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
Ever since Arturo O’Farrill and the Afro Latin Jazz Orchestra took their trip to perform in Havana as part of the city’s annual jazz festival last December, we’ve heard bits and pieces about their experiences. This week, Larry Blumenfeld contributed a beautiful feature to The Village Voice that detailed the inner workings of the journey and got feedback from many of the participants. The lengthy article starts with the flight out of New York and works day by day until the musicians reflect upon their experience. It also gives history on Chico O’Farrill and his extended family, painting a full picture. It’s an important article that any Latin Jazz fan certainly needs to be read – you can find it HERE.
A number of jazz bloggers riffed off this article during the course of the week, commenting upon the importance of the trip and its ramifications in the jazz world. It’s been an interesting conversation that is certainly worth following. Patrick Jarenwattananon from NPR’s A Blog Supreme looked at the article and talked about O’Farrill’s idea of finding ourselves in jazz – read it HERE. Over at Rifftides, Doug Ramsey discusses the article and gives some background on the O’Farrill family – you can find this piece HERE.
On top of a bunch of attention due to the Cuba trip, O’Farrill and the Afro-Latin Jazz Orchestra had an important concert this past week at Symphony Space entitled CubaNola: More Than A Spanish Tinge. The performance looked at the close relationship between Cuban music and the sounds that evolved through the largely Caribbean mixture in New Orleans. The show featured New Orleans based saxophonist Donald Harrison and brought together music from both O’Farrill and his guest. Jon Pareles from The New York Times attended the show and gave his impressions in a glowing review, making those of us outside New York wish we there for one night. You can find that review HERE.
If you haven’t heard enough about O’Farrill yet, we published the first three parts of our detailed interview with the pianist this past week here at LJC. Make sure that you take a look back at Part 1, Part 2, and Part 3. Come back this week for the final pieces of the interview!
We often think about musicians as single mindedly focused upon one style of music – in the case of the artists that we see here at LJC, we think of them as only Latin Jazz musicians. That’s why you’ve got to check out this article – “Sammy Figueroa’s Top Five Collaborations.” Figueroa leads a red-hot group – his Latin Jazz Explosion, but that’s not the end of his musical repertoire. His resume includes stints with Aretha Franklin, Sonny Rollins, Blondie, Miles Davis, and more. This article details some of those musical ventures – it’s worth checking out HERE.
In anticipation of a recent show at Chicago’s Jazz Showcase, the blog Gozamos got together with Cuban pianist Chuchito Valdes and discussed his musical legacy. His father Chucho has been making waves for many years and just recently won a well-deserved Grammy award for Best Latin Jazz Album. Chuchito’s playing shows a definite influence from his father, but integrates his own sound and thus deserves individual attention. This article moves in right direction here, giving some insight into Chuchito’s background. You can read it HERE.
If you’re in ASIA this week . . . HENDRIKS MEURKENS WHEN: Friday 3/4/11 WHERE:C1 First Media Hall
Jalan Kawasan PRJ Kemayoran
Kemayoran, Jakarta TIME: 6:15 p.m. TICKETS: Rp 460,000
WHEN: Sunday 3/6/11 WHERE:Semeru Garuda Hall
Jalan Kawasan PRJ Kemayoran
Kemayoran, Jakarta TIME: 6:45 p.m. TICKETS: Rp 460,000
If you’re on the EAST COAST this week . . . AFRO BOP ALLIANCE WHEN: Friday 3/4/11 WHERE:Montpelier Arts Center
9652 Muirkirk Road
Laurel, MD TIME: 8:00 p.m. TICKETS: $20
ANNETTE A. AGUILAR WHEN: Thursday 3/3/11 WHERE:Apt 78
4447 Broadway
New York, NY TIME: 7:30 p.m.
WHEN: Friday 3/4/11 WHERE:Garden Cafe
4961 Broadway
New York, NY TIME: 7:00 p.m.
CHEMBO CORNIEL WHEN: Thursday 3/3/11 WHERE:Nuyorican Poet’s Cafe
236 East 3rd Street
New York, NY TIME: 7:00 p.m. TICKETS: $9
CHICO O’FARRILL’S AFRO-CUBAN JAZZ ORCHESTRA WHEN: Sunday 3/6/11 WHERE:Birdland
315 W. 44th Street
Manhattan, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: $30
CHILCANO 2.0 WHEN: Saturday 3/5/11 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 11:55 p.m. TICKETS: NO COVER
CIDINHO TEIXIERA WHEN: Sunday 3/6/11 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 with 2 Drink Minimum
CURTIS BROTHERS WHEN: Thursday 3/3/11 WHERE:B. Smith’s
320 West 46th Street
New York, NY TIME: 9:00 p.m. TICKETS: NO COVER
900 Broadway, Suite 905
New York, NY
GABRIEL ALEGRIA AFRO-PERUVIAN SEXTET WHEN: Friday 3/4/11 – Saturday 3/5/11 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:30 p.m. & 10:30 p.m. TICKETS: NO COVER
GREGORIO URIBE BIG BAND WHEN: Thursday 3/3/11 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 with 2 Drink Minimum
LAURANDREA LEGUIA TRIO WHEN: Saturday 3/5/11 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:30 p.m. TICKETS: NO COVER
NICKY ORTA WHEN: Sunday 3/6/11 WHERE:Village of Merrick Park
358 San Lorenzo Avenue
Coral Gables, FL TIME: 2:00 p.m. TICKETS: FREE
PAQUITO D’RIVERA
Guest Artist, Danzon with Luna Negra Dance Theater WHEN: Friday 3/4/11 WHERE:Zoeliner Arts Center – LeHigh University
420 East Packer Avenue
Bethlehem, PA TIME: 8:00 p.m. TICKETS: $29
SAMMY FIGUEROA & HIS LATIN JAZZ EXPLOSION WHEN: Friday 3/4/11 WHERE:Pineapple Groove
19 NE 3rd Avenue
Delray Beach, FL TIME: 9:00 p.m. & 10:30 p.m. TICKETS: $10
If you’re in the MID-EAST this week . . . ALFREDO RODRIGUEZ WHEN: Friday 3/4/11 WHERE:The Akron Art Museum Concert Hall
One South High
Akron, OH TIME: 6:30 p.m. TICKETS: $30
ARTURO SANDOVAL WHEN: Friday 3/4/11 WHERE:Folly Theater
1020 Central Street # 2000
Kansas City, MO TIME: 8:00 p.m. TICKETS: $15 – $50
WHEN: Saturday 3/5/11 WHERE:Walton Arts Center
495 W Dickson Street
Fayetteville, AR TIME: 8:00 p.m. TICKETS: $18 – $26
EL MOVIMIENTO WHEN: Thursday 3/3/11 WHERE:The Listening Room
209 10th Avenue South
Suite 200
Nashville, TN TIME: 8:00 p.m. TICKETS: NO COVER, $5 minimum
PAULINHO GARCIA WHEN: Wednesday 3/2/11 WHERE:Piccolo Mondo
1642 E. 56th Street
Chicago, IL TIME: 6:00 p.m.
If you’re on the WEST COAST this week . . . ALEXA WEBER MORALES WHEN: Friday 3/4/11 WHERE:Cafe Claude
7 Claude Lane
San Francisco, CA TIME: 7:30 p.m.
BILL CABALLERO WHEN: Thursday 3/3/11 WHERE:Voz Alta
1754 National Avenue
Barrio Logan, CA TIME: 7:00 p.m. TICKETS: FREE
GILBERT CASTELLANOS WHEN: Wednesday 3/2/11 WHERE:El Camino
2400 India Street
San Diego, CA TIME: 9:00 p.m. TICKETS: NO COVER
GRUPO FALSO BAIANO WHEN: Wednesday 3/2/11 WHERE:Yoshi’s – San Francisco
1330 Fillmore Street
San Francisco, CA TIME: 9:00 p.m. TICKETS: $10
JOVINO SANTOS NETO
Duo with Paul Meyers WHEN: Thursday 3/3/11 WHERE:Egan’s Ballard Jam House
1707 Northwest Market Street
Seattle, WA TIME: 7:00 p.m. TICKETS: $5
Pre-Release Concert For Currents WHEN: Saturday 3/5/11 WHERE:Poncho Recital Hall – Cornish College
710 East Roy Street
Seattle, WA TIME: 8:00 p.m. TICKETS: $18 in advance; $20 at the door
JUAN ESCOVEDO WHEN: Monday 3/2/11 WHERE:Yoshi’s – Oakland
510 Embarcadero West
Jack London Square
Oakland, CA TIME: 8:00 p.m. & 10:00 p.m. TICKETS: 8:00 p.m. – $18; 10:00 p.m. – $10
LOUIE BELTRAN LATIN JAZZ ENSEMBLE WHEN: Saturday 3/5/11 WHERE:Steamer’s
138 W. Commonwealth Avenue
Fullerton, CA TIME: 8:30 p.m. TICKETS: $8
PACIFIC MAMBO ORCHESTRA WHEN: Monday 2/28/11 WHERE:Cafe Cocomo
650 Indiana Street
San Francisco, CA TIME: 9:30 p.m. TICKETS: $10
PONCHO SANCHEZ WHEN: Sunday 3/6/11 WHERE:Steamer’s
138 W. Commonwealth Avenue
Fullerton, CA TIME: 7:00 p.m. & 9:00 p.m. TICKETS: $15
Two Ways Latineo Walboomers Music
When a Latin Jazz album arrives from Europe it seems like a unique surprise, but in reality, there’s a lot of potential rumbling through the European Latin Jazz scene. We often consider Latin Jazz an American phenomenon that evolved through an exchange between New York and the Caribbean, but that’s not the complete story. It’s important to remember that Cuba, the greater Caribbean, and South America have also engaged Europe in an active exchange over the past fifty years. In many ways, that exchange has been healthier; while the U.S. Trade embargo on Cuba has hampered the flow of artistic ideas into North America, the movement to the East has moved quite steadily. Improvisation has long been a part of European music, and over the course of several decades, a distinctly European approach to jazz has evolved. Consider a more active support of jazz and the arts from the European community, and all the factors are in place for a thriving Latin Jazz scene. Our attention should actually be more finely tuned into the groups performing Latin Jazz in Europe – without a doubt, we will be rewarded with an exhilarating listening experience. Latineo, a quartet based in Holland, provides that European Latin Jazz thrill ride on Two Ways with a head spinning set of high-energy jazz drenched in Caribbean traditions.
An Appreciation For Afro-Cuban Styles And A Distinct Personality
The group features a set of original compositions from pianist March Bischoff that show a solid appreciation for Afro-Cuban styles and a distinct personality. A frenetic montuno sends the rhythm section charging into a high-speed son montuno on “Choices,” which gives way to a shared melody from pianist Marc Bischoff and saxophonist Efraim Trujillo. Bischoff blazes into a fiery improvisation that smartly brings together running jazz lines and bits of montunos, giving way to Trujillo’s wisely constructed statement, anchoring by his cutting soprano sax tone. A ferocious montuno from Bischoff opens the door to an explosive solo from conguero José “Pepe” Espinosa that sends the band into an exciting close. Bischoff carefully places a rhythmic vamp around an eleven beat cycle on “Framework,” leading into the pianist’s understated melody. Playful lines wind through the odd time signature as Bischoff cleverly increases the rhythmic tension, building into an intriguing statement. The rhythm section falls into a staggering vamp, providing an opportunity for Espinosa and drummer Mark de Jong to trade ideas within the unique rhythmic structure. Bassist Yerman Aponte lays down a funky slap line that leads into a contemporary 6/8 groove on “Catch You Later,” that bubbles with intertwined melodic phrases. Bischoff bounces around the percolating groove with a focused intensity that grows into a furious collection of runs and rhythmic ideas. The pianist takes the song to another level with a pounding montuno that inspires a powerful display of conga mastery from Espinosa. A calm but steady vamp sets the foundation for a churning bolero on “Viejo Y Añejado,” leading into a delicate melody from Bischoff. The pianist balances his improvisation with a thoughtful eye to melodic construction and an aggressive rhythmic approach. Aponte follows with a short improvisation that works through the lush changes with an insightful sense of melodic construction. Bischoff’s compositions showcase the group at their best and reveal experienced musicians with an ability to improvise proficiently around jazz and Cuban contexts.
