The results are in for the Third Annual Latin Jazz Corner Best Of The Year Awards! The voting ran from December 2, 2009 – December 23, 2009 and drew thousands of voters from around the world. It’s been a thrilling process that has provided some interesting results about the state of the Latin Jazz world. You can learn more about the voting process HERE and keep up with the results on the Best Of 2009 Page.
2009 Latin Jazz Album Of The Year: El Viaje, The Pedro Giraudo Jazz Orchestra
2009 Latin Jazz Large Ensemble Album Of The Year: El Viaje, The Pedro Giraudo Jazz Orchestra
It’s hard to predict the elements that will enthrall the listening public during the course of a year, there are just too many elements at play. Far too often a trend captures the publics imagination, throwing us into a mass craze for a musical moment that might feel good, but doesn’t have much substance. Another musical statement might speak to the moment in history, connecting with all of us on a purely visceral level. The mass media often pushes musical products into our faces, and the overwhelming amount of imagery, sound, and sensations usually draw us into their desires. These social elements have driven the general public’s musical attention for decades, and despite modern changes in distribution and listening practices, they will most likely guide us for decades to come. The jazz world often considers itself removed from the whims of pop culture, keeping its head firmly set in artistry – yet even jazz lovers fall into the trap of social pressure. In some years, the best that we can hope for is that true artistry will shine through the fads and trends and at least a portion of the public will support these artists. Then during those very rare historical moments, the listening public becomes taken with a recording for one basic reason – it simply contains a wealth of rich, thoughtful, and outstanding music.
2009 marked one of those times when bold musicality and adventurous artistry stood head and shoulders above the general musical trends as LJC readers voted bassist and composer Pedro Giraudo’s El Viaje both Best Large Ensemble Album and Latin Jazz Album Of The Year. In all rules of popular culture, this album should have sat in the background and been appreciated by a small audience that focused on artistry – but fortunately that didn’t happen. The recording holds onto Giraudo’s Argentinean background, but the roots of this music are far from obvious; this is not your traditional Latin Jazz with a driving rhythm section riding beneath a stream of jazz harmonies. Instead Giraudo uses all his knowledge of rhythmic styles, jazz theory, and big band textures to tell a story that reflects his personal life. As he weaves the tale of the birth of his child, Giraudo reflects his personal identity, his artistic vision, and the depth of his overall concept. He weaves tense syncopations, free improvisation, richly harmonized band sections, and simple melodies to make his point, and he continually drives the issue to the listener. At every turn his band supports this vision with sharply executed ensemble parts, inspired improvisations that show both individual personality and a concept of the overall piece, and a vast dynamic sensitivity. Giraudo creates music that respects tradition but moves forward with strong momentum. In El Viaje, Giraudo rejects trends and looks bravely into the future, El Viaje is the Album Of The Year and this is Latin Jazz of tomorrow.
———- 2009 Latin Jazz Next Generation Artist: Descarumbiando, Hamlet & His Latin Jazz Experience Sometimes an artist appears on the scene almost spontaneously and they grab attention from every angle. They seem to burst onto the music scene out of thin air with highly developed performance skills, refined compositions, and a wealth of stylistic knowledge. Their music earns an audience’s ears, and they like what they hear – despite a lack of an early connection, the mystery artist gains a number of fans on the merit of their music. We’ve come to accept this type of magical arrival, and somehow we overlook the realities of the situation; although an artist might be a new face to us, they arise from their own local scene after years of hard work. Every musician puts in their time through years of hard practice, extensive performance, and artistic experimentation. Their development occurs over the course of years, whether we witness their growth or not. Sometimes we simply meet an artist after they are well into their journey instead of discovering their music at the beginning of their travels. We get to enjoy the benefits of their hard work, experiencing a solid musical product.
American audiences got the thrill of discovering 2009 Latin Jazz Next Generation Artist Hamlet And His Latin Jazz Experience through their album Descarumbiando this past year. Based in Austria, the group brings together musicians from across Europe and around the world, mixing their varying influences into a unique blend. Led by Colombian pianist Hamlet Fiorilli, the group puts a distinctly different slant on the Latin jazz experience that shows a strong personality within the boundaries of tradition. Fiorilli grounds the group with a collection of interesting pieces, a solidly constructed improvisatory approach, and a energetic montuno. The title track, “Descarumbiano” interjects a funky edge into a set of jazz changes with traditional rhythms fueling improvisations from Fiorilli, trumpet player Hans Lassnig, and saxophone player Robert Friedl. Conguero Gianni Battilana introduces “El Fuego Del Padre” with some impressive soloing skills before the band charges into a syncopated minor melody and engaging improvisations. “Bluesambongo” mixes several different world as the band bounces between samba and songo, inspiring some enthusiastic solos from Fiorilli, Lassnig, Friedl, Battilana, and drummer Stefan Mörtel. The album contained a number of pleasant surprises for US audiences, that guarantees opens ears for more music from Hamlet And His Latin Jazz Experience.
2009 Brazilian Jazz Album Of The Year: Brazilliance x4, Claudio Roditi
2009 Afro-Peruvian Jazz Album Of The Year: Afroperuano, Yuri Juarez
There are a number of elements that enter into the creation of an album, but style dictates a major piece of a recording’s character; in this realm, the history of the style directly effects the outcome. In the Latin Jazz world, we’re talking about the history of several different jazz fusions – it’s really a matter of when the fusion began. Musicians have fused Brazilian rhythms with jazz for at least forty years, placing a trail of historical recordings and performances as a precedent to 2009. A genre with a long standing tradition and history like Brazilian Jazz offers both confines and liberties to an artist as their product reflects off the previous work. The Brazilian Jazz musician needs to respect the work of their predecessors and play within the boundaries that they established. At the same time, they need to find their voice within the style, which requires them to push the edges of the genre. On the other hand, musicians have spent much less time bringing together Afro-Peruvian rhythms and jazz, leaving an open trail for artists on this path. While this may seem like an easier path, the Afro-Peruvian Jazz artist doesn’t have a history of role models to inspire their work. Their musical decisions need to come from their own perspectives on history, tradition, and style. They need to be open to experimentation and ready to take chances at every turn. Brazilian Jazz and Afro-Peruvian Jazz represent two polar sides of the Latin Jazz world – one with a long history and one with a young life span – but the way that an artist interacts with these stylistic situations can both result in equally exciting music.
The past year offered two outstanding examples of artists building wonderful music around the legacy of their respective styles – 2009 Brazilian Jazz Album Of The Year Brazilliance x4 from Claudio Roditi and 2009 Afro-Peruvian Jazz Album Of The Year Afroperuano from Yuri Juarez. Roditi played upon the long history of Brazilian Jazz by teaming with three musicians who understand the music’s depth as he does: pianist Helio Alves, bassist Leonardo Cioglia, and drummer Duduka Da Fonseca. These four musicians took a variety of repertoire from compositions by Brazilian musicians such as Raul de Souza’s “A Vontade Mesmo” to reworked jazz standards such as Miles Davis’ “Tune Up” and Roditi originals such as “Gemini Man.” The results was a tasteful release that mixed Roditi’s fiery hard bop improvisations with a top-notch Brazilian Jazz rhythm section that could simultaneously support and push him. Juarez smartly mixed his deep knowledge of Afro-Peruvian traditional music and explored a variety of modern jazz interests. On original compositions such as the festejo “Cántelo Usted” or the fusion-esqe “Acuariana” Juarez integrates a contemporary sound with synthesizers and his electric guitar. A more traditional sound emerges on “Gracia” and “Yo Insistiré” where Juarez leans towards a more acoustic sound. The guitarist emphasizes a jazz sound with a beautiful landó “Una Noche Sin Ti” and a Peruvian arrangement of Chucho Valdes’ “Mambo Influenciando.” Juarez explores vast possibilities in Afro-Peruvian Jazz with the refined sound of his guitar in the forefront, bringing the best of the style to light. Both Roditi and Juarez smartly find strong musical responses to their stylistic foundations, giving us two of the year’s intriguing releases.
The results are in for the Third Annual Latin Jazz Corner Best Of The Year Awards! The voting ran from December 2, 2009 – December 23, 2009 and drew thousands of voters from around the world. It’s been a thrilling process that has provided some interesting results about the state of the Latin Jazz world. You can learn more about the voting process HERE and keep up with the results on the Best Of 2009 Page.
There’s one word in the jazz continuum that sits as a huge concept, and it can make or break a rhythm section: unity. At a basic level, this concept requires each musician to stay together harmonically and rhythmically, building a coherent and logical sound. Once this piece is in place, the musicians need to bring together ideas about genre and artistic approach. They need to decide upon which stylistic element will come to forefront of their sound and how closely they will adhere to tradition. Each rhythm section member needs to come to a firm agreement about the extent of experimental ideas; generally a mixture of outside playing and tradition create odd tension. Unified rhythm section members come from the same aesthetic background, establish clearly defined roles, and strive to provide the same type of support in every situation. At first look, this alignment plays against the idea of a conversational setting where each musician integrates their individual personality into the product; this couldn’t be further from the truth. Having a unified mind frame actually opens the possibility for more interaction; as rhythm section members get to know each other’s playing, they come to musical agreements where individual personalities will fit into each performance. The strength of the rhythm section doesn’t come from the musicality of each individual member, it emerges from the power of the combined unit – so the idea of a unified whole is an essential foundation piece.
2009 Latin Jazz Bassist Of The Year Noel Marambio and 2009 Latin Jazz Pianist Of The Year Pepe Céspedes epitomize the idea of rhythm section unity on the latest Manante release Para Los Engreidos. Both musicians carry outstanding technical ability on their instruments, laying the foundation for their work together. Their also share vast stylistic knowledge that spans the realm of traditional Afro-Peruvian music, straight-ahead jazz, and contemporary fusion. The group’s original compositions place the unique skills of these musicians into the forefront while keeping the stylistic pieces in place. Marambio’s Jaco-esque sound weaves between the lush and rhythmic tapestry of Céspedes’ vast chordal knowledge. Marambio loops a chordal vamp while Céspedes adds washes of harmonic color on “Cool Antro” which serves as the foundation for overdubbed exchanges between the two musicians. Céspedes frames “Sin Aliento” with a collection of typical Peruvian phrases which drop into a vast open section that gives Marambio room to spin short percussive licks. Both musicians charge through “Av. Arriola con Av. Canadá” with wild bursts of free improvisation that stay strangely related despite the chaotic atmosphere. Marambio maintains a simple ostinato over a festejo groove on “Moza Celosa” providing the foundation for a tasteful improvisation from Céspedes before the two musicians exchange roles. There’s a group thought throughout Para Los Engreidos that screams with a sense of unity, delivers a passionate set of inspired performances from both Marambio and Céspedes.
