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.

Generaciones
Latin Jazz Youth Ensemble Of San Francisco
We often catalog the history of music into a series of concurrent generations, creating little boxes in time for each passing group of musicians. In reality, it’s simply a convenient way to look at the greater timeline of music history, breaking it down into easily digestible chunks.  We typify each generation with a musical label, classifying all the musicians of an era into one musical movement.  Names, faces, and personalities get lost into generic labels that relate to music in a vague way. Generations are much more than spaces on a chart though, they are the pieces of time that connect us into a greater musical community.  Musicians born in different eras each carry their own unique perspective on music and life; the exchange between these different artistic aesthetics create the culture around a musical style. It’s easy to get caught up in the division created by these historical boxes that we create for generations, but shared experience between generations are inevitable. Older musicians need to pass on history and tradition to younger musicians who interpret it through new lenses. Once they make significant artistic movements, they give their ideas back to the older generation. This circular relationship between members of each generation leads to collaboration and the inescapable evolution of musical thought, resulting in a strong artistic community. The Latin Jazz Youth Ensemble Of San Francisco, led by John Calloway, Sylvia Ramirez, and Arturo Riera, embraces this spirit of community on Generaciones, a strong collection of pieces performed by Bay Area young people with an investment in Latin Jazz.

The Benefit Of Experience
The group gets the benefit of experience through the performance of several songs written by professionals affiliated with the group. Bassist Gilbert Fix digs into a strong bass vamp until the full rhythm section and the wind players jump into a mambo on “Viva Peraza,” making way for a coro celebrating the legendary percussionist Armando Peraza. Guest vocalist Orlando Torriente enthusiastically dives into a strong vocal, introducing a masterful display of percussion improvisation from Peraza. Tenor saxophonist Noah Rosen nimbly wraps jazz lines through the driving groove, followed by a cleverly rhythmic improvisation from trumpet player Will Rubenstein, and a climatic statement from leader and flautist John Calloway. Violinist Julianna Cressman lays down a pizzicato montuno over a funky cha cha cha from the rhythm section on Calloway’s “YBG Walk,” leading into a catchy melody from the winds. A steady montuno from pianist Cecilia Sweet-Coll sets the stage for a series of well crafted solos from several group members, including Rosen, trombonist Adeyemi Demetrius, alto saxophonist Kai Stritter, trombonist Ruben Sandoval, Rubenstein, and flautist Nico Scolieri. A memorable mambo builds the dynamic, leading into a powerful improvisation from timbalero David Vazquez, full of technique and traditional phrasing. The rhythm section establishes a funky conga groove while the winds players tear through a sparse melody on Calloway’s “Generaciones,” which explodes into a bass break and an energetic groove. The group moves through a variety of textures as trombonists Brama Sukarma and Baron Arnold trade phrases, followed by another inspired exchange, this time between trombonists Natalie Cressman and Jeff Cressman. The full wind section frames stellar improvisations from conguero Remi Spiro and Vazquez with sharp attacks, pushing their solos into high gear. A contemplative minor mood flows over an airy groove on Calloway’s “Oakland,” while the wind players glide through a cleverly harmonized melody. Tenor saxophonist Maxime Stinnett builds a solid idea around a strong theme and rhythmic emphasis while Sukarma runs his edgy tone through the texture with stabbing rhythms. Guitarist Adam Nash spins flowing lines over the lush backdrop, while Fix shows a talent for melodic construction and development with his statement. The group gets some valuable lessons through compositions written by Calloway and Peraza, playing with enthusiasm and respect for an older generation.