Cleverly Twisting Jazz Compositions Around Caribbean Traditions
The group cleverly twists several jazz compositions around Caribbean traditions, keeping a steady eye on both lineages. A head spinning combination of montuno virtuosity and syncopated drum breaks sends the group into a driving bomba rhythm behind Lee Morgan’s “Mr. Kenyatta.” Bischoff plays off the main vamp’s inherent energy, creating a sizzling brew of syncopated tension that explodes into an array of powerful ideas. Aponte winds an intoxicating mixture of melodic invention over the changes, leading into an aggressive improvisation from Espinosa that reflects the unstoppable intensity of Bischoff’s timba montuno. Santeria vocals float over lush chords and percussion colors before the group falls into a subdued Afro-Cuban 6/8 rhythm behind the classic melody of John Coltrane’s “Ahi Naima.” Bischoff stretches freely over the song, wisely placing rich harmonic variations over the familiar chords and referencing a song for Yemaya. The band pairs down to a percussion duo, opening into a beautiful conversation between Espinosa and de Jong that climaxes dramatically into a timba fueled conclusion. A slowly percolating rumba leads into a shared melody between Bischoff and Aponte on Giraldo Piloto’s “Café Casino” until Trujillo leads the band into a funky variation on the groove. The rhythm section leaps into a timba-fied foundation behind Trujillo who lays on the soul with a blues drenched rhythmic improvisation. Bischoff provides an addictively catchy and syncopated montuno that allows de Jong to cut loose in an unrestrained display of joyful and skilled percussive exploration. An edgy synthesizer groove establishes a distinctly different approach on Horace Silver’s “Silver’s Serenade” before Bischoff provides the familiar melody. Aponte sends long melodic lines twisting through the thick synth textures, cutting into the texture with combination of bopish ideas and linear lines. Bischoff utilizes the flexible nature of his instrument’s sound to build from an understated collection of jazz lines into an edgy sea of rapid notes and rhythmic attacks. These tracks find the group respectfully blending the best of two artistic aesthetics and producing inspired takes on classic compositions.
Some Serious Latin Jazz Across The Atlantic
Latineo makes a defined statement on Two Ways with an immensely smart Latin Jazz sound that demands full attention. With every passing note on the album, the band members demonstrate an intimacy with both jazz and Caribbean traditions that allow them to express themselves with a furious intensity. Bischoff’s writing undeniably demonstrates this fact, alternately bringing traditional elements and creative explorations to the forefront. The group’s arrangements of jazz standards move beyond the simple placement of Cuban rhythms beneath familiar chord changes; instead Latineo finds clever meeting points between jazz and Cuban culture. The inclusion of Piloto’s “Café Casino” recognizes the fact that Cuba has produced generations of strong jazz musicians and a number of important compositions. Espinosa, de Jong, and Aponte groove with a tight solidarity that reflects the best elements of modern Latin Jazz. From folkloric rumba to hard-edged timba, the three musicians provide an unwavering and interactive foundation that contributes an ebullient spirit to the recording. Bischoff displays a powerful command over harmony, melody, and rhythmic structures with his playing, spinning potent improvised statements and sending the group into a frenzy with high-octane montunos. Latineo delivers an exciting set of powerful Latin Jazz full of depth and substance on Two Ways, sending a wake-up call to those of us keeping our eyes on the stateside scene – there’s some serious jazz con clave across the Atlantic.
———- Track Listing:
1. Choices (Marc Bischoff)
2. Framework (Marc Bischoff)
3. Café Casino (Giraldo Piloto)
4. Ahi Naima (John Coltrane)
5. Silver’s Serenade (Horace Silver)
6. Con La Clave Si, Sin La Clave No (Mark De Jong)
7. Catch You Later (Marc Bischoff)
8. Viejo Y Añejado (Marc Bischoff)
9. Mr. Kenyatta (Lee Morgan)
———- Musicians:
Marc Bischoff – piano; Yerman Aponte – bass; José ‘Pete’ Espinosa – percussion; Mark de Jong – drums; Efraim Trujillo – soprano and tenor saxophones (tracks 1 & 3)
Entry points into jazz area vital part of the relationship between musicians and the general audience. As jazz moves further out of popular culture, artists need to find a way to invite listeners back into the fold. In doing this, they need to reach beyond the academic beauty of jazz, and create the bridge between hearing and really feeling the music. At the same time, these entry points need to be natural and honest, maintaining the music’s integrity. It takes a special individual to create successful entry points into jazz and find an audience willing to accept them.
Pianist and bandleader Arturo O’Farrill had a natural entry point into music in his younger years and as an adult, he has helped create those pathways for a number of people. His family provided a natural connection to music, due to his father Chico’s deep involvement in the profession. An in-demand writer and arranger, Chico worked with a number of important jazz musicians like Dizzy Gillespie, Machito, and Count Basie, simultaneously exposing his son to these iconic figures. A recorded Herbie Hancock solo inspired O’Farrill to fervently learn the inner workings of jazz, playing with his peers and older musicians. During a local gig, cutting edge jazz musician Carla Bley heard the 19-year-old O’Farrill and she soon recruited him for her band. Bley took O’Farrill around the world and seriously impressed the importance of unwavering artistry upon him. While O’Farrill dove deeply into modern jazz, he shied away from Latin Jazz, rejecting the music that build his father’s career. On the job training as part of his father’s jingle business combined with a new friendship with bassist Andy Gonzalez sparked a renewed appreciation for Caribbean and South American styles. Gigs with Gonzalez and the Fort Apache Band brought O’Farrill into contact with producer Todd Barkin, who expressed an avid interest in recording Chico O’Farrill’s creative music. With Arturo’s help, Chico recorded three albums, Pure Emotion, Heart of a Legend, and Carambola, meeting huge critical praise. During Chico’s upswing in the last part of his career, trumpet player Wynton Marsalis invited the O’Farrill’s to join the Jazz At The Lincoln Center Orchestra in concert. Arturo approached Wynton with the desire to form a repertoire band that drew upon the Latin Jazz big band tradition, and years later, that dream became a reality. Officially a part of Jazz At Lincoln Center, the Afro-Latin Jazz Orchestra began an exciting series of concerts and released their first album, Una Noche Inolvidable. Drawing upon the experience of a career that now reached between classic Latin music and cutting edge modern jazz, O’Farrill now lead a group determined to take the best of the Latin Jazz world to a broad audience.
O’Farrill’s role in the Afro-Latin Jazz Orchestra would turn him into a high profile spokesman for Latin Jazz, introducing countless people to the music through concerts, recordings, education, and more. His dedication to artistry would guarantee that people not only find their way into Latin Jazz, but that they experience its finest qualities. In Part One of our interview with O’Farrill, we look at his childhood around Chico, his passionate exploration of jazz in his youth, and rejection of Latin music. Part Two of our discussion dug into O’Farrill’s tenure with Carla Bley, his involvement in Chico’s jingle business, and his revitalized interest in Latin Jazz. Today, we explore O’Farrill’s role in the resurgence of Chico’s music, the establishment of the Afro-Latin Jazz Orchestra, and their first album Una Noche Inolvidable.
———- LATIN JAZZ CORNER: The first time that I heard you play was on Chico’s album Pure Emotion. Were you playing your father’s music before that album?
ARTURO O’FARRILL: I did a couple of things with him. We did a concert at the University Of Miami, and then we did a couple of more concerts playing Chico’s creative music. We really didn’t have much work before Pure Emotion. I think at one point, my father was so hungry to do something artistic that he called Bob James; Bob James didn’t even return his call! I began to feel really bad for my father – at that point, I understood that he had contributed some of the most brilliant work to our genre or for that matter, any music. I felt really bad; I was sad for him and I loved him as a son too.
I got to be really friendly with Andy Gonzalez and he got me into Fort Apache. I was working with them quite a bit. At the time, Todd Barkin was the producer and road manager for Jerry and Fort Apache. Todd pulled me aside one day – this was already Chico’s waning years – and he said, “What is your father doing these days?” I said, “Quite frankly, he’s being ignored. He’s just kind of biding his time.” Todd said, “Well, we can not have that.” So he went to Ralph Castle at Fantasy Records and prevailed upon him to record Chico.
Of course, the rest is history. Pure Emotion was a huge critical success. There was a headline on some newspaper that said, “The master was coaxed back down from the mountain.” It didn’t quite work like that. He actually would have been happy to have come down from the mountain twenty years before that.
LJC: There were two more albums from Chico after Pure Emotion – Heart of a Legend and Carambola – do you think that the public got a larger awareness of his legacy?
AOF: I’m a big champion of Chico’s music. I still feel that Chico does not have the kind of due that he deserves. On some degree he did, and on some degree he didn’t. Those last three albums worked to really broaden his exposure.
In some sense, my father is a very strange type of person. He’s not a bandleader – he doesn’t play the timbales, he doesn’t play the flute, he doesn’t play the clarinet . . . he writes. What is that? You can’t put him on stage at a drafting table. It’s not sexy to the marketers. It’s a very strange thing.
On top of that, he suffers from O’Farrillitis. O’Farrill sounds Irish. You look at him, and he looks very white; he doesn’t look Latino. Americans and recording companies – we love to put things in nice little labeled boxes, we love to be able to point at something at say that we know what that is. You can’t do that with an O’Farrill – it’s too confusing. So I think that my father has never quite gotten the kind of attention that he should have gotten.
Some people say that Chico is the Duke Ellington of Latin music. That’s really arrogant. That kind of comparative talk is real nonsense to me. Duke Ellington is the epitome of Duke Ellington music. Chico O’Farrill is the epitome of Chico O’Farrill music.
Chico is an extraordinary voice in the pantheon of jazz and Latin Jazz. He’s not a household name, and I think that’s sad. We’ve worked very hard to rectify that with the Afro-Latin Jazz Orchestra. We’re not dedicated to Chico’s music, but we play a lot of it. We play a lot of it all over the planet. It’s very important to me that the wrong be righted, as it was to Wynton, as it was to Dizzy. It’s just one of those things. If you’re a responsible artist, you do the right thing by the right people.
LJC: You mentioned the Afro-Latin Jazz Orchestra and I’ve heard that it came out of a conversation with Wynton. How did that come about?
AOF: Wynton invited Chico to perform on Jazz At Lincoln Center stage. I’ve known Wynton for many years. We were friends for many, many years before that concert. In fact, I’ve known Wynton since he first got to New York and started at Julliard.
When he invited Chico to perform at Alice Tully Hall with his orchestra, it occurred to me that we have a beautiful big band tradition that is wholly and completely based on Latin music. But we didn’t have a repertoire orchestra of our own that could begin to canonize and represent a more institutional overview of the history of our music. I talked to Wynton’s assistant and I said, “I’m really impressed with what Wynton is doing. Maybe you could ask him if he could help direct us to an institution that might embrace and fund an exploration into our big band tradition.” She mentioned this to Wynton; he indicated to her that it was a very interesting topic and that he would think about it.
Over the years, Wynton and I kept in touch, and we would play together periodically. One day we played a Christmas tree lighting in front of Lincoln Center. He turned to me and he said, “I’ve decided to give your idea a home at Jazz At Lincoln Center.” I thought it was an extraordinarily magnanimous gesture – an unbelievable act of friendship and kindness that Wynton extended to me, my father, and our community. It was a very forward-looking thing for him to do, and I think that’s one of the reasons that Wynton is great. He tries to bridge a lot of gaps, which I think is important to do.
LJC: The band’s first album, Una Noche Inolvidable, is very dance oriented. What was the focus and direction of the band at this point?
AOF: If you listen to the Tito Rodriguez records, some of that stuff is really jazz. It’s really unabashedly big band jazz. Even though it’s set to a danceable rhythm, it exemplifies the very best of what we call harmony, big band writing, and brass writing. It’s really extraordinary music. We wanted to pay tribute to our great song stylists in that tradition. It was a really huge success.
We wanted to pay tribute to the vocal stylings that we have in Latin music. We obviously have a very rich vocal tradition in jazz – we have Ella Fitzgerald and a list of heroes that we venerate in jazz. I thought it was appropriate and important to pay tribute to Miguelito Valdes, Graciela, Tito Rodriguez, and Celia Cruz – our heroes. So we brought Herman Olivera and Claudia Acuña to perform on the stages of Lincoln Center. It was long overdue. That concert was one of our most successful ones.
The dance component can never divorce itself from jazz. It sure can’t divorce itself from Latin Jazz, we understand that. That’s another reason why I love Latin Jazz. Sometimes we loose sight of the fact that the great music all has a dance component, I don’t care if it’s a Mozart sonata.
