New York Encounter Michael Simon Fresh Sound Records
Musicians form their artistic approaches as a direct result of the interactions that they experience within their musical community. They get ideas from performances, rehearsals, jam sessions, and everyday conversations; the concepts that musicians share within a community percolate until they evolve into defined approaches. Some musicians spend their lives within one musical community, relying upon the trust earned during long standing artistic relationships to drive their progress. Other artists reach beyond their home base, connecting with musicians from other regions through quick trips, online communication, and more. A smaller group of artists move between communities, building connections across a country, and sometimes around the world. Each of these lifestyles potentially breed interesting artistic personalities, but a network of connections with multiple communities always results in a more diverse musician with a broad perspective. These musicians simply have access to more ideas, a larger pool of perspectives to push concept development, and countless potential collaborators. Trumpet player Michael Simon holds a connection with multiple communities around the world, ranging from his own vastly musical family to New York’s Latin Jazz circles and his current home in the Netherlands – all these elements combine into a powerful collection of music on New York Encounter.
A Strong Connection To The New York Latin Jazz Community
Several pieces reflect the influence of Simon’s relationship with the New York Latin Jazz community. Pianist Edward Simon attacks his instrument with sharp percussive patterns over a songo groove on “Mi Amigo El Machinsta,” leading the way into a tightly constructed melody that weaves through rhythmic changes. Michael Simon glides over the rhythm section nimbly, dancing his mellow tone through a careful balance of jazz class and rhythmic fire. The rhythm section lowers its dynamic behind alto saxophonist Miguel Zenón, who carefully develops his ideas with repetition before building his improvisation into a frenzy. Percussionist Roberto Quintero’s güiro keeps a steady groove behind Edward Simon’s seven beat montuno on “Sabor Íntimo” before the melody steers the rhythm section towards a combination of standard and odd time signatures. Michael Simon travels through the changing structure with a bluesy class, delivering an interesting statement with a hard bop edge. Edward Simon creates a quick contrast with a lush statement overflowing with elegance, finding his way into a nine beat montuno behind Quintero’s conga solo. The wind players race through a series of sharp rhythm section attacks on “New York Encounter” working into a melody that bounces around the group’s funky songo groove with a infectious energy. Bassist Boris Kozlov grabs the group’s energy and flies with an engaging improvisation that wraps melodies into angular rhythmic ideas. The group explodes into an exciting forward motion as tenor saxophonist Peter Brainin aggressively charges through the chord changes with clear melodic ideas and syncopated rhythms. These piece capture Michael Simon’s relationship with the New York Latin Jazz world, placing his compositional and performance voice into a mix of hard bop and Afro-Cuban energy.
Contributions From Edward Simon
Simon’s brother Edward contributes two pieces that inspire another side of the trumpet player both as a performer and leader. A series of brash syncopated attacks give way to an askew bass line that creates an addictively funky feel over a son montuno groove on “Fiestas” while the wind players trade mysterious phrases with the piano. Michael Simon uses space and thoughtful phrasing to develop a smart improvisation that reveals shades of influence from late Miles Davis. Both Brainin and Zenón start interjecting complementary ideas and Marlon Simon flies into an uptempo swing rhythm, as the band climaxes into a collective improvisation. The wind players introduce a dramatic series of notes as Edward Simon falls into a meditative vamp on “Equanimity” while Michael Simon floats an airy melody over the serene backdrop. Zenón joins Simon in long, harmonized lines until the two musicians move into a gentle call and response. The rhythm section rides the hypnotic vamp with an engaging sense of dynamics that push the intertwining lines from the wind players into a powerful wall of sound. These pieces show Michael Simon’s connection to his brother Edward’s musical approach, driving a contemplative and experimental side to the trumpet player.
Diverse Sides To Simon’s Musicianship
Michael Simon reveals a personal side to his musicianship with several pieces that explore a variety of influences. The wind players take quick stabbing attacks at the harmony before the rhythm section moves into a swing backdrop on “Blues Del Silencio Frio” for a twisting melody. Edward Simon displays some serious jazz chops as he spins a propulsive blues solo over the hard swing, mixing elements of traditional phrases and modern harmony. The rhythm section disappears as Michael Simon and Zenón trade freely structured ideas, relying upon tension to build back into a full band sound and an attention grabbing solo from drummer Marlon Simon. A dramatic introduction from the wind players explodes into an improvised and coloristic accompaniment from the rhythm section on the long scale piece “House Of Thoughs,” making a transition into a melody over a driving cha cha cha. The group ends the melody with an Afro-Venezuelan parranda, setting the stage for a brilliantly constructed improvisation from Edward Simon, full of sharp melodic edges and running melodies. A brief interlude sends the group back into a cha cha cha as Brainin slips around the groove, driving jazz infused melodies into a screaming conclusion. A richly harmonized chordal passage gives way to a Venezuelan culo e’puya rhythm on “Joy Is Within” as a beautifully understated melody glides over colorful chords. Edward Simon sounds completely comfortable within the rhythmic structure, darting around the edges of the rhythm while weaving clever melodies through the harmony. Trombonist Noah Bless inserts a blend of drama and forward motion into a smart improvisation that captures the song’s contagious spirit. These pieces show the diverse sides of Michael Simon’s musical interests, revealing some unique elements that complete his personal voice.
A Powerful Connection To Musical Communities New York Encounter displays a broad swatch of Simon’s musical abilities, bringing together all the influences of his community connections. The different pieces of this puzzle are most apparent in Simon’s compositions, which reflect a broad artistic viewpoint. Simon weaves together various musical elements including Afro-Cuban and Afro-Venezuelan styles, odd time signatures and free improvisation, as well as straight-ahead swing and extended improvisations. The seamless integration of these pieces reflect a mature musical mind with a wealth of experience. The inclusion of Simon’s brothers – pianist Edward and drummer Marlon – creates a comfortable environment that resonates with endless possibilities. There’s a sympathetic interaction in the group’s performance that only arises from a lifetime’s worth of shared musical experiences. The addition of some of New York’s best musicians inject the recording with an authentic jazz edge and an inspired sound. Bassist Andy Gonzalez and Kozlov, saxophonists Zenón and Brainin, as well as percussionist Quintero all represent a piece of New York’s long connection to Latin Jazz, a direction that bursts through the album with resounding clarity. The potent brew resulting from Simon’s connection to these various communities flows through New York Encounter with a unified strength, giving us an idea of the powerful contribution that Simon’s music can give back to Latin Jazz communities around the world.
Music relates to community in so many different ways; it’s not always just about the group of performing musicians – musicians can reach out to support other communities. In hard times, musicians are often some of the leaders in benefit events – a fact that has held true in 2010 after the tragic earthquake in Haiti. Individuals around the world contributed personal donations right away, but at the same time, musicians were quickly organizing fundraising concerts. High profile concerts such as the pop driven Hope For Haiti Now event and subsequent downloads brought in immediate loads of cash, getting the ball rolling. This blast of a worldwide major event like this helps the cause immensely, but a multitude of local benefit concerts can be just as effective. Fortunately, these events are popping up across the country at an inspiring rate, and the Latin Jazz world has been a big part of this support system. Events on the East Coast, West Coast, and Middle America have all been scheduled, showing an outreach of community past any local scene. This is where music becomes more than just the individual, it becomes about humanity – something we often forget that sits at the root of the art form.
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Some upcoming benefit concerts for Haiti, featuring Latin Jazz artists:
Saxophonist Jane Bunnett has organized a series of two fundraising concerts in Toronto at Hugh’s Room. Both nights will feature Bunnett with her group Spirits Of Havana, as well as Amanda Martinez, Hilario Duran, and many more. WHEN: Thursday 1/28/10 & Sunday 1/31/10 WHERE:Hugh’s Room
2261 Dundas Street, West
Toronto, ON Canada TIME: 8:00 p.m. TICKETS: $25 in advance; $30 at door
Bay Area Latin Jazz musicians will join together for a performance at Pier 23 Cafe in February, with proceeds going directly to the Sion Fonds Orphanage in Haiti. Performers include the Latin Jazz Youth Ensemble Of San Francisco, Sombra Y Luz, Ray Obiedo and Mambo Caribé, as well as The Bay Area Latin Jazz All-Stars, a group that includes percussionists John Santos and Jesus Diaz, trombonist Wayne Wallace, violinist Anthony Blea, and many more. WHEN: Sunday 2/28/10 WHERE:Pier 23 Cafe
Pier 23 on the Embarcadero
San Francisco, CA TIME: 2:00 p.m. – 8:00 p.m. TICKETS: $25
If you’re a Latin Jazz artist performing in an upcoming Haiti benefit, let me know, I’ll add you to the list!
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In honor of the spirit of support for Haiti being shown right now, we’re going to jump into a Latin Jazz world that we haven’t quite explored here at LJC – Afro-Haitian Jazz. This is a completely new world for me, so I’m searching here, but I’ve come up with a few interesting examples. The first clip features the group Mozayik performing “Caravan” with Haitian rhythms, live in Haiti. The second video shows Haitian musician Melanie JC Charles performing a scorching instrumental piece at SOB’s in New York. The last selection finds saxophonist Buyu Ambroise placing Haitian rhythms under Wayne Shorter’s classic tune “Footprints.” Enjoy the videos and put the concert dates above on your calendar so that you can get out and support Haiti!
