, Bobby Matos, John Santos, Sonny Bravo, Robby Ameen, Janine Santana, Kat Parra, or more. The newest Latin Jazz listener can visit the group and find a long list of important recordings to hear while the most experienced musician can exchange ideas with their peers and colleagues. It remains a place where Latin Jazz addicts still can work out their obsession or make it worse . . . and fortunately many, many people have chosen to make it worse!
Thanks for Luis and Goyo for ten outstanding years of community, education, and entertainment – we all hope for ten more!
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Latin Jazz musicians, promoters, and fans have all found a home on the Latin Jazz e-group, so I asked some of them to send their thoughts about it. Here’s some reflections on the group – enjoy!
Mike Freeman
As a member for half (or more) of its 10 years in existence, I view the Yahoo Latin Jazz group as part educational and informative on a variety of levels (learning of new recordings, videos, musicians and groups I was unfamiliar with, gaining a better understanding of various styles of the music as well as behind the scene insights into the business, social-political aspects, and people/personalities in and around the music) and part a source of networking (having met new musicians, radio programmers and business contacts, as well as made stronger bonds with folks I already knew and or played music with).
The group has seen it all with discourse (both interesting and not) on almost everything, arguments (both civil and not so civil) about almost everything, a wide variety of humor (laugh and or groan) and has generated a large coming together of sometimes disparate people (both musicians and non musicians) to engage in their passion for music, Latin Jazz first and foremost, and things related.
Nick Marrero
Mundo Jazz U92 WUMR I was part of the group when I was doing Latin Jazz Expressions on WWSP in Stevens Point Wisconsin back in 2001. For me the group has been instrumental in getting me contacts and information so that I could present this music to places that really did not have one locally to present it. I am now in Memphis and once again the Latin Jazz Group is still very important in my efforts to keep the music out there. Here is to an informative and successful network for all of us who love this music so much.
Jamie Scott
I’ve only been a member for a few weeks, but already this group has provided me with a wonderful experience! Through the group I found out about Bobby Sanabria’s event at The National Jazz Museum where screenings were held of the first 2 hours of the Latin Music USA documentary on PBS.
It was exciting to share this screening with other people who love this music! And who certainly know more about it than I. Often, I go to music events alone, or sit home alone watching these documentaries. Sharing it was so much more meaningful for me. It made me (currently unemployed) want to fight to stay in New York!
The only “problem” with the Sanabria event was that on same day, there was a bass master class that I was eager to attend, to see what I might learn there. Oh, what a wonderful conflict to have–all thanks to the Yahoo group.
Janine Santana I love this group. I feel much more a part of the community since I’ve joined (and trust me, I live in a very isolated area). I have connected with many fellow musicians, radio personalities who specialize in our beloved Latin Jazz culture, and supporters of our music who sometimes even stop me on the street because of the intimate friendliness of this group. I can ask or comment directly to my heroes and long-distance friends very easily here.
I have learned more directly from the other musicians themselves about our history and their adventures, misadventures and thoughts on our music than I could have learned on my own in a lifetime of “studying”. I even have had lots of joyful laughter as I’ve read some posts, gotten recipes, advise, …all priceless.
I LOVE this group, the first and only e-group I’ve ever joined.
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Did you miss the first ten years of the Latin Jazz e-group? Do yourself a favor and catch the next ten years – this is essential stuff for any Latin Jazz fan. Don’t forget, you can check out the archives of the first ten years as well, so there’s plenty of reading! Sign up for the group HERE.
If you’ve been a member for a while, join in our celebration of the group and leave a comment below with your thoughts on the group!
The Spotlight Series highlights upcoming Latin Jazz musicians that have yet to reach national recognition. Many of these musicians thrive in local scenes and some tour in support of releases. All these musicians contribute greatly to the overall Latin Jazz scene, and they deserve our “spotlighted” attention.