I remember once we performed with an educational quintet at a nursing facility. It was heartbreaking; there were some very compromised individuals in the audience. There was one young man who had some sort of serious illness and he had to be wheeled in. We started to play and he came to life – he started moving his hands and his body. As soon as we started to play, in my opinion, he started to dance, as best he knew how.
I think that it doesn’t matter who you listen to, music moves your body. To divorce the intellect from the physical is an aberration. One of the things that I think is beautiful about Latin Jazz is that it reinforces this – the mind perceives and the body moves. It’s a union that is very important.
LJC: It’s funny how we’ve lost the dance component a bit in modern jazz.
AOF: I think that it is tragic. But I can actually move to Cecil Taylor. I can listen to Cecil Taylor and move. I love Cecil Taylor, that’s some heavy, heavy music. It’s just that you have to find it.
There’s a beautiful word in art appreciation called the entry point. It’s the point at which you enter into an artist’s perspective. I think that there’s an entry point in all music, where you abandon your need to cope with it and understand it; instead you begin to interact with it in a way that is not purely intellectual. I think that’s hugely important. I think Latin Jazz does that in an extraordinary way. It’s very accessible because of its rhythmic basis.
Come back next week for Part Four of our interview with pianist and bandleader Arturo O’Farrill, where we’ll talk about the Afro-Latin Jazz Orchestra’s exit from Jazz At Lincoln Center, their new endeavors as an independent entity, their trip to Cuba, and more. Don’t miss it!
———- ARTURO O’FARRILL & THE AFRO-LATIN JAZZ ORCHESTRA THIS WEEK!
Check out Arturo O’Farrill and the Afro-Latin Jazz Orchestra this week as part of their concert series at Symphony Space. They will be exploring the connections between New Orleans and Cuba with the help of guest artist saxophonist Donald Harrison. This promises to be an exciting trip through this amazing Caribbean connection. Get the details below. CubaNola: More Than the Spanish Tinge WHEN: Saturday 2/26/11 WHERE:Peter Jay Sharp Theatre – Symphony Space
2537 Broadway
New York, NY TIME: 8:00 p.m. TICKETS: $38 in advance; $43 on day of the show
Individuals find their way into music for a variety of reasons, but they eventually discover a prime motivating factor that allows them to continue. For some musicians, the community aspect of the art form evolves into a lifestyle that not only pays their bills, but also defines their social circles. Demand for a musician’s abilities lead towards significant financial gains, and their further explorations into music reflect their desire to make more money. A small number of musicians strive towards the growth and exploration of artistry, a path that rarely leads to extravagant wealth or wide spread popularity. Still, the unselfish commitment to artistry that these musicians prioritize helps move music into the future.
Pianist and bandleader Arturo O’Farrill developed his inspired drive for artistic excellence through a number of influential experiences and relationships. Born in Mexico and transplanted to New York at a young age, O’Farrill walked into a world filled with vivid artistry. His father Chico built strong musical skills in Cuba and then spent his adult life contributing to the United States jazz scene, delivering compositions to musicians like Benny Goodman, Count Basie, Machito, Dizzy Gillespie, and more. Young Arturo knew these people through his father’s work and his parents’ social gatherings, but he wasn’t really moved to pursue music until later. A Herbie Hancock solo on a Miles Davis record lit a fire with O’Farrill during his teens, who dove passionately into jazz performance. Camaraderie from his peers along with guidance from older musicians moved O’Farrill deeper into the jazz world. At this point, O’Farrill avoided Latin music furiously, but attacked modern jazz with the same intensity – a fact that caught the eye of legendary jazz composer Carla Bley. In 1979, Bley recruited O’Farrill for a performance at Carnegie Hall and then kept the pianist employed for several years. Bley’s bold artistry and unwavering devotion to her unique approach embedded a dedication to artistry in O’Farrill that set the stage for his future career. After leaving Bley’s band, O’Farrill found work around New York, which included regular sessions as part of his father’s successful jingle business. Chico’s jingles relied upon authentic Cuban rhythms and utilized the best musicians on New York’s Latin music scene. These musicians held O’Farrill’s piano playing to high standards, forcing him to revisit the style and do his homework. Bassist Andy Gonzalez urged O’Farrill to indulge in his connection to Latin music and spent generous amounts of time educating the pianists on Latin music history. With a renewed appreciation for Caribbean and South American styles, a strong foundation in modern jazz, and a firm commitment to high level artistry, O’Farrill stood poised to make waves in the Latin Jazz community.
O’Farrill’s devotion to artistry and exploration hold roots in a number of experiences. The vast musical exposure of his childhood coupled with his father’s artistic integrity and Bley’s allegiance to her vision shaped O’Farrill’s career decisions throughout his future. In Part One of our interview with O’Farrill, we discussed his childhood among Chico’s legacy, his passionate exploration of jazz, and his rejection of Latin music. Today, we dig into his tenure with Carla Bley, his appreciation for modern jazz, and his rediscovery of Latin styles.
———- LATIN JAZZ CORNER: When did you start performing professionally?
ARTURO O’FARRILL: I started gigging at the age of 15 or 16. We played lots of little gigs – wherever anybody would let us play, we would play. We were so devoted. If we weren’t allowed to play, we would have died, we would have exploded! I look back upon those days and I realize what an incredible blessing it is to have that drive. That’s one thing that I find sometimes lacking in young people today. Nowadays, it’s more like they go to these jazz schools and they’re handed the keys to the kingdom – it certainly wasn’t my normative experience.
I did not become a professional jazz musician, or at least a recognized one, until I was 19. I was discovered at some hole in the wall bar in the middle of the woods in upstate New York. There wasn’t even a town; there was a post office and that’s it. We were playing in this bar and Carla Bley lived up the road. I guess the bar owner thought that we were good little musicians, so he called Carla to come check us out. I had no idea who Carla Bley was, no idea whatsoever. She came, and I guess she took a liking to me. I got a call from her husband shortly afterwards, asking me to go play in Carnegie Hall with them.
I’m very grateful that they took that chance – they had absolutely no idea that I could read! The fact that I could read two-handed piano music and play it competently . . . they didn’t know that! But they took that chance. It’s a very important thing to be grateful to the people that take a chance on you and not to be arrogant about it. I found myself on stage at Carnegie Hall, and the next thing I knew, I was on an airplane to play the Berlin Jazz Festival on the same bill as Chick Corea. You should always be grateful to the people that open the door to you that you don’t deserve. Nobody deserves that door; that’s a chance that somebody takes on you.
LJC: That must have been a new experience – Carla Bley’s music is different.
AOF: Carla is an amazing composer. She is loved and venerated throughout Europe, but for some reason, American audiences have just completely missed her. I think that it has to do with her quirkiness, her sense of humor, and the fact that she’s a woman. Women are ignored in our highest jazz institutions. The jazz institutions should be ashamed for leaving women out of the picture. I know that there’s not as many women in jazz as there should be – we understand that. But a composer like Carla Bley, who’s still alive, should be front and center at the biggest institutions in our nation. I’ve known Carla for many years, she’s a wonderful composer, and that’s it. Nothing more can be said.
That being my first experience as a musician was unbelievable. It cast the mold that I would follow for the rest of my life. Carla was very bold. She would do things for the sake of the art. At one point, I remember that she was really into songwriting. All the free jazz audiences were up in arms because they were used to her being a jazz artist. But she started writing these quirky songs, and people would actually boo her! She didn’t care. It was so beautiful, because she turned around and wrote a song called “Boo To You Too.” I remember the words:
Just when we were starting to play,
Someone yelled out,“Take Them Away.”
Then the audience started to boo,
What do you do, what do you do.
Well boo to you too.
Carla showed me the most valuable lesson, which is that the art is important. It’s not about the career or the money. It’s not about the life or the hang. It’s not about – and I use this quite sarcastically – the “fame” of being a jazz musician. It’s really, really about the art – pushing the envelope, progressing, doing things that sound beautiful and have a life of their own. That’s more important than you, the artist; it’s about the art. For me, three years under that tutelage, we did some incredible music, just amazing. It was musically valuable, compositionally valuable, and it had a sense of humor. I couldn’t have asked for a better finishing school – that was graduate level work for me.
LJC: You were in that scene influenced by Sun Ra and some different modern jazz artists.
AOF: Sun Ra, The Art Ensemble Of Chicago, Jimi Hendrix . . . if my father hated it, it was sacred. My father got as far as Coltrane. That’s what he got up to, and then it was too different. I’m sure that he would have liked it all if he had been younger. But for him, that’s where it ended. For me, that’s where it began – Oliver Lake, Sun Ra, Ornette Coleman, The Art Ensemble Of Chicago, Lester Bowie; it’s all amazing stuff to me that I love and I think it’s incredibly important music.
Look at the model that we have for jazz today. The spokespeople for jazz have come out clearly against that part of jazz history. In the Ken Burns documentary, it was mentioned quite clearly that Afro-Centrism and free jazz destroyed jazz. I think that part of jazz elevated it out of entertainment into the realm of art. When you talk about free jazz and Afro-Centric Jazz though, that’s the most dangerous stuff; it has the most subversive elements in jazz. It’s has the same thing that created Coltrane or even Louie Armstrong – it’s the need to survive and the need to make a statement that creates great art. When you package it, it ceases to be art. But it’s always about the art – thankfully that was my first experience with Carla Bley. I’ve been on that quest for the art ever since.
LJC: After you left Carla, what type of work were you doing?
AOF: My father had to make a living, so he developed a jingle business that specialized in the Hispanic market. He was a pioneer in the Hispanic jingle market. Up until Chico O’Farrill and his ventures into commercial music, the way that American advertisers dealt with the Hispanic market was by slapping a conga onto an existing track. Here came my father with his indigenous knowledge of real Latin styles, and he said, “No, if you’re going to sell products to the Hispanic market, you’re going to have to know how they listen to music.” It was very revolutionary.
I once read a quote that lamented the fact that Chico had gone into the commercial field; it said that if he hadn’t done that, he would have been something greater. That irked me; my father did a very honorable thing – he put food on our table and he didn’t abandon us. More than that, he revolutionized the way that advertisers reached Latinos.
In fact, his commercials were swinging. We did a Kentucky Fried Chicken commercial with Ruben Blades! It had a charanga string section and some great charanga style flute playing. The rhythm section had Nicky Marrero in it and Sal Cuevas – it was off the hook! You know they sold some chicken over that!
Once again, it’s the art. My father had to put food on the table and he very honorably did so. In the process though, he was making art, he was doing integral things. My father was an incredibly humble and integral gentleman. He didn’t do anything half way.
That’s what I learned from my father, more than music. I learned my music from being in the scene and working with my peers, and I learned about art from Carla. The thing that I learned from my father was this incredible commitment to integrity. You do the right thing, you compose the right thing, and you play the right thing. You learn, you study, you work hard.
LJC: Is that what inspired you to pursue Latin music?
AOF: I started playing on his jingles. I had to learn about clave because Sal Cuevas got pretty mad at me one day when I was playing against the clave. He said, “Man, you’ve got to listen to the music, you’ve got to listen to Papo Lucca.” So I went out and I bought Papo Lucca records, started listening to them, and playing along with them. Sal made me do that. I started listening to this music, and I started playing these jingles. It had to be authentic.
That developed into a friendship with Andy Gonzalez. He may be among the greatest musicians that I’ve ever had the privilege of knowing. I had been off the road with Carla for several years and I had been working a little bit with Noel Pointer, but things were slow. I was kind of struggling to make a living. We called Andy for a jingle, he came in, and he said, “Yea man, I’ve been following your career.” I’m paraphrasing, but over the course of several conversations, he said to me, “You should embrace your Latinoness. You should really embrace it heavily, learn about it, and get right with it.” That turned into a beautiful friendship that I’m very grateful for.
Andy literally sat me down in his house and played me the great Latin piano players, the ones that nobody has heard. Not just Peruchin, but guys that saved the instrument. He played me René Hernandez, Charlie and Eddie Palmieri, and really took me on a journey. He quite unselfishly gave up his time to educate me about this music. Sometimes people get very militaristic about this music, but Andy shared what he had with me freely. He played me a ton of music, and we’ve been friends ever since.
Come back tomorrow for Part Three of our interview with pianist and bandleader Arturo O’Farrill, where we’ll talk about his role in his father’s musical resurgence, the creation of the Afro-Latin Jazz Orchestra, and more. Don’t miss it!
———- ARTURO O’FARRILL & THE AFRO-LATIN JAZZ ORCHESTRA THIS WEEK!