———- Afro-Haitian Jazz Quintet Mozayik Performing “Caravan” Live in Haiti
Melanie JB Charles Performing Live At SOB’s In New York
Saxophonist Buyu Ambroise Performing “Footprints” With Haitian Rhythms
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Want to hear more from Haitian Jazz Artists? Check out these albums: Buyu Ambroise: Blues in Red
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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
We were lucky enough here at LJC recently to have a guest post from one of the top names in West Coast Latin Jazz, percussionist Bobby Matos, who delved into the state of Latin Jazz as an American art form – you can check out that article HERE. That same article has been published in a few places at this point, as Matos spreads the word about this music that we love. Over at The Independent Ear, they’ve followed up that article with a brief interview with Matos that digs gets his thoughts on the state of Latin Jazz and offers some great listening suggestions. Check it out HERE.
It seems like we’re always coming back to the question of “What Is Latin Jazz?” here at LJC – it’s just such a slippery subject that touches upon everything that we love about this music. It’s good to know that there are other people out there tackling the same question! In an article posted in November of 2009, West Coast percussionist John Santos gives a detailed and fact-filled explanation on the subject. Santos mixes opinion with historical facts, giving one of the best response I’ve read in a while – it’s a must read for any Latin Jazz lover. Check it out HERE.
The recent earthquake in Haiti that caused a massive death toll has reached us all, and there have been several attempts at raising money to help the people of Haiti over the past couple of weeks. The earthquake hit saxophonist Jane Bunnett hard, and she quickly moved to organize a fundraiser with some of Toronto’s best jazz musicians. You can find that listing below in our Live Latin Jazz section, but NPR’s A Blog Supreme took the time to talk to Bunnett about the fundraiser and help spread the word. There’s a good interview with Bunnett and some wonderful video of the saxophonist performing with Haitian musicians – check it out HERE.
If you’re in CANADA this week . . . JANE BUNNETT
Benefit For Haiti WHEN: Thursday 1/28/10 WHERE:Hugh’s Room
2261 Dundas Street, West
Toronto, ON Canada TIME: 8:00 p.m. TICKETS: $25 in advance; $30 at door
Benefit For Haiti WHEN: Sunday 1/31/10 WHERE:Hugh’s Room
2261 Dundas Street, West
Toronto, ON Canada TIME: 8:00 p.m. TICKETS: $25 in advance; $30 at door
If you’re in ASIA this week . . . DAVID SANCHEZ WHEN: Tuesday 1/26/10 – Friday 1/29/10 WHERE:Cotton Club – Japan
TOKIA 2F, TOKYO Building
2-7-3 Marunouchi
Chiyoda-ku, Tokyo TIME: 7:00 p.m. & 9:30 p.m. TICKETS: ￥7,500 – ￥9,500
If you’re on the EAST COAST this week . . . ANNETTE AGUILAR & STRINGBEANS WHEN: Tuesday 1/26/10 WHERE:Giovanni’s G-Bar Lounge
575 Grand Concourse
Bronx, NY TIME: 6:00 p.m. TICKETS: NO COVER
ARTURO O’FARRILL
Solo Piano WHEN: Wednesday 1/27/10 WHERE:Puppet’s Jazz Bar
481 5th Avenue Park Slope
Brooklyn, NY TIME: 7:00 p.m. TICKETS: $10
WHEN: Friday 1/29/10 – Saturday 1/30/10 WHERE:Puppet’s Jazz Bar
481 5th Avenue Park Slope
Brooklyn, NY TIME: 9:00 p.m. TICKETS: $12 w/two item minimum
BOBBY SANABRIA
Big Band WHEN: Wednesday 1/27/10 WHERE:Fonda Boricua
172 East 106th Street
Ne York, NY TIME: 7:30 p.m. & 9:30 p.m. TICKETS: $20
CHICO O’FARRILL’S AFRO-CUBAN JAZZ ORCHESTRA WHEN: Sunday 1/31/10 WHERE:Birdland
315 W. 44th Street
Manhattan, NY TIME: 9:00 p.m. & 11:00 p.m. TICKETS: $30
CLAUDIA ACUÑA WHEN: Friday 1/29/10 WHERE:Jazz Gallery
290 Hudson Street
New York, NY TIME: 9:00 p.m. & 10:30 p.m TICKETS: $20
CLAUDIA ALZAMORA WHEN: Wednesday 1/27/10 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: NO COVER
CURTIS BROTHERS WHEN: Thursday 1/28/10 WHERE:Twins Jazz Club
1344 U Street Northwest
Washington, DC TIME: 8:00 p.m. TICKETS: $10
ERIC KURIMSKI WHEN: Thursday 1/28/10 WHERE:Terraza Cafe
40-19 Gleane St
Elmhurst, NY TIME: 10:00 p.m. TICKETS: FREE
GATO BARBIERI WHEN: Monday 1/25/10 – Wednesday 1/27/10 WHERE:Blue Note – New York
131 W. 3rd St
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: Bar: $20; Table: $35
GREG DIAMOND WHEN: Monday 1/25/10 WHERE:Rose
345 Grand Street
Brooklyn, NY TIME: 9:00 p.m.
WHEN: Wednesday 1/27/10 WHERE:Flutebar – Gramercy
40 East 20th Street
New York, NY TIME: 8:00 p.m.
JOHN BENITEZ WHEN: Thursday 1/28/10 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: NO COVER
KELSEY JILLETE WHEN: Friday 1/29/10 – Sunday 1/31/10 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: Friday & Saturday: 8:00 p.m. & 10:30 p.m.; Sunday: 7:00 p.m. TICKETS: NO COVER
LAYLA ANGULO WHEN: Thursday 1/28/10 WHERE:Puppet’s Jazz Bar
481 5th Avenue Park Slope
Brooklyn, NY TIME: 9:45 p.m. TICKETS: $6 w/two item minimum
MIGUEL ZENON
Cultural Exchange Concerts WHEN: Tuesday 1/26/10 WHERE:Zankel Hall – Carnegie Hall
57th Street and Seventh Avenue
New York, NY TIME: 11:00 a.m. TICKETS: $6 per student; $50 per teacher
NATALIA BERNAL WHEN: Tuesday 1/26/10 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: NO COVER
PAQUITO D’RIVERA
Guest Artist With The American Composers Orchestra WHEN: Friday 1/29/10 WHERE:Zankel Hall – Carnegie Hall
57th Street and Seventh Avenue
New York, NY TIME: 7:30 p.m. TICKETS: $38 – $48
PONCHO SANCHEZ WHEN: Thursday 1/28/10 – Sunday 1/31/10 WHERE:Blue Note – New York
131 W. 3rd St
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: Bar: $20; Table: $35
SOFIA TOSELLO WHEN: Thursday 1/28/10 WHERE:Jazz Gallery
290 Hudson Street
New York, NY TIME: 9:00 p.m. & 10:30 p.m TICKETS: 9:00 p.m. – $15; 10:30 p.m. – $10
WILLIE MARTINEZ WHEN: Thursday 1/28/10 WHERE:Nuyorican Poet’s Cafe
236 East 3rd Street
New York, NY TIME: 9:00 p.m. TICKETS: $7
If you’re in the MID-EAST this week . . . CHICAGO AFRO-LATIN JAZZ ORCHESTRA WHEN: Tuesday 1/26/10 WHERE:Jazz Showcase
806 S. Plymouth Court
Chicago, IL TIME: 8:00 p.m. & 10:00 p.m. TICKETS: $30
CRAIG RUSSO LATIN JAZZ PROJECT WHEN: Friday 1/29/10 – Saturday 1/30/10 WHERE:Remy’s Jazz and Cocktails
225 East Monroe Street
Springfield, IL TIME: 8:30 p.m.
LOS GATOS WHEN: Wednesday 1/27/10 WHERE:Live At PJ’s
102 S 1st St
Ann Arbor, MI TIME: 8:00 p.m. & 9:15 p.m. TICKETS: $7
PAULINHO GARCIA WHEN: Wednesday 1/27/10 WHERE:Piccolo Mondo
1642 E. 56th Street
Chicago, IL TIME: 6:00 p.m.