Alma Y Luna Sofia Tosello Sunnyside Records
The use of folk forms as a basis for Latin Jazz results in a powerful structure for an artist’s vocabulary. Folk music reveals an honest reflection of the artist’s heritage and exposes many deeply ingrained cultural aesthetics. Specific songs provide special meaningful to the artist, reflecting their childhood or reminding them of a certain time or place in their lives. Latin Jazz artists can completely re-harmonize folk songs and add extensive improvisation, taking bits of culture into another world. Other musicians stay true to the roots of folk songs and add limited jazz embellishments and improvisational flights. An artist with a deep connection to the music may compose their own songs based upon folk forms. Whichever path the musician chooses, the inclusion of folk forms becomes an important piece of their artistic identity. It adds a flair of authenticity to their work and sets them apart from the exclusive integration of dance styles into jazz harmonies. The use of folk forms provides contrast against the use of more jazz oriented or popular settings. Folk forms add a good deal of tradition, depth, and culture into an artist’s work and always provides a fascinating background to the music. Argentinean vocalist Sofia Tosello reaches deeply into her country’s folk music on Alma Y Luna, while making rich connections with jazz, funk, and popular styles.
Staying Close To Tradition
Tosello stays close to tradition with several pieces that reflect folk interpretations. Guitarist Miguel Rivaynera’s steady finger plucked creates a steady flow as Raul Lavadenz’s acordeón provides a lush melody on Ana Robles’ “La Seca,” giving way to Tosello’s strong vocal. As the rhythm section alters textural ideas with the entrance of percussion, Tosello wraps her rich tone around the melody, interpreting the song with a clear and defined presence. The commanding nature of Tosello’s vocal brings this piece into full stride, as she precisely expresses herself with a wide dynamic range and multiple articulations. Rivaynera cleverly overdubs himself into a richly arranged layer of guitar foundation on Chato Diaz and Hugo Rivella’s “Nacida en Agua De Guerra,” utilizing intertwining rhythmic ideas and harmonized melodies. Tosello plays off Rivaynera’s assertive forward motion with a powerful momentum, capturing the song’s essence with a bold vocal. An arranged guitar interlude from Rivaynera embodies the beauty of the track, as his combination of arpeggiated chords and brief licks flow perfectly into Tosello’s featured vocal. Guitarist Aquiles Baéz thoughtfully moves through a chordal introduction on “Zambita Pa Mi Coyita” while Hector del Curto’s bandoneon wanders through subtle improvised lines. Percussionist Yayo Serka pushes the song into a rhythmic momentum with a bomba legüero while Tosello skillfully builds the lyric into a powerful statement. The interplay between Tosello and del Curto adds a special depth to this track as the bandoneon consistently comments upon each vocal phrases, reflecting Tosello’s emotive reading. Rivaynera establishes an introspective mood with an understated introduction to José Dames and Horacio Salguinetti’s “Nada,” pulling a strong emotional effect from dramatic single note lines. Tosello thrives in this setting, as her fully exposed voice guides the musical shape with a beauty, ease, and confidence. She delivers a personal interpretation here, building a touching statement upon Rivaynera’s supportive and responsive accompaniment. These pieces display a deeply rooted connection between Tosello and Argentinean folk music, providing a perfect setting for her strong vocal skills.
Leaning Towards Jazz
Tosello leans towards jazz in other pieces, mixing Argentinean roots with space for improvisation. Serka’s assertive bombo legüero provides a steady pulse while guitarist Julio Santillan intertwines chordal patterns into the introduction on “La Clarosa Cruz.” Tosello firmly states the melody through bold phrases, separated by short complementary improvisations from bassist Jorge Roeder, violinist Pablo Farhet, and Lavadenz’s acordeón. Roeder enthusiastically steps into the spotlight with an energetic solo that cleverly plays around the rhythmic structure. A rich series of plucked arpeggios from Baez leads into a gently understated vocal from Tosello on Alberto Rojo’s “Que Bonito.” As the rhythm section joins the group, Tosello builds her vocal into a strong presence, reflecting virtuosic accompaniment from Baez. Clarinet player Anat Cohen slides into an enchanting improvisation, walking the line between bluesy licks and playful rhythmic phrasing. The wandering sound of Yosvany Terry’s soprano sax provides a haunting contrast against Rob Curto’s effects-laden acordeón on “Alma Y Luna.” The drastically different texture brings a new vocal approach from Tosello, who offers flowing phrases and long legato articulations. Scatted syllables in unison with Terry begin an upward rise for the track, which builds into an intensive climax with clapping patterns, improvisational flurries from Terry, and a thick layer of voices. Baez provides a rubato unaccompanied introduction on “Mi Musita Salteña” until Tosello transitions into the pulse with a gentle scat. As Tosello travels through the lyrics, the band builds into a more jazz oriented context with the addition of drum kit sounds and strong bass lines from Pedro Giraudo. As Tosello reaches the end of the lyrics, Ignacio Freijo’s Quena and Ramiro “Capi” Nieva’’s Zampoña move through winding lines filled with improvised embellishments. These pieces allow Tosello to build upon her roots, combining folk music ideas with bits of jazz improvisation and harmony.