A Strong Connection To The Lessons Of Tradition
The group shows a strong connection to the lesson of tradition through smart pieces written by student members of the rhythm section. Pianist Anthony Del Barrio charges into a powerful montuno, electrified by the rhythm section’s timba backdrop on guitarist Adam Nash’s “Para Empezar,” leading into melodic reading from trumpet player Noah Frank and Natalie Cressman. As the rhythm section launches into a massive inertia, Cressman skillfully builds a smart improvisation around the clave with defined rhythmic emphasis. Nash sends his guitar into overdrive, tearing through the groove with ample technique and a blistering distorted sound. A clever interplay between the bass and piano leads into a clever melody on pianist Katie Reutter’s “La Plaza,” creating a tightly defined sound. Trumpet player Max Miller Loran boldly creates an engaging improvisation filled with jazz runs, and after a quick mambo, Scolieri cuts through the groove with a short jabbing phrases and a rich tone. A funky bass groove from Mireya Leon sends the band flying into a lively mambo, setting the stage for an energetic solo from guest conguero Arturo Riera. Nash and Reutter both contribute pieces that pay respects to a wide stretch of Latin music, creating contexts for strong performances from their peers.

Cutting Loose On Original Pieces
The young group cuts loose with a number of piece recorded live at the 2008 San Jose Jazz Festival. A funky piano and bass groove serves as a backdrop for quick improvisations from both Nash and Scolieri on Cressman’s “La Playa,” leading into a rhythmically charged melody. Cressman jumps into her solo with an apparent vigor, driving razor-edged lines into the groove with a forceful momentum. A timba breakdown send the group into a intense forward motion as Frank soars through a memorable improvisation with fierce articulations and a growling tone. An unaccompanied drum solo from Alex Nash transitions into a menacing vamp on Frank’s “Ecstasy,” allowing the wind players to flow over the top with a distinctly minor melody. The composer’s trumpet carefully explores the texture, experimenting with mysterious sequences that inspire rhythm section commentary. The group provides some movement behind Cressman, who bounces off the clave with strong clarity, leading into a gripping statement from Stinnett, who brings his solo to a boil with rapid groups of runs. A quick rhythmic exchange between Spiro, Vazquez, and Alex Nash opens into a pleasant melody on Stinnett’s “On The Shoulders Of Giants,” surrounded by a stylish arrangement. Frank courageously burns through his improvisation with classy potency, until Cressman prods the band into high gear with fiery rhythmic attack. A spirited timba breakdown introduces Stinnett, who deftly blends jazz ideas into a passionate sound, until guest conguero Michael Spiro leaps into an explosive improvisation. Cressman, Frank, and Stinnett all exert the personality of their generation strongly on these pieces, allowing the group to play with enthusiastic commitment.

An Outstanding Model For Community Dedication To Latin Jazz
The Latin Jazz Youth Ensemble Of San Francisco shows the strength in collaboration between generations on Generaciones, creating an outstanding combination of tradition and forward thinking. Both the students and the professionals involved in the recording show a commitment to the style, a respect for the greater tradition, and an enthusiasm for high quality performance. Calloway leads the group with a passionate strength, sharing the wealth of his deeply rooted experience in Latin Jazz and his compassionate dedication as an educator. The students obviously feed off Calloway’s stellar example, providing rock solid groove, a knowledge of the clave, and strong jazz improvisation skills. The lessons go beyond the music though, as varied members of the musical community come together to support the students. As Ramirez, Riera, Peraza, Torriente, and more gather behind the musicians, they validate the contributions of the younger generation and strengthen the bonds of community. This endorsement obviously helps the students feel the importance of their work and inspires them to move beyond the standard educational experience. The compositions from Nash, Reutter, Cressman, Frank, and Stinnett all reflect extensive time dedicated to their understanding of the style. The results sound professional, fresh, and cleverly balanced between tradition and innovation – all admirable qualities that are needed in an upcoming generation of Latin Jazz musicians. The Latin Jazz Youth Ensemble Of San Francisco presents a model for community dedication on Generaciones, proving the strength of a shared artistic exchange between generations.

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Check Out These Related Posts:
Latin Jazz Conversations: John Calloway (Part 2)
Is Latin Jazz On It’s Deathbed? A Need To Reach The Younger Generation
Latin Jazz Photo Album: John Calloway & Diaspora
Latin Jazz At The San Jose Jazz Festival: The Festival Within A Festival

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