TUMBAO BRAVO WHEN: Sunday 1/31/10 WHERE:Sangria’s
401 South Lafayette Avenue
Royal Oak, MI TIME: 9:30 p.m. TICKETS: $5
If you’re in the MID-WEST this week . . . PABLO ZIEGLER WHEN: Saturday 1/30/10 WHERE:Ruth Taylor Recital Hall – Trinity University
One Trinity Place
San Antonio, TX TIME: 7:30 p.m. TICKETS: $17 – $78
If you’re on the WEST COAST this week . . . ALFREDO RODRIGUEZ WHEN: Tuesday 1/26/10 WHERE:Yoshi’s – San Francisco
1330 Fillmore Street
San Francisco, CA TIME: 8:00 p.m. TICKETS: $14
FRANK CANO WHEN: Saturday 1/30/10 WHERE:Steamer’s
138 W. Commonwealth
Fullerton, CA TIME: 8:30 p.m. TICKETS: $8
KAT PARRA WHEN: Friday 1/29/10 – Saturday 1/30/10 WHERE:D’Vine Jazz & Wine
775 Cochrane Road
Morgan Hill, CA TIME: 8:00 p.m. TICKETS: NO COVER
MIGUEL ZENON WHEN: Wednesday 1/27/10 – Saturday 1/30/10 WHERE:Vanderhoef Studio Theatre – Mondavi Center
One Shields Avenue
University of California
Davis, CA TIME: 8:00 p.m. TICKETS: $35
PUERTO RICO GOLDEN JAZZ ALL-STARS WHEN: Thursday 1/28/10 – Sunday 1/31/10 WHERE:Yoshi’s – San Francisco
1330 Fillmore Street
San Francisco, CA TIME: 8:00 p.m. & 10:00 p.m.; Sunday: 5:00 p.m. TICKETS: Friday 8:00 p.m. – $20, 10:00 p.m. – $16; Saturday 8:00 p.m. & 10:00 p.m. – $24; Sunday 5:00 p.m. – $5 (kids), $15 adult (with kid), $24 adult (general), 7:00 p.m. – $24
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The mixture of Latin culture and African American jazz really has a confused history that is often overlooked through modern eyes. Most people only look at the surface appearance of the style, categorizing a Latin influence into a tidy box. The common concept of the music is one that has been solidified by many musicians over several decades, and it presents a clearly defined approach. From the blaring Afro-Cuban rhythms of Tito Puente to the churning bossa nova of Getz and Gilberto and the festejo of Gabriel Alegria, musicians have found innovative ways to combine Caribbean and South American rhythms with jazz harmonies. This combination certainly resulted in some great music, but it’s only one piece of a larger picture. When we looked back across the first decade of the twenty-first century, we discovered the reoccurring theme of “What Is Latin Jazz?,” a question forced upon us by new representations of Latin culture in the jazz world. The high profile emergence of multitudes of artists pushing the limits of the genre brought the issue into the forefront of our attention in the 2000s, but it’s hardly a new idea. Latin influences and musicians have helped shape the jazz world since it’s beginnings.
Musical exchange between African-American, Caribbean, and South American musicians has been a cornerstone of jazz since it’s inception. Jazz came to life in New Orleans during the early 1900s, but only with the help of Cuban music. Pianist Jelly Roll Morton often referred to the essential “Spanish Tinge” that made jazz complete, and he showed it in his compositions through a specific left hand figure, the habanera. Puerto Rican musicians filled the ranks of Puente and Machito’s fiery Afro-Cuban big bands, building the now legendary Palladium sound; at the same time, some of those musicians found their way into Duke Ellington’s band. Trumpet player Fats Navarro, a Cuban born trumpet player, burned his way through a short but memorable life during the bebop era. Numerous Brazilian and Puerto Rican percussionists fueled the heavy grooves of fusion bands during the seventies, giving the music a “world jazz” sound. At every turn of jazz’s evolution, Latin music and musicians helped build the style into the major art form that we know today. In most cases though, Latin culture wasn’t the focus, it was just a piece of the bigger puzzle, so the essential connection to Latin music generally goes unnoticed.
———- Juan Tizol One musician who shaped the course of jazz history celebrated their 110th birthday this week – valve trombonist Juan Tizol was born on January 22, 1900 in San Juan, Puerto Rico. Born into a musical family, Tizol gained a solid musical foundation on the island, emerging as a highly trained classical musician. In 1920, Tizol made his way into Washington D.C., smuggled into the city by boat to work a steady theater gig. Nine years later, after a variety of musical jobs and an investment in a deli, Tizol gained a spot in Duke Ellington’s band. Being a fully trained musician, Tizol became a key player in the group, transposing parts, doing copywriting, and providing a distinct contrast to the rough bluesy voices in the band. Ironically, Tizol encounter race issues in the band, but not because of his Caribbean heritage – his light skin gave him the appearance of being caucasian, which led to a well-known conflict with Charles Mingus and more. Tizol began composing for the band in the early thirties, inserting a “Latin” edge into some songs, while staying with the group’s swing feel on others. 1944 marked the end of an era as Tizol left Ellington to pursue a job with Harry James in Los Angeles, bringing him closer to his wife. Tizol made a brief return to the Ellington band in 1951, only to leave again after three years. He bounced between several prominent big bands over the next ten years, retiring to Los Angeles during the sixties. Tizol lived to a ripe age of 84, dying in Los Angeles on April 23, 1984.
———- Sitting Between Jazz And Latin Culture Tizol’s career presents a perfect example of the foggy relationship between traditional jazz and Latin culture – he was a musician that easily “sat between” jazz and Latin music. His legacy remains firmly attached to Ellington, one of the most influential voices in tradition jazz. His contributions to the group behind the scenes, as a performer, and as a composer helped the group stake their place in history and create some of the world’s most memorable music. Ellington respected Tizol and his abilities, a fact reinforced by his willingness to include several Tizol compositions into the group’s repertoire, which was dominated by Ellington and Billy Strayhorn pieces. His composition “Perdido,” a swing tune, caught the imagination of jazz musicians and listeners around the world; it continues to be a highly played standard. Many Latin Jazz musicians remember Tizol as a ground breaking Puerto Rican musician that connected Latin culture with the Ellington band. Another famous Tizol composition, “Caravan” sits among the most cherished Latin Jazz standards in the genre, recorded hundreds of times, using countless creative arranging techniques. He made significant strides on both sides of the fence, gaining respect and notoriety among the jazz audience and Latin musicians alike.
Tizol’s “Latin” Compositions With The Ellington Band Tizol’s use of Latin elements in his compositions certainly opened the door for Latin rhythms in jazz, but it also served to keep a grey area around Latin culture in the music. Tizol’s pieces certainly broke the band out of its swing mold, forcing the rhythm section into straight eighth notes. Still, although the band’s foundation made these changes, the wind players continued to swing melodies at points; there was definitely not a unified group concept around clave. A great example of this tension around a disjointed concept exists on the band’s recording of Tizol’s “Moon Over Cuba” from Never No Lament: The Blanton-Webster Band – Tizol’s thick vibrato holds the straight feel, but the saxes distinctly swing behind him. At the same time, many of the band’s performances avoided a direct connection to rhythms from Cuba or Puerto Rico, instead blending cultural elements into an unidentifiable mix. Check out “Porto Rican Chaos” from Duke Ellington: 1933-1938 (vol. 3) – despite the title’s spelling, there’s an implication of Puerto Rican identity here. A three-two clave pattern can clearly be heard throughout the recording, but the drum kit keeps a tango-esqe pattern and a shaker leans the rhythm towards swing. Despite the admirable attempt to integrate Latin rhythms into the group, the band always seemed ready to jump into swing, and they always played with more vigor when they did. The group starts on a vague straight-eighth groove during “Conga Brava,” once again from Never No Lament: The Blanton-Webster Band. There’s certainly a professional conviction, but the band explodes into swing about forty seconds into the track and they sound absolutely inspired. All these elements create an interesting contradiction – Tizol attempted to bring a Caribbean element into the music, but his statement of culture became blurred into an unintelligible message.
Questions About Latin Culture In Jazz Tizol’s place in the jazz world brings a serious set of questions into play, forcing us to examine the role of Latin culture in jazz. Tizol’s contributions to the Ellington band were significant – he added songs to the group’s repertoire, he was a long time member of the brass section, and he worked behind the scenes to make the band more musically functional. Why doesn’t the jazz world remember Tizol with the reverence of other Ellington alumni like Billy Strayhorn, “Cootie” Williams, or Louie Bellson? Tizol specifically tried to bring compositions with Latin influences into the band, but they lacked a specific connection to Latin culture. There were certainly less resources available to learn the music at that time, but there were plenty of Puerto Rican musicians in New York during the thirties – if members of the Ellington rhythm section really wanted to get it right, they could have found some help. With this in mind, its curious to wonder why the performance of these pieces were taken so lightly – were they seen as novelty to the band? History has certainly been written around the racial issues experienced by African American jazz musicians, a seriously heavy subject. Still, Latino musicians such as Tizol must have felt a double whammy in the same situations, experiencing discrimination while dealing with the downplay of their culture. Why don’t the jazz history books address these issues? I’m not sure that I know the answers here, I’m really just thinking aloud – but the facts seem to demand answers to these questions.
Bringing Important Contributions Into The Forefront There’s a whole wealth of Latin musicians that sit in the background of jazz history, and a number of instances where Latin music pushed the genre forward – it’s time to bring those contributions into the forefront. In general historians consider jazz an African-American art form, and the dominance of the culture in the music in undeniable. Music never maintains a strictly isolationist policy though, and its important to recognize the whirlpool of cultures that brought jazz into its modern state. Cultural elements from the Caribbean and South America certainly have played an important role in jazz development, from the music’s origins to modern day. Latin musicians like Juan Tizol worked in the trenches of jazz, wrote important compositions, and developed the conventions that we now consider standard in the jazz world. Sometimes they used Latin rhythms and at other times, they didn’t; that’s not the issue here though. The issue remains that musicians like Tizol made significant contributions to the evolution of jazz, yet they sit outside the realm of wide public recognition. It’s time to stop treating Latin culture like a second class citizen in the jazz world and embrace its influence – an act that would show respect and admiration for the work of Juan Tizol and all the Caribbean and South American musicians that have made jazz an incredible art form.
