The Spotlight Series highlights upcoming Latin Jazz musicians that have yet to reach national recognition. Many of these musicians thrive in local scenes and some tour in support of releases. All these musicians contribute greatly to the overall Latin Jazz scene, and they deserve our “spotlighted” attention.

Bassed In America
Manny Silvera
Origen Music
For many people, Latin Jazz appeals as both a listening music and a dancing experience; this creates a fun atmosphere for an audience, but it also presents challenges to artistry. The roots of Latin Jazz as a dance music derives directly from the mambo big bands of the forties, who set the standard for artistry in a dance context. While these groups serve as fantastic models, an exact imitation of early mambo big bands limits a twenty-first century musician. Today’s Latin Jazz musicians have sixty years of history separating them from the early mambo big bands, so they need to reflect the elements that have helped construct their contemporary identity. Some musicians have followed the path of traditional jazz and strayed away from a danceable format with a more free-form concept of the clave. Other artists integrate the lessons of classic seventies salsa, including vocals and commercially accepted forms, into a jazz context. Still more seek to expand the fusion of styles, incorporating extensive electronic instruments and a lean towards Latin Rock. While all these approaches potentially produce interesting music, they move far away from an even mix of jazz artistry and dance settings. A true combination of these two worlds involves a carefully constructed set of compositions that respectfully hold onto jazz while setting a danceable atmosphere. Bassist Manny Silvera delivers an outstanding set of original Latin Jazz compositions on Bassed In America that provide rich jazz performances with an addictive danceable vibe.

Leaning Heavily Upon a Jazz Influence
Silvera leans heavily upon a jazz influenced sound on several tracks. A funky bass line from Silvera introduces an assertive cha cha cha groove on “Gabo” before the wind players enter with a slippery melody that moves through a rich set of chord changes. José Tobón charges through an enthusiastic series of runs with a cutting soprano sax sound before guitarist Pablo Uribe pushes the band into a higher dynamic level with a raw distorted tone. A winding interlude sends the rhythm section into a double time feel for a rhythmic improvisation from pianist Jorge Cottes and an explosive improvisation from conguero Uber Ocampo. A driving break sends the band bursting into an upbeat melody filled with intertwining counter lines and tightly arranged rhythm section accents on “Like Latin.” The rhythm section burns into a swinging son montuno groove over a repeated vamp as trumpet player Luis Bravo and saxophonist Juan Fernando “Guapito” Giraldo trade solo ideas. An attention grabbing catchy mambo sets the tone for another series of improvisations from trombonist Cristian Rios, flautist León Giraldo and Cottes. A strong theme goes through a number of smart variations on “Portobelo,” rising into a series of bop flourishes. Bravo cleverly phrases close to the clave with melodic ingenuity leading into a soprano sax solo that plays upon the harmony in a positive way. The group navigates through a complex mambo before Cottes attacks the piano in a percussive statement filled with syncopated lines. These pieces place Silvera’s work in a traditional Latin Jazz big band setting, revealing his connection to the idiom.

Combining Jazz With Timba
Silvera uses keen insights to pull together jazz writing with modern Cuban timba structures, delivering a collection of exciting pieces. A complicated break sends the group charging into a driving son montuno groove on “Amigos,” setting the stage for an engaging melody. The group travels through a series of colorful chord changes as flautist León Giraldo provides a short but potent statement and Bravo races through his high register. Wilmar Sanchez builds a powerful statement, traveling into the upper reaches of his alto sax before Uribe tears through the group with a serious rock edge. Pianist Juan Diego “Juáncho” Valencia introduces an addictive montuno on “Boba,” leading into an aggressive melody framed with sharp accents. The rhythm section makes a drastic contrast, bringing the dynamic down behind Valencia, who uses a combination of smart melodic construction and rhythmic drive to build a memorable statement. As Valencia falls into a montuno, drummer Juan Guillermo “Cosito” Aguilar leaps into an exciting percussive display, sending the group charging into a propulsive mambo and funky breakdown. Unaccompanied flourishes from pianist Albeniz Quintana sends the rhythm section into a rumba guaguanco on “Calle Ache/Bassed In America,” as the wind players travel through a mysterious minor melody. Free floating breaks in the time lead into a batá interlude from Humberto “Nengue” Hernandéz, introducing fiery solos from Arturo Solar on flugelhorn and Robert Anthony Gil on tenor saxophone. A sudden break sends the group rocketing into a dynamic montuno, while Silvera creates a strong electric bass solo and Fausto Cuevas brings the band to life with his timbale work. Silvera pulls together several compositional pieces to construct these songs, giving us a mix of modern and traditional styles.

Bringing A Salsa Influence Into The Music
Silvera calls upon a salsa influence with several tracks, bringing in elements of the music while staying connected to jazz. A single saxophone introduces the melody over a cumbia feel on “Manolo,” until the band creates a distinct contrast with a jump into son montuno and a full band sound. Juan Giraldo lights a fire in the band with a bop fueled improvisation that builds into a swinging moña. Fernando “Chino” Gaviria stretches tasteful timbale licks across a driving montuno, and Cottes creates a cleverly understated improvisation between powerful mambos. A straight-ahead vamp over a son montuno rhythm introduces “A Barretto,” leading into a repeated melody that strongly recalls seventies salsa. Arthur “Artie” Webb tears through the group’s assertive groove with racing streams of notes, contrasted quickly by Cottes’ use of long syncopated rhythmic figures. The original vamp segues into a fiery improvisation from tenor saxophonist Juan Giraldo, only to return behind a strong conga solo from Juan David “Cheo” Grajales. The full band explodes into an angular melody filled with sharp rhythmic turns and syncopations on “Maranon,” moving with an unstoppable momentum into a fierce conga solo from José “Papo” Rodriguez. Quintana brings the band to a whisper with a compelling improvisation, until drummer Raul Pineda creates a head-turning contrast with a quick show of virtuosity and modern Cuban phrasing. A play upon the original melody sends the group into an improvisation from violinist Karen Briggs which combines interesting lines and bowed effects and an energetic solo from Webb. Silvera mixes the best elements from salsa and jazz on these pieces, creating a context for instrumental improvisation that remains inherently danceable.

A Captivating Listening Experience
Silvera finds a compelling mix of intriguing jazz complexity and exciting dance appeal on Bassed In America that creates a captivating listening experience on many levels. As a composer, Silvera cleverly wraps several elements into a single package; at any moment exciting jazz solos grab you attention while the ferocious groove keeps moving forward. He understands the importance of jazz harmony, building colorful sets of chord changes, but also respects the power of dance conventions, framing improvisations in head-turning mambos and moñas. A large ensemble powers the album, infusing Silvera’s potent compositions with a bold sound that draws upon roots in both traditions. Silvera shares arranging duties with a variety of musicians from Cottes to trombonist Danny Weinstein, filling the band with intricately developed presentations of the bassist’s ideas. A number of musicians help bring Silvera’s music to life, with a rotating cast of individuals filling out the band on each track. Cottes adds a potent contribution with strong piano ideas throughout many tracks, and Bravo performs a number of memorable solos. Silvera puts all these elements into play throughout Bassed In America, creating an addictive album that stimulates the mind and moves the body through several required repeated listens.

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Check Out These Related Posts:
Latin Jazz Quick Picks: Coast To Coast
Latin Jazz: A Legitimate American Music
Spotlight: Salsa’ n Jazz, Samuel Quinto Trio
Spotlight: Three Gold Coins, Mark Holen’s Zambomba

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