The Latin Jazz Corner Best Of The Year Awards is an annual event fueled by the will of our readers – the winners are selected through a voting process open to LJC readers, Latin Jazz artists, Latin Jazz fans, and the general public. The voting for our fifth annual awards ran from December 8, 2011 – December 23, 2011 and drew over 20,000 participants from around the world. It was an exciting process that engaged numerous artists, fans, and music business professionals from all areas of the Latin Jazz world. You can learn more about the LJC Best Of The Year Awards by checking out this post – What Are The LJC Best Of The Year Awards?; on that page you’ll find links to frequently asked questions that should give you the complete scoop on the awards.
2011 Latin Jazz Album Of The Year
2011 Brazilian Jazz Album Of The Year Chora Baião
Antonio Adolfo
It takes more than a simple collection of songs to bring thousands of people together – it requires an artistic statement that overflows with unmistakeable musicality. Songs on their own are ultimately forgettable; when they are infused with the heart and soul of an artist’s personality, they become something magical that sticks in our memory like glue. Pianist Antonio Adolfo’s Chora Baião captured the imagination of a huge number of people in 2011, winning the titles of both Brazilian Jazz Album Of The Year and Latin Jazz Album Of The Year (among other awards that we announced earlier in the week). A heartfelt tribute to a couple of massive figures in Brazilian music – Guinga and Chico Buarque – Adolfo put together a masterful collection of music that intimately looked at a couple of musicians that influenced him. It wasn’t just the simple execution of their compositions that made this album great though, it was the way that Adolfo interpreted those songs and let us see them through his eyes. The end result is a very personal gift from Adolfo to the rest of the world that speaks volumes about Guinga, Buarque, Adolfo, and Brazilian Jazz as a whole. When the music reaches this level, the album becomes more than a simple collection of songs; that’s when an album becomes a personal statement . . . that’s when an album becomes Album Of The Year.
———- 2011 Next Generation Latin Jazz Album Of The Year Road Warrior
Jamie Dubberly And Orquesta Dharma
The idea of a “Next Generation” group represents a collection of musicians that are delivering a new idea to the world. The band may include young musicians or it might have seasoned veterans; it’s more about the repertoire and performance approach that they are bringing into the world for the first time. The ideas held in that approach hold the potential to influence the next generation of musicians and listeners just as much as the musicians creating them. Trombonist Jamie Dubberly brings a wealth of experience into his album Road Warrior, playing upon lessons learned from Jackie McLean, Pete Escovedo, and more; his group features some of the best musicians from the Bay Area such as Karl Perazzo, Carlos Caro, Pete Cornell, and more playing alongside him. There’s no doubt that a conglomeration of musicians like this will deliver fantastic music, but the compositions and ideas that the group brings into Road Warrior make it outstanding. From the contemporary looks at classic tunes to the funky strut of cha cha cha originals, Road Warrior holds a wealth of great music that will inspire new listeners.
———- 2011 South American Jazz Album Of The Year Córdoba
Pedro Giraudo Jazz Orchestra
When people think about the idea of “Latin” music, their minds often drift to music that originated in the Caribbean, but influences from South American countries have exerted an increasing amount of influence upon modern Latin Jazz. Traditions from Argentina, Peru, Venezuela, Brazil, and more are becoming an essential piece of Latin Jazz as musicians find more creative and inspiring ways to blend them with jazz. Bassist and composer Pedro Giraudo has long used his Argentinean lineage as a source of inspiration in his compositions, and the music on Córboda continues that track. Giraudo uses a very modern concept when he integrates pieces of Argentinean folk music – in some ways, it’s more of an inspiration than a focal point. The fact remains that Argentinean music underlies most of what Giraudo writes for his band; it’s never more apparent than on Córdoba, where Giraudo creates an aural representation of his hometown. Giraudo delivers a beautiful example of the integration of South American influences into jazz on Córdoba, showing us the possibilities of this music in the modern world.