Warm rains and gentle breezes conjure images of soft ballad settings and smooth melodies in the jazz world; they seldom capture the fire and passion inherent in Latin Jazz. Lately, the winter weather has held more than a simple shower though – heavy storms have been attacking my world in many ways. Pounding sheets of rain have made my commute into work slow and treacherous. Dark clouds covered the sky, making my day dark, dismal, and overcast. Thunder and lightning lit up the darkness then sent rumbling waves of sound shooting through my house, scaring the dog and distracting my family. Throughout all the gloomy weather, all three of my kids and myself fell under nasty colds, keeping us home from school and work respectively, staying in bed days at a time. With all this activity brewing through my week, one might think my head would be anywhere but in the Latin Jazz world . . . but I just can’t help myself.
As the winter weather finally hit Northern California officially recently, I’ve dug into my Latin Jazz collection for a group of songs that represented my recent days. These tracks relate to rain, storms, wind, clouds, and thunder in one way or another, bringing the season and Latin Jazz into one harmonious collection. I have been under the weather lately, so my outline of the tracks will be a little more sparse than usual – I’ve been home ill this week, and I’ve spent more time in bed than at the computer. Still, I couldn’t help sharing this list of rainy day Latin Jazz tracks, hoping that this group of songs would brighten up the winter days for all of us. Track down all these songs; it’s a good collection of music that will surely make a great addition to your iPod – enjoy!
———- Lluvia Azul – Chapter Three: Viva Emiliano Zapata, Gato Barbieri
Saxophonist Gato Barbieri explores the blue rain on this track from his classic album Chapter Three: Viva Emiliano Zapata. Barbieri provides some great solo work on this recording, but the true beauty of the track lies in arranger Chico O’Farrill’s delicate pen. His thick voicings send tonal colors sailing over a dramatic introduction, creating a smooth transition into a cha cha cha groove. Barbieri’s sax screams over the rhythmic ostinato provided by the ensemble’s steady wind section, reinforcing the rhythm section’s propulsion. As Barbieri takes the lead with a distinctive improvisation, his personality moves into the forefront momentarily. He bounces back into a melodic lines, riding the arrangement through an Afro-Cuban 6/8 section, a return to cha cha cha, and a leap into a double time samba. O’Farrill writes around Barbieri’s strengths here, and the feel changes push the saxophonist into a ferocious improvisation. The combination of two great musical personalities bring excitement, passion, and style into this strong track.
Second Wind – Papa Mambo, The John Santos Quintet
John Santos’ Quintet captures the subtle sounds of a strong breeze on the Ray Vega composition “Second Wind” from the group’s first recording Papa Mambo. Saul Sierra’s understated bass line, coupled with soft chords from pianist Marcos Diaz, and sharp attacks from timbalero Orestes Vilato set the stage for a light melody. A driving montuno from Diaz pushes the groove forward into an energetic improvisation from flautist John Calloway, who winds through the changes with strong melodic construction. The wind picks up into a powerful gust with an aggressive solo from Vega. The trumpet player breathes some hard bop fire into the song, with twisting lines that dance around the chords with chromatic intensity. Diaz captures Vega’s momentum and races forward with an unstoppable rhythmic propulsion and a percussive flair. Diaz builds tension as the group flies into a masterful improvisation from Vilato, bringing the group into a perfect storm. Although the track’s title only references wind, the group’s passion captures the full throttle of a classic downpour with a vengeance.
Come Rain Or Come Shine – Impressions, Claudio Roditi
Here’s That Rainy Day – Walking with My Bass, Nilson Matta The traditional jazz world holds the crown for classic rain titles, and two Brazilian musicians tap into those tunes with unique interpretations. Trumpet player Claudio Roditi applies his vast improvisatory skill to the memorable Arlen/Mercer tune “Come Rain Or Come Shine” on the album Impressions. Roditi places the song over an up-tempo bossa nova feel, putting a slightly different take on the standard swing tune. The melody benefits from the style’s rhythm drive, dancing over the rhythm section with a gentle lilt. Roditi displays a defined improvisatory presence on a boppish solo, running through quick lines with a fervent intensity. Saxophonist Idriss Boudrioua and pianist Dario Galante both take strongly invested solos as well, bringing the classic to life. Bassist Nilson Matta explores another standard ballad, “Here’s That Rainy Day,” once again through the eyes of an driving bossa nova on his album Walking with My Bass. Performed in a trio setting, the melody gets an understated treatment from pianist Helio Alves while the rhythm section floats beneath. Alves travels through several choruses, displaying his undying gift for melodic invention, steadily building into thicker textures of sound. Matta takes a turn at the changes as well, using his able technical facility to wrap quick runs around compelling melodic ideas. While the jazz world might take the cake on rain themed songs, these two Brazilian musicians show that Latin Jazz musicians easily brave the storm.
The Lord Of Thunder – The Orisha Suite, Michael Philip Mossman
Any good storm needs a heavy dose of thunder and lightning, so it makes perfect sense that a good list of weather intensive Latin Jazz songs should include a tribute to the Santeria deity of thunder, Chango. Trumpet player and arranger Michael Philip Mossman explores musical interpretation of several deities on his album The Orisha Suite, and he visits Chango on the track, “The Lord Of Thunder.” Right from the downbeat, Mossman captures the passion of the orisha with a driving bass and piano groove beneath an explosive hard bop melody. After the group navigates the angular rhythmic breaks throughout the melody, Mossman jumps right into a fiery solo, driven my a boppish intensity. Mossman plays off the dissonant edges of the harmony, utilizing his deep knowledge of clave to build tension. Tenor saxophonist Todd Williams runs long streams of quick notes through the texture, blending sharp edged licks into the mix for balance. Pianist Arturo O’Farrill announces his improvisation with a ferocious run that characterizes his impassioned solo, filled with dissonant tension and beautiful releases into the chord changes. A winding interlude from Mossman and Williams sets up quick solos from drummer Horacio “El Negro” Hernandez and conguero Ray Barretto, who light burning fires under the band. There’s a lot of power in a bolt of thunder and in Chango – a fact that Mossman represents fully on this track.
Lluvia, Viento Y Caña – Master Sessions, Vol. 1, Israel “Cachao” Lopez
Anything served as ample inspiration for the master of the descarga, Israel “Lopez” Cachao, who reflects the weather in the jam session “Lluvia, Viento Y Caño” from Master Sessions, Vol. 1. In reality, Cachao’s title probably refers to the use of a rainstick, wind instruments, a the woodwind reeds, but we’ll throw a double meaning on it here. A long sound from a rain stick sets the tone for the song, followed by a structured statement from the wind players. There’s an almost classical elegance to the written part for the wind players, as they travel through intertwining parts with grace and style. The legendary bassist gets the party started with an unaccompanied bass solo that serves as a transition into the groove, brining in the percussionists. The groove move forward with Cachao’s classic feel, grounded by the bassist’s stuttering line and Nelson Gonzalez’s steady tres montuno. As a coro repeats a short melodic figure, trombonist Jimmy Bosch fills the spaces with his rhythmic approach to improvisation. Bosch rides the groove with an assertive drive, hitting the clave from every direction and inspiring a wealth of interaction from the percussionists. Bosch’s momentum sends the group into spontaneous moña, framed by playful lines from saxophonist Justo Almario and trumpet player Alfredo “Chocolate” Armenteros. The group dances through the storm on this track, relishing in the joys of playing in the rain.
When we think about Latin Jazz in the modern musical world, we often conjure thoughts of Afro-Cuban styles – a natural thought considering the genre’s impact upon Latin Jazz; yet Brazilian styles have been just as influential. In fact, Brazilian music captured the imagination of the United States unlike any other Caribbean or South American genre. When Stan Getz began his explorations of bossa nova, the world turned its head towards jazz with a magnitude that hadn’t been experienced in a while. The iconic album Getz/Gilberto won the 1965 Grammy Award for Album Of The Year – a feat that wouldn’t be repeated until Herbie Hancock’s won the honor 43 years later in 2008 for River: The Joni Letters. Bossa Nova became a regular piece of the jazz landscape, with musicians learning semi-authentic interpretations of Antonio Carlos Jobim’s vast songbook. Samba entered the jazz world to a lesser extent, but at least many musicians recognized its existence. For many years, when jazz musicians wanted to throw a “Latin” tune into the mix, they generally called upon some form of a bossa nova or samba. During the fusion wave of the seventies, musicians once again turned to Brazilian rhythms as a point of inspiration. Groups like Chick Corea’s Return To Forever and Joe Zawinul’s Weather Report drew heavily upon sounds and rhythms from Brazil, but for the most part, they were soaked in rock heavy rhythms. Brazilian music certainly found a permanent home in the jazz world, but slowly crept back from the cutting edge – far too many string saturated muzak interpretations of Bossa Nova and samba rhythms that quickly mutate into rock beats placed Brazilian music in the backseat of the Latin Jazz world. Strangely enough, Brazil housed their own cutting edge jazz musicians, such as Hermeto Pascoal, but here in the States, Brazilian jazz simply needed some champions that would reinvigorate the style.