Check out Arturo O’Farrill and the Afro-Latin Jazz Orchestra this week as part of their concert series at Symphony Space. They will be exploring the connections between New Orleans and Cuba with the help of guest artist saxophonist Donald Harrison. This promises to be an exciting trip through this amazing Caribbean connection. Get the details below. CubaNola: More Than the Spanish Tinge WHEN: Saturday 2/26/11 WHERE:Peter Jay Sharp Theatre – Symphony Space
2537 Broadway
New York, NY TIME: 8:00 p.m. TICKETS: $38 in advance; $43 on day of the show
It’s the unique nature of our childhood that shapes our individual qualities and forms our identities as artists. Our parents expose us to their own musical preferences and share their priorities for the arts in our lives. Their friends and our extended family add their own influences to our perceptions, exposing us to different sides of music and a variety of approaches. For most of us, these connections with music through our parents, family, and friends lead us to lifelong memories filled with musical associations. When a young person grows up among a musical family though – especially an important musical family – these fond musical memories intensify into a passionate urge to perform.
Pianist and bandleader Arturo O’Farrill lived his childhood knee deep in music, surrounded in a swirl of musical worlds. Born in Mexico on June 22nd, 1960, O’Farrill came into a world filled with a vast musical legacy, provided by the illustrious career of his father, major Cuban composer Chico O’Farrill. His father had cut his musical chops through studies in Havana before beginning a highly influential career in New York, writing for Benny Goodman, Machito And His Afro-Cubans, Dizzy Gillespie, Stan Kenton, and more. Arturo was born during the O’Farrill’s tenure in Mexico, but they soon moved back to New York, where a young Arturo experienced his father’s world. He watched his father work in recording sessions and live performance, while coming to know Chico’s wide array of jazz associates. He studied piano casually while young before encountering Herbie Hancock on a Miles Davis recording that lived in his father’s record collection. Hancock’s performance inspired O’Farrill in a big way, sending him on a passionate quest to be a jazz musician. His studies at New York’s High School Of Music And Art brought him in close contact with a number of other young people that shared his interest, and together, they soon intensified their hunt for jazz knowledge. The surrounded themselves with a cast of older and experienced jazz musicians that spent significant time schooling the young students. As his performance skills grew, O’Farrill moved further away from his father’s legacy in Latin music, rejecting any association with the genre. Instead, he immersed himself in modern jazz, a course that would soon change in his future career.
Today, O’Farrill stands as one of the most important figures in Latin Jazz, leading the Afro-Latin Jazz Orchestra, the Chico O’Farrill Afro-Cuban Jazz Orchestra, and a variety of his own groups. An artist well-versed in modern jazz and Latin cultural traditions, he brings one of the most innovative and exciting personalities to the music today. In Part One of our interview with O’Farrill, we discuss the influence of his father’s musical life, his unstoppable thirst for jazz as a young person, and his rejection of Latin Jazz in his youth.
———- LATIN JAZZ CORNER: You were born in Mexico and moved to New York; you must have been around a ton of music due to your father. What were your earliest memories of music in your life?
ARTURO O’FARRILL: My earliest memory is watching my mother put on make-up to go out and sing with my father’s band. I couldn’t have been more than two or three. I remember getting to New York; Graciela picked us up at the airport and brought us home. When we got to the apartment on 88th Street, Mario Bauza was there. So it’s been like that.
I remember being surrounded by my father’s crazy friends, some of whom were people like Dizzy Gillespie and Gerry Mulligan. My mother and father liked to have parties – they would have these crazy, crazy parties. There were people carrying on until all hours of the night and there were great musicians there. I didn’t really know or understand it – I wasn’t a musician yet myself. So I didn’t quite get who these people were. I knew they were very eccentric and very loud. But they were amazing people; I knew something was unusual about them.
I remember going with my father to recording sessions; there were sessions with Count Basie . . . it was stuff that you kind of take for granted because you’re a kid. You’re not quite aware of the magnitude of what’s going on. I went to see him conduct in some park in New Jersey. I was really young – 11 or 12. He was rehearsing Thad Jones, who was the soloist. They were rehearsing some piece and I heard some onlooker say, “They don’t really need a conductor, what’s he doing up there?!?” I started getting really upset, and saying, “Hey, that’s my father! He wrote that!”
It’s funny because you don’t really think about these things. You don’t really think about what it’s like growing up with someone whose whole life is about music. My father was very serious about music. He loved listening, he loved studying, he loved composing – he just loved music. It’s a sickness that the O’Farrills have!
LJC: When did you become a performer and start playing the piano?
AOF: I took the perfunctorily piano lessons when I was 6 or 7 and I didn’t dig it that much. It just didn’t do anything for me. Around the age of 12, I discovered Miles Davis. I had grabbed a record out of my father’s collection because the cover was so cool. It was Miles Davis’ Greatest Hits. I read the liner notes, and they were really mostly about the way that Miles dressed. I remember thinking that was really cool.
I put on the record and the first cut on it was “Seven Steps To Heaven.” Herbie Hancock took a really amazing solo on it. I didn’t quite understand harmony or theory – I was already been playing the piano for a while and I had already been improvising to some degree, but I had never heard anyone do that. I remember thinking very concretely that if I could learn to play like that, I would be a complete human being. It sounds romantic, but it’s the truth. I wasn’t thinking about being famous or making a living, I just knew that I needed to play the piano like that because it was so cool. That’s probably when I got very smitten.
LJC: Was your father someone who helped you along in your music education or were there different people that influenced you?
AOF: My father and I had exactly one lesson and it was a disaster. He tried to get me to write a string quartet. I submitted my work to him and it just dissolved. My father was not a huge part of my education when I was young – later on of course he was.
The truth of the matter is that I got a lot out of meeting other musicians. I went to an art school in New York called Music And Art. I met other musicians there, people that I loved and admired. We started to become little jazz nazis, just listening like crazy to Bud Powell, Charlie Parker . . . just listening like crazy. That was my first hardcore schooling, with my friends, trying to sound like beboppers. We discovered a little joint on the lower East side that was just owned by some guy. It was a little club, a place with a piano, a drum set, and a bunch of old musicians. They would come and they would play all day. It got so bad that we eventually started cutting school to go play music all day!
I was hot at Music And Art because I could play 16th notes like Chick Corea – people thought that was amazing. The first time that I went down to the club, and they called “Half Nelson.” We started playing it, my turn came to solo, and I started railing these 16th notes. Everyone in the club said, “Stop the band – we’re here to play jazz man!” I felt like an inch tall; I just wanted to die as all these old jazz musicians were looking at me like I was something the dog dragged in. But I stayed; I didn’t disappear. I started hanging out with these guys, asking them how chords worked, started shedding, learning the whole library of bop and post-bop standards, as well as some great American standards. That really was my education.
It’s funny because now that I’m veteran of this thing, I’ve done a lot of teaching, and I realize that there was something very sacred about those days. They didn’t have a jazz education world. None of this stuff was available. At the time, I don’t think there even was a jazz program. The first jazz program was at University of Massachusetts, under Dr. Billy Taylor. He was really the first person to create a jazz department; you can go backwards in history, but that was really the first jazz department at the University of Massachusetts – that was thirty years ago.
But I was learning jazz easily 35 years ago. I don’t even know if there was a jazz department in the world at that point. We had to go out and find the old cats. They hated us, but we were persistent. We were like mosquitoes buzzing around their heads and asking them to teach us. It was an amazing time. Somehow I think that it’s a very different age now. There are a lot of brilliant young musicians now, but when you get handed the secrets to the kingdom, somehow it’s not the same ownership that we had – we had to yank those secrets out of people, figure them out ourselves, and own them. That’s not to say that jazz education is bad or good, it’s just very different. I feel very lucky to had to have work my stuff out myself.
LJC: I’ve heard that during that time you avoided Latin music . . .
AOF: Like the plague!
LJC: Was that a reaction to your father’s work?
AOF: Absolutely. It was a reaction to my father. Also, there’s a lot of socio-economic pressures placed upon young people in the world. I think that there was some sort of self-hatred that I had because I was Latino. The only Latinos in my life were the janitors and the people that my father played with. So I rejected them. It wasn’t even a racial thing. It was more like I associated being Latino with being less than the prim and proper white New York that I saw. It’s very sad, because I think that a lot of people deal with these pressures and never get to identify them or talk about them.
I thought jazz was much cooler, hip, and educated. I didn’t like the hand drums and the bell, I thought it was uncultured. The truth of the matter is that jazz and Latin music are virtually the same animal, just different sides of it. To me, it had to do with my father, it had to do with the neighborhood that I grew up in, and it had to do with the world that I saw. There’s nothing quite as amazing as an amazing Latin performance, composition though – to me, there’s nothing that marries the forces that join together to create this music quite as elegantly as the best Latin Jazz that we have.
LJC: That’s an association that goes out into the greater jazz world, looking down upon Latin music. Have you ever sensed that outside yourself?
AOF: Oh, from the beginning. Latinos and Latin musicians hold jazz up on this pedestal. When we approach jazz, we learn it. It’s sacred – we learn the harmony, the language the style – we take it very seriously. That’s not the way that jazz musicians feel about us though. Jazz musicians have kind of genericized Latin styles. It’s changing now – there are a lot of hip, young musicians.
For the longest time though, a generic beat on the drum sufficed for all Latin music. It’s so disrespectful. I understand that it’s foreign and it’s different and there’s a language involved. Nonetheless, Latin music is seen as a sub-set still to this day, with the emphasis on sub. It’s seen as some sort of lower level music. And it’s not – I say this and it’s my job, but whatever. To me, when you’re talking about the experience of the African diaspora in the new world and the marriage of Europe and African in the new world – there’s no fuller expression of that to me than to hear a composition by Chico O’Farrill played by an orchestra. To me that’s the apogee of the experience that we call jazz.
———-
Come back tomorrow for Part Two of our interview with pianist and bandleader Arturo O’Farrill, where we’ll talk about his tenure as a part of influential composer Carla Bley’s band, the growth of his career as a professional musician, and his embracement of Latin Jazz. Don’t miss it!
———- ARTURO O’FARRILL & THE AFRO-LATIN JAZZ ORCHESTRA THIS WEEK!
Check out Arturo O’Farrill and the Afro-Latin Jazz Orchestra this week as part of their concert series at Symphony Space. They will be exploring the connections between New Orleans and Cuba with the help of guest artist saxophonist Donald Harrison. This promises to be an exciting trip through this amazing Caribbean connection. Get the details below. CubaNola: More Than the Spanish Tinge WHEN: Saturday 2/26/11 WHERE:Peter Jay Sharp Theatre – Symphony Space
2537 Broadway
New York, NY TIME: 8:00 p.m. TICKETS: $38 in advance; $43 on day of the show
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
Legendary jazz pianist George Shearing passed away earlier this week on Monday, February 14, 2011, and the online jazz world spent the week reflecting upon his life and musical legacy. As we noted this week in an LJC post about Shearing, Latin Jazz was more than a footnote in his long career – in fact, he made major strides forward in the small group format. The key figure in Shearing’s small group Latin Jazz format was conguero Armando Peraza, who played with the pianist for 12 years. In a statement reprinted from the Yahoo Latin Jazz e-group on A Blog Supreme, Peraza shares his thoughts on Shearing and reflects on his time with the pianist. It’s a nice way to look back on Shearing through the eyes of someone who was there. Check out Peraza’s thoughts HERE.
A North Carolina performance by another well-known pianist that has made a major impact upon the Latin Jazz world – the legendary Eddie Palmieri – was the inspiration for a short interview that captured the pianist’s thoughts on his classic group La Perfecta, the modern Latin Jazz scene, and more. You can find that interview HERE. For a bit more, don’t forget to take a look at the LJC interview with Palmieri – here’s Part 1, Part 2, and Part 3.
With a little over twenty days left in their Kickstarter campaign, The Curtis Brothers are over half way funded on their drive to complete their latest album, Completion Of Proof. They won’t reach their goal unless they make the whole $7,000 dollars though, so the time to act is now. Check out their Kickstarter page, donate money towards the album, and get some cool rewards. It’s a great way to support the future of Latin Jazz – you can find their Kickstarter page HERE.