Moving Into Popular Styles
Tosello steps away from folk music completely on other tracks, moving towards popular styles. A combination of funky keyboard sounds and guitar licks lead into a thick chorus from Tosello on “La Verdadera Llama,” referencing Latin pop sounds. Pavel Urkiza’s clever arrangement draws upon a verse-chorus form, allowing Tosello to skillfully build contrast and shape around the structure. Trombonist Dyan Abad interjects brief licks with an energetic abandon, asserting an aggressive personality into the song’s upbeat mood. Pianist Osmany Paredes creates a rhythmic drive with steady chords as Terry improvises on “Me Falta La Imaginación” until the band abruptly falls into a soft bolero. The group creates a classic feel as colorful chords move beneath Tosello, who winds through the lyrics with a coy playfulness. Terry indulges in severe understatement on his feature, placing long notes over the band and letting them shimmer against Paredes’ rich chords. A catchy melody from a full horn section leads the group into a strong salsa arrangement on “Sentirme Libre Contigo,” filled with a distinctly Cuban flavor. Tosello displays a strong flexibility on this track, skillfully wrapping phrases around the clave and confidently spinning pregons. Paredes grabs the band with a syncopated improvisation that transitions seamlessly into a burning timba montuno for more pregones. Byron Ramos’ lays sparse single note lines over Urkiza’s moving acoustic guitar on “Caminos Del Cielo” as Tosello carefully travels into a delicate vocal line. Bassist Yunior Terry and Ramos improvise freely until Urkiza joins Tosello on vocals, pushing the group into a more open sound. A group explodes into a wall of percussion, electric guitar, saxophone, and thick chorus textures, moving the song into an engaging climax. These tracks allow Tosello to display a different side of her musicianship, showcasing her vocals in a more commercially accessible setting.
Blending All The Right Elements
Tosello displays an interesting and meaningful musical personality on Alma Y Luna that draws strongly upon folk music while exploring a variety of avenues. There’s an inherent familiarity and pride embedded in Tosello’s performance of Argentinean chacareras and zambas. She imbues each song with a commanding presence that cements her connection to genre. At the same time, Tosello’s journeys through Cuban music and popular styles benefit from her deep musicality, allowing her to assert a defined voice in each context. Tosello’s vocal skills radiate from the recording with a clear power and honest beauty, letting her guide the group with a commanding personality. Her thorough ability to apply a broad range of dynamics, a diverse set of articulations, stylistically appropriate phrasing, and a bold tone results in a captivating performance that holds your attention consistently through the album. She finds outstanding support in a large group of outstanding musicians with stellar contributions from guitarists Miguel Rivaynera and Aquiles Baez, bassist Jorge Roeder, Pedro Giraudo, and Yunior Terry, and saxophonist Yosvany Terry. Tosello blends all the right elements into traditional music on Alma Y Luna, showing us that folk music can be familiar and personal while retaining a sense of excitement and creativity.
Certain artists deliver such strong statements on their first albums, that their second releases become highly anticipated events in the Latin Jazz world. Building true excitement around a sophomore release involves a seriously interesting and involved freshmen album, and honestly, many bands don’t provide sufficient depth in their first album. The shock of a developed artistic sensibility at a young age certainly grabs our attention, but the appeal of their music remains much more deeply embedded than a surface assessment. These artists provide albums where we simply can’t stop listening, and we walk away craving more music. We search for a continued connection to their music, looking for any link possible. When they regularly perform in our local communities, we become fixtures at their gigs, observing every possible detail and getting to know their artistic personalities intimately. If we don’t have local access to the artists, we search online, checking into their MySpace, Facebook, or YouTube pages, jumping at the opportunity to hear live recordings or exclusive new tracks. Each passing chance to hear their music simply builds the anticipation around another album or the next concert. By the time these artists give us that second album, we find ourselves chomping at the bit to hear it, curious about their new musical direction, and enthusiastically supportive of their artistry.