The genre found its champions in 1990 when three transplanted Brazilian musicians came together to form Trio Da Paz. Drummer Duduka da Fonseca journeyed to the States in 1975, immediately working towards establishing a Brazilian music presence in New York. With a growing interest in the music around jazz fusion, da Fonseca built some traction around his groups, integrating artists such as Eliane Elias, Randy Brecker, and Bob Mintzer into his music. Both guitarist Romero Lubambo and bassist Nilson Matta moved to New York in 1985, setting the stage for the formation of the trio. When Lubambo first arrived in the States, he quickly found steady employment with Brazilian singer Astrud Gilberto, before the rest of the jazz world started turning their attention towards him. Matta began working with a diverse spectrum of artists, from jazz saxophonist Joe Henderson to Brazilian trumpet player Claudio Roditi and classical cellist Yo Yo Ma. The musicians really found a inspiring and sympathetic setting when they joined forces as a trio though, grabbing the jazz world’s attention with a stunning debut recording, Brasil from the Inside. They followed this impressive debut with a clever group of arrangements that showcased music from the classic film Black Orpheus. The group kept albums coming over the next few years, delivering two more releases, Partido Out and Café. The latest releases from Trio Da Paz include 2005′s Somewhere and the 2008 collaboration with vibraphonist Joe Locke, Live at JazzBaltica. In addition, each member of Trio Da Paz established important careers as leaders outside the group, recording a collection of albums – next month we can expect a new album from Matta, Brazilian Journey. These three musicians have revitalized Brazilian jazz, and continue to keep the style moving forward.
Brazilian music remains a vital and important part of the Latin Jazz world, we simply need more musicians like Lubambo, Matta, and da Fonseca burning the fire. With this in mind, we’re dedicating today’s Weekly Latin Jazz Video Fix to some of the true champions of Brazilian jazz, Trio Da Paz. The first video finds the group performing a subdued version of Antonio Carlos Jobim’s “Wave” that shows their sensitivity and connection to the Brazilian repertoire. The second clip places them within their own repertoire, stretching out on da Fonseca’s “Dona Maria.” The last selection combines the group with another Brazilian musician, vocalist Maucha Adnet. There’s some great Brazilian jazz here that makes a great argument for a deep exploration of the style – enjoy!
———- Trio Da Paz Performing Jobim’s “Wave”
Trio Da Paz Performing “Dona Maria”
Trio Da Paz Performing With Brazilian Vocalist Maucha Adnet
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Want to hear more from Trio Da Paz? Check out these albums: Black Orpheus
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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
Last week we featured Orlando “Maraca” Valle and the Monterey Latin Jazz All-Stars in our Weekly Latin Jazz Video Fix, taking a minute to talk about their performance last week in Havana. It seemed like a dream band with a group of incredible musicians – Maraca, Giovanni Hidalgo, David Sanchez, and more. Unfortunately, this wasn’t a show that LJC could cover directly, but fortunately, there’s a great post over at the Havana Times that covers the performance and includes some wonderful photographs. Check it out HERE.
Over the past couple of years, we’ve seen a wealth of recordings from Latin Jazz groups in every type of instrumental format from big band to combo. Undoubtedly the most popular format these days is the small group, a fact that Hector Aviles focuses upon over at Latino Web Cafe this week. His article “Small Groups Are The Big Thing” discusses the advantages of small group Latin Jazz – good thoughts, worth checking out. Find it HERE.
If you’re in SOUTH AMERICA this week . . . YURI JUAREZ WHEN: Saturday 1/23/10 WHERE:Jazz Zone
Av. La Paz 646
Pasaje “El Suche”
Miraflores, Lima, Peru TIME: 10:30 p.m. TICKETS: 30 soles
If you’re in EUROPE this week . . . OMAR SOSA
Carib’in Jazz Festival WHEN: Sunday 1/24/10 WHERE:Olympia
Paris, France TIME: 7:00 p.m.
SAMUEL QUINTO WHEN: Wednesday 1/20/10 WHERE:B-Flat
Rua Garcia Arosa 4450
Matosinhos, Portugal TIME: 10:30 p.m.
If you’re in CANADA this week . . . JANE BUNNETT WHEN: Wednesday 1/20/10 WHERE:Gallery 345
345 Sorauren Avenue
Toronto, ON Canada TIME: 8:00 p.m.
If you’re on the EAST COAST this week . . . ARTURO SANDOVAL WHEN: Thursday 1/21/10 – Sunday 1/24/10 WHERE:Blue Note – New York
131 W. 3rd St
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: Bar: $20; Table: $35
BOBBY SANABRIA
Big Band WHEN: Wednesday 1/20/10 WHERE:Fonda Boricua
172 East 106th Street
Ne York, NY TIME: 7:30 p.m. & 9:30 p.m. TICKETS: $20
WHEN: Friday 1/22/10 WHERE:Rubin Museum Of Art
150 West 17th Street
New York, NY TIME: 7:00 p.m. TICKETS: $18 in advance; $20 day of the show
CHICO O’FARRILL’S AFRO-CUBAN JAZZ ORCHESTRA WHEN: Sunday 1/24/10 WHERE:Birdland
315 W. 44th Street
Manhattan, NY TIME: 9:00 p.m. & 11:00 p.m. TICKETS: $30
CHRIS WASHBURNE & S.Y.O.T.O.S. WHEN: Sunday 1/24/10 WHERE:Smoke
2751 Broadway
New York, NY TIME: 8:00 p.m., 10:00 p.m. & 11:30 p.m. TICKETS: $20 minimum
CLAUDIA ALZAMORA WHEN: Wednesday 1/20/10 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: NO COVER
CURTIS BROTHERS WHEN: Monday 1/18/10 WHERE:Spike Hill
184/186 Bedford Avenue
Brooklyn, NY TIME: 9:30 p.m. TICKETS: FREE
WHEN: Saturday 1/23/10 WHERE:Le Passion Rouge
158 Bleecker Street
New York, NY TIME: 7:00 p.m. TICKETS: $15
DAVE VALENTIN
with Candido WHEN: Tuesday 1/19/10 – Wednesday 1/20/10 WHERE:Blue Note – New York
131 W. 3rd St
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: Bar: $15; Table: $25
ELEONORA BIANCHINI WHEN: Saturday 1/23/10 – Sunday 1/24/10 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: Saturday: 8:00 p.m. & 10:30 p.m.; Sunday: 7:00 p.m. TICKETS: NO COVER
ERIC KURIMSKI WHEN: Thursday 1/21/10 WHERE:Terraza Cafe
40-19 Gleane St
Elmhurst, NY TIME: 10:00 p.m. TICKETS: FREE
HECTOR MARTIGNON WHEN: Thursday 1/21/10 WHERE:Nuyorican Poet’s Cafe
236 East 3rd Street
New York, NY TIME: 9:00 p.m. TICKETS: $7
JOHN BENITEZ WHEN: Thursday 1/21/10 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: NO COVER
SAMUEL TORRES GROUP WHEN: Friday 1/22/10 WHERE:Fonda Boricua
169 East 106th Street
New York, NY TIME: 8:00 p.m. TICKETS: NO COVER
SHIRAZETTE TINNIN WHEN: Tuesday 1/19/10 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: NO COVER
VENISSA SANTÍ WHEN: Friday 1/22/10 WHERE:Vino
1001 North 2nd Street
Philadelphia, PA TIME: 8:00 p.m.
If you’re in the MID-EAST this week . . . CHICAGO AFRO-LATIN JAZZ ORCHESTRA WHEN: Tuesday 1/19/10 WHERE:Jazz Showcase
806 S. Plymouth Court
Chicago, IL TIME: 8:00 p.m. & 10:00 p.m. TICKETS: $30
LOS GATOS WHEN: Wednesday 1/20/10 WHERE:Live At PJ’s
102 S 1st St
Ann Arbor, MI TIME: 8:00 p.m. & 9:15 p.m. TICKETS: $7
PAULINHO GARCIA
CD Release Celebration For Portrait In Black And White WHEN: Wednesday 1/20/10 WHERE:Space
1245 Chicago Ave.
Evanston, IL TIME: 8:00 p.m. TICKETS: $10 in advance; $15 day of show
TUMBAO BRAVO WHEN: Sunday 1/24/10 WHERE:Sangria’s
401 South Lafayette Avenue
Royal Oak, MI TIME: 9:30 p.m. TICKETS: $5
TWO FOR BRAZIL WHEN: Thursday 1/21/10 – Sunday 1/24/10 WHERE:Jazz Showcase
806 S. Plymouth Court
Chicago IL TIME: 8:00 p.m. & 10:00 p.m.; Sunday: 4:00 p.m.
If you’re on the WEST COAST this week . . . ALEXA WEBER MORALES WHEN: Wednesday 1/20/10 WHERE:Levende East
827 Washington Street
Oakland, C TIME: 8:30 p.m.