———- 2009 Latin Jazz Drum Kit Player Of The Year: Hugo Alcázar – Áurea, Geoffrey Keezer The drum kit holds a unique position in the Latin Jazz world that both breaks tradition and pushes it into the future. In traditional music from South America and the Caribbean, the drum kit doesn’t hold a position in most ensembles – rhythmic duties are given to a variety of percussion instruments. A skilled drum kit player can combine the interlocking percussion patterns from most South American and Caribbean ensembles into a single part. This involves the integration of several different sounds into the drum kit and a variety of new techniques. In a Cuban setting, a variety of bells move into the drum kit; in a Brazilian setting, agogo bells and the tambourin might fit into the kit; and Peruvian work can utilize a cajon. Not every drum kit player will take the time to move beyond their standard application in order to execute these rhythms authentically. For some musicians, a watered down version of the rhythms suit their needs; in a setting that respects tradition the correct application of these rhythms are absolutely necessary though. The drum kit player that successfully masters these rhythms opens their performance opportunities into several exciting possibilities. In a jazz setting the drum kit player with all these talents holds the ability to interact with soloists, travel into swing or funk sections, emphasize key points in a composition. With these factors in place, the drum kit acts as a key connection between tradition and innovation.
2009 Latin Jazz Drum Kit Player Of The Year Hugo Alcázar brings together Peruvian tradition and a forward looking jazz aesthetic on pianist Geoffrey Keezer’s Áurea. Between Keezer’s vast jazz abilities and the cadre of Peruvian expertise, the recording contains all the right elements to guarantee an Afro-Peruvian Jazz classic – but Alcázar is the glue that makes the product work. Alcázar’s ability to mix the cajon with a traditional drum kit allows him to blend improvisatory jazz aesthetics with traditional Peruvian rhythms, setting the stage for an honest Afro-Peruvian Jazz performance. As Keezer places a richly harmonized structure beneath Sofia Rei Koutsovitis’ vocal on “La Flor Azul,” Alcázar creates an addictively interactive drive, playing cajon and ride cymbal simultaneously. Alcázar’s jazz festejo swings with a charging forward motion on “Cayendo Para Arriba” allowing him to comment upon solo work from Keezer and saxophonist Steve Wilson with an Elvin Jones inspired intensity. A mixture of space and understated intensity informs Alcázar’s landó rhythm on “Miraflores,” helping the group ride the song through a strong series of rises and falls. A sensitive duet between Keezer and Koutsovitis on “Vidala De Lucho” grows into a captivating emotional climax driven by impressive brush work from Alcázar. There’s a wealth of possibilities for the drum kit in this context, and Alcázar captures them all, delivering an incredibly musical performance throughout the album.
———- 2009 Latin Jazz Percussionist Of The Year: Arturo Stable – Call, Arturo Stable Quintet The demands upon percussionists have evolved throughout history, and the contemporary Latin Jazz musician needs a large tool box in order to participate in modern performance settings. Years ago, when the best bands were working seven nights a week, a single specialization on a percussion instrument would have served a musician well. Most of the busy bands stayed in the Afro-Cuban realm, helping their percussionists gain reputations as a conguero, timbalero, or bongocero. As work disappeared, musicians found gigs across several bands, and as a result, they needed to switch between instruments depending upon the demands of the job. Small combos eventually became a preferred format, which shrunk the percussion section. With groups containing a drum kit player and one percussionist, musicians needed to provide more colors, play across diverse genres, and understand a wide number of musical forms. With the expansion of today’s Latin Jazz world, percussionists need to handle an expansive amount of Afro-Cuban styles, but they also need to regularly navigate through Brazilian and Afro-Peruvian styles. Any hopes of working as a band leader requires some composition skills, or at the very least a refined artistic concept that provides an original direction. Most importantly, percussionists music contribute something identifiable and original to a modern musical environment, setting them apart from the massive pool of available time keepers.
2009 Latin Jazz Percussionist Of The Year Arturo Stable brings a wealth of percussion expertise, musical creativity, and compositional knowledge to his latest release Call. He displays a strong mastery of Afro-Cuban percussion, ranging from a set of congas to a trio of batá. At the same time, Stable performs on the cajon with a thorough knowledge of Peruvian rhythms and adds color to pieces through a variety of hand percussion. Stable’s position as a composer informs much of his playing, as he skillfully outlines form and supports the overall structure of the piece. While his compositions feature a heavy rhythmic element, Stable balances the role of the percussion between support and spotlight, placing the importance of the song in the forefront. Stable provides a traditional santeria rhythm on bata, forming the core of the song on “Call,” and letting the rest of the band build the song on top. “Crack Attack” opens with an extended display of virtuosity from Stable, as he cleverly winds an impressive unaccompanied solo into an uptempo descarga. The melody floats over a steady landó rhythm from Stable’s cajon on “Old Memories,” creating a gentle introspective atmosphere on the lush ballad. Whether in a support or solo role, Stable’s infallible musicality shines through every bit of Call, providing an outstanding example of percussive excellence in the modern Latin Jazz world.
The results are in for the Third Annual Latin Jazz Corner Best Of The Year Awards! The voting ran from December 2, 2009 – December 23, 2009 and drew thousands of voters from around the world. It’s been a thrilling process that has provided some interesting results about the state of the Latin Jazz world. You can learn more about the voting process HERE and keep up with the results on the Best Of 2009 Page.
2009 Latin Jazz Vocalist Of The Year: Sofia Rei Koutsovitis – Sube Azul, Sofia Rei Koutsovitis The role of the vocalist in the Latin Jazz world has changed tremendously throughout its history, and the modern singer faces some interesting challenges. During the Palladium era, the singer fronted a dance band and their prime concern was a connection with the audience. They needed an understanding of jazz harmony and the technical ability to navigate through that territory, as well as strong improvisation skills. These tasks required strong musicianship, but they were a different set of requirements than traditional jazz singers encountered. These vocalists were performing in a setting that demanded a personal interpretation of the melody as well as strong scatting technique. Performers like Ella Fitzgerald, Sarah Vaughn, and more influenced the Latin Jazz world, where vocalists began to incorporate a more personal and freely expressive approach to the style. The singer’s role as an entertainer never disappeared; they maintain a stronger connection to an audience than any instrumentalist. Latin Jazz vocalists hold a distinct position that sets them apart as important performers who can develop bold statements that mix artistry and entertainment.
2009 Latin Jazz Vocalist Of The Year Sofia Rei Koutsovitis faces these challenges boldly on her album Sube Azul, presenting a defined and engaging personality. The vocalist creates a unique context that mixes original compositions with Argentinean and Peruvian traditions, providing her with the perfect setting to make a modern jazz statement. Throughout the album, Koutsovitis performs with a commanding set of expressive articulations and a wide dynamic range that demands attention. Her artistic presence grabs onto South American traditions while invoking a enthusiastic jazz spirit, all placed within a contemporary framework. Koutsovitis moves from a quiet freely phrased introduction into a dramatic rhythmic propulsion on “Sube Azul,” showing the power of her range. The intimate and reflective setting of “Las cáscaras” reveals the emotional impact of Koutsovitis’ work, as she fills each word with potent meaning. The traditional setting that surrounds the Peruvian song “El mayoral” finds Koutsovitis storming through the song with a powerful rhythmic drive and demonstrating some attention grabbing scatting. Koutsovitis continually creates memorable moments throughout the album, utilizing the full range of her technical abilities and a bright creative spark to connect with the listener. There’s a musical maturity in her work that reveal the best pieces of jazz vocals in a Latin Jazz context, setting the standard for the genre.
———- 2009 Latin Jazz Trumpet Player Of The Year: Jonathan Powell – El Viaje, The Pedro Giraudo Jazz Orchestra
2009 Latin Jazz Trombone Player Of The Year: Ryan Keberle – El Viaje, The Pedro Giraudo Jazz Orchestra
A big band requires a group mentality that emphasizes the creation of a strong, unified voice; standing out as a soloist takes a a fine balance. As part of the job description, musicians need to relinquish some of their personal identity and focus upon the support of the composition. Each musician contributes unique variations in tone and and timbre, but for the most part, their phrasing, articulations, and dynamics need to conform to the written part. When a musician steps into the forefront, they have an opportunity to share their talents apart from the band, but the spotlight still demands some thought. On one hand, a feature spot offers the soloist the opportunity to display all the things that escape the listeners during their ensemble spots; stunning displays of technical virtuosity, harmonic knowledge, and improvisatory prowess can all draw attention. While these musical abilities would certainly place the focus on the the soloist, they usually move away from the intent of the original piece. An outstanding big band soloist needs to take a much more challenging path – they need to create a unique and identifiable statement within the context of the composition. Their solo should advance the momentum of the piece, not just simply move them into the forefront of the ensemble. When an artist can successfully accomplish this task and make their personality known, only then do they deliver a truly memorable big band performance.
2009 Latin Jazz Trumpet Player Of The Year Jonathan Powell and 2009 Trombone Player Of The Year Ryan Keberle share brass section duties on The Pedro Giraudo Jazz Orchestra’s El Viaje, skillfully walking the line between ensemble player and outstanding soloist. The group plays with the aggressive power of a full big band, but in reality, its a little big band instrumentation with a total of four brass players. This opens the possibility for intimate arrangements, but it also demands an outstanding performance from each player. In the complex world of Giraudo’s compositions, this is no easy task, but both Powell and Keberle handle each piece with a professional precision. There’s a unconditional accuracy in each piece that brings the music’s rhythmic nature to life and a dynamic sensitivity that pushes the work’s subtle shadings into the forefront. As both Powell and Keberle take their turns in the spotlight, their personalities arise while they maintain the integrity of Giraudo’s messages. Powell flies over the funky background on “El viaje, Tramo II” with a nimble agility, sweeping through the full range of his instrument with creative lines that glide effortlessly into the song’s greater form. Keberle handles melodic duties on “Punto De Partida” before charging into a head turning improvisation that builds tension through aggressive syncopation and sharp accents, rising into a dramatic climax. Powell and Keberle embody the excellence that makes El Viaje such an exciting recording, playing with the classy perfection of top-notch ensemble players and the inspired drive of outstanding soloists.