While I certainly follow a number of Latin Jazz musicians and look forward to their new musical statements, there is one album that sits on the top of my upcoming listening list in 2009, Blood-Spirit-Land-Water-Freedom from The Curtis Brothers. Pianist Zaccai Curtis and his bass playing brother Luques stand at the forefront of the new Latin Jazz generation, and the depth of their refined and highly crafted artistry has just begun to appear. Their 2007 release A Genesis, released with their group Insight, contains distinctly modern jazz that reflects a rich knowledge of Cuban and Puerto Rican traditions while brimming with originality and personality. One listen to this engaging album shows the potential behind the Curtis Brothers’ musicality, leaving a true Latin Jazz fan wishing for more. Fortunately, The Curtis Brothers are frequent collaborators with many Latin Jazz artists, and they can be found fairly easily. Zaccai recently appeared with Papo Vazquez and the Mighty Pirates on the album Marooned/Aislado and has become an important piece of the Waitiki 7. Luques regularly joins the legendary pianist Eddie Palmieri on tour, forming an essential piece of his band. These two in-demand musicians always find time to return to their own project though, and fortunately, they’ve recently finished and delivered their latest album.
At this point, I still haven’t heard Blood-Spirit-Land-Water-Freedom, and I simply can’t wait to get more music from The Curtis Brothers. So today’s Latin Jazz Video Fix is dedicated to the incredible music coming from these musicians, filling the void until I hear the album. We’ve got some old and new footage, showing Insight in an older clip and a montage of video pieces from performances at The Nuyorican Poet’s Café. Enjoy!
———- The Curtis Brothers & Insight Performing “Ulterior Motive”
The Curtis Brothers Performing At The Nuyorican Poet’s Cafe
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Want to hear more from The Curtis Brothers? Check out some of their last album. A Genesis
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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
Hopefully everyone got a chance to check out last week’s episodes of Latin Music USA on PBS – Part 1 focused upon Latin Jazz and early mambo big bands while Part 2 dove into Fania era salsa. If you missed it, check out the Latin Music USA website, you can stream them there. Tonight, October 19th, you can check out parts 3 &4, where we’ll hear about Mexican American music & Latin Pop. So far, the documentary has been a great experience – don’t miss it tonight!
The new release from saxophonist Miguel Zenon inspired the dedicated folks over a NPR’s A Blog Supreme, driving them to dig deeper into plena. They paid Zenon a visit, asking him to explain the details and history of plena. You can hear a bit of the interview and some impressions from Josh Jackson in a good solid blog post HERE. In addition, NPR is streaming the complete album, Esta Plena, giving you a chance to dig deeper into Zenon’s great new work – head over HERE quickly this is an incredible must-hear release!
If you’re in CARIBBEAN this week . . . BATACUMBELE
Reunion Concert WHEN: Saturday 10/24/09 WHERE:Coliseo Guillermo Angulo
Municipio Autónomo de Carolina
Puerto Rico TIME: 8:00 p.m. TICKETS: $15 – $25 in advance; $25 – $35 at the door
If you’re in SOUTH AMERICA this week . . . MANANTE WHEN: Monday 10/19/09 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 . . . HAMLET AND HIS LATIN JAZZ EXPERIENCE WHEN: Sunday 10/25/09 WHERE:Jazzkeller Kamot
Klagenfurt, Germany TIME: 8:30 p.m. TICKETS: FREE
SAMUEL QUINTO WHEN: Thursday 10/22/09 WHERE:B-Flat Restaurant
Rua Garcia Arosa 4450
Matosinhos, Portugal
If you’re on the EAST COAST this week . . .
ANNETTE AGUILAR & STRINGBEANS WHEN: Tuesday 10/20/09 WHERE:Giovanni’s G Bar
579 Grand Concourse
Bronx, NY TIME: 6:00 p.m.
WHEN: Friday 10/23/09 WHERE:Zuppa Restautant
59 Main St
Yonkers, NY TIME: 8:00 p.m.