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For the inside scoop on the awards and continuing info on everything happening in the Latin Jazz world, sign up for the LJC newsletter through the form below:
The Latin Jazz Corner Best Of The Year Awards is an annual event fueled by the will of our readers – the winners are selected through a voting process open to LJC readers, Latin Jazz artists, Latin Jazz fans, and the general public. The voting for our fifth annual awards ran from December 8, 2011 – December 23, 2011 and drew over 20,000 participants from around the world. It was an exciting process that engaged numerous artists, fans, and music business professionals from all areas of the Latin Jazz world. You can learn more about the LJC Best Of The Year Awards by checking out this post – What Are The LJC Best Of The Year Awards?; on that page you’ll find links to frequently asked questions that should give you the complete scoop on the awards.
———- 2011 Latin Jazz Large Ensemble Album Of The Year Córdoba
Pedro Giraudo Jazz Orchestra
The big band tradition is a major foundation in the jazz world and something that has remained an important part of the Latin Jazz world. On both sides of the jazz equation though, the modern conception of a big band looks a lot different than it did in the forties, and young musicians continue to explore the potential of this important configuration. Latin Jazz big bands in 2011 are ripe with color and rhythmic influences, two factors displayed brilliantly on the Pedro Giraudo Jazz Orchestra’s Córdoba. There’s inspiration from Argentinean musical forms, but the band interprets these rhythms and melodies with a modern jazz sensibility. Giraudo incorporates significant nods to classical music with everything from orchestration techniques to extended song forms and multi-movement pieces. The group does more than just play through the charts, they engage deeply in the broad strokes of color and expression of Giraudo’s bold compositions. Giraudo’s group shows us the modern state of the Latin Jazz Large Ensemble on Córdoba and lets us look into the instrumentation’s future.
———- 2011 Latin Jazz Percussionist Of The Year
John Santos Filosofía Caribeña, Vol 1
The John Santos Sextet
Cultural understanding, historical knowledge, and stylistic insight all go hand in hand when artists make a larger statement with Latin Jazz – a firm handle on one facet of this trio without comprehending another makes for a visible hole in any project. Percussion sits at the heart of all these pieces of high quality Latin Jazz, so it becomes vital for a percussionist in these settings to comprehend all three areas – a lifelong task that requires constant dedication, study, and growth. As a result, not many percussionists can fill this bill; one player that has made a career out of seeing the total picture is John Santos. A student of the music that digs deeper than simply learning songs and rhythms, Santos has taken the time to experience the cultural context of the music and connect with some of the great musicians in the history of the genre. As a result, his playing fuels high caliber projects that overflow with cultural relevance – Filosofía Caribeña, Vol. 1 is a great example of Santos at his best.
———- 2011 Latin Jazz Pianist Of The Year
Antonio Adolfo Chora Baião
Antonio Adolfo
There are many pieces involved in making an outstanding instrumentalist, but the most intangible and important element is the experience factor. Musicians can lock themselves in practice rooms for years and drown themselves in recordings, but the true soul of a musical personality comes from years of active experimentation and interaction with other artists. Through decades of performance in Brazilian music, pianist Antonio Adolfo brings a wealth of experience into his recording Chora Baião. He’s been through many changes in the genre – from his early days playing bossa nova at the becos das garaffas to his electronic experiments in the seventies with Brazuca, Adolfo has done it all. Adolfo channels the best lessons from each of these experiences into a tasteful and intoxicating performance on Chora Baião, playing Brazilian Jazz with an understated fire. There’s a maturity and keen insight that flows from Adolfo’s playing, mixed with a smart artistry that makes his performance on Chora Baião unforgettable.
