Stanford University holds a reputation around the world as a center for high quality academic excellence, and in the past two years, it is becoming a growing force for a new generation of Latin Jazz musicians. While the campus has held a strong arts community for many years, Stanford’s Music Department just added a Latin Jazz ensemble into their program in 2008. Established by pianist Murray Low, the group has made major strides over the past two years, becoming a popular group both among the students and the community at large. A long time veteran of the Bay Area Latin Jazz scene, Low has called upon his years of experience performing with some of the best musicians in the area, such as Pete Escovedo, Wayne Wallace, John Santos, and Kat Parra. The in-demand pianist has become a major force behind all these groups, adding a powerful set of montunos, improvisation skills, writing and arranging talents, and all around top-notch musicianship wherever he goes. The students in Stanford’s Afro-Latin Jazz Ensemble have been fortunate enough to experience all of Low’s skills first hand, soaking up all of his knowledge and insight on a regular basis.
Low takes the group to another level this week as they get the opportunity to perform with Latin Jazz professionals from both the West Coast and the East Coast – a great gig for a pro, and an unbelievable experience for a student musician. Trumpet player Ray Vega, a veteran of the Tito Puente band, Mongo Santamaria’s group, The Bronx Horns, and a long-time solo artist will be working with the group throughout the week and sharing his musical insights with the community. On Wednesday, March 3rd, Vega will present an educational clinic entitled “New York Roots of Latin Jazz,” an opportunity for the students to get closer to Vega’s history, but also the greater scene – the clinic is free and open to the public. On Saturday night March 6th, Vega will perform with the Stanford Afro-Latin Jazz Ensemble, and they will be joined by two of the Bay Area’s prominent Latin Jazz artists – percussionist Jesus Diaz and flautist John Calloway. These two musicians share history with a number of the area’s great Latin Jazz groups, ranging from The Machete Ensemble to Diaspora and more. Together, these three major musicians, combined with the power of Stanford’s well-trained group and Low’s master musicianship, should add up to an unforgettable night.
With this event on the horizon and Stanford’s group rising in reputation, it seemed like a great time to get some more information about the band. Low kindly answered some questions for LJC this week via e-mail, giving us some background on the group and details about the concert. Check out the quick interview and pictures below and don’t forget about the concert – get the full details about the concert HERE – enjoy!
———- LATIN JAZZ CORNER: Give us some background on your involvement with Stanford’s Afro-Latin Jazz Ensemble.
MURRAY LOW: I am the director and driving force for the group since its inception in January 2008. I formed the ensemble completely on my own without asking for any additional resources, financial or otherwise, from the Music department itself. Hence, it was easy for them to approve its existence because it was effortless for them to do so. I could also see that there was a core set of students who were keenly interested in exploring this idiom but had too many other academic commitments to do so on their own. They just needed a faculty member to sustain a learning and performance environment for them. Two years later, I am blessed to have the support of everyone.
My goal is for the program to be become a permanent fixture in the educational landscape at Stanford – “to legitimize it,” if you will, from an academic point of view. This year we received a prestigious grant from SiCa (Stanford Institute for Creativity and the Arts), which has allowed me to bring in guest artists to work with the band through clinics, master classes, joint concerts, and individual tutoring. It’s an exciting time!
I feel an obligation to raise awareness of Latin Jazz – to preserve its tradition while also paving the way for future innovation. Like most of my peers, at a younger age I was focused on establishing my career and presence in the field. Over time, I increasingly realized that I have a duty as part of the something “larger,” and I am in a fortunate position to able to do something about it. Here on the West Coast, visionaries such as Wayne Wallace, John Calloway and Rebeca Mauleon have established vibrant programs at their respective schools and I’m merely following suit. Your readers have long known that Afro-Latin Music and its larger cultural implications is a field of legitimate academic study, but it’s still a struggle to win respectability within the hallowed halls of the institutions themselves.
LJC: What inspired you to invite Ray Vega out to the West Coast for the concert? What do you think that he has to offer to the students?
ML: I originally met Ray when he was playing lead trumpet in Tito Puente’s band. I was in Pete Escovedo’s band at the time and occasionally the two groups would be on the same bill. Ray has always been interested in the West Coast scene; I was part of his “Quintet West” that performed whenever he was out here. We built our friendship from a lot of common ideals about music.
From the start, I was impressed by Ray’s passion and earnestness. He’s a no-nonsense person with strong opinions and a keen respect for tradition and the masters who define it. Yet, at the same time he is incredibly open about music and embraces new ideas and concepts readily. He’s a visionary who believes that each of us should stay true to our musical ideals.
It’s important for my students – well, everybody — to go beyond just playing the written music in front of them. They need to know why the music is the way it is, and how it came to be. Not only musically, but from a historical and cultural perspective as well. Ray was immersed in the New York Latin Jazz scene for key periods of its evolution and development and provides first-hand knowledge and insight in this regard. It was an opportunity that I simply could not pass up.
LJC: What types of things will Vega be covering in his clinic next Wednesday?
ML: The official topic is entitled the “New York Roots of Latin Jazz”. Ray is going to discuss the cultural and musical influences that combined together in that city which caused the idiom to be born. He’s going much further back in history than most people will probably expect. He will look the idioms’ humble beginnings via artists such as James Reese Europe, Fletcher Henderson and Ellington; explore its development through Machito, Mario Bauza, Dizzy Gillespie and Charlie Parker; and illustrate its current evolution up to the Fort Apache Band and beyond. It’s free and open to the public! There’s no excuse not to come.
LJC: Tell us about some of the repertoire for the concert & what Diaz, Calloway, & Vega will be adding.
ML: They have selected tunes from the repertoire that they play, or have played, with their respective professional bands. Some of the chosen pieces are difficult and the Stanford ensemble has risen to challenge of tackling them. We’re not dumbing anything down in any way, shape or form.
Because Jesus, John, and Ray come from different musical perspectives, it’s going to be a very varied program. Jesus Diaz offers up a pure Cubano/Timba perspective; John Calloway represents the West Coast Latin Jazz sound with its identifiable mix of influences; and Ray Vega infuses the concert with the New York jazz-oriented sensibility.
LJC: What do you think the students and general public will walk away with after all is said and done next week?
In the end, it’s all about raising awareness and increasing understanding. By seeing these artists perform in an academic setting – in a rare collaborative event — I am hoping that the public will see that this idiom has a justifiable place in higher education, and that Stanford is such a place where this is happening. They will be able to see that it is indeed a rich field of music and study, and perhaps will want to pursue it on their own. Yet at the same time, it can be vibrant, fun, and make you want to dance!
The grant has allowed me to give my students valuable professional mentoring and experience beyond what I can offer on my own. They will walk away with a deeper understanding and appreciation of Latin Jazz and be able to see just how rich and vast it is, and how much history is behind it. That goes for the student community in general. Let’s face it – most students familiar with jazz only have combo or big band experience, and have a very naïve idea about what Latin Jazz is. Hopefully I can re-educate them and bring them into the program.
LJC: Any other thoughts?
ML: Just come out and join us for a fun evening and master class! We have other events coming up this year, a master class with Flautist Andrea Brachfeld, and clinics and concerts with John Santos. I hope that Stanford will continue to be a conduit for this type of activity so always check back at our website. The band sounds great too, so watch out for where we are performing.
———- Stanford Afro-Latin Jazz Ensemble
———- THIS WEEK!
The Stanford Afro-Latin Jazz Ensemble, under the direction of Murray Low will be presenting two important events, involving guest artists Ray Vega, John Santos, Jesus Diaz, and John Calloway – you don’t want to miss this! Check out the info below:
Masters Of Latin Jazz Concert Featuring Ray Vega, Jesus Diaz, & John Calloway
Saturday 3/6/10 WHERE:Dinkelspiel Auditorium – Stanford University
471 Lagunita Drive
Stanford, CA TIME: 7:30 p.m. TICKETS: $10
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Do you have pictures to contribute to the Latin Jazz photo album? I’d love to have everyone in the Latin Jazz community contribute! I’ll be posting five to ten pictures a week – I’m looking for live performance shots, not promo pics. I’d like to keep them centered around one artist per week, but if you’ve got another idea, let’s talk. So come on Latin Jazz photographers, musicians, and fans – let’s put some more memorable pictures in the Latin Jazz Photo Album! Get my contact info HERE.
Copacabana Nilson Matta’s Brazilian Voyage Zoho Music
When we view an ensemble, certain ideas about bandleaders pop into our heads, as we unconsciously analyze the group. We easily look at the band’s front line as the group’s leaders, assuming that the vocalist or sax player runs the show. This happens naturally; these musicians act as the band’s face, and they generally maintain the most direct contact with the audience. In some cases, this guess might ring true, but many times, a rhythm section player holds the group together at a foundation level. Many people might jump to the conclusion that a percussionist runs the ensemble, since again, they maintain a dominant presence in the Latin Jazz world. A good band leader needs a knowledge of harmony, form, and melody to efficiently express their musical ideas though; while some percussionists hold these insights, a chordal players might be a more natural leader. Piano players, guitarists, and vibraphonists also stand out to the audience – while they may not also be at the front of the band, their dominant roles as soloists capture the listener’s attention. At the end of the list of potential band leaders, the bass player sits as the unsuspecting musical gem that holds the most vast promise. Skilled Latin Jazz bass players understand harmony and form, they’ve developed a keen perspective on improvisational melody, and they hold a deep insight into the rhythmic nuances of each style. They understand the importance of support and feel comfortable capturing the spotlight when necessary. Bass players have the ideal qualities for a leader, and most times when they lead a group, they deliver a quality product. This fact holds true on Copacabana, as Nilson Matta, one of the finest bass players in modern Brazilian Jazz, leads his group Brazilian Voyage through and enjoyable an stimulating set.
Original Compositions That Combine Jazz And Brazilian Rhythms
Matta grounds the group with several original compositions that draw upon the rhythmic nature of Brazilian rhythms and the colorful harmonies of jazz. A solo bass vamp establishes a propulsive forward motion on Matta’s “Baden,” a tribute to the well-known Brazilian composer Baden Powell, until pianist Klaus Mueller moves into a an eloquently simple and engaging melody. Mueller races long lines through the chord changes, developing strong themes that inspire interaction from the rhythm section, while Matta utilizes harmonics and short repeated figures to infuse captivating rhythmic material into his solo. After a return to the melody, Mueller jumps into a frantic double time series of arpeggios, setting the stage for frenetic improvisation flourish. Matta establishes a floating bossa nova with a solid bass presence and a tastefully subtle overdubbed guitar on “Copacabana” while Mueller and saxophonist Harry Allen takes turns on the lyrical melody. Mueller spins a series of gentle melodies through the rich chord changes, taking a relaxed approach to phrasing that reflects the subdued rhythm section. Allen follows with a slightly more assertive approach that mixes the open flowing feel of the bossa nova with quick flights of bebop dexterity. Mueller dramatically introduces the main theme until percussionist Zé Mauricio sends the band flying into a samba groove on “Saci Pereré,” which pushs the band through an interesting melody with several rhythmic changes. Matta displays a unique command over jazz melodies and the intricacies of Brazilian rhythm, flying over the whole range of his bass with a fluid intensity. Mueller plays around the percussive nature of the song’s foundation, mixing sharp rhythmic figures with long lines until Mauricio jumps into a blaze of percussion prowess. These pieces provide a solid core repertoire for the band’s exploration of the meeting point between jazz and Brazilian music, a definable strength for Matta.