ARTURO O’FARRILL
Solo Piano WHEN: Wednesday 10/21/09 WHERE:Puppet’s Jazz Bar
481 5th Avenue Park Slope
Brooklyn, NY TIME: 7:00 p.m. TICKETS: $10
BOBBY SANABRIA
Manhattan School Of Music Afro-Cuban Jazz Orchestra
Ray Santos: A Life in Latin Music WHEN: Friday 10/23/09 WHERE:John C. Borden Auditorium – Manhattan School Of Music
120 Claremont Avenue
New York, NY TIME: 7:30 p.m. TICKETS: $5
CARLON/MCCARRON JAZZ/BRAZIL DUO WHEN: Thursday 10/22/09 WHERE:The Kiosk
76-80 East 116th Street
Harlem, NY TIME: 8:00 p.m. TICKETS: NO COVER
CHICO O’FARRILL’S AFRO-CUBAN JAZZ ORCHESTRA WHEN: Sunday 10/25/09 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 10/25/09 WHERE:Smoke
2751 Broadway
New York, NY TIME: 8:00 p.m., 10:00 p.m. & 11:30 p.m. TICKETS: $20 minimum
CURTIS BROTHERS
CD Release Celebration for Blood-Spirit-Land-Water-Freedom WHEN: Thursday 10/22/09 WHERE:Nuyorican Poet’s Cafe
236 East 3rd Street
New York, NY TIME: 9:00 p.m. TICKETS: $7
EBELIN ORTIZ WHEN: Tuesday 10/20/09 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. TICKETS: NO COVER
WHEN: Wednesday 10/21/09 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 10:30 p.m. TICKETS: NO COVER
EDWARD PEREZ WHEN: Saturday 10/24/09 WHERE:Fat Cat
75 Christopher St
New York, NY TIME: 7:30 p.m.
ERIC KURIMSKI WHEN: Thursday 10/22/09 WHERE:Terraza Cafe
40-19 Gleane St
Elmhurst, NY TIME: 10:00 p.m. TICKETS: FREE
GABRIEL ALEGRIA AFRO-PERUVIAN JAZZ SEXTET WHEN: Thursday 10/22/09 – Sunday 10/25/09 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
GREG DIAMOND WHEN: Wednesday 10/21/09 WHERE:Flutebar Gramercy
40 East 20th Street
New York, NY TIME: 8:00 p.m.
HERNAN ROMERO WHEN: Tuesday 10/20/09 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 10:30 p.m. TICKETS: NO COVER
JACKIE COLEMAN
Afro-Peruvian Tribute To Wayne Shorter WHEN: Tuesday 10/20/09 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. TICKETS: NO COVER
LUIS BONILLA WHEN: Friday 10/23/09 WHERE:SOPAC
One SOPAC Way
South Orange, NJ TIME: 7:30 p.m. TICKETS: $25
PAQUITO D’RIVERA
Guest Artist with Turtle Island String Quartet & Luna Negra Dance Company WHEN: Saturday 10/24/09 WHERE:Staller Center
Nicolls Road
Stony Brook, NY TIME: 8:00 p.m. TICKETS: $38
YOSVANY TERRY WHEN: Tuesday 10/20/09 WHERE:Harlem Stage Gatehouse
150 Convent Avenue
New York, NY TIME: 10:00 a.m. & 12:30 p.m. TICKETS: $7
WHEN: Wednesday 10/21/09 WHERE:Harlem Stage Gatehouse
150 Convent Avenue
New York, NY TIME: 7:30 p.m. TICKETS: $15
If you’re in the MID-EAST this week . . . DAVID SANCHEZ WHEN: Thursday 10/22/09 – Sunday 10/25/09 WHERE:Bowker Auditorium – University of Massachusetts
806 S. Plymouth Court
Chicago, IL TIME: 8:00 p.m. & 10:00 p.m.; Sunday Matinee – 4:00 p.m. TICKETS: $20
LOS GATOS WHEN: Wednesday 10/21/09 WHERE:Live At PJ’s
102 S 1st St
Ann Arbor, MI TIME: 8:00 p.m. & 9:15 p.m. TICKETS: $7
TUMBAO BRAVO WHEN: Sunday 10/25/09 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
San Francisco Jazz Festival WHEN: Sunday 10/25/09 WHERE:Conservatory of Music
50 Oak Street
San Francisco, CA TIME: 7:00 p.m. TICKETS: $25
ANNA ESTRADA
CD Release of Obsesión WHEN: Saturday 10/24/09 WHERE:La Peña Cultural Center
3105 Shattuck Ave
Berkeley, CA TIME: 8:00 p.m. TICKETS: $12 in advance; $14 at door
ESTRADA BROTHERS WHEN: Saturday 10/24/09 WHERE:Steamer’s
138 W. Commonwealth
Fullerton, CA TIME: 8:30 p.m. TICKETS: $8
GILBERT CASTELLANOS WHEN: Tuesday 10/20/09 WHERE:Onyx Room
852 5th Avenue
San Diego, CA TIME: 9:00 p.m. TICKETS: FREE
WHEN: Thursday 10/22/09 WHERE:Oceanside Museum of Art
704 Pier View Way
Oceanside, CA TIME: 7:30 p.m. TICKETS: $15
JOHN SANTOS SEXTET
San Francisco Jazz Festival WHEN: Thursday 10/22/09 WHERE:Herbst Theater
401 Van Ness Avenue
San Francisco, CA TIME: 7:30 p.m. TICKETS: $25 – $65
JOVINO SANTOS NETO WHEN: Sunday 10/25/09 WHERE:Argosy Jazz Cruise
1101 Alaskan Way
Seattle, WA TIME: 12:00 p.m. TICKETS: $50 for adults; $29 for children; 4 & under free
NAGUAL WHEN: Friday 10/23/09 WHERE:The Fox and the Goose
1001 R Street
Sacramento, CA TIME: 9:00 p.m. TICKETS: $4
OMAR SOSA WHEN: Wednesday 10/21/09 WHERE:The Triple Door