GRUPO FALSO BAIANO WHEN: Sunday 1/24/10 WHERE:The Omni
4799 Shattuck Avenue
Berkeley, CA TIME: 4:30 p.m. TICKETS: $40 in advance; $50 at door
JOVINO SANTOS NETO WHEN: Saturday 1/23/10 WHERE:Bake’s Place
4135 Providence Point Dr. SE
Issaquah, WA TIME: 8:00 p.m. TICKETS: $20
KAT PARRA WHEN: Monday 1/18/10 WHERE:Yoshi’s – San Francisco
1330 Fillmore Street
San Francisco, CA TIME: 8:00 p.m. TICKETS: $10
I’ll See You in Cuba Pablo Menéndez & Mezcla Zoho Music
Latin Jazz artists find ways to combine Latin rhythms with all types of jazz approaches; musicians with a connection to rock styles often chose the rocky route of integrating jazz fusion. At one point, this choice would have reflected the music’s vanguard element – in the sixties and seventies, artists like Miles Davis, Weather Report, and Return to Forever experimented with electronics and the integration of rock rhythms. They rode a cutting edge that involved finding new contexts for improvisation and new ways to shape the jazz language. Somewhere along the line, fusion unfortunately lost its jazz edge and strayed more towards instrumental pop music. When the excitement of jazz-rock and the energy of electronic instruments pushed some jazz artists into star status, several artists took a more commercial route and made their music more accessible to a wider audience. The danger of stepping into fusion today is falling too deep into that instrumental pop lineage; Latin Jazz groups that experiment with fusion settings run the risk of becoming Latin Rock groups or instrumental salsa bands. Artists need to find an authentic way to put together Latin rhythms, rock ideals, and electronic instruments with that jazz edge. Throwing those all pieces together provides a jumbled mixture that requires a balance of each different element. Guitarist Pablo Menéndez and his group Mezcla bravely maintain that jazz edge as they travel through fusion ideals on I’ll See You in Cuba.
An Affinity For Fusion
The group displays an affinity for fusion on several tracks, freely mixing contemporary ideas with Cuban rhythms and serious jazz improvisation. Tenor saxophonist Orlando Sánchez improvises feverishly over drummer Ruy Adrián López-Nussa burning uptempo swing on “Big Brecker” until the whole band leaps into a ferociously virtuosic melody over a steaming rumba. Sánchez twists and turns through the racing solo cycle with an edgy tone and a creative soulfulness, paying a fitting tribute to the song’s namesake, legendary sax player Michael Brecker. Trumpet player Máyquel González follows Sánchez’s lead with an angular improvisation that displays creative melodic ingenuity, giving way to bass player Ernesto Hermida winding solo, filled with quick runs. Drummer Oliver Valdés lays down a funky groove complemented by funky fills on “Chucho’s Blues” before the wind players jump into a bluesy melody reminiscent of Irakere. Sánchez tears into an assertive improvisation over a stuttering rhythmic basis, building into a fiery statement from Gonzalez, who winds around the driving groove with a boppish finesse. Menéndez brings an ingrained sense of melodic invention to his statement, followed by a bluesy solo from pianist José Luis Pacheco, until the whole band explodes into a wild collective improvisation. Understated guitar licks drenched in echo wander into a subdued cha cha cha vamp on “Oslo” before Herrera, Menéndez, and Sánchez join together on a lush melodic statement. As the rhythm section shrinks into a sparse setting, Herrera sails through the texture, creating a introspective statement. After a brief interlude, Sánchez moves into an incredibly thin backdrop, building into the rhythm section’s return with an adventurous spirit. Mezcla interprets fusion with a wide birth on these tracks, paying tribute to some of the genre’s great musicians with their own distinct style.
Leaning Closer To Tradition
Menéndez and Mezcla balance stylistic elements with a group of pieces that lean closer to tradition without loosing the group’s unique slant. Menéndez’s catchy guitar vamp establish a distinctive groove that sits squarely between Cuban tradition and a modern world music feel on “Quién Teine Ritmo?” leading into a repeated percussive melody. Flautist Magela Herrera taps into a tipico sound with rhythmic phrasing that fits tightly around the clave, while bassist Ernesto Hermida builds a statement from short understated ideas. Menéndez wraps tasteful melodic ideas and witty quotes into a classy improvisation until the rhythm section opens into explosive solos from conguero Octavio Rodríguez and timbalero Samuel Formell. González and tenor saxophonist Néstor Rodríguez phrase the melody with an embedded sense of jazz swing on “Homenaje A Afro Cuba,” floating over a swirling snare drum rhythm and lush synthesizer patches. As the textures opens into a steady momentum, González thoughtfully improvises through a long series of ideas, pushing the band into a stirring climax. After a driving interlude, the band shrinks into drums and percussion, as Rodríguez displays a strong command over folkloric settings, improvising alone and eventually in conversation with González. Herrera, Rodríguez, and González race into a elegantly traditional melody over a danzon rhythm on “El Médico De Los Pianos,” countered by short melodic snippets from electric piano and distorted guitar. Menéndez finds the perfect contrast to the delicate setting with a raucous guitar tone, spinning lines that balance between rock and jazz. González flies into a wild melodic line on his improvisation, using sequences and quick steps outside the chord changes to building a tense dynamic into López-Nussa’s tasteful solo. The group creates a serious fusion on these tracks, using Afro-Cuban tradition as a starting point while exploring combinations of different ideas
Adding Surprises Into The Mix
Menéndez refuses to be typified throughout the recording, including several songs that play upon convention by adding surprises into the mix. Menéndez’s slicing tone takes command over a laid back blues shuffle on “Chicoy’s Blues,” allowing him to stretch out with defined authority. A sudden break sends the group charging into a double time rock groove, setting the stage for an energetic improvisation from Sánchez. González, Menéndez, and bassist Ernesto Hermida all fly over the driving groove with an aggressive investment, delivering memorable solos. The rhythm section establishes a mix between tin-pan alley and broadway on the Irving Berlin tune “I’ll See You In C.U.B.A.,” integrating a distinctly different flavor into the recording. The lyrics recall a flippant party atmosphere found in Havana during the fifties, foreshadowing the possibility of an over-commercialized post-Castro Cuba. González adds a strong authentic feel to the song with a muted trumpet solo that pulls phrasing directly from the Louis Armstrong book of licks. Menéndez introduces a steady vamp that segues into a bolero behind the classic melody of Thelonious Monk’s “‘Round Midnight,” which inherits a strong dose of drama in this setting. Solos continue over the churning bolero rhythm, with a clean guitar improvisation from Menéndez and a melodic statement from González. The band kicks into high gear with an assertive cha cha cha behind a repeated coro, setting the stage for a wild distorted solo from Menéndez and a fiery series of phrases from González. These tracks integrate some surprising directions into the recording, keeping the album fresh and displaying the group’s creative diversity.
Making A Serious Argument For Latin Jazz Fusion
Menéndez and Mezcla create a fluid statement on I’ll See You in Cuba that cleverly mixes elements of fusion with an unwavering dedication to jazz. Their repertoire mixes a compositional complexity with plenty of room for improvisatory statements, making their music both challenging and interesting. Stylistically, the group travels through many worlds, constantly finding ways to connect Afro-Cuban rhythms to funk, rock, and swing. Sánchez contributes several of the album’s most interesting pieces, revealing an influence from some of the great fusion bands, including the Brecker Brothers and Irakere. Menéndez shows a sensitivity to the group’s sonic landscape, often mixing traditional jazz instruments with electronic sounds, raging from keyboards to guitars. The electronics never overwhelm the mix, in fact they complement each track, adding essential colors into the group. Menéndez’s guitar acts as a major piece of this puzzle, adding a wide range of tonal colors from a reverb covered clean tone to raw distortion. The musicians improvise with a loose fluidity that translates directly to a traditional jazz setting, prioritizing their personal voices over the production of a product. Sánchez, González, and Herrera all emerge as outstanding soloists, placing equal doses of fire, style, and individual expression into their work. Menéndez and Mezcla display high level musicianship throughout I’ll See You in Cuba, producing a compelling collection of music that makes a serious argument for the continued exploration of Latin Jazz fusion.
Our current Spotlight Artist Manny Silvera brings an exciting and intelligent concept of contemporary Latin Jazz big band music to his latest release Bassed In America. Silvera writes with a honest connection to the early Latin Jazz big band music that established the style while continuing to look forward with modern approaches. There’s a solid blend of past and present that balances every swinging mambo with a funky groove. Silvera composes with a vast awareness of the modern Latin music world, calling upon ideas from Cuban timba and New York salsa throughout the album. Every track includes a serious dance setting that will surely please any audience and get them moving quickly. At the same time, there’s a major jazz aesthetic blended into the album that will keep the artistic ears listening. Sharp harmonic writing and clever arrangements provide plenty of space for a long list of improvisors, driven by an outstanding rhythm section. Silvera utilizes two large ensembles on the album, calling upon musicians both from Los Angeles and his home in Medellin, Columbia. Pianist Jorge Cottes adds significant amounts of performance energy and arranging skills into the album and some of the wonderful soloists include trumpet player Luis Bravo and Juan Giraldo. Bassed In America delivers a modern look at Latin Jazz big band writing and performance that both thrills and inspires – it’s worth checking out.