Original Compositions That Push The Group In A Different Direction
A different set of original pieces push the group in a different direction, allowing Matta and his musicians the opportunity to explore other avenues. Drummer Mauricio Zottarelli creates a swaying blend between straight bossa nova and swing on Allen’s “I Can See Forever” as the saxophonist reflectively interprets the melody with an expressive set of articulations. Allen carefully constructs his statement over the flowing chord changes, stretching into longer lines imbued with a sense of thoughtful expression. Mueller gently creates a colorful solo full of understated beauty, while Matta contrasts the pianist with a solo full of assertive motion and a slyly funky syncopation. Matta bows his bass with a rough aggression on the solo piece “Pantanal” mixing double stops, harmonics, and slurred lines into an almost classical setting. A bold theme grounds the piece, as Matta interjects exploratory runs and journeys into the instrument’s upper limits. This piece allows Matta to investigate the deep beauty of his instrument’s tone, displaying his technical virtuosity in the midst of a highly musical setting. The group freely plays upon textural ideas over a ballad-esqe bossa nova feel on “Águas Brasileiras,” leading into a tender melody from Mueller filled with a serene sense of uplifting joy. Matta constructs a gorgeous statement that effortlessly combines sophisticated melodic ideas with the bassist’s impeccable sense of syncopated phrasing. Mueller’s improvisation bounces around the song’s swaying pulse, wrapping quick bursts of forward motion with quietly unobtrusive lines. These pieces reveal a different side to the band’s musicianship, showing different interests and musical strengths among the ensemble.
Incorporating Songs From Other Composers
The group incorporates a variety of songs from other composers, giving them the opportunity to stretch out improvisationally. The rhythm section creates an appealing lopsided samba groove on the Villa-Lobos composition “Trenzinho Do Caipira” as Allen, flautist Anne Drummond, and Mueller take turns on the catchy melody. Allen leaps into his improvisation with an enthusiastic conviction, charging through the changes with a boppish fervor and a creative drive. Drummond uses her airy tone to spin long phrases filled with quick runs over the rhythm section, who pushes her with a responsive approach. The rhythm section explodes into a furiously paced samba on Barroso’s “Brazil (Aquarela Do Brasil),” leading into a memorable melody performed with an engaging sense of dynamics and textural variation. Allen and Drummond repeat the melody several times, trading with Mueller at times, and playing off the intensity of the rhythm section’s addictive inertia. Mueller leaps head first into an improvisation with an unstoppable sense of bluesy energy that sends the rhythm section into a fantastic frenzy. A gospel-tinged flourish opens Gonzaga and Teixeira’s “Asa Branca/Baião” until Matta establishes a powerful bass line for the melody’s driving baião groove. Drummond flies into her improvisation with a passionate flurry of notes, running quick sequences and short rhythmic ideas over the rhythm section. Mueller spins long jazz fueled lines through his solo, eventually pushing Matta and Zottarelli into a furious swing rhythm until Matta runs with the energy and creates a short show stopping statement. A good deal of personality emerges on these tunes as the musicians grasp the familiar and cut loose with attention grabbing performances.
Driven From The Bottom Up, With Strength And Conviction
Matta guides his group with strength and conviction throughout Copacabana, delivering a product that captures the strength and beauty of Brazilian music as well as the improvisational excitement of jazz. The group’s repertoire provides an ideal launching point for their explorations, infusing a good balance into the musical settings. Matta serves as the primary composer throughout the album, displaying a broad harmonic palette and a keen melodic sense. He mixes several Brazilian styles into his compositions, but lets them stretch a bit in performance, allowing for improvisational freedoms. The inclusion of compositions from several other composers breaks up the album nicely, providing the group a chance to explore a different perspective and touch upon familiar ideas. As a bassist, Matta provides outstanding support throughout the recording, executing rock solid bass lines with the ability to liberally interact rhythmically. His solos demonstrate a distinct musical personality that sings with a lyrical integrity while assertively hitting the rough rhythmic edges of Brazilian music. Mueller contributes a significant presence throughout the recording, cleanly winding through the intricate compositions and improvising with an engaging passion. Copacabana contains a rich musical experience that shimmers with beauty and moves with exciting improvisations, all driven from the bottom up by Matta’s musically insightful leadership.
At some point in their careers, many straight-ahead jazz musicians flirt with the integration of Latin rhythms into their repertoire – an act that means different things for each artist. This new direction provides some artists an opportunity to experiment with authentic Caribbean or South American rhythms and pull new sources of inspiration into their playing. Jazz artists might make a one-time Latin endeavor that serves as a checkpoint along their career, and other times, the experience may be the spark that sends them into a longer exploration of the mixture between African American jazz and Latin styles. Some musicians view Latin rhythms as a color or a texture and it doesn’t necessarily need to authentically reference Afro-Cuban or Brazilian culture. For these artists, Caribbean or South American rhythms act as compositional tools that change the rhythm section and add different textural effects. Regardless of the aesthetics behind the integration of Latin rhythms, straight ahead jazz artists face a new world when they utilize these structures, and they inevitably need help.
Creating a successful Latin excursion requires more than simple advice though, straight ahead jazz artists need some essential components in their ensemble. At the core of the project, they need a drummer or percussionist with a working knowledge of Latin traditions. While most drummers can simulate a “Latin effect” with a generic straight eighth note pattern, only a drummer with a true connection to Caribbean or South American music can give the music the weight of traditional rhythms. In addition, the straight-ahead jazz artist needs a musician with the knowledge to structure the whole ensemble. They need someone to help piano, bass, and wind players align with the rhythmic figures, creating a connection between the drums and the rest of the ensemble. These tasks require a special musician with an intricate knowledge of the style and the ability to make strong connections across genres.
Willie Bobo was the perfect candidate for these jobs, and as a result, he worked as a session musician on many straight-ahead jazz albums. Bobo brought his experience with Afro-Cuban rhythms into the studio, along with a working knowledge of Brazilian styles. He could play swing along with the finest jazz rhythm sections, and easily moved between percussion and drum kit. The most important asset that Bobo brought into the studio though was a keen ear and an insightful musicianship that allowed him to support musicians fully. Although he brought a diverse array of technical skills into his performance, he only applied elements that benefited the song. He made wise musical choices – jazz artists knew that when Bobo came into the mix, he would play something that would make their tracks shine. Bobo also played with the refined sensibilities of a jazz artist; he had the ability to improvise and interact with soloists. If the song called for a drum solo, Bobo could rise to the occasion and bring down the house. If he was in the background, he knew how to comment upon a soloist’s idea to help push their statement to the next level. Bobo’s priority always focused upon making the best recording possible for the artist, a fact that made him a desired sideman.
Yesterday we looked at five examples of Bobo playing Latin Jazz percussion, but today I’ve gathered four albums from straight-ahead jazz artists featuring Bobo. Musicians called upon Bobo for a variety of different reasons, capturing his skills as a percussionist and a drum kit player in several styles. These four albums find Bobo working as a drum kit player, providing the backbone to Afro-Cuban, Brazilian, and swing albums. This is far from a comprehensive list – Bobo played percussion on many different albums from straight-ahead jazz artists, ranging from the Miles Davis and Gil Evan collaboration Quiet Nights to Sarah Vaughan’s Viva! Vaughan. Yet each one of these four albums places Bobo in a prominent position behind the drum kit, shaping the whole music. This collection shows a different side of Bobo that most people don’t consider when thinking of his legacy. His drum kit playing showed just as most potential and musical talent as his percussion work, so check it out – you’ll enjoy what you find.
———- The Latin Bit, Grant Green (1962) Building upon a string of strong recordings for Blue Note, The Latin Bit was a step towards the legendary status accorded to Green today. Fusing a fluid sense of bebop phrasing with a soulful connection to rhythm and blues, Green’s work would lean towards a boogaloo sound many times; this album was a conscious attempt to capture a more authentic Latin feel. He certainly hired the right band to make an authentic album, with Bobo on drum kit and Carlos “Patato” Valdes on congas, but his dedication to Latin styles wavers consistently with regular dips into bluesy swing. Bobo’s ability to support the project on every level shines through this recording strongly as he moves between swing, shuffle, mambo, and more without missing a beat. Bobo’s own sense of funky soulfulness compliments Green’s playing in a very real way, being supportive without overwhelming the guitarist’s defined sound. Bobo and Valdes provide a driving son montuno behind Green’s melody on “Mambo Inn,” before exploding into an up-tempo swing for a beautifully executed bebop guitar solo and bluesy piano work from Johnny Acea. Green coyly slides through the minor intrigue of the melody on “Tico Tico” over a cha cha cha from the drummers, wrapping assertive rhythmic lines over the solo cycle’s laid back swing. After sailing through a Latin feel on the melody to Charlie Parker’s “My Little Suede Shoes,” both Green and Acea deliver tasty solos before taking turns trading ideas with Bobo and Valdes. The slightly up-tempo bolero feel behind the melody on “Besame Mucho” falls into a slow shady swing rhythm for the solos, creating the opportunity for Green to spin his most delicious blues lines. There’s a wealth of smart likeable playing from Green throughout The Latin Bit, that finds the guitarist feeling completely at home in this setting. Bobo’s unobtrusive support and stylistic flexibility enables much of the fluidity and ease that Green experiences, as he drives the recording with solid drum kit work.