216 Union Street
Seattle, WA TIME: 7:00 p.m. & 9:30 p.m. TICKETS: $22
San Francisco Jazz Festival WHEN: Thursday 10/22/09 WHERE:Herbst Theater
401 Van Ness Avenue
San Francisco, CA TIME: 7:30 p.m. TICKETS: $25 – $65
PONCHO SANCHEZ WHEN: Thursday 10/22/09 WHERE:Belly Up
143 S. Cedros Avenue
Solana Beach, CA TIME: 8:00 p.m. TICKETS: $18; $20 on day of the show
San Francisco Jazz Festival WHEN: Saturday 10/24/09 WHERE:Herbst Theater
401 Van Ness Avenue
San Francisco, CA TIME: 8:00 p.m. TICKETS: $30 – $70
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Risa Negra Arturo O’Farrill Zoho Music
As a term, the word “Latin Jazz” builds distinct expectations around our listening experience; the describes the music’s basic essence, but it also labels the experience with a narrows conception of the musical content. In a listener’s mind, the term immediately separates the style apart from more traditional swing or jazz fusion, letting us know that we’ve stepped into another world. It implies the use of jazz harmonies and improvisation with Latin rhythms flowing in the foundation. The rhythm structure might emanate from Cuba, Brazil, Peru, or Colombia; but whatever the case, the label screams that we will hear a steady diet of traditional Latin rhythms. While the term might help some listeners find their way into specific music, it doesn’t always aptly describe a musician’s perspective on their art. Creative music always comes from a starting point, and that might be Latin rhythms, swing, or funk. Creative musicians are not limited by their starting points though; in fact, their musical foundations serve as liberating elements. They stand upon their backgrounds and explore, searching for connections between artistry, cultural ideals, and stylistic aesthetics. These artists provide an exciting ride – when we expect a Cuban rhythm, we might hear swing, funk, or modern avant-garde. They challenge our perception of stylistic labels and force us examine our beliefs about a genre. Most importantly, these musicians break the labels, force us to think, and inspire us to look at the music in a new way. Pianist and composer Arturo O’Farrill challenges our perception of the word “Latin Jazz” on Risa Negra with a broad and modern collection of pieces.
Exploring Distinctly Modern Possibilities In Latin Rhythms
O’Farrill stands proudly upon his traditional foundation with several pieces that explore the distinctly modern possibilities inherent in Latin rhythms. O’Farrill segues from a contemplative unaccompanied solo into a frantic montuno on “One Adam 12 Mambo,” cueing the band into a forceful melody over a driving son montuno. Alto saxophonist David Bixler winds slippery bebop lines through the moving chords before O’Farrill races over the band with running phrases and rich chordal colors. The drummers accompany bassist Boris Kozlov who moves interesting melodies through the range of his instrument until O’Farrill leaps into a montuno behind percussionist Roland Guerrero’s explosive improvisation. O’Farrill introduces a rhythmically interesting bass line which clicks into place behind an up-tempo son montuno and a quick modern melody on “Blue State Blues.” The track transitions into an engaging meeting of the minds as Kozlov’s electric bass trades phrases with a classy acoustic sound from Ricardo Rodriguez. The track opens into a powerful jam session as saxophonist Ivan Renta, trumpet player Jim Seeley, O’Farrill, and Guerro all provide enthusiastic statements, filled with conviction and style. An edgy and active bass line readily intertwines with an energetic melody on “No Way Off,” creating a tense feeling among the band. Bixler eases into an improvisation, bringing the band to a calm momentarily, while Seeley jumps strongly into his solo with a bluesy growl. O’Farrill develops a lush and colorful backdrop with sparse lines in the upper register, taking his time to build his idea into a masterful statement. These songs grow out of O’Farrill’s native element, but they never stall in it, keeping a lively and modern perspective on the style.