Bassist and composer Manny Silvera has been in Los Angeles for a while, and you can track his impact across several websites. You can befriend Silvera, check out his music and photos, as well as send messages to him through his MySpace page. If you’d rather write on Silvera’s wall, chat in real time, or become a fan, you can find Silvera at his Facebook page. Bassed In America is available online both as a physical mail order and a digital download – find the details and listen to samples at the CDBaby page. Silvera released another great Latin Jazz album a few years back that places his deep musicality in a smaller setting – you can find the album, Origen and check out samples HERE. Silvera has played with a number of great Los Angeles Latin Jazz groups, including percussionist Bobby Matos’ Afro-Latin Jazz Ensemble; you can find Silvera’s bass on several of that group’s albums, including Chango’s Dance and Footprints. There’s a wealth of ways that you can check out Silvera’s music online; take the time to listen and get to know this superb musician.
If you like the powerful sound of a Latin Jazz big band combined with modern musical ideas, you’ve got to check out Bassed In America. Silvera stands out as an intriguing performer and composer, so I’ve included some information below to help you get to know him better. There’s some biographical information pulled from his websites as well as a video of Silvera discussing the album in both Spanish and English (you’ll hear bits of the album in the background too!). Cruise around and check out Silvera’s work, it’ll get you moving and inspired – enjoy!
———- Manny Silvera was born in Panama City and raised in Medellin, Colombia. He began studying his instrument, the bass, as a child. Among his early influences were Charles Mingus and Ruben Blades. As a young man, he relocated to the United States and settled in Los Angeles, where he almost immmediately began working as a musician, in both the jazz and salsa genres. Silvera has been a part of Bobby Matos Afro-Cuban Jazz Ensemble and Johnny Polanco’s Conjunto Amistad. Always in demand, Silvera has played and recorded with numerous stars, including Johnny Pacheco, Alfredo de la Fe, Jimmy Boch, Tito Nieves, and Tito Puente Jr. On his first release, Origen, Silvera passionately demonstrates his love of jazz and Latin music.
Recorded over a four year period, Bassed In America pushes Silvera’s concept even further. Two of the ten tracks were recorded in Hollywood, CA using LA’s most versatile and admired Latin jazz players. The other eight tracks were recorded in Silvera’s hometown, Medellin, Colombia, South America. The esteemed pianist, arranger, and producer Jorge Cottes collaborated with Silvera on the project. The two men became friends when they were teenagers playing together in a salsa orchestra. Each of the Colombian musicians is a master in his own right. Silvera’s inspiration for this project came from Latin American composers and writers. “Paulo Coelho and Gabriel Garcia Marquez inspired a lot of people when I was growing up in Colombia.” The tracks “Gabo” is dedicated to Gabriel Garcia Marquez. “Portobelo” is dedicated to the Brazilian author Paulo Coelho. Bassed In America differs from Silvera’s first album Origen in the orchestration. While Origen is primarily in a jazz combo format, this album expands into a big band format on eight tracks. Bassed In America has a quality sound and production values. It is able to compete with anything there is in the world of Latin jazz. Fans of Silvera will enjoy listening to the evolution of his song writing skills. At present, Silvera is a highly original, skilled composer
Musicians generally like to keep artistry and politics separate, but the strong connection between Latin Jazz and Cuba sometimes make that task difficult. Pre-Communist Cuba supplied a steady stream of inspiration to United States musicians and listeners, exerting an influence upon the popular music and jazz worlds. The island’s close proximity to the United States and the shared cultural heritage made a connection between jazz and Cuban music a natural evolution. Everything changed once Fidel Castro placed a Communist government in Cuba and the United States quickly backed away from their neighbor. Over the course of the next fifty years, the United States built a political relationship with Cuba that is rife with tension, a fact that has rolled into the musical exchange between the two countries. Cuba’s musical evolution became a mystery to the United States audience and as a result, the two countries pushed Latin Jazz in distinctly different directions. While the diversity has resulted in successful artistic progressions for both countries, the strength of a constant collaboration just overflows with potential. Canada, South America, and countries across Europe maintain a much more healthy artistic exchange, hosting performances from Cuban musicians and opening travel opportunities to their musicians. Despite a much greater physical distance from Cuba, these areas have soaked the island’s influence into their artistic cultures in many ways. If the United States and Cuba moved past their own political barriers, the musical conversation between these neighboring countries could become massive.
Although the walls are hardly broken, things are looking brighter – after years of a hard line closed door policy towards Cuba and its culture, the United States has begun to open its shores to Cuban music once again. The Clinton administration made serious inroads into artistic exchange between Cuba and the United States, allowing Stateside tours of Chucho Valdes and Irakere, Los Van Van, and more during the late nineties. The government under George W. Bush stopped performances from Cuban groups fairly quickly during the 2000s, making their policy towards the island nation very apparent. With the beginning of the Obama presidency, things began to change very rapidly, reflecting a more liberal approach to diplomatic relations. In 2009, Buena Vista Social Club singer Omara Portuondo appeared on the Latin Grammy Awards and the legendary son group Septeto Nacional made a trip across the United States, sharing their traditional take on Cuba’s music. Before the end of the year, another Cuban dance band, this time a much more modern group, Charanga Habanera, lit up the dance floors in the United States. At the same time as Cuban groups started invading US shores, groups from the States started to see the possibility of performing on Cuba – a feat accomplished by the renown funk band Kool & The Gang in late December. 2010 holds more Cuban music across the States, with expected visits from Los Van Van and more. Things are moving slowly around active exchange with Cuba’s jazz side, although the recent track record with open artistic exchange holds promise for the future.
My focus here at LJC is on music, not politics, but I’m certainly glad to see an emerging artistic relationship between Cuba and the United States once again – it can only be good for the music. With this in mind, our Weekly Latin Jazz Video Fix is dedicated to a concert happening in Havana tonight, featuring a combination of musicians from Cuba and the United States – Orlando “Maraca” Valle and The Monterey Latin Jazz All-Stars. This group carries some impressive talent, including Valle on flute, David Sanchez on tenor sax, Harold López-Nussa and Yusef Díaz on piano, Feliciano Arango on bass, Julio Padrón on trumpet, Giovanni Hidalgo on congas, and Horacio “El Negro Hernández on drum kit. I’ve included several high energy clips of the group performing, and I can only imagine the intensity of tonight’s performance in Havana. Let’s keep our fingers crossed that this will inspire more Cuban jazz groups to visit the States – enjoy!
———- Orlando “Maraca” Valle And The Monterey Latin Jazz All-StarsPerforming During 2009
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Want to hear more from Orlando “Maraca” Valle? Check out these albums: Descarga Total
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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.
New York Encounter
Music relates to community in so many different ways; it’s not always just about the group of performing musicians – musicians can reach out to support other communities. In hard times, musicians are often some of the leaders in benefit events – a fact that has held true in 2010 after the tragic earthquake in Haiti. Individuals around the world contributed personal donations right away, but at the same time, musicians were quickly organizing fundraising concerts. High profile concerts such as the pop driven Hope For Haiti Now event and subsequent downloads brought in immediate loads of cash, getting the ball rolling. This blast of a worldwide major event like this helps the cause immensely, but a multitude of local benefit concerts can be just as effective. Fortunately, these events are popping up across the country at an inspiring rate, and the Latin Jazz world has been a big part of this support system. Events on the East Coast, West Coast, and Middle America have all been scheduled, showing an outreach of community past any local scene. This is where music becomes more than just the individual, it becomes about humanity – something we often forget that sits at the root of the art form.
The mixture of Latin culture and African American jazz really has a confused history that is often overlooked through modern eyes. Most people only look at the surface appearance of the style, categorizing a Latin influence into a tidy box. The common concept of the music is one that has been solidified by many musicians over several decades, and it presents a clearly defined approach. From the blaring Afro-Cuban rhythms of Tito Puente to the churning bossa nova of Getz and Gilberto and the festejo of Gabriel Alegria, musicians have found innovative ways to combine Caribbean and South American rhythms with jazz harmonies. This combination certainly resulted in some great music, but it’s only one piece of a larger picture. When we looked back across the first decade of the twenty-first century, we discovered the reoccurring theme of “What Is Latin Jazz?,” a question forced upon us by new representations of Latin culture in the jazz world. The high profile emergence of multitudes of artists pushing the limits of the genre brought the issue into the forefront of our attention in the 2000s, but it’s hardly a new idea. Latin influences and musicians have helped shape the jazz world since it’s beginnings. 
One musician who shaped the course of jazz history celebrated their 110th birthday this week – valve trombonist Juan Tizol was born on January 22, 1900 in San Juan, Puerto Rico. Born into a musical family, Tizol gained a solid musical foundation on the island, emerging as a highly trained classical musician. In 1920, Tizol made his way into Washington D.C., smuggled into the city by boat to work a steady theater gig. Nine years later, after a variety of musical jobs and an investment in a deli, Tizol gained a spot in Duke Ellington’s band. Being a fully trained musician, Tizol became a key player in the group, transposing parts, doing copywriting, and providing a distinct contrast to the rough bluesy voices in the band. Ironically, Tizol encounter race issues in the band, but not because of his Caribbean heritage – his light skin gave him the appearance of being caucasian, which led to a well-known conflict with Charles Mingus and more. Tizol began composing for the band in the early thirties, inserting a “Latin” edge into some songs, while staying with the group’s swing feel on others. 1944 marked the end of an era as Tizol left Ellington to pursue a job with Harry James in Los Angeles, bringing him closer to his wife. Tizol made a brief return to the Ellington band in 1951, only to leave again after three years. He bounced between several prominent big bands over the next ten years, retiring to Los Angeles during the sixties. Tizol lived to a ripe age of 84, dying in Los Angeles on April 23, 1984. 