Bossa Nova Soul Samba, Ike Quebec (1962) Tenor saxophonist Ike Quebec never gained the notoriety accorded to his peers like Stan Getz or Coleman Hawkins, but he certainly held comparable skills. He displays his breathy tone and ability to create lyrically beautiful lines in full force on this 1962 release, Bossa Nova Soul Samba. Most likely inspired by the success of Getz and Charlie Byrd’s Jazz Samba recording, Quebec jumps fully into Brazilian mode, filling the recording with gentle bossa novas. This setting suits Quebec perfectly, emphasizing breezy melodies and lyrical shape, anchored by a solidly cool jazz aesthetic. Although Bobo built his early career playing jazz based on Afro-Cuban rhythms, he was not a stranger to the world of Brazilian music. Sitting behind the drum kit on this session, Bobo provides a rock solid bossa nova feel, infused with an interactive jazz aesthetic. Bobo’s authentic feel really serves as the rock behind this recording as Quebec steps outside the easy repertoire choices and relies upon original material and interpretations of classical themes. Quebec’s “Blue Samba” struts ahead with a relaxed combination of swing and Brazilian sounds, allowing the band to slide classic bluesy phrases into the mix. Bobo creates a lively samba groove on “Goin’ Home” as Quebec combines jazz ideas with the theme from Antonin Dvorak’s Surprise Symphony, resulting in an unusual but strangely appealing mixture. Quebec works through the rhythmic edges of the melody on guitarist Kenny Burrell’s “Loie,” until the two musicians light a cool improvisational fire over Bobo’s steady bossa nova. The rhythm section creates an active propulsion with a combination of sparse vamps and steady bossa groove on “Lloro Tu Despedida,” giving Quebec and Burrell the freedom to wander through understated melodic statements. Quebec takes Brazilian Jazz in a variety of interesting directions on Bossa Nova Soul Samba, stepping outside the genre’s accepted norms; this distinctly different feel works though, largely due to Bobo’s driving authentic performance on drum kit.
Trombone Jazz Samba, Bob Brookmeyer (1962) Valve trombonist Bob Brookmeyer has never been a musician swayed by the popular opinion of the day; his harmonically advanced arrangements have constantly pushed jazz in new directions and his brash tone has rumbled through many cutting-edge projects. Considering this, his decision to record an album filled with bossa nova and samba tunes right on the heels of Getz and Byrd’s wildly popular release seems like an odd decision. There’s a distinctively Brookmeyer edge to the recording though, that approaches the repertoire with a bit of a more rhythmic and rough sound than most of his contemporaries. Bobo fuels the rhythm section with an authentic Brazilian feel once again, providing selfless support behind a wealth of soloists. Unlike the understated feel on the Quebec recording, Bobo and percussionist Carmen Costa are given much more freedom to incorporate traditional percussion sounds and vary the drum patterns. Brookmeyer leaps into a repeated melodic phrase pushed ahead by Bobo’s fantastic samba brush work on “Blues Bossa Nova” leading into some enthusiastic improvisations from Brookmeyer, guitarist Jim Hall, and vibraphonist Gary McFarland. Brookmeyer utilizes the serious “Main Theme From Mutiny On The Bounty” as a simmering bossa nova, and despite the lack of improvisation, the piece works due to the consistent pulse from Bobo and Costa. The drumming team gets several feature spots on “Chara Tua Tristeza,” filling their space between solos from Brookmeyer and Hall with tasteful variation. Brookmeyer’s unwavering sense of humor is in full swing on “Col. Bogey Bossa Nova,” as the classic march finds a new groove over Bobo’s racing samba. Hall provides a reflective solo introduction which bursts into Bobo’s flying pulse on Luiz Bonfa’s “Samba De Orfeo,” setting the stage for inspired statements from McFarland, Hall, and Brookmeyer. Although he sits in a supporting role for the majority of the recording, Bobo delivers top-notch feel and excitement to Trombone Jazz Samba, which you can hear reflected in Brookmeyer’s playing. Once again, Bobo’s ability to provide creative inspiration, uncompromising stylistic depth, and extreme flexibility fuels an enjoyable and artistically successful session.
Inventions & Dimensions, Herbie Hancock (1964) This album represents a significant piece of Bobo’s playing on many fronts, and it certainly shows the drummer taking his most serious dive into modern jazz. In the early 1960s, trumpet player Miles Davis was moving through a transition, leading towards his second great quintet. Although his working group looked quite different from the infamous sixties quintet, bassist Ron Carter was in place and in 1963, Herbie Hancock took over the piano chair from Victor Feldman. Drummer Frank Butler held down the group’s drum position, but Davis was looking for someone new – rumors have circulated that Bobo was his first choice. With Bobo focusing upon his position as a bandleader at Blue Note, Davis found Tony Williams; still a fan of Bobo’s drum kit work, Davis recommended him for this recording date with Hancock. Although the pianist leans towards a Latin influence on some tracks, this is a modern jazz affair, full of Hancock’s explosive improvisatory approach. Bobo maintains a furious up-tempo swing on “A Jump Ahead,” interjecting angular accents against Hancock’s assertive improvisations. Creative brush work from Bobo outlines a 6/8 rhythm while Osvaldo “Chihuahua” Martinez plays a more traditional chekere pattern on “Succotash,” inspiring some engaging rhythmic work from Hancock. The pianist explores sparse rhythmic ideas while Bobo races through a quick swing influenced son montuno on “Jack Rabbit,” leading into a dynamically structured timbale solo from Bobo. There’s a laid back ease as Bobo locks into bassist Paul Chambers’ walking line underneath Hancock’s smart solo on “Triangle,” until the band explodes into a sharp 6/8 pattern, pushing Hancock into an attention grabbing enthusiasm. Hancock provides a thoughtful rubato introduction on “Mimosa,” before Bobo and Martinez fall into an Afro rhythm beneath the pianist’s lush melodies. Bobo headed down a different path after this recording, following a more commercial direction, but Inventions & Dimensions presents a good picture of his massive potential as a creative voice in modern jazz.
On Sunday February 28th, we celebrate the 76th birthday of legendary Latin Jazz percussionist Willie Bobo, a major voice in the development of the style. This seemed like an ideal time to revisit Bobo’s work, but in reality, any day is a good deal to discuss Willie Bobo. The iconic percussionist supported some of the greatest Latin Jazz artists of the fifties and sixties, most notably working for band leaders Tito Puente and Cal Tjader. His reoccurring collaborations with conguero Mongo Santamaría set the standard for outstanding rhythm section work in the realm of hard driving Latin Jazz. His work in the seventies became increasingly funky, as he reached out to soul audiences and found ways to blend his love of Latin dance music, jazz, and modern sounds. Although Bobo died in 1983 at the young age of 49 after a battle with cancer, his legacy lived on among the younger generation. His playing remained an inspiration for upcoming percussionists and his addictive funky grooves became favorites among the DJ crowd. The world of Latin percussion remembers Bobo every day and modern Latin Jazz constantly draws upon his influence – he was an important figure that contributed a lot to the art form.
Throughout his career, Bobo fluctuated between several different musical worlds, but hard driving Latin Jazz was deeply ingrained. As a young boy, Bobo worked as a band boy for Machito And His Afro-Cubans, soaking in the sounds of one of the genre’s most important ensembles on a daily basis. When the band worked late into the night, Bobo sometimes got the opportunity to join on bongó, testing his young skills among the best. His time among the Machito band set the sound of mambo jazz permanently in his head, but his best education lay ahead. When conguero Mongo Santamaría moved from Havana, Cuba to the United States, Bobo quickly befriended him and acted as his translator. In exchange, Santamaría spent a good deal of time with Bobo, showing him the ins and outs of Afro-Cuban percussion. The two musicians formed a bond that traveled with them throughout most of their careers. As they moved through bands with great Latin Jazz artists such as Puente and Tjader, they became attached to the style. Bobo performed and recorded lots of different music throughout his career, but Latin Jazz became a defining style for the percussionist.
I’ve gathered five classic recordings that highlight Bobo’s work as a Latin Jazz percussionist throughout the early part of his career. Bobo recorded extensively throughout his life, this represents a very small slice of his total output. Still, these recordings paint a good picture of his development as a Latin Jazz artist before he grew into the amazing leader that we remember. Take the time to track all five of these albums down and you’ll have a fantastic collection of music – a fact guaranteed by the fact that Willie Bobo sits at the core of each session. Enjoy!
Cuban Carnival, Tito Puente (1956) After years of hanging out on New York’s lively Latin music scene and studying with Mongo Santamaria, Bobo earned the highest profile gig of his early career, a place in Tito Puente’s rhythm section. In one of his first recordings with Puente, Bobo sits among a group of some of the best percussionists in Latin Jazz history; Mongo Santamaría, Candido Camero, Carlos “Patato” Valdes, John “Dandy” Rodriguez, and the illustrious Puente all add their percussive expertise to the album. The result is an explosive example of danceable Palladium mambo big band at its best, driven by the unstoppable force of a master rhythm section. The ferocious mambo groove behind “Yambeque” sends blistering high trumpet notes sailing over stuttering saxophones, clearly the way for some great horn solos. The coro trades phrases with the aggressive attacks of the wind section over a break-neck groove on “Pa Los Rumberos,” setting the stage for an unforgettable series of traded percussion phrases. Puente delivers the classic melody to “Cuban Fantasy” on vibes before soloists stretch out over a steadily cooking groove. Some great vocal work winds through the smart arrangement on “Oye Mi Guaguancó,” balanced by exciting percussion features and assertive mambos. Every track is a winner on this recording, guaranteed by some of Puente’s best writing in his early years and the all-star percussion line-up. As one of Bobo’s earliest Latin Jazz recordings, Cuban Carnival highlights the lessons that Bobo received through his early gigs that set the stage for a brilliant Latin Jazz career.
Latino, Cal Tjader (1958) After a four year run with Puente’s band, Bobo recorded The Shearing Spell with West Coast pianist George Shearing, catching the eye and ears of Shearing’s former drum kit player, Cal Tjader. Now an up and coming vibraphonist on the thriving San Francisco jazz scene, Tjader had developed a passion for Afro-Cuban rhythms. He offered a job to Santamaría and Bobo, who both quickly relocated to accept Tjader’s position. The collaboration between Tjader, Santamaría, and Bobo led to defined career paths and higher visibility for all three musicians, due to a series of classic recordings. Most people might point towards the 1964 Tjader album Soul Sauce as the definitive example of bobo’s work with the vibraphonist; it certainly is a great album, but there were a lot of earlier examples that highlight Bobo in a more real way. This 1958 recording presents Tjader, Santamaría, and Bobo performing live with different musicians from a variety of concerts. The musicians play with a raw intensity that sometimes escaped their studio efforts and brings some of the best elements of Bobo’s musicianship to the surface. The drummers light a fire beneath Tjader’s solo on “Night In Tunisia,” until Jose “Chombo” Silva jumps into the spotlight with a burning assertion that brings enthusiastic interaction from Bobo. The group storms through Tjader’s classic composition “Mamblues” with a tastefully bluesy improvisation from the vibraphonist and an absolutely attention grabbing timbale solo from Bobo that spotlights his skill for thematic development. Bobo swings with a funky undertone on Santamaría’s tune “Para Ti” and pushes a serious 6/8 pattern behind the conga player on “Afro Blue,” with both tracks giving a preview of future work. Bobo stretches out again on an extended timbale solo over “Cuban Fantasy,” combining classic licks with smart construction and a crowd pleasing dose of showmanship. Bobo’s relationship with Tjader and Santamaria defined his career, and Latino offers a perfect example of the strength of their musical bonds.