If you’re in CENTRAL AMERICA this week . . . SAMUEL TORRES WHEN: Saturday 2/26/11 WHERE:Auditorio Biblioteca Luis Angel Arango
Bogatá, Columbia TIME: 7:30 p.m. TICKETS: $20
If you’re in EUROPE this week . . . PAQUITO D’RIVERA
With Big Band at CLAZZ – Continental Latin Jazz WHEN: Monday 2/21/11 WHERE:Teatre Artèria Paral·lel
Avenida del Paral.lel, 62
Barcelona, Spain TIME: 7:00 p.m. TICKETS: 30 euros
With Big Band at CLAZZ – Continental Latin Jazz WHEN: Tuesday 2/22/11 WHERE:Teatro Coliseum
C/ Gran Vía, 78
Madrid, Spain TIME: 7:00 p.m. TICKETS: 30 euros
If you’re in CANADA this week . . . HILARIO DURÁN
Jazz Vespers – Hilario Durán Trio WHEN: Sunday 2/27/11 WHERE:St. Philip’s Anglican Church
31 Saint Phillips Road
ON M9P 2N7, Canada TIME: 4:00 p.m. TICKETS: FREE
With The Juno Jazz All-Stars WHEN: Sunday 2/27/11 WHERE:Lula Lounge
1585 Dundas Street West
Toronto, Ontario, Canada TIME: 8:00 p.m. TICKETS: $15
If you’re on the EAST COAST this week . . . ANDREA BRACHFELD WHEN: Wednesday 2/23/11 WHERE:Zinc Bar
82 West 3rd Street
New York, NY TIME: 7:30 p.m. TICKETS: $10 with 1 Drink Minimum
ARTURO O’FARRILL
Afro-Latin Jazz Orchestra – CubaNola: More Than the Spanish Tinge WHEN: Saturday 2/26/11 WHERE:Peter Jay Sharp Theatre – Symphony Space
2537 Broadway
New York, NY TIME: 8:00 p.m. TICKETS: $38 in advance; $43 on day of the show
WHEN: Friday 2/25/11 WHERE:Ponte Vedra Concert Hall
1050 A1A North
Ponte Vedra Beach, FL TIME: 7:00 p.m. TICKETS: $45 in advance; $50 on day of show
WHEN: Saturday 2/26/11 WHERE:Lake Concord Park
95 Triplet Lake Drive
Casselberry, FL TIME: 6:00 p.m. TICKETS: FREE
CHICO O’FARRILL’S AFRO-CUBAN JAZZ ORCHESTRA WHEN: Sunday 2/27/11 WHERE:Birdland
315 W. 44th Street
Manhattan, NY TIME: 8:00 p.m. & 10:30 p.m. TICKETS: $30
CHILCANO 2.0 WHEN: Saturday 2/26/11 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 11:55 p.m. TICKETS: NO COVER
CIDINHO TEIXIERA WHEN: Sunday 2/27/11 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 with 2 Drink Minimum
CURTIS BROTHERS WHEN: Wednesday 2/23/11 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 with 2 Drink Minimum
WHEN: Thursday 2/24/11 WHERE:B. Smith’s
320 West 46th Street
New York, NY TIME: 9:00 p.m. TICKETS: NO COVER
EMILIO SOLLA
La Inestable De Brooklyn WHEN: Monday 2/21/11 WHERE:Miles’ Cafe
212 E. 52nd Street, 3rd Floor
New York, NY TIME: 9:30 p.m. TICKETS: $19.99
ERIC KURIMSKI WHEN: Thursday 2/24/11 WHERE:Terraza Café
40-19 Gleane Street
Elmhurst, NY TIME: 10:00 p.m. TICKETS: NO COVER
FERNANDO OTERO WHEN: Saturday 2/26/11 WHERE:Nublu
62 Avenue C
New York, NY TIME: 10:30 p.m.
GABRIEL ALEGRIA AFRO-PERUVIAN SEXTET WHEN: Friday 2/25/11 – Saturday 2/26/11 WHERE:Tutuma Social Club
164 East 56th Street
New York, NY TIME: 8:30 p.m. & 10:30 p.m. TICKETS: NO COVER
GRUPO LOS SANTOS WHEN: Wednesday 2/23/11 WHERE:Brooklyn Lyceum
227 4th Avenue
Brooklyn, NY TIME: 8:00 p.m. & 9:30 p.m. TICKETS: $10
WHEN: Friday 2/25/11 WHERE:Kimball Farms
235 Walker Street
Lenox, MA TIME: 7:30 p.m. TICKETS: FREE
WHEN: Saturday 2/26/11 WHERE:Last Chance Tavern
6009 Main Street
Tannersville, NY TIME: 8:00 p.m.
S.O.L (SONS OF LEGENDS) WHEN: Thursday 2/24/11 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 with 2 Drink Minimum
VANDERLEI PEREIRA & BLINDFOLD TEST WHEN: Friday 2/25/11 WHERE:Fat Cat
75 Christopher Street
New York, NY TIME: 10:30 p.m. TICKETS: $3
WILLIE MARTINEZ WHEN: Thursday 2/24/11 WHERE:Nuyorican Poet’s Cafe
236 East 3rd Street
New York, NY TIME: 7:00 p.m. TICKETS: $16
If you’re in the MID-EAST this week . . . CRAIG RUSSO LATIN JAZZ PROJECT WHEN: Saturday 2/26/11 WHERE:Lock, Stock and Barrell
129 South Oakland Avenue
Decatur, IL TIME: 4:00 p.m.
HECTOR DEL CUERTO WHEN: Friday 2/25/11 WHERE:All Souls Universalist Church
4501 Walnut Street
Kansas City, MO TIME: 7:30 p.m. TICKETS: $20
WHEN: Saturday 2/26/11 WHERE:Lawrence Arts Center
New Hampshire Street
Lawrence, KS TIME: 7:30 p.m. TICKETS: $20
JAMES SAUNDERS & CONJUNTO WHEN: Monday 2/21/11 WHERE:Jazz Showcase
806 S. Plymouth Court
Chicago, IL TIME: 8:00 p.m. & 10:00 p.m. TICKETS: $10
PAULINHO GARCIA
Duo With Bassist Marlene Rosenberg WHEN: Sunday 2/26/11 WHERE:Little Bucharest Bistro
3661 N. Elston Avenue
Chicago, IL TIME: 6:00 p.m.
If you’re on the WEST COAST this week . . . BILL CABALLERO WHEN: Thursday 2/24/11 WHERE:Voz Alta
1754 National Avenue
Barrio Logan, CA TIME: 7:00 p.m. TICKETS: FREE
FRANCISCO AGUABELLA LATIN JAZZ BAND WHEN: Saturday 2/26/11 WHERE:Steamer’s
138 W. Commonwealth Avenue
Fullerton, CA TIME: 8:30 p.m. TICKETS: $8
GILBERT CASTELLANOS WHEN: Wednesday 2/23/11 WHERE:El Camino
2400 India Street
San Diego, CA TIME: 9:00 p.m. TICKETS: NO COVER
PACIFIC MAMBO ORCHESTRA WHEN: Monday 2/21/11 WHERE:Cafe Cocomo
650 Indiana Street
San Francisco, CA TIME: 9:30 p.m. TICKETS: $10
PONCHO SANCHEZ
Portland Jazz Festival WHEN: Friday 2/25/11 WHERE:The Crystal Ballroom
1332 W. Burnside
Portland, OR TIME: 9:30 p.m. TICKETS: Seated – $40; General – $25
WAYNE WALLACE From Hear To There CD Release Celebration WHEN: Monday 2/21/11 WHERE:Yoshi’s – Oakland
510 Embarcadero West
Jack London Square
Oakland, CA TIME: 8:00 p.m. TICKETS: $16
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Jazz Brasil
Mark Weinstein Jazzheads
Jazz and Brazilian music seem like close life partners that hold the possibility of existing in beautiful harmony. When the promise of this union becomes a reality, an ideal setting exists for memorable and exciting musical moments. The intoxicating rhythmic structure of Brazilian styles add another dimension to the rich harmonic flavors of jazz, opening a world of options for a skilled improviser. At the same time, the looseness of jazz interpretation infuses Brazilian styles with a freedom that adds an extra layer of vitality to the music, opening doors for liberal interaction among the rhythm section. All these elements potentially come alive when jazz and Brazilian music meet in a performance, but they only bear fruit when the musicians approach both sides of the union with respect. When one side of the musical equation overpowers the other, a potentially beautiful marriage becomes a disaster. Uneven combinations stagger into their union with a stiff motion and a stagnant sense of doom, defeating the purpose of bringing the two worlds together. It’s a musical matrimony that needs to be approached with care and based upon intimate knowledge of both styles. Flautist Mark Weinstein finds that wonderful balancing point between both styles on Jazz Brasil, delivering a collection of music that exists in blissful unison.
Placing Jazz Standards Inside Brazilian Structures
Weinstein explores the line between jazz and Brazilian music with several standards placed within the context of Brazilian rhythmic structures. An energetic introduction from pianist Kenny Barron sends Weinstein charging into an up-tempo rendition of Thelonious Monk’s “I Mean You,” over a samba rhythm. Weinstein deftly weaves clever melodic lines through the chord changes, alternating between a flowing stream of notes and rhythmic references to the stylistic foundation. Barron attacks his improvisation with an upbeat momentum that bounces around the music’s accent points, giving way to an engaging exchange of phrases between Weinstein and drummer Marcello Pellitteri. The rhythm section provides a sparse 6/8 rhythm as a backdrop to Weinstein’s intimate melodic reading of Wayne Shorter’s “Nefertiti.” Barron carefully chooses his notes as he constructs a masterful statement that glows with rich harmonic colors. Weinstein flies into his solo with rapid streams of notes that raise the song’s dynamic into a vibrant forward motion that opens the door for beautifully understated commentary from Pellitteri. Bassist Nilson Matta establishes a strutting bass line that rides along a funky drum beat on Herbie Mann’s “Memphis Underground,” setting the stage for a percussive melody from Weinstein’s bass flute. Blues drenched lines flow from the low register of Weinstein’s instrument, infusing his improvisation with a soulful vibe that captures the song’s spirit. The volume drops as Matta runs quick lines over the groove that hit all the jagged edges of the funk, leading into a quick and poignant improvisation from Barron. Matta freely outlines the changes over a driving samba rhythm on Joe Henderson’s “Isotope” until Weinstein jumps into the mix with a sharply phrased interpretation of the melody. The flautist enthusiastically leaps into his improvisation, winding rapid streams of notes through the changes, followed by a focused solo from Barron filled with lively bop character. Matta and Pellitteri trade ideas in twelve bar phrases, grabbing each opportunity with a committed zeal that sends the group into an exciting climax. Each one of these standards fits nicely into the Brazilian context, providing ample opportunity for Weinstein and his group to move through the improvisatory possibilities.
Original Pieces From The Group Members
Group members contribute two pieces to the recordings, revealing a more concise view of their take on the musical marraige. Pellitteri executes some nice samba brushwork beneath Matta’s light but energetic bass line while Weinstein interjects short melodic phrases on the bassist’s “Sambosco.” Barron feeds on the upbeat spirit of the music, contributing an energetic improvisation that moves forward with an impassioned zeal. Weinstein takes the energy one step further with furious flights of notes, separated by sharp rhythmic edges, until an unaccompanied solo from Pellitteri breaks the groove with an ear catching intensity. Lush chords and a spacious bass line create a floating feel beneath “Dawn’s Early Light,” and when Pellitteri enters with a mid-tempo bossa nova, Weinstein’s melody comes to life. Barron relishes in the flowing texture of the song, developing a statement that glides through delicate themes and thoughtful embellishments. Weinstein follows with a memorable solo that breathes new life into the song with smart combination of reflective ideas and rapid melodic runs. These pieces find the group members delivering smart pieces that pleasantly bring together jazz and Brazilian forms.
A Jazz Edge In Brazilian Compositions
Weinstein investigates several Brazilian pieces, finding an inherent jazz edge to the songs that feed his group’s creativity. Pellitteri establishes a solid samba groove on the introduction to Antonio Carlos Jobim’s “Triste,” setting up Weinstein’s lovely straight-ahead rendition of the melody. The flautist flies into his improvisation with an evident joy that reveals an affinity for the piece, and he carries that sensation into a free wheeling stream of clever ideas. Barron provides a smart contrast with a spacious entry into his improvisation, building back into a full momentum for Matta’s solo, which evolves through a wisely developed theme. Weinstein’s flute glides over a dramatic rubato introduction that explodes a lively version of the traditional melody on Ary Barroso’s “Brazil.” The flautist engages his full creative vision on his improvisation, sending the band soaring into a charging groove that matches his ascending solo flights. The band comes down behind Barron, who sends energetic melodies flying forward, until Matta displays a powerful melodic ingenuity on his statement. Barron provides a quietly thoughtful introduction on Jobim’s “If You Never Come To Me,” before the full band enters with a subtle bossa nova behind Weinstein’s melody. The calm setting provides the perfect context for Matta’s solo, which touches upon the harmony’s inherent beauty with carefully chosen collections of notes. Weinstein takes a brief solo turn, followed by Barron, and both musicians take the opportunity to create lovely lines. These songs resonate with a Brazilian character, but the skillful performance of Weinstein’s band brings a recognizable jazz flavor at every turn.
