De La Habana A Nueva York
Bobby Carcassés
Vero Records
The connection between an experienced mentor and a young learner represents one of the most important and interesting relationships in the jazz world. Older musicians always share their experience and wisdom with younger artists, helping them reach their full potential. Some musicians communicate their insights openly while others simply teach by example, but at some point, each long term musician mentors a younger person. This connection helps younger musicians learn vital performance skills, but it also keeps tradition alive. It serves as the only authentic way to pass the nuances of a tradition onto the next generation; human contact provides so much more than recordings, books, or web sites. The younger musicians soak in the mentor’s influence, building their artistic identity upon the older artist’s shoulder. They eventually need to stake their claim elsewhere, incorporate other ideas, and construct their own artistic identity. They always maintain that emotional and intellectual link to their mentors though, constantly calling upon those lessons from their early years. As the younger generation becomes mentors in their own right, pieces of those lessons become fodder for the next group of upcoming musicians. There’s an unbreakable bond between mentor and learner that creates an inspired love for music; when mentor and learner play together that passion rises to the forefront. Vocalist and trumpet player Bobby Carcassés shared his wealth of experience with generations of young musicians in Cuba, and now years later, he brings a group of those artists together on De La Habana A Nueva York for an unforgettable collection of Latin Jazz.

A Masterful Compositional Approach
Carcassés contributes several original pieces to the group, sharing some insightful compositional skills. Drummer Dafnis Prieto and percussionist Marvin Diz establish a calmly smoldering rumba that builds into an aggressive mambo from saxophonist Yosvany Terry on “Blues Guaguanco,” transitioning into a strong lyric from Carcassés. Terry leaps into his improvisation with a focused intensity, cutting loose into wildly squelching notes, followed by an equally impassioned statement from pianist Osmany Paredes. Bassist Yunior Terry mixes solid thematic development with a percussive edge on his solo, and after a quick return to the melody, Carcassés flexes his improvisational muscles through a series of pregones and a percussive scat solo. Carcassés stretches vocally over rich open flourishes from Paredes on “Blues Para Chano” until a frantic 6/8 groove sets the stage for an exciting melody. Prieto falls into a medium tempo swing behind Carcassés’ flugelhorn solo, building momentum through Paredes’ classy improvisation with transitions between rhythmic styles. Yosvany Terry rides through the rhythm section’s unstoppable inertia with an aggressive energy, leading into an engaging scat solo from Carcassés and an attention grabbing drum feature for Prieto. Paredes gently improvises over a calm bolero on “Veronica,” leading into a tender vocal reading from Carcassés, who expressively follows the melody throughout his complete range. Carcassés smoothly moves onto flugelhorn for a lyrical and reflective statement that winds through the chords with grace and style. Paredes complements a series of beautiful melodic lines with bluesy embellishments before pushing the band into a medium cha cha cha beneath Carcassés’ scat solo. Paredes explodes into a timbafied montuno, establishing an exciting momentum on “De La Habana A Nueva York” as Carcassés sings through a jazz fueled melody. The leader jumps right into an impressive scat solo, spinning bebop lines through the changes, until Yosvany Terry and Paredes both contribute equally gripping solos. After a return to the lyric, Paredes kicks the song into high gear with a timba feel, laying the foundation for fiery pregones, a propulsive mambo, a scatted drum solo, and a rousing conclusion. Carcassés’ demonstrates a masterful compositional approach with these pieces, filling the group with inspiration and dedication.

Drawing Upon Classic Cuban Songs
The group interprets some classic songs from Cuban music, drawing upon the musicians’ common cultural background. Yosvany Terry and flautist Andrea Brachfeld wrap a twisting melodic line through a driving cha cha cha groove on “Babalu,” setting the stage for a lively vocal from Carcassés, filled with expressive nuances. Paredes charges into an upbeat montuno underneath a repeated coro, providing a propulsive groove while Carcassés flies through several pregones. A ferocious mambo gives way to an assertive statement from Brachfeld, whose dual sense of melodic ingenuity and clave phrasing send the band flying into improvisations from Carcassés and Yosvany Terry. Paredes thoughtfully constructs an unaccompanied introduction with a modern flair on “No Seras De Mi” before providing sensitive support behind Carcassés. The two musicians work around each other telepathically, giving each other a balance of space and support that makes the performance flow with a sparkling vitality. Yosvany Terry displays an insightfully lyrical improvisational sense on soprano saxophone, filling his breathy tone with an understated elegance. These pieces connect the group with their common background, allowing them to construct personally charged performances.

Cutting Loose With Jazz Standards
Carcassés includes several jazz standards into the repertoire, giving the group an opportunity to cut loose. The rhythm section explodes into an uptempo swing behind Yosvany Terry’s introduction on “Sometimes I’m Happy,” assertively switching between son montuno and swing behind Carcassés’ vocal. As the rhythm section continues it’s frenetic feel changes, the singer scorches through a ferocious scat solo that ingeniously combines the chromatic complexities of bebop with the rhythmic precision of Cuban rhythms. Yosvany Terry finds a balance between Charlie Parker and Paquito D’Rivera on an energetic solo, leading into a blazing improvisation from Paredes who sets the keys on fire with an impassioned vigor. Carcassés boldly leaps into an absolute display of vocal mastery on his solo interpretation of “Summertime,” simulating all the instrumental parts with his voice. The vocalist sings through the melody while he keeps the bass line steadily chugging through the cracks, inserting percussive accents into the mix. This builds into a show-stopping performance as Carcassés tears into a staggering scat solo while keeping the rhythm section parts in his vocal, leaving no doubt about the depth of his vocal abilities. Yunior Terry lays down a catchy bass riff, as Prieto sends the group charging a son montuno and Carcassés sings through a Spanish lyric on “Green Dolphin Street.” Both Paredes and Yosvany Terry travel through the changes with a comfortable familiarity, working off the inspired spirit of their bandmates to build memorable statements. The rhythm section shrinks to percussion behind an imaginative improvisation from Yunior Terry, and after a return to the melody, the group escalates into a fierce groove behind Prieto, who delivers a staggering display of musicality. These pieces provide a great context for the group to get creative and enjoy the camaraderie of the musicians.

A Shining Example Of Afro-Cuban Jazz At Its Best
Carcassés reconnects with this group of young Cuban musicians on De La Habana A Nueva York, producing an inspired setting full of creative energy. Carcassés emanates skill and knowledge with every performance, composition, and idea, laying a solid foundation for musical expression. His musical identity leaps out of the album with the force of a steam train, presenting a serious and likable musician that understands his art form with a spellbinding clarity. His scat solos and vocal interpretations expose a long standing connection to bebop, as he fluidly flies through rapidly changing chords and colorful alterations. He stays solidly connected to Cuban traditions as well, calling upon clave structures and traditional conventions with familiarity and ease. At every level, Carcassés offers so much to his listeners and his fellow musicians, his influence as a mentor figure becomes obvious. His group of musicians felt that influence during their developmental years in Cuba; at this point, they all stand as leaders in New York’s Latin Jazz scene, but their connection to Carcassés remains apparent. A combination of musicians like Prieto, Paredes, the Terry brothers, and Diz screams of an upcoming massive musical experience, but they take that expectation one step further here. Every member of the group displays a captivating musical mastery, playing with an intensity, devotion, and passion that stems from their respect for Carcassés. All these pieces come together into a powerful musical experience on De La Habana A Nueva York, as mentor and learner come together to deliver a shining example of Afro-Cuban Jazz at its best.

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Check Out These Related Posts:
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Jazz Now: 5 Latin Jazz Albums From The Present Moment

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