2009 Latin Jazz Saxophone Player Of The Year: Justin Janer – Kenya Revisited, Live!!!, Bobby Sanabria Conducting The Manhattan School Of Music Afro-Cuban Jazz Orchestra Developing an understanding of a genre takes years of intense study, practice, and performance and most importantly, an unwavering perseverance. From the beginning, musicians need to make a lifetime commitment to the art form that involves an amazing amount of time. They need to spend copious amounts of time listening to an extensive collection of recordings that outline the music’s historical progression and then they need to hear every possible artist live. They need to develop strong technical skills on their instrument that provide them the freedom to move across their instrument freely. Their practice needs to include a study of influential musicians’ improvisational approaches and then integrate important licks into their own soloing. Extensive performance gives them the ability to experiment with these skills, to varying degrees of success. Once they reach a high level of achievement they need to push themselves even further to find their own artistic identities. This adds up to a massive amount of work for most – although people can tinker with the style on a superficial level, sometimes taking them to a fairly proficient level. It takes a bit more work to turn a proficient player into an artist making a definable statement in a style. The musician needs to turn the style from an abstract musical form into a lifestyle that completely consumes them. The complete process is an overwhelming thing, which usually takes young people a good deal of time to fully absorb, if they even continue onto that path.
2009 Latin Jazz Saxophonist Of The Year Justin Janer still sits on the early side of his career, but he displays keen insight into jazz through his work on Kenya Revisited, Live!!! At the age of 26, most players are still looking for a sense of direction in their work, but Janer walks through his roles in the ensemble with the strength of a confident and focused artist. As an ensemble player, he sits at the forefront of the group, serving as lead alto in the saxophone section. Any section in a big band is only as good as their leader and this group of young saxophonists burns through these tough charts with Janer at the lead. He models a pure and bluesy tone that swings through the clave with the intensity of a professional. His bright tone guides the group through some complex lines, helping shape a precise stylistic phrasing approach. There several great qualities about Janer’s solo flights here, as he demonstrates a practiced set of technical skills and a thoughtful approach to melodic creation. He evokes the true nature of the burning opener “Frenzy” with a ferocious display of bebop mastery, charging through the song with rapid streams of notes. He integrates an understated sense of intensity into the slow cha cha cha background on “Congo Mulence,” screaming over the band with powerful cutting tone. Janer shows a clear lineage of jazz history with his improvisation on “Cannonology” paying tribute to the legendary Cannonball Adderley with his own phrases that speak the jazz language. This outstanding performance finds the young Janer ahead of the curve on his jazz development, foreshadowing great things for him in the future.
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We’ll be spending the next several days looking at the results from the LJC Best Of 2009 Awards, so make sure that you stay up-to date. So far we’ve posted the Record Label Of The Year and Album Cover Art Of The Year, as well as the Composition, Arrangement, Guitarist, and Flautist Of The Year. Tomorrow we’ll be back with more categories, so come back to LJC! It’s a great way to reflect upon the year, celebrate some albums that you loved, and get turned onto some recordings that you might have missed. Don’t miss a single result – check back tomorrow!
The results are in for the Third Annual Latin Jazz Corner Best Of The Year Awards! The voting ran from December 2, 2009 – December 23, 2009 and drew thousands of voters from around the world. It’s been a thrilling process that has provided some interesting results about the state of the Latin Jazz world. You can learn more about the voting process HERE and keep up with the results on the Best Of 2009 Page.
2009 Latin Jazz Composition Of The Year: “El Bajonazo” from El Viaje, The Pedro Giraudo Jazz Orchestra – Pedro Giraudo, composer Despite some serious history behind the instrumentation, the big band format holds a wealth of untapped potential in the Latin Jazz world. At first this seems like a bit of a backwards statement considering the deep and powerful work done by the Big 3 mambo bands back in the Palladium era – Puente, Machito, and Rodriguez for Afro-Cuban big bands. Dizzy Gillespie followed their lead on a smaller scale, mixing Afro-Cuban rhythms into his band band alongside bebop, swing, and more. Chico O’Farrill contributed several large scale compositions that mixed bebop and Cuban music with finesse and style. Since then, Mario Bauza led a top-notch big band during the nineties and various special projects have emerged. Band leaders Bobby Sanabria and Arturo O’Farrill have made important big band statements over the past ten years, connecting history and tradition with twenty-first century ideals. There has been some outstanding big band work done, but as the Latin Jazz world expands, the big band format stands as a place where a modern jazz composer with a knowledge of Latin rhythms can make some in-depth statements. The instrumentation can serve as a rich and flexible tool that can express personal and original ideas with an unmatchable strength.
In the 2009 Latin Jazz Composition Of The Year, “El Bajonazo,” from El Viaje by The Pedro Giraudo Jazz Orchestra, composer Giraudo digs deeply into the format. He utilizes a lot of musical ideas wisely throughout the song, but from the beginning, Giraudo applies textural elements with much success. A rapid stream of brash attacks sends the band charging into a ferocious statement, only to shrink into a trio setting. Giraudo takes center stage here, bowing his bass through the melody with passionate abandon as well as precise intonation and a gorgeous tone. Harmonized hits once again build the group momentum only to find the band shrinking again behind saxophone soloist Alejandro Aviles. Giraudo writes with sensitivity towards dynamics, bringing the group back into the mix in layers, until the full band once again screams through the speakers. Syncopation reigns supreme as the rhythm section places bold accents against a flowing brass melody. As the rhythm section gathers a rapid momentum, the wind players fall into a chaotic free improvisation before Giraudo pushes them back into tense lines that rise into a dramatic climax. Giraudio smartly manipulates a number of musical elements to create emotional impact and riveting excitement through the piece, showing the potential of the modern big band in the hands of a master composer.
———- 2009 Latin Jazz Arrangement Of The Year: “Oyeme” Kenya Revisited, Live!!!, Bobby Sanabria Conducting The Manhattan School Of Music Afro-Cuban Jazz Orchestra – Danny Rivera, arranger Taking a classic composition and bringing it into the twenty-first century creates an interesting situation for any composer. Any good arrangement includes the core elements of a composition – the melody, form, and harmonic structure. A well-known recording also includes essential features of the arrangement, which the new arranger needs to keep or reject. Integrating elements of the original recording into the new arrangement holds its benefits – the listening public will recognize the song more readily and musicians will automatically relate to the newer version. An exact copy of the original recording seems a bit pointless though, so the new arranger needs to find clever ways to place their own imprint upon their version. Varying levels of re-harmonization always integrates a different sound into the arrangement, often reflecting a modern jazz vocabulary. The arranger can utilize the different pieces of the ensemble in creative ways, varying the texture or featuring individual players. New melodic sections can complement the original song in exciting ways, extending the impact of the composer’s original intention. The arranger faces a number of tough choices in this context, and their decisions determine a connection to tradition and a personal identity.
The 2009 Latin Jazz Arrangement Of The Year recipient, Danny Rivera, finds a wonderful balance between tradition and originality on his version of “Oyeme” from the classic Machito recording Kenya. Originally written by A.K Salim, the piece revolves mostly around one chord, keeping an emphasis upon the group’s rhythmic momentum. Rivera certainly integrates all of the syncopated beauty that gives the song it’s character, but he does thicken the piece with some rich chordal embellishments. He also pays tribute to one of the original album’s legendary guest soloists, Cannonball Adderley, with a harmonized version of his solo pick-up. He provides an inspiring improvisatory setting for saxophonist Vince Nero and trumpet player Michael Taylor, delivering skillfully arranged background lines. From there, Rivera finds a clever path into the coda, taking the band through a quick rhythmic change into 6/8 and a short assertive mambo. Rivera cleverly holds onto the best elements of Salim’s “Oyeme” without loosing a sense of identity in the arrangement; it’s a smart tribute that would have made Salim proud and shows a bright future for Rivera’s arranging work.
———- 2009 Latin Jazz Guitarist Of The Year: Yuri Juarez – Afroperuano, Yuri Juarez As the Latin Jazz world more completely embraces influences from Central and South America, the guitar has become an increasingly important instrument. The guitar plays a central role in the music of Peru, Mexico, Venezuela, Brazil and more; there are traditional roles for the instrument. Just like the piano in Afro-Cuban popular styles, the guitar defines the song’s harmonic outline while fitting snugly into the style’s rhythmic outline. It’s an essential stylistic element that defines the music, and its presence is mandatory in a Latin Jazz setting. Just like it’s chordal counterpart in the Afro-Cuban world, the guitar needs some slight changes in a jazz context. The player needs to insert a jazz influence, finding smart ways to integrate jazz harmonies into a traditional setting. They need to understand stylistically appropriate phrasing while utilizing jazz scale choices. They need to place modern jazz ideals right next to Central or South American conventions without diluting the integrity of either world – a tall order indeed.
2009 Latin Jazz Guitar Player Of The Year winner Yuri Juarez handles all these roles with style and ease on his album Afroperuano. His playing fits perfectly into his Afro-Peruvian compositions both rhythmically and harmonically. Juarez knows this world intimately and he executes his parts with a highly professional ability. He has also taken the time to craft a distinct approach to jazz harmony and improvisation, placing it carefully among Afro-Peruvian rhythms. Juarez integrates a modern sound into his playing, mixing traditional lines with influence from Metheny, Scofield, and more. He gets plenty of opportunity to master his craft as one of the busiest musicians on the Afro-Peruvian Jazz scene. As a member of trumpet player Gabriel Alegria’s sextet, Juarez regularly tours the United States and Peru playing a challenging and constantly evolving set of music. Juarez also plays in the house band at Tutuma Social Club in New York, placing him behind a rotating cast of musicians performing both jazz and Afro-Peruvian music six days a week. There’s not many guitar players with that kind of dedication and opportunity in the Afro-Peruvian world today, but Juarez stood out among them in 2009.
———- 2009 Latin Jazz Flautist Of The Year: Miguel Martinez – The Sonido Moderno Project, Coto Pincheira The traditional world of Afro-Cuban music has a clearly defined place for the flute, but the contemporary world of Latin Jazz composition requires a much more careful approach. The sharp percussive nature of the instrument made it a perfect lead voice for the charanga orquestas in Cuba; it’s lush middle register complemented the string section nicely while it’s piercing high-end stood toe to tie with the percussionists. Salsa orquestas kept the tradition of the flautist in many places and acoustic Latin Jazz groups often featured outstanding flautists as soloists. As Latin Jazz evolved into a more modern context and instrumentalists incorporated synthesizers, electric instruments, and rock rhythms, the flute’s tile became less defined. Despite a cutting tone, even the most powerful flautist requires amplification in this setting. Phrasing needs to change, different technical demands fall upon the musician, and the flautist needs to find their place in a different type of blend. It’s a world inhabited by trumpets, saxophones, and trombones; the flautist needs to work overtime to find a logical spot in a contemporary Latin Jazz ensemble.
