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.

High Vs Low
Giovanni Almonte
Truth Revolution Records
Vocalists in the modern Latin Jazz world face a unique set of challenges that require them to reflect upon the past with their creativity in full force.  They must root themselves in tradition, displaying the knowledge and respect of their mentors.  In many ways, this sends the vocalist back into the world of standard repertoire, which may include classic jazz songs, folkloric pieces from the Caribbean and South America, and recognizable Latin Jazz pieces. They simply can’t stop there though; artists need to push forward in new directions, defining themselves and reflecting upon their generation. Many instrumentalists tackle this task with enthusiastic zeal, forming new approaches to harmony and melody that take shape in a body of original compositions. Vocalists have a tougher road here, as they generally stay connected to the power of lyrics. Integrating lyrics and melodies from different cultural traditions into jazz settings has become a key piece of modern jazz vocal work, which does help separate the singer. Singers generally don’t create large bodies of original work that push their musical vision into the forefront though, relying upon interpretation to fuel their identity. This leaves vocalists in a difficult spot, stuck in the throngs of tradition without any sense of individualism. Vocalist Giovanni Almonte destroys this stereotype completely on High Vs Low with a set of compelling original compositions interpreted with the help of several visionary instrumentalists.

A Range Of Influences From Afro-Cuban Popular Music
Almonte integrates a range of influences from the world of Afro-Cuban popular music, including ideas from contemporary salsa and more jazz influenced styles. Pianist Zaccai Curtis firmly establishes a memorable montuno which fits nicely into the band’s song montuno rhythm on “Coldsuns” before the group flies into a double time rock beat behind Almonte’s vocal. The poetic lyric bounces between rock tension and salsa intensity, leading the group to a dramatic timba breakdown that sends the song into a furious forward motion. A raging mambo pushes the group into another strong breakdown, giving Almonte an opportunity to display his lyrical improvisation. A frantic montuno flies over an up-tempo 6/8 rhythm on “Kings & Queens,” setting the stage for Almonte’s cleverly crafted lyric, delivered with a powerful clarity. Almonte leaves spaces between his vocal statements for several impressive flights of improvisation from bassist Panagiotis Andreou and trumpet player Julie Acosta. The song rises to a boiling intensity with harmonized vocals from Almonte, and a long stretch of enthusiastic interaction from the rhythm section players. Curtis improvises fluidly over a salsa introduction on “Si Nteme,” transitioning into Almonte’s vocal, which flows with class and style into a refreshing samba groove. A sparse breakdown sends the song charging into a timba drive, opening the door for hot mambos, edgy percussion breaks, and some smart pregon work from Almonte. Curtis charges forward with an energetic montuno, allowing Almonte provide some rhythmic spoken word until Acosta and trombone player Marshall Gilkes trade ferocious improvised phrases. A graciously understated unaccompanied bass solo from Andreou leads into an introspective duet between Curtis and Almonte on “Urgente” before the full band explodes into full force salsa. Almonte craftily shapes his lyric around the salsa structure, giving way to a smart improvisation from Curtis. The group charges into a slamming timba groove after Curtis’ solo, letting Almonte cut loose on a stream of improvised lyrics in both Spanish and English. Almonte and his band show an affinity for Afro-Cuban styles here, fluently blending dance and jazz aesthetics.