An Addictive Energy And Joyful Enthusiasm
Weinstein approaches the combination of jazz and Brazilian music from several angles on Jazz Brasil, and each time his admiration for the styles leads to memorable music. The repertoire serves as the starting point for his successful union; by taking standards from both the jazz and Brazilian music worlds, Weinstein acknowledges the importance of each tradition. Once the group starts playing though, the group treats each passing song with the same enthusiasm and integrity. There’s a true sense of seamless integration throughout the album that brings the loose interactive nature of jazz together with the exciting rhythmic momentum of Brazilian music. Weinstein’s performance shines with his love for the context – his obvious enjoyment brings his vast musicality to the forefront. The presence of legendary pianist Kenny Barron throughout the album connects Weinstein’s efforts to the greater jazz tradition and provides an impressive improvisatory foil for the flautist. Matta grounds the recording with his masterful command over Brazilian styles, his jazz edged ability to spontaneously interact with the group, and his engaging improvisatory voice. Pellitteri injects the soul of both styles into the music, with solid Brazilian grooves and spontaneous jazz commentary. Weinstein brings an addictive energy and joyful enthusiasm into Jazz Brasil that combines the elements of both styles into a harmonious co-existence.
———- Track Listing:
1. I Mean You (Thelonious Monk)
2. Triste (Antonio Carlos Jobim)
3. Nefertiti (Wayne Shorter)
4. Brazil (Ary Barroso)
5. Ruby My Dear (Thelonious Monk)
6. Sambosco (Nilson Matta)
7. Dawn’s Early Light (Mark Weinstein)
8. Memphis Underground (Herbie Mann)
9. If You Never Come To Me (Antonio Carlos Jobim)
10. Isotope (Joe Henderson)
The career of a jazz artist contains a number of plateaus, and with each additional ascent into higher artistry comes more responsibility. An artist needs to continually push themselves into new stages of their evolution through research and experimentation. At the same time, they hold a responsibility to support their musical peers and enrich their own personal musical community. In order to ensure continued work, they must share their knowledge and make sure that a younger generation of musicians finds their way towards jazz. With each step forward, musicians take on more commitments that support the music world around them and solidify the impact of their legacy.
Trombonist and composer Wayne Wallace now stands as a primary figure on the San Francisco Bay Area Latin Jazz scene, and he continues to contribute to the scene’s creative energy. The diversity and creative energy that spun around San Francisco during the fifties and sixties inspired a young Wallace, who found his way to the trombone during elementary school. Already working professionally as a teen, Wallace honed his classical chops at San Francisco State University while working with jazz and rock groups. He found a number of important mentors in the city, including members of Bobby Hutcherson’s working band and Herbie Hancock trombonist Julian Priester. Latin music became a part of Wallace’s gig schedule in the eighties, first on the city’s salsa scene and later as a part of legendary timbalero Pete Escovedo’s band. During his time with Escovedo, Wallace formed a bond with his fellow band members that included percussionist John Santos, pianist Rebeca Mauleón, bassist David Belove, and more. The young musicians eventually formed their own band, The Machete Ensemble, embarking on a two-decade journey that would define the sound of the Bay Area Latin Jazz scene. During this time, Wallace saw Irakere perform in Europe, inspiring a number of trips to Cuba. Filled with new information about Cuban culture and music, Wallace refined his work as a leader and produced his first two releases as a leader, Three In One and Echoes In Blue. Determined to guide his own career, Wallace established Patois Records with two of his own albums, Dedication and The Reckless Search for Beauty, as well as recordings from vocalists Kat Parra and Alexa Weber Morales. Patois Records continued to grow over the years, and in 2010, Wallace’s album ¡Bien Bien! garnered a Grammy nomination in the Latin Jazz category. Riding high on national recognition, Wallace released To Hear From There in 2011, a stunning release that shows inspiring growth and maturity. While his career as an important performer grows exponentially, Wallace maintains an active commitment to the spread of jazz, teaching at San Jose State University, the Jazzschool Institute, and more. As he has shown throughout his career, Wallace takes his responsibility to music and community seriously, thoughtfully crafting high quality projects.
Wallace has spent his career adding boosts of smart musicality into the Bay Area Latin Jazz scene, and he seems poised to continue long into the future. To Hear From There resonates with the vitality of an artist in his prime, overflowing with creative approaches to tradition. In Part One of our interview with Wallace, we discussed his exposure to jazz in his youth, his early professional experiences, and the impact of San Francisco’s music scene. Part Two of our interview focused upon Wallace’s classical trombone studies, his pop music days, and important mentors. We looked at Wallace’s time with Pete Escovedo, the creation of The Machete Ensemble, and his discovery of Irakere in Part Three. The Fourth Part of our interview moved towards Wallace’s travels to Cuba, his evolving writing style, and his initial recordings as a leader. We talked about the creation of Patois Records, the label’s broad mission, and Wallace’s current success in Part Five. In the conclusion of our interview, we dig into To Hear From There, Wallace’s dedication to teaching, and future projects.
———- LATIN JAZZ CORNER: One of the things that struck me on To Hear From There is the amount of dedications to musicians that you’ve worked with in the past – was there something in particular that inspired you to reflect upon that or was it simply an extension of what you do?
WAYNE WALLACE: It’s both. I’m very tuned into health issues with friends in life. My mantra over the last five years has been “Don’t take anything for granted.” If you can get up in the morning and actually put your feet on the floor, it’s a good day. Forget about all the taxes and crazy politics, embrace all the good stuff around you and move forward. My other little thing is don’t let anyone steal your joy. Whatever it is that brings you joy in life, make sure that you do that.
So I try to reach out to all the people that have helped me. When I found out about the Grammy nomination, I called John Santos and thanked him. Anybody that had done something that had helped me gain some knowledge or enriched my life, I called them and thanked them. You don’t get there by yourself. I’ve tried to stay with that.
LJC: Some of the tunes that stood out to my on To Hear From There were the first two tunes – “La Escuela” and “Serafina Del Caribe” – you can hear timba in them. Do you keep up on the Latin dance scene and how does that inspire your jazz writing?
WW: I can’t get away from it! It follows me everywhere. “La Escuela” is dedicated to the Escuela Nacional De Las Arte – we wanted the song to be timba because that is what was happening at the time we were down there. We had hung out with Changüito and seen that whole timba thing. I wanted it to resonate in that song. The thing that I’m really proud of in that tune is that little three bar phrase that happens right before the conga solo; it crosses against the clave and goes back and forth.
There are two big time things that I’m thrilled about on the album – that spot I mentioned on “La Escuela” and the 7/4 groove on “Yemaya.” I feel like I’m pushing forward instead of just following the tried and true.
The groove on “Serafina Del Caribe” is a gumbo – it’s not just timba. It’s got a New Orleans thing, soca, and bomba in those rhythm patterns. The rhythm on that song is not a true timba thing to the point where Michael Spiro and I said, “We’ve got to find a new name for that rhythm!” It’s got songo, timba, and all that stuff in it; it’s really more of a gumbo.
LJC: You’ve got two tunes based on folkloric tunes – “Yemaya” and “Ogguere (Soul Of The Earth)” – which reminded me of your work with The Machete Ensemble. Is that something that you want to explore more?
WW: Yes, I do. I have this concept for an album that really incorporates the folkloric music of the Americas. That’s one of the projects that I’m trying to pull together and solidify right now. That’s kind of come out of a course that I’m teaching at San Jose State, because everyday I’m talking about the folkloric music of the Americas.
I’ve also got a commission to write a piece for the San Francisco Chamber Orchestra. It’s about 75% done – it’s got strains of Afro-Caribbean music in it, but it’s really more of an Afro-Caribbean chamber jazz thing. I’m trying to do some different things besides what the quintet is doing.
LJC: For the past few albums, you’ve had a pretty steady quintet. Can you tell me a little bit about the group?
WW: The thing that is beautiful about the quintet is its diversity. I remember someone called us up to do a wedding. We played a bolero, a James Brown tune, a salsa tune, a Nat King Cole tune, and more. We looked at each other and said, “We’re the ultimate wedding band!”
That’s one of the great strengths of this band – how easily it flows between styles. We all have the base of Afro-Caribbean music, but we can do the other stuff too. If we wanted to play a straight-ahead jazz gig, we could. It’s in the same vein as The Fort Apache Band, but different. Fort Apache goes back and forth between those two styles in a blink of an eye, and we do that. We have all those other components of R n’ B with it too.
Another strength of the band is that we genuinely are a family in that we know each other. We don’t just come together for a gig; we worry about what happens in everybody’s life. As a result, there’s a great tacit communication on the bandstand. It’s almost like we can look at each other and go, “O.K., that’s a great idea – let’s do that!”
LJC: You’ve mentioned your role as an educator – tell me a little bit about what you’re doing.
WW: Currently, my steady job is at San Jose State where I teach two general studies classes. One is called Worlds Of Jazz – it traces the history and the evolution of jazz. It’s a writing course, so I’m demanding a lot of the students. I’m asking them to use intellectual curiosity as they look at how jazz evolved and why it evolved in America. I also teach a similar writing course on Music And Culture Of Latin America, looking at how each country developed such distinct styles of music depending upon colonization, religion, slavery, and more. It’s challenging for students of this age – it really forces them to go back and do some research. I run a Latin Jazz Ensemble as well – it’s Afro-Cuban based, but we’ll do Brazilian Puerto Rican music also.
I teach five classes at the Jazzschool in Berkeley. I teach two jazz combos – a high school combo and a middle school combo. I do combine some jazz history with that. I teach an R n’ B combo that I call The Old School Soul Kitchen, where we do music from the seventies through the nineties. I teach a class called Getting It Together that focuses upon improvisation and nurturing the creative side. I also teach a history class on jazz from 1940 – 1960.
Then I teach the summer jazz workshops. I teach a class at Stanford Jazz Workshop on arranging and composition. Then there’s the jazz camps – Jazz Camp West, LaFayette, and another one at San Jose State this year.
LJC: Do you think that we’re doing enough to educate the younger generation about jazz?
WW: I think so. I’ve traveled and done some workshops in Chicago, Washington, and Colorado. There are people that share our enthusiasm. The mid-West seems to have a wider reach of getting it out there. Music seems to be more integral to the fabric of everyday life in the mid-West because they have groups in the churches and it seems like there’s more music schools. So the outreach of jazz seems to get deeper inside communities. Here on the West Coast it seems to be more of an urban phenomenon. There are the big scenes – Seattle, San Francisco, and Los Angeles; then there are little pockets like Fresno, Bakersfield, and Monterey.
LJC: You’ve been a primary figure in Bay Area Latin Jazz – how would you describe the area’s sound and where do you see it going?
WW: We have a history here of being non-conformist. These scenes that arose here since the Gold Rush, the Barbary Coast, and everything else, they created the spirit of this area. It’s an area that accepts different cultures and is willing to experiment with them. You can look at the Peace-Love movement or anything else. . . If something can happen, it seems to happen here.
On the East Coast, it seems like things have to be stratified to survive. To keep your community together – whether it’s Puerto Rican or whatever – there are these pockets of where people can live and where they can’t live. The little reading that I’ve done about the diversity of New Orleans – people think of it as a place where cultures mixed together. But the thing was, there was so little land mass, that they were forced to live together. It was kind of a forced integration.
San Francisco is not a big city, in terms of landmass. When you think of New York, San Francisco pales in comparison of population and geographically. But the whole Bay Area is big – when you put Oakland, Berkeley, and San Francisco together, you start to get something like New York. Within that, there is a tremendous amount of diversity, just because of what San Francisco is and because of its history. That, to me, has been the strength of this area – it’s willing to experiment and accept the experiments – whether they work or they gloriously fail.
LJC: What does the future hold for you?
WW: I think that I’d just like to expand musically. I look at what bebop has done – you can’t play that music any better than Bird and Diz did. You can play it, but how are you going to improve on it? For me, I’d like to expand musically as a writer, arranger, and as a player. A lot of that is about setting up platforms for me to play off of that allow me to go in different directions. That’s not to say that we’ve done everything we can do, but I just want to expand on it as much as possible. We all know the platform of Latin Jazz, but how can we expand on that? That’s what I’m trying to do as I move forward. I’d also like to expand the venues for music and open up people’s ears.