Latinsville, Victor Feldman (1959) By the late fifties, Bobo’s work with Tjader and Puente had built his reputation as an essential percussionist in the style, leading to work with a number of bandleaders. Already an established musician at a young age in England, Victor Feldman moved to the States in the late fifties, diving deeply into the West Coast scene. He worked extensively at the Lighthouse, where Tjader also spent a good deal of time performing; this influence must have been an inspiration for this very Tjader inspired album. Feldman even hires many of Tjader’s top sidemen to complete his concept, including Bobo, Santamaría, and Armando Peraza. Although he draws upon Tjader’s approach, Feldman builds his own repertoire, arranging a number of popular songs around Afro-Cuban rhythms. Bobo’s identifiable push on timbales provides momentum for the likable “South Of The Border,” inspiring a an improvisation from trombonist Frank Rosolino and some ferocious bongó riffing from Peraza. While the open blowing session on Gillespie’s “Woody’N You” lends itself to solos from Rosolino, Feldman, and trumpet player Conte Candoli, the arrangement leaves some room for some great solo spots from the percussionists. Santamaría and Bobo create a classic Latin Jazz sound behind a great arrangement of “Lady Of Spain,” which includes a memorable solo from Feldman and virtuosic flights of improvisation from Peraza. While a skillfully constructed arrangement and some creative solos bring “Poinciana” to life, the rhythm section work takes this track to another level. Bobo’s increasing ability to deliver top-notch Latin Jazz expertise in a variety of settings comes across strongly on Feldman’s Latinsville, and his rhythm section work beside Santamaría and Peraza make this album an undeniable winner.
At the Black Hawk, Mongo Santamaria (1962) The sideman stint with Tjader sent both Santamaría and Bobo into the spotlight, but Santamaría was the first to turn the notoriety into a career as a bandleader. Fronting diverse projects that ranged from folkloric percussion groups to charanga bands and Latin Jazz, Santamaria started recording in the late fifties and never stopped. Bobo joined Santamaría on a number of these early albums, building upon the massive groove that the two percussionists developed in the Tjader and Puente bands. At the Black Hawk brings together two Santamaría albums – Mighty Mongo, a Latin Jazz focused recording and Viva Mongo, a charanga release. Bobo plays mostly timbales, but also some drum kit, on the Latin Jazz set, providing some inspired interaction. “Descarga At The Black Hawk” captures the spontaneous nature of this live date, including enthusiastic improvisations from flautist Rolando Lozano and trombonist João Donato, as well as a massive solo from Bobo that brilliantly builds into a climatic finish. As the wind players take solos on the now classic “Sabor,” Bobo injects subtle changes into his cymbal work and perfectly placed hits to kicks, helping drive the improvisations. The classic jazz standard “All the Things You Are” serves as a showcase for Jose “Chombo” Silva, who effortlessly creates long streams of ideas, matched in creativity and intensity by Bobo’s accompaniment. Bobo plays drum kit on “Bluchanga,” displaying a solid ability to play traditional swing with the same type of interactive vigor and steady pulse. At the Black Hawk once again finds Bobo and Santamaría working in a live and improvisatory context, a place that always inspired some of their best work.
Bobo’s Beat, Willie Bobo (1964) Bobo’s unforgettable performances had an undeniable hand in the success of Tjader’s Soul Sauce, a fact that finally convinced Blue Note to give him a recording date as a leader. Having worked extensively with a number of jazz greats at this point, Bobo calls upon some top notch musicians to fill his band – Clark Terry covers trumpet duties while tenor player Joe Farrell burns on the saxophone. Bobo uses the date as an opportunity to showcase his diverse command of the Latin Jazz language playing both timbales and drum kit through a repertoire that covers both Afro-Cuban and Brazilian rhythms. Strong horns lines infuse a mambo feel into “Bon Sueno” which comes to life with a fiery bop infused solo from Farrell and a brief but lively statement from Bobo. Organist Frank Anderson provides “Bossa Nova In Blue,” creating long streams of melodies over Bobo’s churning drum kit groove. An understated samba rhythm accompanies a steady bass groove on Freddie Hubbard’s “Crisis,” which heats up behind solos from Terry and Farrell, due to some nice interaction from Bobo. There’s a slow and funky feel behind “Timbale Groove” as Bobo holds a classic cha cha cha rhythm behind a cleverly arranged horn part. Bobo’s work as a leader after Bobo’s Beat capitalized upon the blend between Afro-Cuban rhythms, funky soul music, and jazz – a sound that became his signature and resulted in some amazing music. On this release Bobo plays it straight-ahead, which makes for some amazing traditional Latin Jazz played with the verve and flair that only Bobo could provide.
Dedication to a particular genre of South American or Caribbean music involves a lifetime of performance, study, and undying dedication. At this point in history, there’s a long stream of evolution that involves subtle, and sometimes drastic, changes in performance practices. Traditional artists create music today that sounds very different than the same style from fifty years earlier. These modern approaches build upon the lessons of the past though, and proper execution of contemporary ideas require a thorough understanding of earlier forms. For the artist that learned music outside the culture, diving into a new style presents an overwhelming task that involves a simultaneous study of both the old and new. Sorting out the difference between the music of the past and the present requires a broad spectrum of listening and some focused historical investigations. Musicians that spend their developmental years inside the culture sometimes live strongly attached to the genre, but for others, the style may simply exist in the background of their daily routines. Still, the music remains familiar, artist names are easily referenced as part of their cultural landscape, and they generally have greater access to the tradition. Regardless of a musician’s background, they have a long road ahead of them – the mastery of any South American or Caribbean genre demands a long study; when a musician prefers experimental forays into jazz, the path becomes even longer and demands a much more solid foundation.
Bassist Pablo Aslan has shown a particularly passionate dedication to tango over the course of his career, indulging the music’s traditional side as well as pursuing innovation. While tango sat squarely at the middle of cultural heritage in Argentina, it did not exist as the music of Aslan’s generation. The deeper Aslan dived into music in Argentina, the further he moved away from traditional tango. Once Aslan moved to the States for collegiate studies in music, he worked his way through orchestral music, jazz, and finally back to tango. When the genre grabbed his attention, it caught him full force, inspiring him to delve back into the music’s history. He became a first call bassist for tango on the West Coast, working throughout the small but lively scene in Los Angeles. Inspired by the potential musical horizons in New York, Aslan packed his bass and headed to the East Coast, quickly finding a place on the city’s scene. The bassist built a relationship with bandoneon player Raul Juarena and the two musicians combined their experience to create The New York Buenos Aires Connection. A need to perform for a more traditional dance crowd led to the creation of a second ensemble, The New York Tango Trio, a group that drew upon classic repertoire. While Aslan grew into an essential piece of the New York tango scene, he never lost his interest in jazz; he combined the two passions in another group, the tango-jazz ensemble Avantango. After recording two albums with different versions of Avantango, Aslan explored the connection between jazz and tango with a group of Buenos Aires musicians well versed in both styles. Aslan’s work built momentum for tango on both the East and West coasts, and has ventured into uncharted waters, mixing jazz with tradition.
Aslan has repeatedly brought tango to our attention and shown the Latin Jazz world the inherent possibilities in tango-jazz mixtures, a sign of his passionate dedication to the style. In honor of Aslan’s devotion, today’s Weekly Latin Jazz Video Fix will feature some of his fantastic work. The first clip places Aslan among the musicians that contributed to his second album, Buenos Aires Tango Standards, performing live in Buenos Aires. In an interesting combination of two worlds, the second video shows two dancers performing while Aslan improvises a tango bass line. The third excerpt pairs Aslan with longtime partner Raul Juarena for a duo performance, while the last segment captures Aslan in a rehearsal with a traditional Buenos Aires tango group. It’s an inspiring mixture of music – enjoy!
———- Pablo Aslan Quartet Live At The Buenos Aires International Tango Festival In August 2009
Pablo Aslan Improvising A Tango Bass Solo For Dancers
Pablo Aslan In A Duo Performance With Bandoneon Player Raul Jaurena
Pablo Aslan Rehearsing With Orquesta Tipica de Julian Peralta In Buenos Aires
———- SPECIAL OFFER FOR NEW YORK LJC READERS!
Pablo Aslan will be celebrating the release of his new CD, Tango Grill, in March with a series of concerts at Rose Theater in Lincoln Center. The concert will reunite Aslan with several key musicians from Buenos Aires, including Daniel Piazzolla, and include an appearance from special guest, Latin Jazz legend Paquito D’Rivera. It should be a serious tango-jazz concert that you don’t want to miss. LJC readers will receive a 25% discount on tickets to the concert – get them while you can. Purchase your tickets HERE and enter the promo code Tango for your discount.
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Want to hear more from Pablo Aslan? Check out these albums: Avantango
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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
Many people often refer to the influence of African culture upon the Caribbean, South America, and straight-ahead jazz, which makes a lot of sense due to the tragic history and slavery. For many people the story ends there, but in reality, the music of the African Diaspora has sent its own influence back onto contemporary African music. Over at NPR Music, they’re taking a look at the influence of Afro-Cuban rhythms upon African music, through the lens of a recent anthology, Africa Boogaloo: The Latinization of West Africa. It’s an interesting article, with some nice streaming audio examples – check it out HERE.
Tonight, February 22nd, pianist Cliff Korman will be presenting a clinic on improvisation in Brazilian popular music, with a special emphasis upon the music of legendary Brazilian composer Hermeto Pascoal. Bass player Itiberê Zwarg, a member of Pascoal’s band, will be on hand to help provide insights into the topic. Korman will discuss his materials for Jazz Studies Online, and together with woodwind player Billy Drewes and drummer Rogerio Boccato, the musicians will perform. Get the details HERE.
If you’re in EUROPE this week . . . OMAR SOSA
Festival Jazzellerault WHEN: Friday 2/26/10 WHERE:Nouveau Theatre Accord
21 rue Chanoine de Villenueve
Chatellerault, France TIME: 8:45 p.m. TICKETS: 13,50 euros – 22 euros
Musica en la Villa WHEN: Sunday 2/28/10 WHERE:Teatro Fernan Gomez
Plaza de Colon
28001 Madrid, Spain TIME: 8:00 p.m. TICKETS: 20 euros
SAMUEL QUINTO WHEN: Saturday 2/27/10 WHERE:Museo do Douro
Rua da Ferreirinha, 43
5050-256 Peso Da Régua, Portugal TIME: 11:00 p.m.
If you’re in CANADA this week . . . ARTURO SANDOVAL
Montreal High Lights Festival WHEN: Friday 2/26/10 WHERE:Métropolis
59 Ste.Catherine Street East
Saint-Laurent, Canada TIME: 8:00 p.m. TICKETS: $32.50
If you’re on the EAST COAST this week . . . AFRO-BOP ALLIANCE WHEN: Saturday 2/27/10 WHERE:An Die Musik
409 North Charles Street
Baltimore, MD TIME: 8:00 p.m. & 10:00 p.m. TICKETS: $20
ANNETTE AGUILAR & STRINGBEANS WHEN: Tuesday 2/23/10 WHERE:Giovanni’s G-Bar lounge
579 Grand Concourse
Bronx, NY TIME: 6:00 p.m.