Fortunately the 2009 Latin Jazz Flautist Of The Year Miguel Martinez has the flexibility and musicality to make things work, as he shows clearly on pianist Coto Pincheira’s album The Sonido Moderno Project. A top-notch musician, Martinez stays busy on the San Francisco Bay Area’s Latin music scene, playing salsa with percussionists Karl Perazzo and Michael Spiro in Conjunto Karabali, Mexican-Caribbean fusions with Corazon Sur, Latin Jazz with Pincheira, and much more. Martinez has built chops that move across several different contexts, working around the powerful sound of Pincheira’s band simply draws upon his vast tool kit. He also displays a sensitive musical insight, performing with depth and style on “Danzon For A Night.” Martinez phrases thoughtfully around the understated danzon section before charging through a powerful 6/8 and then improvising enthusiastically over a cha cha cha. It’s a wonderful feature for Martinez and certainly an album highlight moment. Martinez stands as a bright talent in the Bay Area Latin Jazz scene, and his musicality sits on the verge of larger exposure with this 2009 honor.
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We’ll be spending the next several days looking at the results from the LJC Best Of 2009 Awards, so make sure that you stay up-to date. So far we’ve posted the Record Label Of The Year and Album Cover Art Of The Year. Tomorrow we’ll be back with more categories, so come back to LJC! It’s a great way to reflect upon the year, celebrate some albums that you loved, and get turned onto some recordings that you might have missed. Don’t miss a single result – check back tomorrow!
The results are in for the Third Annual Latin Jazz Corner Best Of The Year Awards! The voting ran from December 2, 2009 – December 23, 2009 and drew thousands of voters from around the world. It’s been a thrilling process that has provided some interesting results about the state of the Latin Jazz world. You can learn more about the voting process HERE and keep up with the results on the Best Of 2009 Page.
2009 Latin Jazz Record Label Of The Year: Marsalis Music The name Marsalis holds a prominent place in the jazz world, but it’s legacy lies in realms of swing, traditional, and modern jazz. Trumpet player Wynton, the most famous name in the Marsalis clan, made his name with Art Blakey’s Jazz Messengers and then grew into a vocal figurehead for the canonization of jazz. His visible place in Ken Burns’ Jazz documentary along with his high profile position as artistic director of Jazz At Lincoln Center made Wynton a household name as well as a controversial figure. Saxophonist Brandon played alongside Wynton in the Jazz Messengers, but took a much more liberal path in his solo career. Branford took gigs alongside Sting and the Grateful Dead and served as musical director for the Tonight Show, all while carving a distinctively creative voice in the modern jazz world. Trombonist Delfayo developed a strong voice on his instrument while at the Berklee School Of Music, and then acted as an influential producer on a number of jazz recordings. Drummer Jason began performing professionally as a pre-teen and then moved towards a professional career with Los Hombres Caliente, Marcus Roberts, and as a band leader. Pianist and father Ellis led the whole Marsalis clan through their young education in New Orleans and amassed a serious collection of recordings as a leader. The Marsalis family has exerted a mass influence upon the contemporary jazz world, and it’s hard to walk through the modern world without a mention of the Marsalis name.
With such a deep legacy in the jazz world, an award for Latin Jazz Record Label Of The Year might seem out of place, but Marsalis Music certainly deserves this honor in 2009. The label released two of the finest Latin Jazz recordings of 2009, saxophonist Miguel Zenón’s Esta Plena & vocalist Claudia Acuña’s En Este Momento. Both recordings integrated unique Latin influences with Zenón digging deeply into Puerto Rican Plena and Acuña calling on music from across South America. At the same time, both Zenón and Acuña placed these rich traditions into the context of modern jazz, making the music both relevant and exciting. On both counts, the artists took bold risks that stepped outside the realm of Latin Jazz and traditional jazz traditions; their chances paid off, delivering outstanding artistic statements that paid tribute to the integrity of both musical worlds. The label deserves accolades for more than just the support of two Latin Jazz albums though – they took a chance on two daring releases. Saxophonist Branford runs the label, and his years of experience as a jazz innovator have allowed him recognize the importance of letting a rich artistic vision to reach its potential – an element that he has embedded into his company. Marsalis keeps the label focused upon the ability to document an artist’s best effort – something that they did with Zenón and Acuña in 2009. It was an important point that made Marsalis Music a defining part of 2009; they looked past genre and supported outstanding music. This kind of support in artistic merit should drive more record labels – it’s the type of thinking that will drive music forward in leaps and bounds. Without a doubt, Marsalis Music earned the Record Label Of The Year Award, and we look forward to more great music from them in the future.
———- 2009 Latin Jazz Album Artwork Of The Year: Sube Azul, Sofia Rei Koutsovitis – Emra Islek, Photography & Federico Raffetto, Artwork Cover art photography is a tricky art form that needs to simultaneously express the commercial and artistic needs of the musician while making a creative statement. First and foremost, the photographer needs to capture a clear image of the artist that introduces them to the general public. Jazz artists don’t enjoy the cult of celebrity awarded to pop stars, and as a result, people can’t associate a face with a jazz recording; a solid photograph on an album cover can solve this problem. A straight photograph of the artist seems drab though, creating a negative association with the album’s music. The photographer’s image needs to capture the spirit of the music and frame the artist in an intriguing light. Thought needs to surround the album cover’s photography, placing the artist at a vivid location or placing them in a situation that brings their personality to the forefront. Most importantly, the photographer creates an image that becomes undeniably associated with the recording; the more impact that the photograph makes, the better sales for the album. Some of the most important albums in jazz history are associated with iconic album covers, making them memorable on several fronts. It’s a sticky position – a sub par album cover puts a recording at a disadvantage while an outstanding photo captures an audience’s eye.
The combination of Emra Islek‘s photography and Federico Raffetto‘s artwork wraps Sofia Rei Koutsovitis’ Sube Azul in a fun and appealing package, making it a solid choice for Best Album Artwork of 2009. Islek captures Koutsovitis at a great moment of laughter, setting a fun and appealing setting around the singer. The image establishes a connection between Koutsovitis and her audience, making her approachable and inviting. She stands in front of a vibrant pink setting, creating a contrast that places her in the forefront of your attention. A variety of butterflies surround Koutsovitis’ cheerful face, adding variety and interest to the picture in unexpected ways. Among the cadre of butterflies on and around Koutsovitis, several artfully drawn shadows inhabit the image, giving the illusion of many more butterflies. On top of the picture, a playful text presents the album title in a loosely drawn cursive. The use of blue and white colorings blend the text into the image without loosing contrast. At the top left corner of the cover, Koutsovitis has written her name in her own handwriting, giving the album a personal touch that once again makes the recording inviting to the listener. Islek and Raffetto truly capture the spirit of the work and present Koutsovitis in a fun and engaging way, making a outstanding example of album cover art.
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We’ll be spending the next several days looking at the results from the LJC Best Of 2009 Awards, so make sure that you check back tomorrow for more info. It’s a great way to reflect upon the year, celebrate some albums that you loved, and get turned onto some recordings that you might have missed. Don’t miss a single result – check back tomorrow!
During the nineties, Latin Jazz composition was based upon conventions, mostly dictated by the clave driven outlines of Cuban music. Leaders such as Tito Puente and Ray Barretto followed a New York aesthetic which remained dangerously close to dance ideals for a long time. They were also reaching out to the general public and needed to rely upon familiarity to a certain extent, so much of the nineties work included arrangements of jazz standards. Forward looking musicians like John Santos’ Machete Ensemble used modern Cuban groups like Irakere as a role model but still respected the boundaries of the past. Traditional jazz bounced between a fervent alignment with standard forms and an experimental aesthetic that eschewed established structure in preference of self-expression. The tension of this dichotomy defined jazz in the nineties, but Latin Jazz side-stepped this genre splitting division. Instead, the Latin Jazz leaders of the nineties focused upon definition in their work. A variety of things changed in Latin Jazz during the 2000s, from the rhythms to the musicians themselves; but one of the major movements was a change in compositional approach.
What Is Latin Jazz? Young artists threw away the shackles of compositional structures during the 2000s and once again made us question “What Is Latin Jazz?” with their creations. Rhythmic structures became a background element in many works that simply supported the pieces instead of defining them. Cuban artists revisited their relationship to clave and found new ways to write around the two measure pattern. Some artists moved away from Latin rhythms altogether and created modern jazz albums that relied upon a swing rhythm section. In this case, the concept of Latin Jazz snuck away from jazz informed by Latin rhythms and leaned more towards jazz played by Latinos. In an interesting turn of events, the concept of Caribbean or South American identity rose more subtly through phrasing and interpretation. Musicians called upon ideals from classical music, creating lush orchestrations and emphasizing melody rather than rhythm. Musicians felt free to mix and match styles as well, jumping between Cuban rhythms, swing, funk, and more in a post-modern drip of the hat. Latin Jazz composition experienced a new freedom that redefined the genre and shaped the music in exciting ways.
A New Generation With A Different Background During the nineties, most of the leaders of the genre were stylistic originators that established the blueprint for Latin Jazz much earlier; in the 2000s, a younger generation with much different backgrounds found their place in the genre. These artists grew up in the modern jazz age, listening to musicians like Herbie Hancock, Wayne Shorter, Joe Zawinul, and more. They learned the lessons of modern jazz and they strived to emulate their contemporary role models. Artists that developed their skills in the United States like David Sanchez and Miguel Zenon received formal training at universities with established jazz programs and they went into their professional careers as skilled jazz performers. Musicians that spent their formative years in Cuba such as Dafnis Prieto, Elio Villafranca, and Yosvany Terry received thorough foundations in classical and traditional Afro-Cuban musics and then spent all their time learning jazz on the street. While earlier musicians gained their training on the bandstand, working through both dance and jazz gigs, this generation came onto the scene with a firm understanding of both worlds. At the same time, Latin Jazz had already established it’s guidelines, giving these musicians a starting point. The new generation built upon the lesson of earlier Latin Jazz musicians. They understood the music that came earlier, which allowed them to move ahead. These musicians carried ample tools and a keen historical knowledge which allowed them to break away and push the music compositionally.