Pianist George Shearing died this past Monday February 14, 2011 due to heart failure, invoking an honest outpouring of love for his work and a resurgence of attention upon his impressive career. Shearing enjoyed immense popularity throughout his career, finding a balance between artistry and public appeal. His quintet that fueled his work throughout the fifties and sixties was a major attraction in the jazz world, taking his performances around the world. During the seventies, his collaborations with artists such as the Montgomery Brothers, Jim Hall, and Hank Jones displayed another side to Shearing’s musicality. He signed onto a high profile contract with Concord Records in 1979, leading to more memorable recordings and several Grammy Awards. He remained a crowd favorite at jazz festivals throughout the nineties and 2000s, and he recorded in a variety of formats. Up until his death, Shearing remained an important figure on the jazz scene that influenced numerous musicians and pleased audiences worldwide.
Shearing is best known for his straight-ahead swing and lyrical compositions like “Lullaby Of Birdland,” but he actively engaged Latin Jazz throughout his career. Unfortunately, most descriptions of Shearing’s work marginalize his time playing Latin Jazz, regarding it as a minor excursion in his musical lifetime. Granted, Shearing spent the greater part of his career focused upon straight-ahead jazz that lie firmly planted in a very traditional lineage. While the size of Shearing’s Latin Jazz output can’t match the mass nature of his straight-ahead work, it certainly stands on equal footing in terms of quality. Shearing’s Latin Jazz output overflows with artistic integrity and displays a distinctly different side to Latin Jazz. More importantly, his recordings and performances were very influential in the movement towards small group combo work in Latin Jazz. Shearing’s Latin Jazz work deserves a spot in the history of the genre and it certainly merits a major focus in any discussion of his career.
Shearing’s Latin Jazz Recordings On Capitol Records While Latin music plays a part in different era of Shearing’s output, a number of recordings for Capitol Records during the fifties and early sixties provide the best example of his Latin Jazz approach. Shearing released his first collection of purely Latin Jazz tracks in 1956 on Latin Escapade, an album based in Afro-Cuban rhythms that complimented his core quintet with conguero Armando Peraza. Among a string of straight-ahead releases, Shearing returned in 1958 with Latin Lace, another album that focused strictly upon Latin Jazz. In the same year, Shearing delivered Latin Affair, a seeming extension of his previous recording that retained Peraza but included some different musicians in his core quintet. It would be three years until Shearing returned to his Latin Jazz side on Capitol Records, spending the time producing traditional classics like The Shearing Touch, White Satin, and his collaboration with vocalist Peggy Lee, Beauty And The Beat. In 1961, Shearing delivered Mood Latino, another Afro-Cuban focused recording that complimented Peraza’s work with additional percussionists and a flute soloist. The following year, Shearing stepped outside of his Afro-Cuban comfort zone to explore the growing popularity of Brazilian rhythms on Shearing Bossa Nova. In his last Latin based Capitol recording, Shearing moved back to Afro-Cuban rhythms with Latin Rendezvous. Although a number of Latin tracks from additional albums exist, these recordings provide clear and focused looks at his approach to Latin Jazz.
An Emphasis Upon Compositions And Arrangements Shearing made major strides into Latin Jazz in fifties, after New York based mambo orchestras had embraced bebop as a major part of their sound; in contrast, Shearing’s Latin Jazz approach downplayed the spontaneous improvisation emphasis of bop and focused on structured arrangements. At this point, his core quintet had developed a successful performance practice that leaned upon an almost classical sense of melodic movement and development. As a result, his Latin Jazz work had a chamber jazz feel that followed a highly composed direction. The intertwining lines of the vibes and guitar, combined with melodic duets between the piano and vibes diluted some of the harsh rhythmic edge traditionally associated with Latin music. At the same time, Shearing’s compositions sat firmly rooted around the clave, with rhythmic breaks and chordal vamps providing that certain swing. Shearing’s famous “locked-hands” technique provided thick block chords that added a percussive edge when necessary. Shearing employed traditional conventions of the music and his writing reflected structures being used by established Latin Jazz groups. While the East Coast dance halls were filled with the charging aggressive sound of the mambo bands, Shearing embraced a more delicate and somewhat safer approach that sat upon a knowledgeable foundation.
Shearing’s Elegant And Logical Approach To Improvisation Composition and arrangement served as the major focus for Shearing’s Latin Jazz work, leaving only minimal room for the pianist’s improvisations. In some cases, Shearing would restrain from improvising at all in a song, letting the elegant beauty of the arrangement speak for itself. When Shearing did improvise in a Latin Jazz context, his performance generally reflected the cool and refined mood of the arrangement. He often avoided the tension filled syncopations and wild flurries most commonly associated with Latin Jazz in favor of safer, more accessible ideas. Shearing’s improvisations tended to sound composed at times, as his statements drew upon the same compositional concepts that drove his arrangements. He repeated ideas and extended the range of his thoughts with embellishment and variation. At the same time, Shearing had definitely heard Afro-Cuban musicians; he would occasionally pull out a tipico lick that would turn heads. The elegance and logical nature of his artistry ruled the roost during his improvisations though, creating memorable statements that audiences could easily follow.
Armando Peraza – The Heart Of Shearing’s Latin Jazz Sound If Shearing embodied the cool side of his Latin Jazz sound, Peraza brought a healthy dose of Afro-Cuban fire and intensity to the group. While many small jazz groups haphazardly added a conga for a “Latin tinge” during the time, Peraza’s presence never seemed “tacked on” or forced upon the quintet for texture. He served as an equal member of the band that expanded the group’s potential and grounded their work in authentic Afro-Cuban approaches. He brought a firm and powerful tumbao to Shearing’ sound, constantly driving the group with an unstoppable forward motion. Peraza’s musicianship bubbles underneath the groove, as he varies his tumbao interactively, leaps into the forefront momentarily for effect, or framed the arrangement with a perfect break. Peraza acted as one of the group’s primary soloists, bringing the band’s performance to life with vivid statements that crackle with his encyclopedic knowledge of Afro-Cuban culture and tradition. He served as a consultant to Shearing and a musical watchdog, making sure that the pianist’s music reflected an unerring respect for the Latin Jazz lineage. Peraza also contribute a number of compositions to Shearing’s repertoire, such as “Mambo In Miami” and “Estampa Cubana.” Peraza’s contributions sat at the core of Shearing’s Latin Jazz success, as the percussionist made the perfect collaborator for the insightful pianist.
Latin Jazz As An Important Historical Landmark In Shearing’s Musical Life
The impact of these albums, Shearing’s live Latin Jazz performances, and his subsequent recorded ventures in Latin Jazz cannot be underestimated. As a proponent of the style, Shearing’s high profile popularity in the public eye increased the exposure of Latin Jazz and it certainly introduced Peraza’s world-class musicality to a mass audience. Afro-Cuban music also helped Shearing reach a new audience, creating a repertoire that dancers could understand. His recordings have left us with a wealth of ideas and instructions about Latin Jazz arranging that have filtering into younger generations. His impact upon Cal Tjader’s work shines brightly, as the two contemporaries must have shared ideas about the music. Shades of Shearing’s influence can be seen in modern groups as well, most notably in West Coast conguero Poncho Sanchez. The quintet approach that Shearing popularized in his fifties Latin Jazz recordings made the context viable artistically. It served as a starting point for more intimate Latin Jazz settings and opened the door to groups led by Tjader, Mongo Santamaria, and Willie Bobo in the sixties. What started with Shearing in terms of the small group Latin Jazz context evolved into forward thinking groups like Jerry Gonzalez and the Fort Apache Band. The impact, ingenuity, and pure artistry of Shearing’s Latin Jazz work deserves some serious attention – it’s more than a footnote in his career; it sits as an important historical landmark in his overall musical life.
Most modern jazz artists find themselves in several different performance situations, moving constantly between groups. Gone are the days when a jazz musician would dedicate themselves solely to one band. Many musicians find themselves exploring their diverse interests with a multitude of musicians. In some cases, these artists move between groups to balance their artistic statement with more profitable commercial projects. At other times, musicians simply have a lot to say and the depth of their expression simply demands projects with multiple groups; these are special artists – they are overflowing with creativity and they can’t be restrained to one group. As artists gain access to a greater spectrum of the music world and feel the economic pressures of the modern world, working with many groups seems to be an ongoing reality that will be in place for years to come.
Drummer Marlon Simon has spent a lifetime exploring a wide array of Latin Jazz approaches, leading him through a number of regular groups. Born on March 15, 1961 in Cardon, Venezuela, Simon grew up around the influence of his guitarist, a guitarist and vocalist. As he watched his father’s interest in music, Simon began moving towards percussion, playing bongos and timbales along with popular dance music. His family soon inhabited a musical full house, with Marlon on percussion, his brother Edward playing piano and his brother Michael on trumpet. While in his teens, Marlon began performing professionally in Venezuela, gaining invaluable experience in a variety of Latin styles. Once a friend exposed him to jazz, Simon was hooked and he traveled to The University Of The Arts in Philadelphia for further studies. He moved to New York in 1989 and continued his education at The New School, graduating with a degree in Jazz Studies. During this time, he worked with a number of important musicians such as trumpet player Jerry Gonzalez and pianist Hilton Ruiz, and he traveled to Cuba, digging deeper into the music. Simon formed his own group The Nagual Spirits in 1994, developing a unique approach as a performer, bandleader, and composer. The group first recorded in 1998 on The Music of Marlon Simon, returning in 2000 with Rumba a la Patato. Along the way, Simon established himself as a smart educator, holding clinics for children and college students alike, and authoring the book Analyzing Latin Rhythms. In the early 2000s, Simon recorded with a number of jazz and Latin Jazz musicians, showing up on Papa John DeFrancesco’s Jumpin’ and Hilton Ruiz’s Enchantment. The Nagual Spirits shared the excitement of their live approach in 2005 with the world on Live in La Paz Bolivia, displaying another step in the group’s evolution. Around the same time, Simon began an ongoing relationship with the French group Black Chantilly, traveling to hold clinics and collaborate with the group. His writing reached a rich maturity on In Case You Missed It, showing Simon as a formidable drummer and an insightful composer. In 2009, Simon shared his collaboration with Black Chantilly on the album Afrocuban & Live, revealing a top-notch group of European musicians. Always busy, Simon continues his work with both The Nagual Spirits and Black Chantilly, joins his brothers in the Simon-Simon-Simon band, and serves as an in-demand sideman. One this is guaranteed though – whatever context houses Simon, he will always display high-class musicality.
Simon has spent years bouncing between a variety of projects always inspired by his massive creativity and diverse interests. His non-stop drive to explore new musical territories with different musicians has given us several outstanding Latin Jazz statements, with more to come. In honor of all this great work, today’s Weekly Latin Jazz Video Fix is dedicated to Marlon Simon. In the first video, you can see Simon performing with a group of French musicians that bring together Venezuelan music and jazz. The second video finds Simon alongside The Nagual Spirits – his group of many years. Simon performs with his brother Edward as well as Jerry and Andy Gonzalez – a dream me if there ever was one. The last snippet features the Simon – Simon – Simon with Marlon’s brothers Edward on piano and Michael on trumpet. There’s a lot of great music here, buoyed by Simon’s vitality and variety of projects – enjoy!
———- Marlon Simon Proyecto Venezolano Frances
Marlon Simon And The Nagual Spirits
Simon-Gonzalez Band
Simon-Simon-Simon Band
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Want more from Marlon Simon? Check out these recordings below! Rumba a la Patato
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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.
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Entry points into jazz area vital part of the relationship between musicians and the general audience. As jazz moves further out of popular culture, artists need to find a way to invite listeners back into the fold. In doing this, they need to reach beyond the academic beauty of jazz, and create the bridge between hearing and really feeling the music. At the same time, these entry points need to be natural and honest, maintaining the music’s integrity. It takes a special individual to create successful entry points into jazz and find an audience willing to accept them. 
, 
, and 
, meeting huge critical praise. During Chico’s upswing in the last part of his career, trumpet player Wynton Marsalis invited the O’Farrill’s to join the Jazz At The Lincoln Center Orchestra in concert. Arturo approached Wynton with the desire to form a repertoire band that drew upon the Latin Jazz big band tradition, and years later, that dream became a reality. Officially a part of Jazz At Lincoln Center, the Afro-Latin Jazz Orchestra began an exciting series of concerts and released their first album, 
. Drawing upon the experience of a career that now reached between classic Latin music and cutting edge modern jazz, O’Farrill now lead a group determined to take the best of the Latin Jazz world to a broad audience. 