ARTURO O’FARRILL
Solo Piano WHEN: Wednesday 2/24/10 WHERE:Puppet’s Jazz Bar
481 5th Avenue Park Slope
Brooklyn, NY TIME: 7:00 p.m. TICKETS: $10
Afro-Latin Jazz Orchestra Goes Carioca WHEN: Friday 2/26/10 – Saturday 2/27/10 WHERE:Symphony Space
2537 Broadway
New York, NY TIME: 8:00 p.m. TICKETS: $35 in advance; $40 on day of show
BOBBY CARCASSÉS WHEN: Friday 2/26/10 WHERE:Manuel Artime Theater
900 SW 1st Street
Miami, FL TIME: 8:00 p.m. TICKETS: $30
BOBBY SANABRIA
Big Band WHEN: Wednesday 2/24/10 WHERE:Fonda Boricua Lounge
172 East 106th Street
New York, NY TIME: 7:30 p.m. & 9:30 p.m. TICKETS: $10
CHICO O’FARRILL’S AFRO-CUBAN JAZZ ORCHESTRA WHEN: Sunday 2/28/10 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 2/28/10 WHERE:Smoke
2751 Broadway
New York, NY TIME: 8:00 p.m., 10:00 p.m. & 11:30 p.m. TICKETS: $20 minimum
CLIFF KORMAN WHEN: Thursday 2/25/10 WHERE:Zinc Bar
82 West 3rd Street
New York, NY TIME: 9:30 p.m., 11:00 p.m. & 1:00 a.m. TICKETS: $10 + 2 drink minimum
ERIC KURIMSKI WHEN: Thursday 2/25/10 WHERE:Terraza Cafe
40-19 Gleane St
Elmhurst, NY TIME: 10:00 p.m. TICKETS: FREE
FRANK VILLAFAÑE & 3 TO CLAVE
Jazz Brunch WHEN: Sunday 2/28/10 WHERE:Salt Creek Grille
One Rockingham Row
Princeton, NJ TIME: 12:00 p.m. TICKETS: $27.95 for adults; $12.95 for children
GABRIEL ALEGRIA WHEN: Friday 2/26/10 – Sunday 2/28/10 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
LAURANDREA LEGUIA WHEN: Wednesday 2/24/10 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: NO COVER
PEDRO GIRAUDO JAZZ ORCHESTRA WHEN: Friday 2/26/10 WHERE:Philadelphia Museum of Art
26th Street and the Benjamin Franklin Parkway
Philadelphia, PA TIME: 5:45 p.m. & 7:15 p.m. TICKETS: Free after museum admission
WILLIE MARTINEZ WHEN: Thursday 2/25/10 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 2/23/10 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 2/26/10 – Saturday 2/27/10 WHERE:Remy’s Jazz and Cocktails
225 E Monroe Street
Springfield, IL TIME: 8:30 p.m.
LOS GATOS WHEN: Wednesday 2/24/10 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 2/24/10 WHERE:Salute
46 East Superior Street
Chicago, IL TIME: 7:00 p.m.
TUMBAO BRAVO WHEN: Sunday 2/28/10 WHERE:Sangria’s
401 South Lafayette Avenue
Royal Oak, MI TIME: 9:30 p.m. TICKETS: $5
TWO FOR BRAZIL WHEN: Tuesday 2/23/10 WHERE:Katerina’s
1920 W. Irving Park Road
Chicago, IL TIME: 8:30 p.m. TICKETS: $8
If you’re in the MID-WEST this week . . . ANDRES MARTINEZ & MOSAIC
Brazilatino WHEN: Sunday 2/28/10 WHERE:Kerr Cultural Center
6110 N. Scottsdale Road
Scottsdale, AZ TIME: 3:00 p.m. TICKETS: $15
PAQUITO D’RIVERA
Guest Artist with Turtle Island Quartet and Luna Negra Dance Theater WHEN: Sunday 2/28/10 WHERE:Macky Auditorium – University of Colorado at Boulder
302 UCB
Boulder, CO TIME: 7:30 p.m. TICKETS: $12 – $52
If you’re on the WEST COAST this week . . . ARTURO SANDOVAL WHEN: Saturday 2/27/10 WHERE:The Stephen and Mary Birch North Park Theatre
2891 University Avenue, Suite 1
San Diego, CA TIME: 8:00 p.m. TICKETS: $35 – $65
BAY AREA LATIN JAZZ ALL-STARS
John Santos, Wayne Wallace, & more!
Disaster Relief Benefit-Sionfonds for Haiti WHEN: Sunday 2/28/10 WHERE:Pier 23
Embarcadero
San Francisco, CA TIME: 3:00 p.m. TICKETS: $25
ESTRADA BROTHERS WHEN: Friday 2/26/10 WHERE:Vibrato Grill & Jazz
2930 N. Beverly Glen Circle
Bel Air, CA TIME: 9:00 p.m.
JOHNNY BLAS LATIN JAZZ BAND WHEN: Friday 2/26/10 WHERE:Steamer’s
138 W. Commonwealth
Fullerton, CA TIME: 8:30 p.m. TICKETS: $8
PONCHO SANCHEZ WHEN: Sunday 2/28/10 WHERE:Spaghettini’s
3005 Old Ranch Parkway
Seal Beach, CA TIME: 7:00 p.m. TICKETS: $45
REBECA MAULEON
Premiere of “Suite Afro-Cubano” with the Oakland Symphony WHEN: Friday 2/26/10 WHERE:Paramount Theater
2025 Broadway
Oakland, CA TIME: 8:00 p.m. TICKETS: $20 – $65
SCOTT MARTIN WHEN: Wednesday 2/24/10 WHERE:Spaghettini’s
3005 Old Ranch Parkway
Seal Beach, CA TIME: 7:00 p.m. TICKETS: $10
SOMBRA Y LUZ
Disaster Relief Benefit-Sionfonds for Haiti WHEN: Sunday 2/28/10 WHERE:Pier 23
Embarcadero
San Francisco, CA TIME: 3:00 p.m. TICKETS: $25
WHEN: Sunday 2/28/10 WHERE:Coda Supper Club
1710 Mission Street
San Francisco, CA TIME: 8:00 p.m. TICKETS: $10
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Timbasa Mark Weinstein Jazzheads
Collaboration lies at the heart of any musical endeavor, and often times, a project’s success relies upon musicians working together coherently. This concept proves ultimately important in Latin Jazz ensembles, where trust and collective thought enable truly meaningful and interesting improvisation. For many groups, collaboration can be a learned skill; it becomes the art of give and take, where musicians learn when how to grab the spotlight and when to support their peers. Sometimes this lesson sinks into the ensemble quickly, and for some musicians, it takes years of shared musical experiences to refine their group process. Live performance often serves as the training ground for this process, giving musicians the chance to rise or fall through their team work. The recording studio tests the heart of a group’s collaborative spirit, capturing their musical output and exposing the success of failure of the group’s mutual work. When a group of musicians come together for the first time in the studio, they face an interesting challenge – since they don’t have years of trust built into their relationships, their collaboration needs to be based strictly upon musicality. Success involves an open mind, a mature artistic attitude, and high level musical skills; a hole in any of these areas can curse the project. Flautist Mark Weinstein works with a group of young Cuban musicians on Timbasa, creating a highly collaborative environment that sparks some amazingly original and exciting interpretations of standards and new compositions.
Imaginative Arrangements Of Jazz Standards
Weinstein and his group turn several classic jazz standards inside out with imaginative arrangements and impressive performances. The drummers establish a very modern take on a son montuno as Weinstein and pianist Axel Tosca Laugart visit the classic melody on Miles Davis’ “Milestones,” accompanied by long round notes from bassist Panagiotis Andreou. Weinstein explodes into a flurry of quick runs over the assertive accompaniment from the rhythm section, delivering a fast and furious display of creativity. Laugart quickly contrasts Weinstein with a quietly intense entrance into his solo, using tense syncopations to drive the band into energetic solos from Ogduardo Diaz on bongó, Pedrito Martinez on congas, and Mauricio Herrera on drums. Andreou lazily implies the classic bass line to Wayne Shorter’s “Footprints” before the rhythm section kicks into a seven beat cycle behind the melody with short leaps into cha cha cha on the turnaround. Weinstein floats over the odd meter groove with a relaxed fluency, spinning long lines full of rapid runs and sharp accents. Laugart moves around the seven beat cycle with a confident vigor, using the groove’s natural tension to his advantage, until Andreou makes a short statement, running low melodic lines through the texture. The rhythm section places their own mark upon Herbie Hancock’s “Watermelon Man” with a laid back cha cha cha groove while Weinstein personalizes the familiar melody with liberal embellishments. Weinstein flies over the funky background with a bluesy edge, prodding the rhythm section with assertive lines, while Laugart uses broad open washes of understated lines to build his statement. Panagiotis combines rising sequences and virtuosic lines to construct an attention grabbing solo before the rhythm section provides an off-set series of attacks for an exciting improvisation from Martinez. These pieces find the group working together to produce highly original arrangements and awe inspiring performances that shed new light upon classic tunes.
Applying A Distinctive Performance Approach To Latin Jazz Pieces
The group adds their distinctive performance approach to repertoire closer to home, developing interpretations of pieces from the Latin Jazz world. Quick ascending lines explode into a broad pedal tone full of forward motion on Chucho Valdes’ “A Ernesto” before the rhythm section establishes a short vamp for Weinstein’s improvisation. The flautist charges into a frenzied combination of bebop licks and traditional Cuban phrases, inspiring enthusiastic response from Laugart and Herrera. A sharp break from the rhythm section allows Laugart to storm into his improvisation with a bluesy swagger evoking the spirit of the song’s composer with virtuosic flights of jazz melodies that lead into an impressive series of solo from all three percussionists. Andreou melds amazing bass technique, impeccable musical construction, and sung accompaniment into an inspiring introduction for Duke Ellington and Juan Tizol’s “Caravan.” After Weinstein visits them melody with a free sense of phrasing, Laugart dramatically enters his improvisation, stretching musical lines into a long statement full of staggering rhythms and engaging melodies. Weinstein crafts an interesting solo that explores the edges of the song’s harmony, moving into a stunning timbale solo from Martinez. A laid-back funky vamp from Laugart and Andreou give a boogaloo feel to Weinstein’s “Just Another Guajira,” while Weinstein plays the familiar melody over the band. Laugart jumps into a tasteful improvisation that captures the song’s laid back feel, followed by Weinstein, who pushes the groove with quick lines and a bluesy edge. Andreou storms through a ferocious improvisation that combines percussive lines with chordal passages, and after Weinstein returns to the melody, Martinez opens into a polyrhythmic improvisation full of energy and class. These pieces once again offer a different perspective on familiar tunes, utilizing the collection power of the group to reinvent Latin Jazz classics.