The Continuation Of Traditional Latin Jazz Traditional Latin Jazz didn’t disappear during the 2000s, it simply sat beside the music’s newly emerging experimental side. Although a good number of Latin Jazz leaders died during the 2000s, several of them played through half of the decade, continuing the legacy of straight-ahead Latin Jazz. Poncho Sanchez kept the flame burning for the Cal Tjader lineage of Latin Jazz, presenting evenings full of jazz standards fueled by Latin rhythms. Longtime Bay Area icon Pete Escovedo kept moving ahead with a funky mixture of tradition and accessible smooth jazz leanings. Despite his unique approach to harmony and improvisation, Eddie Palmieri stayed close to his dance music roots, providing a fairly traditional interpretation of Latin Jazz. Cuban trumpet hero Arturo Sandoval sporadically bounced into the traditional jazz and classical worlds, but he never strayed too far from commercially-tinged straight-ahead Latin Jazz, the bread and butter of his career. Increasing access to recordings and live performances, as well as a wealth of newly available instructional materials led to the formation of new Latin Jazz groups across the country; many of these groups took their first steps into the style with a straight-ahead approach. Traditional approaches to Latin Jazz continued to hold a prominent position in the music world throughout the 2000s, despite the fact that a younger generation of musicians drove the music in a distinctly different direction.
Two Approaches Sitting Side By Side Although the dichotomy of approaches that tore apart the jazz world found it’s way into Latin Jazz during the 2000s, it didn’t tear apart the genre, it simply expanded it. The jazz world’s leaders during the nineties took immoveable stands on either side of the fence, declaring war upon the opposition. Figures like Wynton Marsalis loudly and clearly provided hard-line definitions about what jazz was, not providing any room for variation. Perhaps Latin Jazz artists learned from the mistakes of the jazz world or maybe they just held a more flexible view of their music – whatever the case, they saw room for both sides of the Latin Jazz equation during the 2000s. Arturo O’Farrill kept the Latin Jazz Big Band tradition alive with the formation of the Afro-Latin Jazz Orchestra, but balanced historical repertoire with cutting edge explorations into new artistic directions. Bobby Sanabria shared his extensive historical knowledge with young students, producing tributes to important figures like Machito Puente, and Ray Santos; at the same time his own big band pushed the limits of the genre with interpretations of work by Frank Zappa, Hermeto Pascoal, and more. Paquito D’Rivera held his Cuban Jazz roots near the center of his career, but freely dived into classically-tinged projects with Yo-Yo Ma, the Turtle Island String Quartet, and more. The Latin Jazz world didn’t reject it’s differences during the 2000s, it embraced them, making both sides of the genre stronger as we move into 2010.
Some Important Latin Jazz Albums That Stretched The Music’s Compositional Boundaries During The 2000s: Dafnis Prieto Sextet: Taking The Soul For A Walk
In the 1990s, a group of influential Latin Jazz leaders such as Tito Puente, Ray Barretto, Mongo Santamaria, and more helped us grasp onto a firm understanding of Latin Jazz as a style. That concept included the use of Afro-Cuban rhythms as a basis for jazz harmonies and improvisation that often stemmed directly from classic jazz standards. These musicians worked hard to establish a memorable reputation for the music, and the resulting associations drilled certain ideas into the public’s consciousness. For many people, Latin Jazz equated salsa in the 1990s, and any good Latin Jazz concert included dancing to the mambo and cha cha cha. It didn’t have words, which was fine, it still added up to a party. In fact the loss of lyrics was a benefit for the Caucasian audience which often missed the meaning of Spanish vocals. They simply loved the rhythm – it made them move, making jazz a physical experience once again. While many people probably couldn’t point out the rhythms by name, they knew them by ear, and those rhythms were definitely Cuban.
What Is Latin Jazz? Once the 2000s were fully under way, artists once again asked us to answer the question “What Is Latin Jazz?” by diversifying the music’s Latin roots. Artists hoping to build a career around Latin Jazz in the 1990s needed to spend the majority of time in the Afro-Cuban realm; it was a necessity to find an audience. Latin Jazz artists threw away the expectation of falling into line with Afro-Cuban traditions during the 2000s and explored a variety of other genres from South America and the Caribbean. At the root of this change, artists integrated new rhythms into a jazz context. Latin Jazz found a place for Puerto Rican bomba and plena, Peruvian festejo and landó, Argentinean tango, Dominican merengue, Colombian bullerengue and more. It wasn’t simply the nature of the rhythms that drove these changes though, musicians were genuinely interested in finding an authentic integration of Caribbean and South American traditions into jazz. They drew upon folk songs, arranging techniques, and native jazz musicians from their own countries. These elements accounted for some major changes in the scope of the genre – the overall Latin Jazz world sounded very different by 2009 and it became increasingly difficult to categorize the genre.
Changes In Instrumentation The evolution of the style dug down to the very core of the style, starting with very noticeable changes in instrumentation. Percussion has always symbolized the heart and soul of Latin Jazz – something that didn’t change as the music opened to different Latin influences – it just looked very different. Barilles de bomba, panderos, cajones, tamboras, and the bomba legüero appeared alongside or in the place of congas, timbales, and bongó. Many of these musicians emphasized jazz aesthetics in the place of raw dance energy, so the drum kit became an essential interactive element. The guitar became much more prominent, often replacing the piano in South American contexts. Instruments such as the bandoneon and melodic appeared more frequently, often playing an integral role in the music. The ensemble sometimes shrank to a combo and at other times it grew into the rich sonorities of a big band. The instrumentation varied based on the musician’s preference and the Latin tradition, but without a doubt, the Latin Jazz ensemble looked different than it had in the nineties.
Integrating Folkloric Forms This generation of Latin Jazz artists drew from the lessons of their elders, but they didn’t always stick to them; these artists moved away from an exclusive connection to dance traditions and dove into folkloric forms. They built a new approach around folk music from their countries which allowed for plenty of personal expression. In some ways this meant a much more subtle approach to the music that was often based less upon rhythmic drive and more upon melodic content. Traditional folk songs became common fare in the Latin Jazz world, giving musicians the liberty to avoid underlying dance rhythms. Creative arrangements often re-harmonized the songs and them placed them in sparse settings or even re-contextualized them into traditional swing tunes. These songs were unfamiliar to an older generation of jazz musicians, so young Latin Jazz musicians found inventive ways to introduce this repertoire. This created an ideal setting for creative vocalists who could authentically call upon Caribbean and South American traditions while keeping one foot in the jazz world. Several vocalists such as Sofia Rei Koutsovitis, Kat Parra, Lucia Pulido, Sofia Tosello, and Claudia Acuña thrived in this new world. As Latin Jazz musicians found new repertoire and approaches, their artistic world blossomed
Earlier Examples Of Diversity These changes sent listeners scrambling to keep up with the music, but in reality, this wasn’t a new phenomenon. Latin Jazz artists had been exploring music outside the Afro-Cuban realm long before the 2000s. Brazilian music held a luxury seat in the Latin Jazz world near its Afro-Cuban counterpart, largely due to the integration of the bossa nova into the jazz language. The sparse usage of Puerto Rican bomba and plena went back to the Big 3 mambo orchestras, and the styles found a champion among the dance music of Rafael Cortijo. This culminated in the definitively Puerto Rican fusion jazz album Cortijo And His Time Machine, which set the standard for nineties statements from Papo Vazquez and William Cepeda. Guitarist Richie Zellon combined Afro-Peruvian rhythms with jazz and a healthy rock edge in several nineties albums including Cafe Con Leche and Nazca Lines while vocalist Corina Bartra explored the possibilities of Afro-Peruvian Jazz with her album Corina Bartra Quartet. Astor Piazzolla’s music didn’t include large doses of improvisation, but he did include jazz harmony and recorded with jazz soloists such as Gerry Mulligan and Gary Burton. His long time pianist Pablo Ziegler took the music in more jazz directions with with Quintet For New Tango. In every way, the stage was set for the diversification of Latin Jazz that exploded in the 2000s.
What Made The 2000s Different?
Great music arrived earlier that utilized a more diverse Latin foundation, but it remained in the background of the Latin Jazz world – so what made the 2000s different that allowed the expansion of the genre? The listening audience had been introduced to folk musics from different Caribbean and South American countries during the world music expansion of the nineties. Compilations such as Luaka Bop’s Afro-Peruvian Classics: The Soul of Black Peru introduced the general public to new artists, bringing tradition bearers such as Susana Baca to the forefront. A string of tributes to Astor Piazzolla from artists as diverse as Gary Burton and the Kronos Quartet brought Nuevo Tango into the public consciousness. The world ingested these musics in the nineties and they were ready for the jazz variations which became prominent in the 2000s. The music wasn’t the only thing that changed during the 2000s though – the music industry lost control of public consumption through the internet and the mp3. Independent artists gained the ability to find interested audiences online and promote directly to them. As Latin Jazz artists got support from new fans, they were free to explore creative directions that were previously closed. Artistry, passion, and creativity was suddenly rewarded, and Latin Jazz with influences from Peru, Argentina, Puerto Rico, and beyond became a major reality. As the Latin Jazz world moves into the second decade of the 21st Century, a diverse vision of the genre’s “Latin” component sits as an integral piece of the picture.
———- Some Albums That Brought A Diverse Latin Jazz Sound To The Forefront During The 2000s: Gabriel Alegria: Nuevo Mundo
Latin Jazz has become a major piece of music scenes across the country and we’ve come to associate certain artists with different areas. Band leader names pop out from each area as we remember musicians like Bobby Sanabria and Arturo O’Farrill from New York, John Santos and Rebeca Mauleon from San Francisco, as well as Poncho Sanchez and Bobby Matos from Los Angeles. These names arise due to the individual musicians’ major contributions to the local Latin Jazz scene, a fact to be respected and remembered. In our recognition of these artists, we sometimes forget the musicians that work behind the scenes to support these band leader’s visions. They contribute their performance abilities, their composition and arranging skills, and their general musicality to each project; in a way, they are just as responsible for the product as the band leader. There are even a number of musicians that work behind the scenes, filling out local gigs that never get recorded. All these musicians that work in the trenches, providing undying dedication to the scene. Sometimes these musicians grow into band leaders and at other times they make a career supporting other artists. Regardless of their direction, they act as the heart blood of any area’s music community and deserve our attention.
Drummer Brian Andres has become an important piece of the Bay Area music scene in the past few years, strengthening a number of projects and stepping into the spotlight as a band leader. Andres has reached a wide audience as a member of Dr. Loco’s Rockin’ Jalapeno Band, a popular Bay Area band that performs a flexible mixture of Latin styles, rhythm and blues, rock, and more. Latin music fits prominently into his performance schedule, keeping him busy with John Ulloa’s Latin Jazz group, the salsa band Orquesta D’Soul and more. A flexible musician, Andres swing hard in a traditional setting as well, a fact evidenced on pianist Eric Muhler’s recent release The Jury Is Out. In 2007 Andres released an outstanding recording with his own Latin Jazz group The Afro-Cuban Cartel, Drummers Speak. This album showed a different side of several important Latin Jazz percussionists; it featured only songs composed by drummers. The album also brought together some of the brightest musicians on the Bay Area’s current Latin music scene including pianist Christian Tumalan, percussionist Carlos Caro, bassist Saul Sierra, and more. This project showcased Andres’ strong understanding of the style, a serious insight into repertoire and history, as well as a young group of musicians ready to make a major statement on the modern Latin Jazz scene. Andres maintains a diverse and busy schedule that infuses some life into the Bay Area scene; he is one of those musicians that deserves more attention.