Tizol’s career presents a perfect example of the foggy relationship between traditional jazz and Latin culture – he was a musician that easily “sat between” jazz and Latin music. His legacy remains firmly attached to Ellington, one of the most influential voices in tradition jazz. His contributions to the group behind the scenes, as a performer, and as a composer helped the group stake their place in history and create some of the world’s most memorable music. Ellington respected Tizol and his abilities, a fact reinforced by his willingness to include several Tizol compositions into the group’s repertoire, which was dominated by Ellington and Billy Strayhorn pieces. His composition “Perdido,” a swing tune, caught the imagination of jazz musicians and listeners around the world; it continues to be a highly played standard. Many Latin Jazz musicians remember Tizol as a ground breaking Puerto Rican musician that connected Latin culture with the Ellington band. Another famous Tizol composition, “Caravan” sits among the most cherished Latin Jazz standards in the genre, recorded hundreds of times, using countless creative arranging techniques. He made significant strides on both sides of the fence, gaining respect and notoriety among the jazz audience and Latin musicians alike. 
Tizol’s use of Latin elements in his compositions certainly opened the door for Latin rhythms in jazz, but it also served to keep a grey area around Latin culture in the music. Tizol’s pieces certainly broke the band out of its swing mold, forcing the rhythm section into straight eighth notes. Still, although the band’s foundation made these changes, the wind players continued to swing melodies at points; there was definitely not a unified group concept around clave. A great example of this tension around a disjointed concept exists on the band’s recording of Tizol’s “Moon Over Cuba” from 
Tizol’s place in the jazz world brings a serious set of questions into play, forcing us to examine the role of Latin culture in jazz. Tizol’s contributions to the Ellington band were significant – he added songs to the group’s repertoire, he was a long time member of the brass section, and he worked behind the scenes to make the band more musically functional. Why doesn’t the jazz world remember Tizol with the reverence of other Ellington alumni like Billy Strayhorn, “Cootie” Williams, or Louie Bellson? Tizol specifically tried to bring compositions with Latin influences into the band, but they lacked a specific connection to Latin culture. There were certainly less resources available to learn the music at that time, but there were plenty of Puerto Rican musicians in New York during the thirties – if members of the Ellington rhythm section really wanted to get it right, they could have found some help. With this in mind, its curious to wonder why the performance of these pieces were taken so lightly – were they seen as novelty to the band? History has certainly been written around the racial issues experienced by African American jazz musicians, a seriously heavy subject. Still, Latino musicians such as Tizol must have felt a double whammy in the same situations, experiencing discrimination while dealing with the downplay of their culture. Why don’t the jazz history books address these issues? I’m not sure that I know the answers here, I’m really just thinking aloud – but the facts seem to demand answers to these questions. 
There’s a whole wealth of Latin musicians that sit in the background of jazz history, and a number of instances where Latin music pushed the genre forward – it’s time to bring those contributions into the forefront. In general historians consider jazz an African-American art form, and the dominance of the culture in the music in undeniable. Music never maintains a strictly isolationist policy though, and its important to recognize the whirlpool of cultures that brought jazz into its modern state. Cultural elements from the Caribbean and South America certainly have played an important role in jazz development, from the music’s origins to modern day. Latin musicians like Juan Tizol worked in the trenches of jazz, wrote important compositions, and developed the conventions that we now consider standard in the jazz world. Sometimes they used Latin rhythms and at other times, they didn’t; that’s not the issue here though. The issue remains that musicians like Tizol made significant contributions to the evolution of jazz, yet they sit outside the realm of wide public recognition. It’s time to stop treating Latin culture like a second class citizen in the jazz world and embrace its influence – an act that would show respect and admiration for the work of Juan Tizol and all the Caribbean and South American musicians that have made jazz an incredible art form. 
Warm rains and gentle breezes conjure images of soft ballad settings and smooth melodies in the jazz world; they seldom capture the fire and passion inherent in Latin Jazz. Lately, the winter weather has held more than a simple shower though – heavy storms have been attacking my world in many ways. Pounding sheets of rain have made my commute into work slow and treacherous. Dark clouds covered the sky, making my day dark, dismal, and overcast. Thunder and lightning lit up the darkness then sent rumbling waves of sound shooting through my house, scaring the dog and distracting my family. Throughout all the gloomy weather, all three of my kids and myself fell under nasty colds, keeping us home from school and work respectively, staying in bed days at a time. With all this activity brewing through my week, one might think my head would be anywhere but in the Latin Jazz world . . . but I just can’t help myself.
Lluvia Azul – 
Second Wind – 
Come Rain Or Come Shine – 
, Nilson Matta
The Lord Of Thunder – 
Lluvia, Viento Y Caña – 
When we think about Latin Jazz in the modern musical world, we often conjure thoughts of Afro-Cuban styles – a natural thought considering the genre’s impact upon Latin Jazz; yet Brazilian styles have been just as influential. In fact, Brazilian music captured the imagination of the United States unlike any other Caribbean or South American genre. When Stan Getz began his explorations of bossa nova, the world turned its head towards jazz with a magnitude that hadn’t been experienced in a while. The iconic album 
won the 1965 Grammy Award for Album Of The Year – a feat that wouldn’t be repeated until Herbie Hancock’s won the honor 43 years later in 2008 for 
. Bossa Nova became a regular piece of the jazz landscape, with musicians learning semi-authentic interpretations of Antonio Carlos Jobim’s vast songbook. Samba entered the jazz world to a lesser extent, but at least many musicians recognized its existence. For many years, when jazz musicians wanted to throw a “Latin” tune into the mix, they generally called upon some form of a bossa nova or samba. During the fusion wave of the seventies, musicians once again turned to Brazilian rhythms as a point of inspiration. Groups like Chick Corea’s Return To Forever and Joe Zawinul’s Weather Report drew heavily upon sounds and rhythms from Brazil, but for the most part, they were soaked in rock heavy rhythms. Brazilian music certainly found a permanent home in the jazz world, but slowly crept back from the cutting edge – far too many string saturated muzak interpretations of Bossa Nova and samba rhythms that quickly mutate into rock beats placed Brazilian music in the backseat of the Latin Jazz world. Strangely enough, Brazil housed their own cutting edge jazz musicians, such as Hermeto Pascoal, but here in the States, Brazilian jazz simply needed some champions that would reinvigorate the style.
. The group kept albums coming over the next few years, delivering two more releases, 
and 
. The latest releases from Trio Da Paz include 2005′s 
and the 2008 collaboration with vibraphonist Joe Locke, 
. In addition, each member of Trio Da Paz established important careers as leaders outside the group, recording a collection of albums – next month we can expect a new album from Matta, Brazilian Journey. These three musicians have revitalized Brazilian jazz, and continue to keep the style moving forward. 
Bassist and composer Manny Silvera has been in Los Angeles for a while, and you can track his impact across several websites. You can befriend Silvera, check out his music and photos, as well as send messages to him through his 
and 
. There’s a wealth of ways that you can check out Silvera’s music online; take the time to listen and get to know this superb musician.
Manny Silvera was born in Panama City and raised in Medellin, Colombia. He began studying his instrument, the bass, as a child. Among his early influences were Charles Mingus and Ruben Blades. As a young man, he relocated to the United States and settled in Los Angeles, where he almost immmediately began working as a musician, in both the jazz and salsa genres. Silvera has been a part of Bobby Matos Afro-Cuban Jazz Ensemble and Johnny Polanco’s Conjunto Amistad. Always in demand, Silvera has played and recorded with numerous stars, including Johnny Pacheco, Alfredo de la Fe, Jimmy Boch, Tito Nieves, and Tito Puente Jr. On his first release, Origen, Silvera passionately demonstrates his love of jazz and Latin music.
Musicians generally like to keep artistry and politics separate, but the strong connection between Latin Jazz and Cuba sometimes make that task difficult. Pre-Communist Cuba supplied a steady stream of inspiration to United States musicians and listeners, exerting an influence upon the popular music and jazz worlds. The island’s close proximity to the United States and the shared cultural heritage made a connection between jazz and Cuban music a natural evolution. Everything changed once Fidel Castro placed a Communist government in Cuba and the United States quickly backed away from their neighbor. Over the course of the next fifty years, the United States built a political relationship with Cuba that is rife with tension, a fact that has rolled into the musical exchange between the two countries. Cuba’s musical evolution became a mystery to the United States audience and as a result, the two countries pushed Latin Jazz in distinctly different directions. While the diversity has resulted in successful artistic progressions for both countries, the strength of a constant collaboration just overflows with potential. Canada, South America, and countries across Europe maintain a much more healthy artistic exchange, hosting performances from Cuban musicians and opening travel opportunities to their musicians. Despite a much greater physical distance from Cuba, these areas have soaked the island’s influence into their artistic cultures in many ways. If the United States and Cuba moved past their own political barriers, the musical conversation between these neighboring countries could become massive. 