Exploring Original Compositions From The Group
Weinstein appreciates the contributions from his group, taking the time to explore several of their original compositions. Jaw dropping percussion fills explode over a clave figure on Martinez’s “Timbasa,” leading into a rhythmic unison melody from Weinstein, Laugart, and Andreou. Weinstein stretches across a long improvisation, taking his time to build his ideas into a wild frenzy before Laugart glides over the keyboard with a distinct sense of rhythmic placement and thematic development. Andreou starts his statement with understated melodies, opening into impressive runs across his instrument until a spectacular percussive trade between Diaz, Martinez, and Herrera. Weinstein riffs around Andreou’s Middle Eastern vocal scat on “Kavaklari Cubano,” until batá drums provide a Cuban background to the cultural blend. Andreou sings along with his bass and Laugart on a slow and contemplative melody, as the group builds into a dramatic flourish for a contemplative improvisation from Weinstein. The group wraps around the vocal melody again, taking dynamic turns to let Andreou and Weinstein extend their ideas and contribute thoughtful embellishments. Laugart introduces an engaging vamp over driving percussion while Andreou riffs on Martinez’s “Encuentro,” leading into a catchy melody from Weinstein. The rhythm section turns up the heat behind Weinstein’s improvisation, driving the flautist to hit sharp rhythmic accents and fast runs. Both Laugart and Andreou thrive off the song’s addictive groove, building attention grabbing solos, until aggressive percussion statements from Herrera, Martinez, and Diaz send the song into an exciting climax. These tracks allow Weinstein to share his ideas with the group and bring their compositional voices into the forefront of the album.
A Memorable Collaboration Between Master Musicians
Weinstein displays a supremely collaborative spirit on Timbasa, letting his musicians stretch their chops and enjoying the outcome. Despite the fact that this studio date represents an early effort from the group, Weinstein enables an environment where all the musicians work together fluently, showing both individuality and team effort. There’s a distinctly modern approach from Weinstein’s sidemen throughout the recording, mixing equal pieces of timba energy, Irakere influenced experimentation, and contemporary jazz harmony. While the band’s roots differ from Weinstein’s background, the flautist has spent his career exploring new and challenging repertoire. The band aggressively pushes Weinstein with their high energy approach and the flautist responds with some of his most engaging playing. As the musicians approach standards, they respect tradition, but they also rip each tune open and search for their own identities. Weinstein encourages the exploration and enters each familiar tune with a new perspective that delivers inspired playing. Laugart emerges as a potentially major voice in Latin Jazz piano, while Andreou presents a unique and impressive bass presence that demands attention. Martinez, Diaz, and Herrera supply a triple threat, providing an unstoppable percussion section with an interactive spirit and considerable improvisation abilities. Each song on Timbasa unfolds with inspiring and joyful performances that make this a memorable collaboration between master musicians.
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.
Oscar e Familia Oscar Feldman Sunnyside Records
The idea of family is a basic human concept that touches all of our lives on a very real level, but for musicians, it extends into every aspect of their lives. Each musician holds their unbreakable connection to their original family – this piece of their lives remains embedded in everything that they create. This essential family foundation connects the artist with their background, ranging from cultural traditions to artistic aesthetics and social expectations. Musicians also spend untold hours with their artistic peers, indulging in musical creation, an act that by its very nature creates strong bonds. Through numerous gigs, travel, and recording, the artist’s circle of musician comrades become another type of family, a collective that shares similar experiences and understands common issues. Musical mentors grow into a very special part of the musician’s extended concept of family, becoming powerful role models that reach parental status. The performance examples and artistic lessons that these mentors provide builds a path that guides younger musicians towards solid musical development. The greater music community serves as a broad pool of personalities and ideas that support the artist, delivering support, feedback, and inspiration. While the musician might not connect with each piece of this community, they serve as a massive support system through the musician’s travels. These various aspects of a musician’s family life form the core of their reality and serve as the springboard for musical creation. Saxophonist Oscar Feldman recognizes this large idea of family on Oscar e Familia, an interesting combination of Latin Jazz tracks that connect with Feldman’s roots in Argentina, his place in the modern musical community, and a series of important mentors.
Exploring Argentinean Music And Jazz
Several pieces move between Feldman’s Argentinean background and his love for straight-ahead jazz. Feldman and bandoneonist Tito Castro infuse the main melody with an inspired energy on Astor Piazzolla’s “Triunfal,” richly contrasted by an introspective and melancholy bridge from pianist Octavio Brunetti. Moving into his improvisation with pensive and gentle melodies, Brunetti builds into a rhythmic drive overflowing with characteristic tango phrases. Castro glides through the solo cycle with a strong sense of melodic construction, leading into Feldman’s statement, a passionate ride filled with jazz based melodic choices and expressive articulations. A quiet and elegant bass line from John Benitez leads into the rich and colorful texture of the Cuartetango String Quartet on “New Tango,” setting the stage for a gently exposed and beautifully executed melody from Feldman. The saxophonist winds through the gorgeously orchestrated string section, playing with a wide vibrato over lush passages and an assertive momentum over rhythmic sections. Feldman relishes in the complex texture of his rhythm section complimented by strings, developing a lyrical improvisation that pulls together jazz language with basic melodic beauty. A reflective unaccompanied improvisation from pianist Manuel Valera leads into an aggressive vamp over an Argentinean chacarera rhythm on Guillermo Klein’s “El Minotauro,” providing a foundation for a dramatic melody from Feldman. The saxophonist tears into his solo with a ferocious abandon, driving the rhythm section into a frenzy until Valera creates an intriguing statement that darts around the changes. Bassist Pablo Aslan presents an interesting combination of modern melodic lines and rhythmic double stops before drummer Antonio Sanchez and percussionist Pernell Saturnino trade an awe inspiring set of brief solos. These pieces connect Feldman with Argentina and also allow him to share his vision of the crossroads between traditional music and jazz.
Touching Upon Important Mentors
Feldman touches upon other individuals and musical ideas that have touched his life with a number of tracks that jump between different styles. As the rhythm section inserts coloristic touches, Feldman thoughtfully interprets a gentle melody over Aslan’s bowed bass on “Oscar e Familia,” a piece written for the saxophonist by Brazilian composer Hermeto Pascoal. The rhythm section jumps into a driving samba feel behind Feldman, full of off-kilter time signature changes, until a full horn section provides a bouncing momentum. A short fill from Sanchez kicks the band into double time, sending them racing towards a chaotic collective improvisation that creates a screaming finale. A dissonant chord from the Cuartetango String Quartet melts into a rich background for Feldman on “Coco De Bahia,” a piece dedicated to the saxophonist’s father that quickly jumps into a moving samba. Feldman winds jazz tinged lines through the colorful chord changes with a rhythmic vibrancy which leaps into high gear as the strings rise into the mix. Valera travels through the song’s harmonic tapestry with an energetic zeal that touches upon the pianist’s strong sense of melodic ingenuity and a bluesy edge. Feldman and tenor saxophonist Mark Turner bounce through a long and winding melody over a straight-ahead jazz swing feel on “So Tenderlee,” a piece dedicated to the great jazz saxophonist Lee Konitz. Turner confidently strides into a strong statement, quickly building rhythmic tension until Feldman enters with a carefully constructed improvisation that builds themes with a bop flair. Valera leaps into a smart solo filled with Monk-esqe rhythms and long lines, and after a return to the melody, Feldman and Turner exchange ideas in an exciting improvisational conversation. These tracks allow Feldman to extend the idea of family across many spectrums and deliver his musical interpretations of important mentors in his life.
Blending Fusion And Latin Music Communities
Feldman displays an affinity for contemporary jazz styles with several songs that blend fusion with Latin influences. The floating sensation of Valera’s airy keyboards and Benitez’s punctuated fills provide a subdued feel on “Mrs. Tangoholic” until the wind players burst into a rhythmic melody that slithers through drummer Sanchez’s funky groove. The band falls into an open texture as Feldman slowly moves into his improvisation with tastefully understated lines before pushing the group into a frenzy with sharp accents and a squelching intensity. Trumpet player Diego Urcola quickly jumps into a high energy improvisation with a flying series of running notes and forays into his instrument’s upper register. Benitez freely interprets a bass vamp before the full rhythm section charges forward into furious groove behind Feldman’s melodic statement on Wayne Shorter’s “Children Of The Night.” Valera slides quick evolving themes over the vamp, building into long flowing lines that simmer with tension. Feldman creates a strong forward motion with focused modern bop lines until Saturnino opens into a blazing conga solo over the main groove. Benitez firmly establishes a bass line around a seven beat cycle as Valera’s keyboards drift through the background on “The Improvisors,” as a brash melody full of repeated phrases crashes through the texture. Urcola switches to trombone and navigates through the odd meter foundation with impressive dexterity, spinning fluid phrases full of thematic integrity. Feldman displays a nimble ability to construct running lines and memorable ideas over the unusual foundation, leading into a assertive and coloristic improvisation from Sanchez. These pieces find an even balance between fusion and Latin textures, with Feldman’s writing displaying a broad connection to the greater musical community.
A Diverse Vision Executed With An Inspired Conviction
Feldman touches upon a wide variety of family connections through the music on Oscar e Familia, charging his musical output with an inspired conviction. As a composer, Feldman jumps between musical worlds cleanly, finding clear connections that bring different styles together into a specific message. The album includes a bit of stylistic movement, but that’s simply a reflection of Feldman’s broad musical palette – each genre supports the main idea of the individual concept. A tango setting allows Feldman to reach into a dramatic and passionate side of himself, while sparse strings open the door to expressive articulations, and a funky foundation encourages him to play raw and aggressively. Feldman’s inclusion of pieces by Piazzolla, Pascoal, and Shorter once again expose the depth of his influences and reveal an artist with a broad musical vision. The saxophonist chooses the perfect band mates for his diverse picture of musical family; each one of the musicians supports Feldman’s ideas and pushes the music into an exciting place. Valera provides a broad harmonic foundation and acts as an able soloist while Benitez, Sanchez, and Saturnino contribute an interactive and often explosive rhythm section. Aslan, Castro, and Brunetti add a touch of authenticity to the tango material, allowing Feldman to build upon his background. A good listening of Oscar e Familia paints a good picture of Feldman’s broad and diverse musical world, bringing the listener into the family circle.