Displaying A Wide Outlook On Jazz
The group displays a wide outlook upon the idea of jazz with strong compositions from a variety of band members. Drummer Vince Cherico swings with a smoldering laid-back feel on Bixler’s “The Darkness Is My Closest Friend,” while the composer travels through the spacious melody accompanied by Seeley. Bixler brings the band to a boil with passionate improvised phrases between arranged interludes with Seeley. The band creates dramatic contrast, coming to a whisper behind O’Farrill who inspires avid interaction until the group shrinks again during a potent statement from Kozlov. O’Farrill leaps into a repeated montuno on Fender Rhodes over Cherico’s funk backbeat on Bixler’s “Goat Check,” while the wind players plow through an angular melody. Seeley rides the rhythm section’s addictive funk with a modern bop attitude, until Bixler pushes the momentum even more with a sweltering combination of rhythmic intensity and twisting phrases. The soft tone of O’Farrill’s Fender Rhodes provides an interesting contrast to his driving melodies, leading into a quick attention grabbing solo from Kozlov, filled with over-the-top funk. O’Farrill establishes a quick waltz, which Cherico attacks with an assertive swing feel on Seeley’s “Ceviche,” bubbling underneath a twisting melody. Careful phrases provide a distinct contrast in O’Farrill’s statement, which he cleverly crafts into steadily rising series of ideas. Seeley improvises over the moving foundation with a fiery hard bop aesthetic, paving the way for an Elvin Jones inspired album highlight solo from Cherico. These tracks find the group stretching into other areas of jazz, showing a broad perspective and solid skills across the spectrum of the genre.
Integrating Diverse Stylistic Elements
A number of pieces stretch the conception of Latin Jazz through the integration of several stylistic elements. The group aggressively attacks a series of short sharp phrases on Adam O’Farrill’s “Crazy Chicken,” traversing shifting time signatures. The rhythm section falls into an open airy feeling behind Adam O’Farrill’s melodically inventive trumpet solo, landing in an Afro-Cuban 6/8 groove underneath Renta’s racing melodic lines. Arturo O’Farrill plays off the 6/8 feel with a Tyner-esqe modality before Rodriguez and drummer Zachary O’Farrill both construct smart improvisations around the groove. There’s an elegant interplay between piano, flute, violin, and bass on “Tabla Rasa: El Salon Cubano,” that sets a contemplative mood on the first part of this extended work. Rodriguez’s up-tempo bass line thrusts the group into clave, setting the stage for an energetic melodic statement from flautist Cecilia Tenconi. Seeley explodes into the piece with a lively improvisation that reflects the band’s enthusiastic drive and pushes them to the next level. A steady drone lies underneath a violin improvisation from Heather Bixler, heavily influenced by Indian music on “Tabla Rasa: Tintal Tintal Deo,” leading into a rapid pulse and stylistically consistent melody. The band disappears as tabla player Badal Roy takes center stage with a spacious solo that slowly builds into a steady pulse, accompanied by a vocal rhythmic language. The group slowly re-enters over Roy’s unique groove, coalescing around an intelligent improvisation from Seeley, and eventually building into an explosive climax. The group brings a variety of interesting stylistic elements into a Latin Jazz setting with these pieces, stretching the boundaries of the style in fascinating directions.