ARTURO O’FARRILL: I did a couple of things with him. We did a concert at the University Of Miami, and then we did a couple of more concerts playing Chico’s creative music. We really didn’t have much work before Pure Emotion. I think at one point, my father was so hungry to do something artistic that he called Bob James; Bob James didn’t even return his call! I began to feel really bad for my father – at that point, I understood that he had contributed some of the most brilliant work to our genre or for that matter, any music. I felt really bad; I was sad for him and I loved him as a son too.
AOF: Wynton invited Chico to perform on Jazz At Lincoln Center stage. I’ve known Wynton for many years. We were friends for many, many years before that concert. In fact, I’ve known Wynton since he first got to New York and started at Julliard. 
LJC: The band’s first album, 
Individuals find their way into music for a variety of reasons, but they eventually discover a prime motivating factor that allows them to continue. For some musicians, the community aspect of the art form evolves into a lifestyle that not only pays their bills, but also defines their social circles. Demand for a musician’s abilities lead towards significant financial gains, and their further explorations into music reflect their desire to make more money. A small number of musicians strive towards the growth and exploration of artistry, a path that rarely leads to extravagant wealth or wide spread popularity. Still, the unselfish commitment to artistry that these musicians prioritize helps move music into the future.
ARTURO O’FARRILL: I started gigging at the age of 15 or 16. We played lots of little gigs – wherever anybody would let us play, we would play. We were so devoted. If we weren’t allowed to play, we would have died, we would have exploded! I look back upon those days and I realize what an incredible blessing it is to have that drive. That’s one thing that I find sometimes lacking in young people today. Nowadays, it’s more like they go to these jazz schools and they’re handed the keys to the kingdom – it certainly wasn’t my normative experience. 
AOF: Carla is an amazing composer. She is loved and venerated throughout Europe, but for some reason, American audiences have just completely missed her. I think that it has to do with her quirkiness, her sense of humor, and the fact that she’s a woman. Women are ignored in our highest jazz institutions. The jazz institutions should be ashamed for leaving women out of the picture. I know that there’s not as many women in jazz as there should be – we understand that. But a composer like Carla Bley, who’s still alive, should be front and center at the biggest institutions in our nation. I’ve known Carla for many years, she’s a wonderful composer, and that’s it. Nothing more can be said. 
LJC: You were in that scene influenced by Sun Ra and some different modern jazz artists.
LJC: After you left Carla, what type of work were you doing?
In fact, his commercials were swinging. We did a Kentucky Fried Chicken commercial with Ruben Blades! It had a charanga string section and some great charanga style flute playing. The rhythm section had Nicky Marrero in it and Sal Cuevas – it was off the hook! You know they sold some chicken over that! 
LJC: Is that what inspired you to pursue Latin music?
It’s the unique nature of our childhood that shapes our individual qualities and forms our identities as artists. Our parents expose us to their own musical preferences and share their priorities for the arts in our lives. Their friends and our extended family add their own influences to our perceptions, exposing us to different sides of music and a variety of approaches. For most of us, these connections with music through our parents, family, and friends lead us to lifelong memories filled with musical associations. When a young person grows up among a musical family though – especially an important musical family – these fond musical memories intensify into a passionate urge to perform. 
ARTURO O’FARRILL: My earliest memory is watching my mother put on make-up to go out and sing with my father’s band. I couldn’t have been more than two or three. I remember getting to New York; Graciela picked us up at the airport and brought us home. When we got to the apartment on 88th Street, Mario Bauza was there. So it’s been like that. 
LJC: When did you become a performer and start playing the piano?
I put on the record and the first cut on it was “Seven Steps To Heaven.” Herbie Hancock took a really amazing solo on it. I didn’t quite understand harmony or theory – I was already been playing the piano for a while and I had already been improvising to some degree, but I had never heard anyone do that. I remember thinking very concretely that if I could learn to play like that, I would be a complete human being. It sounds romantic, but it’s the truth. I wasn’t thinking about being famous or making a living, I just knew that I needed to play the piano like that because it was so cool. That’s probably when I got very smitten.
I was hot at Music And Art because I could play 16th notes like Chick Corea – people thought that was amazing. The first time that I went down to the club, and they called “Half Nelson.” We started playing it, my turn came to solo, and I started railing these 16th notes. Everyone in the club said, “Stop the band – we’re here to play jazz man!” I felt like an inch tall; I just wanted to die as all these old jazz musicians were looking at me like I was something the dog dragged in. But I stayed; I didn’t disappear. I started hanging out with these guys, asking them how chords worked, started shedding, learning the whole library of bop and post-bop standards, as well as some great American standards. That really was my education. 
LJC: That’s an association that goes out into the greater jazz world, looking down upon Latin music. Have you ever sensed that outside yourself?/trio ricardo menu 890.jpg)
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The career of a jazz artist contains a number of plateaus, and with each additional ascent into higher artistry comes more responsibility. An artist needs to continually push themselves into new stages of their evolution through research and experimentation. At the same time, they hold a responsibility to support their musical peers and enrich their own personal musical community. In order to ensure continued work, they must share their knowledge and make sure that a younger generation of musicians finds their way towards jazz. With each step forward, musicians take on more commitments that support the music world around them and solidify the impact of their legacy.
and 
. Determined to guide his own career, Wallace established Patois Records with two of his own albums, 
and 
, as well as recordings from vocalists Kat Parra and Alexa Weber Morales. Patois Records continued to grow over the years, and in 2010, Wallace’s album 
garnered a Grammy nomination in the Latin Jazz category. Riding high on national recognition, Wallace released 
in 2011, a stunning release that shows inspiring growth and maturity. While his career as an important performer grows exponentially, Wallace maintains an active commitment to the spread of jazz, teaching at San Jose State University, the Jazzschool Institute, and more. As he has shown throughout his career, Wallace takes his responsibility to music and community seriously, thoughtfully crafting high quality projects. 
WW: Yes, I do. I have this concept for an album that really incorporates the folkloric music of the Americas. That’s one of the projects that I’m trying to pull together and solidify right now. That’s kind of come out of a course that I’m teaching at San Jose State, because everyday I’m talking about the folkloric music of the Americas. 
That’s one of the great strengths of this band – how easily it flows between styles. We all have the base of Afro-Caribbean music, but we can do the other stuff too. If we wanted to play a straight-ahead jazz gig, we could. It’s in the same vein as The Fort Apache Band, but different. Fort Apache goes back and forth between those two styles in a blink of an eye, and we do that. We have all those other components of R n’ B with it too. 
On the East Coast, it seems like things have to be stratified to survive. To keep your community together – whether it’s Puerto Rican or whatever – there are these pockets of where people can live and where they can’t live. The little reading that I’ve done about the diversity of New Orleans – people think of it as a place where cultures mixed together. But the thing was, there was so little land mass, that they were forced to live together. It was kind of a forced integration. 
Pianist George Shearing died this past Monday February 14, 2011 due to heart failure, invoking an honest outpouring of love for his work and a resurgence of attention upon his impressive career. Shearing enjoyed immense popularity throughout his career, finding a balance between artistry and public appeal. His quintet that fueled his work throughout the fifties and sixties was a major attraction in the jazz world, taking his performances around the world. During the seventies, his collaborations with artists such as the Montgomery Brothers, Jim Hall, and Hank Jones displayed another side to Shearing’s musicality. He signed onto a high profile contract with Concord Records in 1979, leading to more memorable recordings and several Grammy Awards. He remained a crowd favorite at jazz festivals throughout the nineties and 2000s, and he recorded in a variety of formats. Up until his death, Shearing remained an important figure on the jazz scene that influenced numerous musicians and pleased audiences worldwide.
While Latin music plays a part in different era of Shearing’s output, a number of recordings for Capitol Records during the fifties and early sixties provide the best example of his Latin Jazz approach. Shearing released his first collection of purely Latin Jazz tracks in 1956 on 
, another album that focused strictly upon Latin Jazz. In the same year, Shearing delivered 
, 
, and his collaboration with vocalist Peggy Lee, 
. In 1961, Shearing delivered 
, another Afro-Cuban focused recording that complimented Peraza’s work with additional percussionists and a flute soloist. The following year, Shearing stepped outside of his Afro-Cuban comfort zone to explore the growing popularity of Brazilian rhythms on 
. In his last Latin based Capitol recording, Shearing moved back to Afro-Cuban rhythms with 
. Although a number of Latin tracks from additional albums exist, these recordings provide clear and focused looks at his approach to Latin Jazz. 
Composition and arrangement served as the major focus for Shearing’s Latin Jazz work, leaving only minimal room for the pianist’s improvisations. In some cases, Shearing would restrain from improvising at all in a song, letting the elegant beauty of the arrangement speak for itself. When Shearing did improvise in a Latin Jazz context, his performance generally reflected the cool and refined mood of the arrangement. He often avoided the tension filled syncopations and wild flurries most commonly associated with Latin Jazz in favor of safer, more accessible ideas. Shearing’s improvisations tended to sound composed at times, as his statements drew upon the same compositional concepts that drove his arrangements. He repeated ideas and extended the range of his thoughts with embellishment and variation. At the same time, Shearing had definitely heard Afro-Cuban musicians; he would occasionally pull out a tipico lick that would turn heads. The elegance and logical nature of his artistry ruled the roost during his improvisations though, creating memorable statements that audiences could easily follow.
If Shearing embodied the cool side of his Latin Jazz sound, Peraza brought a healthy dose of Afro-Cuban fire and intensity to the group. While many small jazz groups haphazardly added a conga for a “Latin tinge” during the time, Peraza’s presence never seemed “tacked on” or forced upon the quintet for texture. He served as an equal member of the band that expanded the group’s potential and grounded their work in authentic Afro-Cuban approaches. He brought a firm and powerful tumbao to Shearing’ sound, constantly driving the group with an unstoppable forward motion. Peraza’s musicianship bubbles underneath the groove, as he varies his tumbao interactively, leaps into the forefront momentarily for effect, or framed the arrangement with a perfect break. Peraza acted as one of the group’s primary soloists, bringing the band’s performance to life with vivid statements that crackle with his encyclopedic knowledge of Afro-Cuban culture and tradition. He served as a consultant to Shearing and a musical watchdog, making sure that the pianist’s music reflected an unerring respect for the Latin Jazz lineage. Peraza also contribute a number of compositions to Shearing’s repertoire, such as “Mambo In Miami” and “Estampa Cubana.” Peraza’s contributions sat at the core of Shearing’s Latin Jazz success, as the percussionist made the perfect collaborator for the insightful pianist.
Latin Jazz As An Important Historical Landmark In Shearing’s Musical Life
Most modern jazz artists find themselves in several different performance situations, moving constantly between groups. Gone are the days when a jazz musician would dedicate themselves solely to one band. Many musicians find themselves exploring their diverse interests with a multitude of musicians. In some cases, these artists move between groups to balance their artistic statement with more profitable commercial projects. At other times, musicians simply have a lot to say and the depth of their expression simply demands projects with multiple groups; these are special artists – they are overflowing with creativity and they can’t be restrained to one group. As artists gain access to a greater spectrum of the music world and feel the economic pressures of the modern world, working with many groups seems to be an ongoing reality that will be in place for years to come.
, returning in 2000 with Rumba a la Patato. Along the way, Simon established himself as a smart educator, holding clinics for children and college students alike, and authoring the book Analyzing Latin Rhythms. In the early 2000s, Simon recorded with a number of jazz and Latin Jazz musicians, showing up on Papa John DeFrancesco’s 
and Hilton Ruiz’s 
. The Nagual Spirits shared the excitement of their live approach in 2005 with the world on 
, displaying another step in the group’s evolution. Around the same time, Simon began an ongoing relationship with the French group Black Chantilly, traveling to hold clinics and collaborate with the group. His writing reached a rich maturity on 
, showing Simon as a formidable drummer and an insightful composer. In 2009, Simon shared his collaboration with Black Chantilly on the album 
, revealing a top-notch group of European musicians. Always busy, Simon continues his work with both The Nagual Spirits and Black Chantilly, joins his brothers in the Simon-Simon-Simon band, and serves as an in-demand sideman. One this is guaranteed though – whatever context houses Simon, he will always display high-class musicality./marlon simon nagual spirits rumba a la patato.jpg)
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