There are countless musicians in the history of Latin Jazz, and many of them are truly memorable. Being the first musician to try a new musical approach, or even an early adopter, certainly ensures a secure place in people’s minds. This idea never quite reflects the exact flow of musical trends, but the idea of a stylistic originator always seems to stick to individuals. Developing a distinctly different or defined public personality sets an artist apart from their peers and locks them into people’s minds. Some musicians incorporate flashy attire and attention grabbing fashion into their persona, while others simply present an undeniably charismatic presence to the world – these both become permanently burned into our consciousness. Taking artistic risks always establishes an unforgettable presence in the music world, showing the bravery and artistic confidence to step outside the musical norms. Sometimes we remember a success and other times we hold onto failure, but either way the music rolls, we don’t forget. Creating music that stands the test of time and flows into the territory of standard repertoire connects the artist with future generations in a very real way. Important composers and arrangers find their names lining the pages of fake books and sitting in album credits for recordings from young musicians for all the world to see. Sharing their unique musical ideas with sidemen guarantees that the next group of musical leaders will carry their artistic vision into the future. We tend to remember great musicians, and there are many individual circumstances that make this happen; very few artists cross multiple elements during their careers, pushing them beyond memorable into a place where they are truly important.
Born on this day, February 16th, Francisco Raúl Gutiérrez Grillo, better known as Machito, sits in the center of Latin Jazz history as an essentially important musician. Born in Havana, Cuba during the first decade of the twentieth century, Machito honed his musical skills as a young man, performing with groups such as Cuarteto Caney and Noro Morales. He made his major contributions to the Latin Jazz world in New York though, where he became a major player in the local music scene. After stints with Alberto Iznaga and Xavier Cugat, Machito formed his own band in 1940 and bucked all sense of social norms in the early twentieth century, calling his group the “Afro-Cubans.” Primarily a dance band at first, the group integrated distinct jazz influences once Mario Bauzá joined Machito’s forces as musical director. In the late forties, the bebop world began to recognize Machito and his Afro-Cubans as a major force that provided staggering Cuban rhythms but also understood the subtleties of jazz. The group soon shared the stage with major jazz soloists such as Dexter Gordon, Charlie Parker, Howard McGhee, Filp Phillips, and more. They recorded legendary pieces of Latin Jazz history, including Chico O’Farrill’s Afro-Cuban Jazz Suite and the groundbreaking album Kenya. Despite the ever changing state of the Latin music scene, Machito weathered the storm and continued creating solid, artistically interesting music through the early eighties, until he died in London, England on April 15, 1984. The impact of Machito’s life of hard work and top-notch musicianship certainly left an unforgettable legacy that set the stage for the growth of Latin Jazz. Songs, albums, and films have been dedicated to the legendary band leader, including works from Tito Puente, Bobby Sanabria, Papo Vazquez, and more. Without a doubt, Machito stands as one of the most important musicians in latin Jazz history.
In honor of Machito’s birthday, we’ll be dedicating today’s Weekly Latin Jazz Video Fix to the memory of this great musician. The first clip finds a classic version of the Machito band performing a standard piece of their repertoire, “Tambo.” The second video is a bit grainy, but it’s worth the trouble – it features the Machito band performing in Japan with a ferocious passion and it includes a nice interview with the master. The last outtake shows a later version of the Machito band in a television appearance during the seventies; you can see that the band still swings with the same intensity here. Take the opportunity to remember this fantastic musician on his birthday and look back upon all that he did for the Latin Jazz world – enjoy!
———- Machito & His Afro-Cubans Performing “Tambo”
Machito & His Afro-Cubans Performing In Japan
Machito & His Afro-Cubans Performing In the Seventies
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Want to hear more from Machito & His Afro-Cubans? Check out these classic albums: Kenya
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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
Different performing environments can each present their own unique challenges, but I think that most of us would have trouble thinking about how to build some excitement in the small space behind a desk. Well, most of us . . . harpist Edmar Castaneda proved that he can light a serious fire in the tiniest of spaces this past week, performing in NPR’s Tiny Desk Concert series. The video of this concert finds Castaneda performing two pieces from his latest album Entre Cuerdas alone among books, papers, a desk, and more. Castaneda is simply an incredible performer though, and his concert plays to his high standards – check it out HERE.
Google released their new social networking platform, Buzz, on the world this past week, and honestly, I haven’t quite decided my opinion on it yet. I have been checking it out though – if you want to connect, you can find my profile HERE.
2/16: Bandleader Francisco Raúl Gutiérrez Grillo “Machito,” 1912
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LIVE LATIN JAZZ
If you’re in SOUTH AMERICA this week . . . PAQUITO D’RIVERA
Festival of Jazz and Blues Guaramiranga/Flortaleza WHEN: Tuesday 2/16/10 WHERE:Teatro Rachel De Queiroz
Guaramiranga, Brazil TIME: 10:30 p.m.
estival of Jazz and Blues Guaramiranga/Flortaleza WHEN: Thursday 2/18/10 WHERE:Teatro José De Alencar
Guaramiranga, Brazil TIME: 9:00 p.m.
If you’re in EUROPE this week . . . EDWARD PEREZ WHEN: Wednesday 2/17/10 WHERE:Le Swing
Calle Doctor Cortezo 17
2ª Planta, Madrid, Spain TIME: 10:00 p.m.
WHEN: Thursday 2/18/10 WHERE:Cafe Teatro Avalon
Plaza Las Balsas 2
42001 Soria, Spain TIME: 10:30 p.m. TICKETS: 12 euros
SAMUEL QUINTO WHEN: Monday 2/15/10 WHERE:B-Flat
Rua Garcia Arosa
4450 Matosinhos, Portugal TIME: 11:30 p.m.
If you’re on the EAST COAST this week . . . AFRO-BOP ALLIANCE WHEN: Tuesday 2/16/10 WHERE:Clarice Smith Performing Arts Center
University of Maryland
College Park, MD TIME: 5:30 a.m. TICKETS: FREE
ADRIANO SANTOS BRAZILIAN JAZZ ORGAN TRIO WHEN: Friday 2/19/10 WHERE:Bar Next Door
129 MacDougal Street
New York, NY TIME: 11:00 p.m. & 12:30 a.m. TICKETS: $12
ARTURO O’FARRILL
Solo Piano WHEN: Wednesday 2/17/10 WHERE:Puppet’s Jazz Bar
481 5th Avenue Park Slope
Brooklyn, NY TIME: 7:00 p.m. TICKETS: $10
BOBBY SANABRIA
Big Band WHEN: Wednesday 2/17/10 WHERE:Fonda Boricua Lounge
172 East 106th Street
New York, NY TIME: 7:30 p.m. & 9:30 p.m. TICKETS: $10
CHICO O’FARRILL’S AFRO-CUBAN JAZZ ORCHESTRA WHEN: Sunday 2/21/10 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 2/21/10 WHERE:Smoke
2751 Broadway
New York, NY TIME: 8:00 p.m., 10:00 p.m. & 11:30 p.m. TICKETS: $20 minimum
GABRIEL ALEGRIA WHEN: Friday 2/19/10 – Sunday 2/21/10 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
GARY MORGAN & PANAMERICANA WHEN: Tuesday 2/16/10 WHERE:Zinc Bar
82 W 3rd Street
New York, NY TIME: 8:00 p.m., 9:30 p.m. & 11:00 p.m. TICKETS: $10, 1 drink minimum
GREG DIAMOND WHEN: Tuesday 2/16/10 WHERE:NuBlu
62 Avenue C
New York, NY TIME: 9:00 p.m.
WHEN: Wednesday 2/17/10 WHERE:Flutebar – Gramercy
40 East 20th Street
New York, NY TIME: 8:00 p.m.
HECTOR DEL CURTO’S ETERNAL TANGO ORCHESTRA WHEN: Thursday 2/18/10 WHERE:David Rubenstein Atrium at Lincoln Center
61 West 62nd Street
Manhattan, NY TIME: 8:30 p.m. TICKETS: FREE
HECTOR MARTIGNON WHEN: Thursday 2/18/10 WHERE:Nuyorican Poet’s Cafe
236 East 3rd Street
New York, NY TIME: 9:00 p.m. TICKETS: $7
HERNAN ROMERO WHEN: Thursday 2/18/10 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: NO COVER
JACKIE COLEMAN WHEN: Tuesday 2/16/10 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: NO COVER
LUCIA PULIDO WHEN: Sunday 2/20/10 WHERE:Shambhala Center
118 West 22nd Street
New York, NY TIME: 8:00 p.m.
MAMBO LEGENDS SEPTET WHEN: Thursday 2/18/10 WHERE:Fonda Boricua Lounge
172 East 106th Street
New York, NY TIME: 9:00 p.m. TICKETS: $10
MIGUEL ZENON WHEN: Saturday 2/20/10 WHERE:Sixth & I Historic Synagogue
600 I Street NW
Washington, DC TIME: 8:00 p.m. TICKETS: $30
ROBERTO QUINTERO SEXTET WHEN: Friday 2/19/10 – Saturday 2/20/10 WHERE:Fonda Boricua Lounge
172 East 106th Street
New York, NY TIME: 9:00 p.m. TICKETS: $10
SABRINA LASTMAN WHEN: Wednesday 2/17/10 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 2/19/10 WHERE:Tin Angel
20 South 2nd Street
Philadelphia, PA TIME: 10:30 p.m. TICKETS: $12
If you’re in the MID-EAST this week . . . CHEVERÉ WHEN: Friday 2/19/10 – Saturday 2/20/10 WHERE:The Green Mill
4806 N. Broadway
Chicago, IL TIME: Friday: 9:00 p.m.; Saturday: 8:00 p.m.