———- 2011 Latin Jazz Drum Kit Player Of The Year
Daniel “Pipi” Piazzolla Piazzolla In Brooklyn
Pablo Aslan Quintet
Finding a deep understanding of a set of music is the result of some sort of connection that an artist develops during their lifetime. Daniel “Pipi” Piazzolla certainly walked into Pablo Aslan’s Piazzolla In Brooklyn with a connection to the repertoire – the group was exploring the music of his grandfather. While this certainly provided an amazingly ingrained insight into the music, Piazzolla was not just relying upon his lineage to create a memorable music experience. A veteran of the Buenos Aires music scene, Piazzolla has long investigated both traditional tango and jazz as a part of his development as a drummer. Just take a listen to his work as a bandleader with the jazz fusion group Encalandrum and you’ll see that this is an artist that has built upon his family history in an independent and creative fashion. You may be familiar with that other Piazzolla, but it’s time to start checking out “Pipi” and Pablo Aslan’s Piazzolla In Brooklyn is a great place to start.
———- 2011 Latin Jazz Bassist Of The Year
Jorge Helder Chora Baião
Antonio Adolfo
Unexpected surprises always make music interesting, making us reconsider are preconceptions about who and what makes up the styles we love. The Best Of The Year Awards always mix the expected results with some unexpected surprises, introducing us to some outstanding musicians. For me, one of the discoveries in the 2011 Awards was bassist Jorge Helder, who performed on Antonio Adolfo’s Chora Baião. After doing some research, I’ve found that I may be the only one who isn’t familiar with Helder, and in reality, I’ve heard him on a variety of projects. He’s a veteran that has played with the best of the Brazilian music scene from artists like Rosa Passos and João Donato to Joyce, Caetano Veloso, and more. His performance on Adolfo’s Chora Baião demonstrates all the important qualities that make him an in-demand bassist – solid and unobtrusive support that pushes the groove forward while outlining the harmony as well as an outstanding solo voice. It’s an inspired bass performance that speaks volumes about Helder’s presence in Brazilian music, which shouldn’t be a surprise anymore.
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For the inside scoop on the awards and continuing info on everything happening in the Latin Jazz world, sign up for the LJC newsletter through the form below:
The Latin Jazz Corner Best Of The Year Awards is an annual event fueled by the will of our readers – the winners are selected through a voting process open to LJC readers, Latin Jazz artists, Latin Jazz fans, and the general public. The voting for our fifth annual awards ran from December 8, 2011 – December 23, 2011 and drew over 20,000 participants from around the world. It was an exciting process that engaged numerous artists, fans, and music business professionals from all areas of the Latin Jazz world. You can learn more about the LJC Best Of The Year Awards by checking out this post – What Are The LJC Best Of The Year Awards?; on that page you’ll find links to frequently asked questions that should give you the complete scoop on the awards.
———- 2011 Boundary Breaking Album Of The Year Córdoba
Pedro Giraudo Jazz Orchestra
The Boundary Breaking Album Of The Year is a new category in the Best Of The Year Awards, meant to recognize musicians that try to stretch the limits of the Latin Jazz tradition. These musicians don’t simply follow the lead of the style’s major mentors, they integrate those lessons and take them a step further. Their music doesn’t make change just for the sake of it, they create music that demands change. Pedro Giraudo is a composer that paints expansive aural portraits full of life, energy, and poignant thoughts. This is music that respects tradition but can’t be held into the confines of the past – it charges cleverly into the future. Córdoba is overflowing with vital music that calls upon tradition with elements of Argentinean styles, big band conventions, and jazz improvisation; it also comes at the music from a different angle with edgy rhythmic tensions, multi-movement compositions, and modern concepts of harmony. The music on Córdoba demands that we think about Latin Jazz from a different perspective, definitely breaking any boundaries that we created around the music.