Today’s Weekly Latin Jazz Video Fix is dedicated to the Andres and the Afro-Cuban Jazz Cartel, in celebration of the great work from this Bay Area drummer. These three performances come from the group’s summer 2009 performance in Sonoma, California, featuring some lively music in front of an enthusiastic crowd. Each video features a different song – Francisco Aguabella’s “Estampa Cubana,” Ray Barretto’s “Song For Chano,” and “Sand Castles.” It’s a great insight into a young group of musicians attacking Latin Jazz with a modern and exciting approach – enjoy!
———- Brian Andres and the Afro-Cuban Jazz Cartel Performing “Estampa Cubana”
Brian Andres and the Afro-Cuban Jazz Cartel Performing “Sand Castles”
Brian Andres and the Afro-Cuban Jazz Cartel Performing “Song For Chano”
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Want to hear more from Brian Andres? Check out these albums: Brian Andres and the Afro-Cuban Jazz Cartel: Drummers Speak
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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 only a few days left in the voting for the Best of 2009 Awards – polls close at the end of the day on Wednesday, December 23rd. Things have been moving steadily over the past week with some great new nominees – by request, I added several musicians from Bueno Pá Gozar by Paul De Castro Y Su Orquesta Dengue. You’ve still got time, but if you wait too long, you’ll miss the chance to support your favorite artist . . . so don’t hesitate – VOTE NOW!
Everybody is looking back upon the decade these days, which gives us a great opportunity to reflect upon some wonderful musicians. JazzTimes has been revisiting some of the musicians that passed away during the 2000s through a collection of their “Farewells” columns – a nice article where one of the musician’s frequent collaborators shares their thoughts and memories. There’s a nice tribute to pianist Hilton Ruiz, who passed away in 2006, from his friend, flautist Dave Valentin. You can check it out HERE.
Pianist Chano Dominguez has led the way in the blending of jazz and flamenco music, a sorely underexplored side of Latin Jazz. This past summer, Dominguez presented a reinterpretation of the classic Miles Davis album Kind Of Blue at the 41st Barcelona International Vol-Damm Jazz Festival, celebrating the recording’s fiftieth anniversary. Dominguez presented an unique spin on the music, surrounding it with flamenco aesthetics. All About Jazz recently shared an interview with the pianist about Kind Of Blue and more – check it out HERE.
The Bossa Nova seems to be one of the most misunderstood genres in the Latin Jazz world – loved by many for its soothing sounds and avoided by many for the multiple muzak interpretations. Fortunately Marc Meyers over at Jazzwax understands Bossa Nova, so he can share the good stuff with us! This past week, Meyers published a two-part interview with vocalist Ithamara Koorax, who recently released a beautiful album of songs by João Gilberto. You can check out Part 1 HERE and Part 2 HERE.
If you’re in SOUTH AMERICA this week . . . EDDIE PALMIERI WHEN: Saturday 12/26/09 WHERE:Feria 2009
Cali, Colombia TIME: 11:00 p.m.
MANANTE WHEN: Monday 12/21/09 WHERE:Jazz Zone
Av. La Paz 646
Pasaje “El Suche”
Miraflores, Lima, Peru TIME: 8:00 p.m. TICKETS: 20 soles
If you’re in the CARIBBEAN this week . . . YASSER TEJEDA & PALOTRE WHEN: Sunday 12/27/09 WHERE:Casa de Teatro
Arzobispo Meriño 110 – Zona Colonial
Santo Domingo, Dominican Republic TIME: 9:00 p.m. TICKETS: $500
If you’re in EUROPE this week . . . SAMUEL QUINTO WHEN: Wednesday 12/23/09 WHERE:B-Flat Restaurant
Rua Garcia Arosa 4450
Matosinhos, Portugal TIME: 11:00 p.m.
If you’re on the EAST COAST this week . . . ADRIANO SANTOS BRAZILIAN JAZZ QUARTET WHEN: Wednesday 12/23/09 WHERE:NuBlu
62 Avenue C
New York, NY TIME: 10:00 p.m.
ARTURO O’FARRILL
Solo Piano WHEN: Wednesday 12/23/09 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 12/20/09 WHERE:Birdland
315 W. 44th Street
Manhattan, NY TIME: 9:00 p.m. & 11:00 p.m. TICKETS: $30
EDMAR CASTANEDA WHEN: Tuesday 12/22/09 – Wednesday 12/23/09 WHERE:Jazz Standard
116 East 27th Street
New York, NY TIME: 7:30 p.m. & 9:30 p.m. TICKETS: $20
JESSICA MEDINA
Afro-Peruvian Vocal Series WHEN: Tuesday 12/22/09 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: NO COVER
JUDY OLIVERA
Afro-Peruvian Vocal Series WHEN: Wednesday 12/23/09 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: NO COVER
SOFIA REI KOUTSOVITIS
Afro-Peruvian Vocal Series WHEN: Saturday 12/26/09 – Sunday 12/27/09 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: NO COVER
ROBBY AMEEN WHEN: Wednesday 12/23/09 WHERE:Zinc Bar
82 West 3rd Street
New York, NY TIME: 9:30 p.m., 11:00 p.m. & 1:00 a.m. TICKETS: Table – $10 w/2 Drink Minimum; Bar – NO COVER
TRIO URBANO WHEN: Wednesday 12/23/09 WHERE:Zinc Bar
82 West 3rd Street
New York, NY TIME: 8:00 p.m. TICKETS: Table – $10 w/1 Drink Minimum; Bar – NO COVER
If you’re in the MID-EAST this week . . . LOS GATOS WHEN: Wednesday 12/23/09 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 12/27/09 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 . . . ARTURO SANDOVAL WHEN: Saturday 12/26/09 – Monday 12/28/09 WHERE:Yoshi’s – Oakland
481 5th Avenue Park Slope
Brooklyn, NY TIME: 8:00 p.m. & 10:00 p.m. TICKETS: $30
COTO PINCHEIRA WHEN: Saturday 12/26/09 WHERE:Soprano’s Restaurant
373 Main Street
Redwood City , CA TIME: 6:00 p.m.
KAT PARRA WHEN: Saturday 12/26/09 WHERE:D’Vine Wine and Jazz
775 Cochrane Road
Morgan Hill, CA TIME: 8:00 p.m.
PONCHO SANCHEZ WHEN: Thursday 12/24/09 WHERE:Dorothy Chandler Pavilion
135 North Grand Avenue
Los Angeles, CA TIME: 4:00 p.m. TICKETS: FREE
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Days in the Life Robby Ameen
Twoandfour Records
Latin music has always played a part in jazz fusion, but for the most case, it always served as a background tinge rather than a main ingredient. Rock, funk, and jazz improvisation were always the centerpieces of fusion and electronic instruments were the key tools. Groups like Weather Report and Return to Forever often referenced Latin culture in their music through the use of Cuban and Brazilian percussion, but they were more concerned with texture than authentic rhythms from South America and the Caribbean. Even when groups employed strong Latin musicians like Alex Acuña or Airto Moreira, they mostly required these musicians to accompany funk grooves. The lack of cultural connection aligns with the style’s original path – the history of fusion has been ripe with a lack of understanding. From the start, jazz musicians tried to find their way among rock rhythms and rock musicians tried to understand jazz. Fusion musicians eventually made a link between these two worlds, but that formed the foundation of their musical output. Most forays into Latin music by fusion artists seemed more informed by a rock backbeat than clave driven concepts. An honest balance between fusion and Latin Jazz demands a musician with a thorough understanding of funk, rock, jazz, and Latin styles, a serious load of musical knowledge. Drummer Robby Ameen brings those tools to the table on Days in the Life, a steady ride through Latin Jazz and fusion.
A Strong Connection To Latin Jazz
Ameen emphasizes a mixture of Afro-Cuban rhythms and jazz harmony on several tracks. Bassist Lincoln Goines lays down an active and syncopated bass line over Ameen’s funk-tinged drum beat on “2′s & 3′s” until a conga tumbao and a piano montuno completely change the song’s character. Guitarist Wayne Krantz leaps into an edgy improvisation with a thin distorted tone, building momentum into John Beasley’s Fender Rhodes solo. Beasley provides contrast against his instrument’s understated character with an energetic statement, arriving at a steady montuno for Ameen’s virtuosic solo. Sharp percussion breaks from Ameen lead into a bluesy shuffle over organ and bass on “Una Muy Anita,” quickly broken by a shift into cha cha cha behind the melody. Trumpet player Brian Lynch runs long streams of mysterious melodies over the driving groove while trombonist Conrad Herwig builds tension with repeated ideas and offset rhythms. After a brief interlude, Beasley races through a busy and bluesy improvisation on Hammond B3, leading into a flurry of attacks filled with melodic percussive energy from conguero Richie Flores. A subdued interplay between Ameen and Flores transitions into a relaxed variation on son montuno behind the classic melody of Lee Morgan’s “Ceora.” Lynch skillfully navigates through the changes with a sensitive ear for melodic development while Herwig mixes a propulsive energy into his clever collection of ideas. Beasley creatively twists ideas through smart embellishment on piano before making way for a sparse and tasteful improvisation from Goines on acoustic bass. These pieces firmly establish Ameen’s Latin Jazz roots, declaring his expertise and connection to the style.
Wandering Into Other Stylistic Realms
Ameen freely wanders into a variety of other stylistic realms on some pieces, finding a more even fusion. Goines provides an understated line on acoustic bass while Ameen and Flores explode from unison breaks into a driving 6/8 rhythm on Joe Farrell’s “Sound Down,” leading into a relaxed melody that glides between 6/8 and swing. Herwig travels through his instrument’s wide range, running sequences through the harmony while the rhythm section pushes interactively. Lynch starts his solo reflectively, stretching into longer phrases that send the intensity level soaring into Beasley’s improvisation. Ameen lazily moves into a sparse bluesy rhythm while Krantz places short licks over the groove on “Stagger,” while the rhythm section layers into the track. Krantz utilizes the thin texture to build aggressive lines, slowly filling the groove with his bold distorted tone. The group brings the piece back down to a whisper behind Beasley’s piano, allowing him to run blues-tinged lines and rhythmic figures across the keys. A series of clearly structured claps introduces a percussive dream track as Ameen and Flores collectively improvise through “RR.” The two musicians maintain an uptempo rumba guaguanco while trading solo phrases, demonstrating incredible dexterity and keen stylistic knowledge. Ameen and Flores continue their rhythmic exploration, moving through swing and funk setting with a heavy dose of chops and a consistently interesting grasp on thematic development. These tracks open Ameen’s fusion concept beyond Latin Jazz settings, displaying a solid understanding of their similarities and differences.