CHICAGO AFRO-LATIN JAZZ ORCHESTRA WHEN: Tuesday 2/16/10 WHERE:Jazz Showcase
806 S. Plymouth Court
Chicago, IL TIME: 8:00 p.m. & 10:00 p.m. TICKETS: $30
CONRAD HERWIG’S LATIN SIDE BAND WHEN: Friday 2/19/10 WHERE:Symphony Center
67 East Adams Street
Chicago, IL TIME: 8:00 p.m. TICKETS: $37 – $49
DARWIN NOGUERA’S EVOLUTION QUARTET WHEN: Friday 2/19/10 – Saturday 2/20/10 WHERE:Andy’s Jazz Club
11 E. Hubbard Street
Chicago, IL TIME: 5:00 p.m. TICKETS: $5
LOS GATOS WHEN: Wednesday 2/17/10 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 2/21/10 WHERE:Sangria’s
401 South Lafayette Avenue
Royal Oak, MI TIME: 9:30 p.m. TICKETS: $5
If you’re on the WEST COAST this week . . . FRANK CANO WHEN: Saturday 2/20/10 WHERE:Steamer’s
138 W. Commonwealth
Fullerton, CA TIME: 8:30 p.m. TICKETS: $8
JOHN SANTOS WHEN: Sunday 2/21/10 WHERE:Eastside Arts Alliance
2277 International Boulevard
Oakland, CA TIME: 3:00 p.m. TICKETS: FREE
NAGUAL WHEN: Monday 2/15/10 WHERE:Luna’s Cafe
1414 16th Street
Sacramento, CA TIME: 8:30 p.m. TICKETS: $25 – $30
PETE ESCOVEDO WHEN: Thursday 2/18/10 – Sunday 2/21/10 WHERE:Dimitriou’s Jazz Alley
2033 6th Avenue
Seattle WA TIME: 7:30 p.m. & 10:00 p.m.; Sunday: 7:30 p.m. TICKETS: $26.50
PONCHO SANCHEZ WHEN: Friday 2/19/10 WHERE:Vitello’s
4349 Tujunga Avenue
Studio City, CA TIME: 7:30 p.m. & 10:00 p.m. TICKETS: $20, 2 drink minimum
WHEN: Sunday 2/21/10 WHERE:Steamer’s Cafe
138 W. Commonwealth
Fullerton, CA TIME: 7:00 p.m. & 9:00 p.m. TICKETS: $15
SOFIA REI KOUTSOVITIS WHEN: Thursday 2/18/10 WHERE:Museum Of Latin American Art
628 Alamitos Avenue
Long Beach, CA TIME: 8:00 p.m. TICKETS: $10
SONANDO WHEN: Thursday 2/18/10 WHERE:Tula’s
2214 Second Avenue
Seattle, WA TIME: 8:00 p.m. TICKETS: $10
TRIO DA PAZ WHEN: Tuesday 2/16/10 – Wednesday 2/17/10 WHERE:Yoshi’s – San Francisco
1330 Fillmore Street
San Francisco, CA TIME: 8:00 p.m. TICKETS: $16
WAYNE WALLACE
The Latin Side of Duke Ellington WHEN: Sunday 2/21/10 WHERE:The Improv
62 S. Second Street
San Jose, CA TIME: 2:00 p.m. TICKETS: $30
A Great Day In The Fillmore: Benefit For The California Jazz Foundation WHEN: Sunday 2/21/10 WHERE:Yoshi’s – San Francisco
1330 Fillmore Street
San Francisco, CA TIME: 7:00 p.m. TICKETS: $45 in advance; $50 at door
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Stanford University holds a reputation around the world as a center for high quality academic excellence, and in the past two years, it is becoming a growing force for a new generation of Latin Jazz musicians. While the campus has held a strong arts community for many years, Stanford’s Music Department just added a Latin Jazz ensemble into their program in 2008. Established by pianist Murray Low, the group has made major strides over the past two years, becoming a popular group both among the students and the community at large. A long time veteran of the Bay Area Latin Jazz scene, Low has called upon his years of experience performing with some of the best musicians in the area, such as Pete Escovedo, Wayne Wallace, John Santos, and Kat Parra. The in-demand pianist has become a major force behind all these groups, adding a powerful set of montunos, improvisation skills, writing and arranging talents, and all around top-notch musicianship wherever he goes. The students in Stanford’s Afro-Latin Jazz Ensemble have been fortunate enough to experience all of Low’s skills first hand, soaking up all of his knowledge and insight on a regular basis. 
LATIN JAZZ CORNER: Give us some background on your involvement with Stanford’s Afro-Latin Jazz Ensemble.
ML: I originally met Ray when he was playing lead trumpet in Tito Puente’s band. I was in Pete Escovedo’s band at the time and occasionally the two groups would be on the same bill. Ray has always been interested in the West Coast scene; I was part of his “Quintet West” that performed whenever he was out here. We built our friendship from a lot of common ideals about music.
ML: They have selected tunes from the repertoire that they play, or have played, with their respective professional bands. Some of the chosen pieces are difficult and the Stanford ensemble has risen to challenge of tackling them. We’re not dumbing anything down in any way, shape or form.
At some point in their careers, many straight-ahead jazz musicians flirt with the integration of Latin rhythms into their repertoire – an act that means different things for each artist. This new direction provides some artists an opportunity to experiment with authentic Caribbean or South American rhythms and pull new sources of inspiration into their playing. Jazz artists might make a one-time Latin endeavor that serves as a checkpoint along their career, and other times, the experience may be the spark that sends them into a longer exploration of the mixture between African American jazz and Latin styles. Some musicians view Latin rhythms as a color or a texture and it doesn’t necessarily need to authentically reference Afro-Cuban or Brazilian culture. For these artists, Caribbean or South American rhythms act as compositional tools that change the rhythm section and add different textural effects. Regardless of the aesthetics behind the integration of Latin rhythms, straight ahead jazz artists face a new world when they utilize these structures, and they inevitably need help. 
to Sarah Vaughan’s 
. Yet each one of these four albums places Bobo in a prominent position behind the drum kit, shaping the whole music. This collection shows a different side of Bobo that most people don’t consider when thinking of his legacy. His drum kit playing showed just as most potential and musical talent as his percussion work, so check it out – you’ll enjoy what you find. 
, Grant Green (1962)
, Ike Quebec (1962)
recording, Quebec jumps fully into Brazilian mode, filling the recording with gentle bossa novas. This setting suits Quebec perfectly, emphasizing breezy melodies and lyrical shape, anchored by a solidly cool jazz aesthetic. Although Bobo built his early career playing jazz based on Afro-Cuban rhythms, he was not a stranger to the world of Brazilian music. Sitting behind the drum kit on this session, Bobo provides a rock solid bossa nova feel, infused with an interactive jazz aesthetic. Bobo’s authentic feel really serves as the rock behind this recording as Quebec steps outside the easy repertoire choices and relies upon original material and interpretations of classical themes. Quebec’s “Blue Samba” struts ahead with a relaxed combination of swing and Brazilian sounds, allowing the band to slide classic bluesy phrases into the mix. Bobo creates a lively samba groove on “Goin’ Home” as Quebec combines jazz ideas with the theme from Antonin Dvorak’s Surprise Symphony, resulting in an unusual but strangely appealing mixture. Quebec works through the rhythmic edges of the melody on guitarist Kenny Burrell’s “Loie,” until the two musicians light a cool improvisational fire over Bobo’s steady bossa nova. The rhythm section creates an active propulsion with a combination of sparse vamps and steady bossa groove on “Lloro Tu Despedida,” giving Quebec and Burrell the freedom to wander through understated melodic statements. Quebec takes Brazilian Jazz in a variety of interesting directions on 
, Bob Brookmeyer (1962)
, Herbie Hancock (1964)
On Sunday February 28th, we celebrate the 76th birthday of legendary Latin Jazz percussionist Willie Bobo, a major voice in the development of the style. This seemed like an ideal time to revisit Bobo’s work, but in reality, any day is a good deal to discuss Willie Bobo. The iconic percussionist supported some of the greatest Latin Jazz artists of the fifties and sixties, most notably working for band leaders Tito Puente and Cal Tjader. His reoccurring collaborations with conguero Mongo Santamaría set the standard for outstanding rhythm section work in the realm of hard driving Latin Jazz. His work in the seventies became increasingly funky, as he reached out to soul audiences and found ways to blend his love of Latin dance music, jazz, and modern sounds. Although Bobo died in 1983 at the young age of 49 after a battle with cancer, his legacy lived on among the younger generation. His playing remained an inspiration for upcoming percussionists and his addictive funky grooves became favorites among the DJ crowd. The world of Latin percussion remembers Bobo every day and modern Latin Jazz constantly draws upon his influence – he was an important figure that contributed a lot to the art form. 
, Tito Puente (1956)
, Cal Tjader (1958)
as the definitive example of bobo’s work with the vibraphonist; it certainly is a great album, but there were a lot of earlier examples that highlight Bobo in a more real way. This 1958 recording presents Tjader, Santamaría, and Bobo performing live with different musicians from a variety of concerts. The musicians play with a raw intensity that sometimes escaped their studio efforts and brings some of the best elements of Bobo’s musicianship to the surface. The drummers light a fire beneath Tjader’s solo on “Night In Tunisia,” until Jose “Chombo” Silva jumps into the spotlight with a burning assertion that brings enthusiastic interaction from Bobo. The group storms through Tjader’s classic composition “Mamblues” with a tastefully bluesy improvisation from the vibraphonist and an absolutely attention grabbing timbale solo from Bobo that spotlights his skill for thematic development. Bobo swings with a funky undertone on Santamaría’s tune “Para Ti” and pushes a serious 6/8 pattern behind the conga player on “Afro Blue,” with both tracks giving a preview of future work. Bobo stretches out again on an extended timbale solo over “Cuban Fantasy,” combining classic licks with smart construction and a crowd pleasing dose of showmanship. Bobo’s relationship with Tjader and Santamaria defined his career, and 
, Victor Feldman (1959)
, Mongo Santamaria (1962)
, Willie Bobo (1964)
Dedication to a particular genre of South American or Caribbean music involves a lifetime of performance, study, and undying dedication. At this point in history, there’s a long stream of evolution that involves subtle, and sometimes drastic, changes in performance practices. Traditional artists create music today that sounds very different than the same style from fifty years earlier. These modern approaches build upon the lessons of the past though, and proper execution of contemporary ideas require a thorough understanding of earlier forms. For the artist that learned music outside the culture, diving into a new style presents an overwhelming task that involves a simultaneous study of both the old and new. Sorting out the difference between the music of the past and the present requires a broad spectrum of listening and some focused historical investigations. Musicians that spend their developmental years inside the culture sometimes live strongly attached to the genre, but for others, the style may simply exist in the background of their daily routines. Still, the music remains familiar, artist names are easily referenced as part of their cultural landscape, and they generally have greater access to the tradition. Regardless of a musician’s background, they have a long road ahead of them – the mastery of any South American or Caribbean genre demands a long study; when a musician prefers experimental forays into jazz, the path becomes even longer and demands a much more solid foundation.
. It’s an interesting article, with some nice streaming audio examples – check it out 
There are countless musicians in the history of Latin Jazz, and many of them are truly memorable. Being the first musician to try a new musical approach, or even an early adopter, certainly ensures a secure place in people’s minds. This idea never quite reflects the exact flow of musical trends, but the idea of a stylistic originator always seems to stick to individuals. Developing a distinctly different or defined public personality sets an artist apart from their peers and locks them into people’s minds. Some musicians incorporate flashy attire and attention grabbing fashion into their persona, while others simply present an undeniably charismatic presence to the world – these both become permanently burned into our consciousness. Taking artistic risks always establishes an unforgettable presence in the music world, showing the bravery and artistic confidence to step outside the musical norms. Sometimes we remember a success and other times we hold onto failure, but either way the music rolls, we don’t forget. Creating music that stands the test of time and flows into the territory of standard repertoire connects the artist with future generations in a very real way. Important composers and arrangers find their names lining the pages of fake books and sitting in album credits for recordings from young musicians for all the world to see. Sharing their unique musical ideas with sidemen guarantees that the next group of musical leaders will carry their artistic vision into the future. We tend to remember great musicians, and there are many individual circumstances that make this happen; very few artists cross multiple elements during their careers, pushing them beyond memorable into a place where they are truly important. 