Shattering Labels And Expectations
O’Farrill extends the boundaries of Latin Jazz into several different stylistic directions on Risa Negra, delivering a bold artistic vision that looks beyond the music’s standard label. He includes a healthy dose of Cuban inspired rhythmic structures, but at the same time, he freely integrates funk, swing, bluesy ballads, and Indian music. At first glance, this unique blend of musical worlds seems disparate, but in O’Farrill’s hands, the connections seem apparent and the musical collection makes sense. His broad compositions never seemed forced; in fact, each diverse direction seems like a natural extension of his musical personality. He guides his group through this broad tapestry with an enthusiastic vigor, leaping at the opportunity to explore new musical ideas. This addictive passion for the music radiates wildly from his piano playing, as he creates thoughtful improvisations that range from quiet colorful textures to raging flights of rapid notes. His band members leap out of the recording with an equal commitment, delivering outstanding performances. Both Seeley and Bixler stand apart as bold improvisational personalities, asserting themselves with class and style in each solo. Cherico and Kozlov fuel each setting with an unbelievable momentum and stylistic integrity, grounding the band, but also pushing them to new heights. The inclusion of several guest artists, including Roy and O’Farrill’s sons Zachary and Adam fuels the pianist’s broad vision and expands the group’s overall sound. O’Farrill’s collection of diverse ideas culminate in an outstanding musical mix on Risa Negra, shattering labels, expectations, and beliefs, and leaving us with a simply astounding artistic statement.
Obsesión
Our current Spotlight Artist, vocalist Sofia Tosello, brings Argentinean folk music and jazz together in an organic way that displays her natural connection to both styles on her release 
Sofia Tosello, a remarkable young vocalist, originally from Cordoba, Argentina, belongs to an exciting new group of artists who are changing Latin American song. Rooted in the variety of Latin American cancion traditions, including tango, chacarera, bolero filin, son and zamba, one also hears shades of the downtown “world” jazz scene, bossa nova, and a bit of funk in Tosello’s performances.
With the guitarra, contrabass and bombo leguero as her starting point, Tosello recreates a musical landscape that spans all of the Americas, from New York to Cuba to Buenos Aires. Rooted in the variety of Latin Americam cancion traditions, including tango, chacarera, zamba, bolero filin, and Peruvian vals, Alma y Luna also reflects an impressive range of sounds and textures that only the global village of New York can produce. Tosello prefers to see herself as a border-crosser, not bound by the logic of genre; her musical aesthetic is best described by words like hybridity and mestizaje. Tosello’s soulful and sensitive approach combines the best of today’s global currents in jazz, Latin, and pop music while maintaining a profound respect for tradition – a feat seldom achieved by young artists.
, making a definitive move forward as an artist. He followed with the 2007 release 
, a fascinating personal statement that interpreted several well-known paintings through original Latin Jazz compositions. Stable’s latest release, 
The Latin Jazz e-group has its roots in the old Usenet group rec.music.afro-latin. I’d been a member of that group for years and made many friends there. One of these is Goyo Pappas. I posted a message to the group one day about a recording by Mark Levine’s group Que Calor – 
The conversations in those early days reflected different themes that would become ongoing forces behind the group – a quest to discover new artists, an unquenchable thirst to describe the music on a deeper level, and an avid appreciation for high quality Latin Jazz. In that first month, the group started long conversations about several active Latin Jazz musicians that were heating up the scene, such as Gonzalo Rubalcaba, Tony Martinez, and Chucho Valdes. Listening recommendations started in that first week with posts about 
from Giovanni Hidalgo and Humberto Ramirez, and 
from Edsel Gomez. The group dug into the meaning behind the word 
, the title from a Tony Martinez album and the bandages that Mongo Santamaria would wear on his fingers during performances. There was plenty of awareness about live performances, with posts about the Havana Jazz Festival, the San Francisco Jazz Festival, as well as dates from the Susie Hansen Band and Ray Vega. In every way, the Latin Jazz discussion group became a prime meeting place for the international Latin Jazz community to indulge their passion. 
Digging through the Latin Jazz group’s archives delivers some serious historical landmarks that frame the music in an interesting way. During the first month, Goyo sent out a question about a Moacir Santos recording, and who was the first to send a detailed reply to his query? Mark Levine, of course, whose current album 
from Poncho Sanchez and 
by Orlando “Maraca” Valle. The group frames major events in the music with fascinating perspectives; looking into Tito Puente’s death reveals a flood of messages with personal reflections and historical facts. With all ten years of the e-group’s messages cataloged on Yahoo, we’ve got a collection of incredible facts and opinions available for research and more. 
I love this group. I feel much more a part of the community since I’ve joined (and trust me, I live in a very isolated area). I have connected with many fellow musicians, radio personalities who specialize in our beloved Latin Jazz culture, and supporters of our music who sometimes even stop me on the street because of the intimate friendliness of this group. I can ask or comment directly to my heroes and long-distance friends very easily here.