Diving Completely Into Funk Fusion
Ameen dives completely into rock and funk on several songs, making a firm commitment to fusion. Krantz and Beasley wind through a jagged melody that combines different time signatures on “Swiftboating” while Ameen and Goines provide an angular funky Latin groove. Beasley twists through the rhythmic maze on Hammond B3 with a quick improvisation that develops the main theme into a fluid new idea. Krantz kicks the groove into high gear with an assertive stream of rock fueled lines and sharply syncopated ideas that inspire enthusiastic interaction from Ameen and Goines. A collection of seemingly disparate lines from each band member come together into a loping groove on “Baakline” while Lynch and Herwig spin a Miles Davis influenced melody. Herwig bounces around the funky foundation with an inspired zeal, driving repeated ascending figures and clever effects through his improvisation. Lynch takes interesting melodies to the far reaches of the harmony, creating tension as he repeatedly hands the spotlight to Ameen for quick percussive comments. There’s a feeling of chaos as Krantz repeats a short vamp, Ameen bursts into a heavy metal drumbeat and Beasley plays a keyboard melody on “Skateboard Intifada.” The group falls into an addictively funky groove for solos, allowing Beasley to drive percussive Hammond B3 lines through the song. Ameen and Goines make an abrupt change into a double time rock groove while Krantz explodes over them and builds his solo while the rhythm section winds through several feels. These tracks place Ameen in an unapologetic fusion setting that shows his deep understanding of the backbeat and ability to push a fusion setting into a frenzy.
Giving New Meaning To Fusion
Ameen gives new meaning to fusion on Days in the Life as he cleanly mixes funk, rock, jazz, and Afro-Cuban rhythms while holding onto the primary aesthetics of each style. The drummer contributes the majority of the compositions and his approach cleanly straddles both worlds intelligently. Ameen enjoys playing with the relationships between the different rhythms and finds clever ways to switch between genres without disrupting the flow of the song. There’s a heavy emphasis upon the groove, which aligns solidly with the modern fusion world and continually pushes the music to new heights. Ameen’s skills as a drummer form the foundation for this exploration between styles as he creatively interprets each style while effortlessly interacting with energy and musicality. Goines and Flores act as the perfect groove mates for Ameen, playing around the active drum beats with a combination of tradition and innovation. Lynch and Herwig deliver stellar performances injecting a serious dose of jazz improvisation power into the mix. Beasley and Krantz add a major shot of funk grease and rock edginess into the album, helping build that connection to the traditional concept of fusion. Ameen skillfully brings all these elements together onto Days in the Life, creating a solid product that respects rock, jazz, and Latin traditions while sending out a sincere invitation to each genre’s listeners.
The results are in for the Third Annual Latin Jazz Corner Best Of The Year Awards! The voting ran from December 2, 2009 – December 23, 2009 and drew thousands of voters from around the world. It’s been a thrilling process that has provided some interesting results about the state of the Latin Jazz world. You can learn more about the voting process HERE and keep up with the results on the Best Of 2009 Page.
It’s hard to predict the elements that will enthrall the listening public during the course of a year, there are just too many elements at play. Far too often a trend captures the publics imagination, throwing us into a mass craze for a musical moment that might feel good, but doesn’t have much substance. Another musical statement might speak to the moment in history, connecting with all of us on a purely visceral level. The mass media often pushes musical products into our faces, and the overwhelming amount of imagery, sound, and sensations usually draw us into their desires. These social elements have driven the general public’s musical attention for decades, and despite modern changes in distribution and listening practices, they will most likely guide us for decades to come. The jazz world often considers itself removed from the whims of pop culture, keeping its head firmly set in artistry – yet even jazz lovers fall into the trap of social pressure. In some years, the best that we can hope for is that true artistry will shine through the fads and trends and at least a portion of the public will support these artists. Then during those very rare historical moments, the listening public becomes taken with a recording for one basic reason – it simply contains a wealth of rich, thoughtful, and outstanding music.
Sometimes an artist appears on the scene almost spontaneously and they grab attention from every angle. They seem to burst onto the music scene out of thin air with highly developed performance skills, refined compositions, and a wealth of stylistic knowledge. Their music earns an audience’s ears, and they like what they hear – despite a lack of an early connection, the mystery artist gains a number of fans on the merit of their music. We’ve come to accept this type of magical arrival, and somehow we overlook the realities of the situation; although an artist might be a new face to us, they arise from their own local scene after years of hard work. Every musician puts in their time through years of hard practice, extensive performance, and artistic experimentation. Their development occurs over the course of years, whether we witness their growth or not. Sometimes we simply meet an artist after they are well into their journey instead of discovering their music at the beginning of their travels. We get to enjoy the benefits of their hard work, experiencing a solid musical product. 
There are a number of elements that enter into the creation of an album, but style dictates a major piece of a recording’s character; in this realm, the history of the style directly effects the outcome. In the Latin Jazz world, we’re talking about the history of several different jazz fusions – it’s really a matter of when the fusion began. Musicians have fused Brazilian rhythms with jazz for at least forty years, placing a trail of historical recordings and performances as a precedent to 2009. A genre with a long standing tradition and history like Brazilian Jazz offers both confines and liberties to an artist as their product reflects off the previous work. The Brazilian Jazz musician needs to respect the work of their predecessors and play within the boundaries that they established. At the same time, they need to find their voice within the style, which requires them to push the edges of the genre. On the other hand, musicians have spent much less time bringing together Afro-Peruvian rhythms and jazz, leaving an open trail for artists on this path. While this may seem like an easier path, the Afro-Peruvian Jazz artist doesn’t have a history of role models to inspire their work. Their musical decisions need to come from their own perspectives on history, tradition, and style. They need to be open to experimentation and ready to take chances at every turn. Brazilian Jazz and Afro-Peruvian Jazz represent two polar sides of the Latin Jazz world – one with a long history and one with a young life span – but the way that an artist interacts with these stylistic situations can both result in equally exciting music. 
The past year offered two outstanding examples of artists building wonderful music around the legacy of their respective styles – 2009 Brazilian Jazz Album Of The Year Brazilliance x4 from Claudio Roditi and 2009 Afro-Peruvian Jazz Album Of The Year Afroperuano from Yuri Juarez. Roditi played upon the long history of Brazilian Jazz by teaming with three musicians who understand the music’s depth as he does: pianist Helio Alves, bassist Leonardo Cioglia, and drummer Duduka Da Fonseca. These four musicians took a variety of repertoire from compositions by Brazilian musicians such as Raul de Souza’s “A Vontade Mesmo” to reworked jazz standards such as Miles Davis’ “Tune Up” and Roditi originals such as “Gemini Man.” The results was a tasteful release that mixed Roditi’s fiery hard bop improvisations with a top-notch Brazilian Jazz rhythm section that could simultaneously support and push him. Juarez smartly mixed his deep knowledge of Afro-Peruvian traditional music and explored a variety of modern jazz interests. On original compositions such as the festejo “Cántelo Usted” or the fusion-esqe “Acuariana” Juarez integrates a contemporary sound with synthesizers and his electric guitar. A more traditional sound emerges on “Gracia” and “Yo Insistiré” where Juarez leans towards a more acoustic sound. The guitarist emphasizes a jazz sound with a beautiful landó “Una Noche Sin Ti” and a Peruvian arrangement of Chucho Valdes’ “Mambo Influenciando.” Juarez explores vast possibilities in Afro-Peruvian Jazz with the refined sound of his guitar in the forefront, bringing the best of the style to light. Both Roditi and Juarez smartly find strong musical responses to their stylistic foundations, giving us two of the year’s intriguing releases. 
2009 Latin Jazz Bassist Of The Year Noel Marambio and 2009 Latin Jazz Pianist Of The Year Pepe Céspedes epitomize the idea of rhythm section unity on the latest Manante release 
2009 Latin Jazz Drum Kit Player Of The Year Hugo Alcázar brings together Peruvian tradition and a forward looking jazz aesthetic on pianist Geoffrey Keezer’s 
2009 Latin Jazz Percussionist Of The Year Arturo Stable brings a wealth of percussion expertise, musical creativity, and compositional knowledge to his latest release 
2009 Latin Jazz Vocalist Of The Year Sofia Rei Koutsovitis faces these challenges boldly on her album 
2009 Latin Jazz Trumpet Player Of The Year Jonathan Powell and 2009 Trombone Player Of The Year Ryan Keberle share brass section duties on The Pedro Giraudo Jazz Orchestra’s 
2009 Latin Jazz Saxophonist Of The Year Justin Janer still sits on the early side of his career, but he displays keen insight into jazz through his work on 
In the 2009 Latin Jazz Composition Of The Year, “El Bajonazo,” from 
The 2009 Latin Jazz Arrangement Of The Year recipient, Danny Rivera, finds a wonderful balance between tradition and originality on his version of “Oyeme” from the classic Machito recording Kenya. Originally written by A.K Salim, the piece revolves mostly around one chord, keeping an emphasis upon the group’s rhythmic momentum. Rivera certainly integrates all of the syncopated beauty that gives the song it’s character, but he does thicken the piece with some rich chordal embellishments. He also pays tribute to one of the original album’s legendary guest soloists, Cannonball Adderley, with a harmonized version of his solo pick-up. He provides an inspiring improvisatory setting for saxophonist Vince Nero and trumpet player Michael Taylor, delivering skillfully arranged background lines. From there, Rivera finds a clever path into the coda, taking the band through a quick rhythmic change into 6/8 and a short assertive mambo. Rivera cleverly holds onto the best elements of Salim’s “Oyeme” without loosing a sense of identity in the arrangement; it’s a smart tribute that would have made Salim proud and shows a bright future for Rivera’s arranging work.