A Balance Between Jazz, Latin, And Rock
Several pieces find a balance between jazz, Latin cultures, and rock influences, resulting in pieces overflowing with style and power. Open acoustic guitar chords float over a strutting funk groove on “Mil Voces” creating a lush setting for Almonte’s Spanish lyrics. The band kicks into a heavy rock edge with thick distorted guitars while Almonte controls the proceedings with smart lyrics and a skilled vocal approach. A downtempo turn spotlights the sweet quality of Almonte’s voice before the group digs into a powerful rock sound, continuously building into a frenzied sound. Percussionist Reinaldo De Jesus sets up a steady Latin groove that explodes into a wall of distorted guitars on “Darkest Water,” foreshadowing some serious intensity. Almonte sets up his ideas over an increasingly syncopated setting, finding a consistent return to the raw energy of the edgy guitars. A thinning texture leads to a trio of batá drums and Santeria chants that wind back into Almonte’s tense vocal and thick guitars. Delicate piano accompaniment from Curtis supports Almonte’s raw and exposed vocal on “I Want It,” gaining momentum from batá drums. Drum kit and sharp band accents send the texture towards a rock feel, creating a drastic contrast. The group weaves through alternating feels until the batá drums take center stage with Santeria melodies becoming an essential piece of the compositions. Brash band hits lead into a catchy groove over an odd time signature, adding a pleasant contrast to Almonte’s flowing vocal on “La Ilus On.” The group supports Almonte’s vocal with an evolving texture that integrates chordal patches from the horns and rock tinged drum grooves. The band moves back to the original groove as Acosta winds lyrical lines between Almonte’s vocal ideas, adding an improvisational edge. Almonte integrates a modern feel to these pieces, finding smart places to juxtapose rock over authentic Latin settings, always benefitting his overall compositions.

Experimenting With Unexpected Musical Elements
Almonte also takes time to experiment with a blend of unexpected musical elements, keeping his music fresh and exciting. An acoustic guitar fingerpicks through chords over a steady foundation of Latin percussion on “Wrong” while Almonte completely exposes himself on introspective lyrics. As the rhythm section moves into a fuller groove, smartly orchestrated strings rise out of the background, giving the sound a neo-classical sound. Almonte works around the powerful arrangement with commanding vocal ability, displaying a broad dynamic range, an innate sense of phrasing, and a personal connection to the lyrics. Curtis floats improvised lines over a airy six beat groove on “Soy,” giving way to a Spanish lyric from Almonte. The song comes alive through a sophisticated arrangement that starts to build the texture through elegant horn lines which are soon joined by strings. The two worlds come together on a graceful instrumental interlude, framing Almonte’s vocal with a classy intellectualism. A quick synthesizer lick falls into a frantic breakbeat on “I Chose,” setting a raging foundation underneath Almonte’s floating vocal. Fuzzy guitar, an effected bass sound, reverb laden electric piano, and intensive drum work provide some nice contrast to the rest of the album, showing a true sense of range. Almonte doesn’t simply revel in novelty here though, he creates contrast through his voice and cleaner textures, while finding other spots to let his band stretch in this new world. Almonte finds inspiration in these unique musical directions, avoiding boundaries and finding artistic connections.

A Creative Musician With A Bold Visionary Determination
Almonte displays high artistry on several levels throughout High Vs Low, emerging as a knowledgeable musician with a clear sense of modern identity. His lyrics consistently flow over each piece with a natural poetic grace, never dropping in beat when sung in Spanish or English. There’s an appealing intellectual quality about the construction of Almonte’s lyrics, but they remain topical to the singer’s generation, resonating with a raw intensity. The album bumps between several musical worlds, smartly taking the bet pieces of timba, rock, jazz, New York salsa, and folkloric music. Despite the sheer number of directions represented in Almonte’s music, the vocalist employs each element to benefit the overall composition, leaving the listener with extremely coherent songs. There are some points where style just doesn’t matter anymore; the elements of Almonte’s music blend together with such a natural compatibility that you can easily forget their roots in separate spheres. Still, the group approaches the different musical pieces with such conviction and knowledge that there’s still something for individuals to grab onto – whether you’re coming into this album from jazz, salsa, or rock en español, you’re easily going to find something to relate to. Almonte’s band has impressive chops, which they utilize with taste throughout the album; the singer realizes the potential there though, and he generously gives them plenty of improvisational space. Almonte approaches his role as a vocalist and creative musician with a bold visionary determination on High Vs Low, delivering an unforgettable performance that overflows with potential and individuality.

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Check Out These Related Posts:
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Latin Jazz Conversations: Zaccai Curtis (Part 4)
Album Of The Week: A Genesis, Insight

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