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.

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Spotlight: La Belleza . . . , Craig Enright
Album Of The Week: Avantango, Pablo Aslan

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