2009 Latin Jazz Guitar Player Of The Year winner Yuri Juarez handles all these roles with style and ease on his album 
Fortunately the 2009 Latin Jazz Flautist Of The Year Miguel Martinez has the flexibility and musicality to make things work, as he shows clearly on pianist Coto Pincheira’s album 
With such a deep legacy in the jazz world, an award for Latin Jazz Record Label Of The Year might seem out of place, but Marsalis Music certainly deserves this honor in 2009. The label released two of the finest Latin Jazz recordings of 2009, saxophonist Miguel Zenón’s 
During the nineties, Latin Jazz composition was based upon conventions, mostly dictated by the clave driven outlines of Cuban music. Leaders such as Tito Puente and Ray Barretto followed a New York aesthetic which remained dangerously close to dance ideals for a long time. They were also reaching out to the general public and needed to rely upon familiarity to a certain extent, so much of the nineties work included arrangements of jazz standards. Forward looking musicians like John Santos’ Machete Ensemble used modern Cuban groups like Irakere as a role model but still respected the boundaries of the past. Traditional jazz bounced between a fervent alignment with standard forms and an experimental aesthetic that eschewed established structure in preference of self-expression. The tension of this dichotomy defined jazz in the nineties, but Latin Jazz side-stepped this genre splitting division. Instead, the Latin Jazz leaders of the nineties focused upon definition in their work. A variety of things changed in Latin Jazz during the 2000s, from the rhythms to the musicians themselves; but one of the major movements was a change in compositional approach. 
Young artists threw away the shackles of compositional structures during the 2000s and once again made us question “What Is Latin Jazz?” with their creations. Rhythmic structures became a background element in many works that simply supported the pieces instead of defining them. Cuban artists revisited their relationship to clave and found new ways to write around the two measure pattern. Some artists moved away from Latin rhythms altogether and created modern jazz albums that relied upon a swing rhythm section. In this case, the concept of Latin Jazz snuck away from jazz informed by Latin rhythms and leaned more towards jazz played by Latinos. In an interesting turn of events, the concept of Caribbean or South American identity rose more subtly through phrasing and interpretation. Musicians called upon ideals from classical music, creating lush orchestrations and emphasizing melody rather than rhythm. Musicians felt free to mix and match styles as well, jumping between Cuban rhythms, swing, funk, and more in a post-modern drip of the hat. Latin Jazz composition experienced a new freedom that redefined the genre and shaped the music in exciting ways. 
During the nineties, most of the leaders of the genre were stylistic originators that established the blueprint for Latin Jazz much earlier; in the 2000s, a younger generation with much different backgrounds found their place in the genre. These artists grew up in the modern jazz age, listening to musicians like Herbie Hancock, Wayne Shorter, Joe Zawinul, and more. They learned the lessons of modern jazz and they strived to emulate their contemporary role models. Artists that developed their skills in the United States like David Sanchez and Miguel Zenon received formal training at universities with established jazz programs and they went into their professional careers as skilled jazz performers. Musicians that spent their formative years in Cuba such as Dafnis Prieto, Elio Villafranca, and Yosvany Terry received thorough foundations in classical and traditional Afro-Cuban musics and then spent all their time learning jazz on the street. While earlier musicians gained their training on the bandstand, working through both dance and jazz gigs, this generation came onto the scene with a firm understanding of both worlds. At the same time, Latin Jazz had already established it’s guidelines, giving these musicians a starting point. The new generation built upon the lesson of earlier Latin Jazz musicians. They understood the music that came earlier, which allowed them to move ahead. These musicians carried ample tools and a keen historical knowledge which allowed them to break away and push the music compositionally.
Traditional Latin Jazz didn’t disappear during the 2000s, it simply sat beside the music’s newly emerging experimental side. Although a good number of Latin Jazz leaders died during the 2000s, several of them played through half of the decade, continuing the legacy of straight-ahead Latin Jazz. Poncho Sanchez kept the flame burning for the Cal Tjader lineage of Latin Jazz, presenting evenings full of jazz standards fueled by Latin rhythms. Longtime Bay Area icon Pete Escovedo kept moving ahead with a funky mixture of tradition and accessible smooth jazz leanings. Despite his unique approach to harmony and improvisation, Eddie Palmieri stayed close to his dance music roots, providing a fairly traditional interpretation of Latin Jazz. Cuban trumpet hero Arturo Sandoval sporadically bounced into the traditional jazz and classical worlds, but he never strayed too far from commercially-tinged straight-ahead Latin Jazz, the bread and butter of his career. Increasing access to recordings and live performances, as well as a wealth of newly available instructional materials led to the formation of new Latin Jazz groups across the country; many of these groups took their first steps into the style with a straight-ahead approach. Traditional approaches to Latin Jazz continued to hold a prominent position in the music world throughout the 2000s, despite the fact that a younger generation of musicians drove the music in a distinctly different direction.
Although the dichotomy of approaches that tore apart the jazz world found it’s way into Latin Jazz during the 2000s, it didn’t tear apart the genre, it simply expanded it. The jazz world’s leaders during the nineties took immoveable stands on either side of the fence, declaring war upon the opposition. Figures like Wynton Marsalis loudly and clearly provided hard-line definitions about what jazz was, not providing any room for variation. Perhaps Latin Jazz artists learned from the mistakes of the jazz world or maybe they just held a more flexible view of their music – whatever the case, they saw room for both sides of the Latin Jazz equation during the 2000s. Arturo O’Farrill kept the Latin Jazz Big Band tradition alive with the formation of the Afro-Latin Jazz Orchestra, but balanced historical repertoire with cutting edge explorations into new artistic directions. Bobby Sanabria shared his extensive historical knowledge with young students, producing tributes to important figures like Machito Puente, and Ray Santos; at the same time his own big band pushed the limits of the genre with interpretations of work by Frank Zappa, Hermeto Pascoal, and more. Paquito D’Rivera held his Cuban Jazz roots near the center of his career, but freely dived into classically-tinged projects with Yo-Yo Ma, the Turtle Island String Quartet, and more. The Latin Jazz world didn’t reject it’s differences during the 2000s, it embraced them, making both sides of the genre stronger as we move into 2010. 
Once the 2000s were fully under way, artists once again asked us to answer the question “What Is Latin Jazz?” by diversifying the music’s Latin roots. Artists hoping to build a career around Latin Jazz in the 1990s needed to spend the majority of time in the Afro-Cuban realm; it was a necessity to find an audience. Latin Jazz artists threw away the expectation of falling into line with Afro-Cuban traditions during the 2000s and explored a variety of other genres from South America and the Caribbean. At the root of this change, artists integrated new rhythms into a jazz context. Latin Jazz found a place for Puerto Rican bomba and plena, Peruvian festejo and landó, Argentinean tango, Dominican merengue, Colombian bullerengue and more. It wasn’t simply the nature of the rhythms that drove these changes though, musicians were genuinely interested in finding an authentic integration of Caribbean and South American traditions into jazz. They drew upon folk songs, arranging techniques, and native jazz musicians from their own countries. These elements accounted for some major changes in the scope of the genre – the overall Latin Jazz world sounded very different by 2009 and it became increasingly difficult to categorize the genre. 
The evolution of the style dug down to the very core of the style, starting with very noticeable changes in instrumentation. Percussion has always symbolized the heart and soul of Latin Jazz – something that didn’t change as the music opened to different Latin influences – it just looked very different. Barilles de bomba, panderos, cajones, tamboras, and the bomba legüero appeared alongside or in the place of congas, timbales, and bongó. Many of these musicians emphasized jazz aesthetics in the place of raw dance energy, so the drum kit became an essential interactive element. The guitar became much more prominent, often replacing the piano in South American contexts. Instruments such as the bandoneon and melodic appeared more frequently, often playing an integral role in the music. The ensemble sometimes shrank to a combo and at other times it grew into the rich sonorities of a big band. The instrumentation varied based on the musician’s preference and the Latin tradition, but without a doubt, the Latin Jazz ensemble looked different than it had in the nineties. 
This generation of Latin Jazz artists drew from the lessons of their elders, but they didn’t always stick to them; these artists moved away from an exclusive connection to dance traditions and dove into folkloric forms. They built a new approach around folk music from their countries which allowed for plenty of personal expression. In some ways this meant a much more subtle approach to the music that was often based less upon rhythmic drive and more upon melodic content. Traditional folk songs became common fare in the Latin Jazz world, giving musicians the liberty to avoid underlying dance rhythms. Creative arrangements often re-harmonized the songs and them placed them in sparse settings or even re-contextualized them into traditional swing tunes. These songs were unfamiliar to an older generation of jazz musicians, so young Latin Jazz musicians found inventive ways to introduce this repertoire. This created an ideal setting for creative vocalists who could authentically call upon Caribbean and South American traditions while keeping one foot in the jazz world. Several vocalists such as Sofia Rei Koutsovitis, Kat Parra, Lucia Pulido, Sofia Tosello, and Claudia Acuña thrived in this new world. As Latin Jazz musicians found new repertoire and approaches, their artistic world blossomed
These changes sent listeners scrambling to keep up with the music, but in reality, this wasn’t a new phenomenon. Latin Jazz artists had been exploring music outside the Afro-Cuban realm long before the 2000s. Brazilian music held a luxury seat in the Latin Jazz world near its Afro-Cuban counterpart, largely due to the integration of the bossa nova into the jazz language. The sparse usage of Puerto Rican bomba and plena went back to the Big 3 mambo orchestras, and the styles found a champion among the dance music of Rafael Cortijo. This culminated in the definitively Puerto Rican fusion jazz album 
while vocalist Corina Bartra explored the possibilities of Afro-Peruvian Jazz with her album Corina Bartra Quartet. Astor Piazzolla’s music didn’t include large doses of improvisation, but he did include jazz harmony and recorded with jazz soloists such as Gerry Mulligan and Gary Burton. His long time pianist Pablo Ziegler took the music in more jazz directions with with Quintet For New Tango. In every way, the stage was set for the diversification of Latin Jazz that exploded in the 2000s.
introduced the general public to new artists, bringing tradition bearers such as Susana Baca to the forefront. A string of tributes to Astor Piazzolla from artists as diverse as Gary Burton and the Kronos Quartet brought Nuevo Tango into the public consciousness. The world ingested these musics in the nineties and they were ready for the jazz variations which became prominent in the 2000s. The music wasn’t the only thing that changed during the 2000s though – the music industry lost control of public consumption through the internet and the mp3. Independent artists gained the ability to find interested audiences online and promote directly to them. As Latin Jazz artists got support from new fans, they were free to explore creative directions that were previously closed. Artistry, passion, and creativity was suddenly rewarded, and Latin Jazz with influences from Peru, Argentina, Puerto Rico, and beyond became a major reality. As the Latin Jazz world moves into the second decade of the 21st Century, a diverse vision of the genre’s “Latin” component sits as an integral piece of the picture.
. In 2007 Andres released an outstanding recording with his own Latin Jazz group The Afro-Cuban Cartel, 