———- 2011 Latin Jazz Saxophonist Of The Year
Melecio Magdaluyo Filosofía Caribeña, Vol. 1
The John Santos Sextet
Some musicians contribute extensively to a musical community, garnering immense local respect, but unfortunately, national recognition sometimes escapes them. While their impact still remains powerful, exerting a strong influence upon the artistic community around them, the larger scope of the Latin Jazz world sometimes misses the depth of their musicianship. Saxophonist Melecio Magdaluyo has been a vital voice on the Bay Area Latin Jazz scene for decades, contributing to albums and performances from Pete Escovedo’s Latin Jazz Ensemble, John Santos and The Machete Ensemble, Wayne Wallace’s Latin Jazz Ensemble, and many more. While the national Latin Jazz audience certainly appreciated those performances, Magdaluyo was best known in the Bay Area, a fact rapidly changing. His performance on The John Santos Sextet’s Filosofía Caribeña, Vol. 1 exploded from the speakers, showing his great command of clave and creativity with jazz improvisation. Magdaluyo is a saxophonist well worth hearing, and if you’re looking for an outstanding example of Latin Jazz saxophone playing, Filosofía Caribeña, Vol. 1 is a great place to start.
———- 2011 Latin Jazz Trumpet Player Of The Year
Claudio Roditi Bons Amigos
Claudio Roditi
A long career builds a number of important connections for a musician, helping them become a more mature artist. They get a stronger handle on the music, improving their overall performance, and they also find a deeper insight into stylistic possibilities, expanding their creative vistas. The connections go beyond musical abilities though, bonding them to music lovers around the world who develop a special place for that musician in their lives. Emerging as a leader in the early 1980s, trumpet player Claudio Roditi has built these types of connections in major ways. As a trumpet player, his skills have just gotten stronger over the decades, making him one of the most vital figures in Brazilian Jazz and an important practitioner of the trumpet. Fans around the world respect his deep musicianship, his lyrical approach to improvisation, his nimble navigation of Brazilian rhythms, and his commanding overall artistic presence. This mature and intriguing artistry is on full display throughout Bons Amigos, giving people around the world another strong reason to connect with this amazing trumpet player.
———- 2011 Latin Jazz Trombonist Of The Year
Wayne Wallace To Hear From There
Wayne Wallace Latin Jazz Quintet
Some musicians display a wide array of artistic skills during the course of their careers, but the core of their musicianship sits squarely upon their abilities as instrumentalists. They may grow into outstanding composers, arrangers, producers, educators, or bandleaders, but they almost always build their foundations upon a killer set of instrumental chops. Trombonist Wayne Wallace has built a strong reputation in many facets of the music world, from his role as composer, arranger, producer and label owner at Patois Records to his greatly admired position as an educator. The bottom line is perfectly clear on any recording or gig where he’s got his instrument in hand though – he is an absolutely amazing trombonist. His skills as both an improvisor and melodic player are all over his current recording To Hear From There, providing an outstanding example of Latin Jazz trombone playing at its best.
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For the inside scoop on the awards and continuing info on everything happening in the Latin Jazz world, sign up for the LJC newsletter through the form below:
The Latin Jazz Corner Best Of The Year Awards is an annual event fueled by the will of our readers – the winners are selected through a voting process open to LJC readers, Latin Jazz artists, Latin Jazz fans, and the general public. The voting for our fifth annual awards ran from December 8, 2011 – December 23, 2011 and drew over 20,000 participants from around the world. It was an exciting process that engaged numerous artists, fans, and music business professionals from all areas of the Latin Jazz world. You can learn more about the LJC Best Of The Year Awards by checking out this post – What Are The LJC Best Of The Year Awards?; on that page you’ll find links to frequently asked questions that should give you the complete scoop on the awards.
———- 2011 Latin Jazz Outer Edges Album Of The Year I Wanna Work For You
Alexa Weber Morales
One of the new categories that entered the Best Of The Year Awards during 2011 was the Outer Edges Award, a recognition meant for Latin Jazz artists that step outside the core of the tradition to integrate other genres. It’s an admission of the fact that not everyone strictly adheres to the guidelines laid out by the founders of Latin Jazz . . . and not everyone needs to stick to those rules. Vocalist Alexa Weber Morales has explored a number of stylistic directions with her music while firmly keeping a strong connection to Latin Jazz. I Wanna Work For You certainly blends a healthy helping of jazz harmonies and rhythms from across Cuba and Brazil, but there’s also bits of funk, pop, rock, and more. It’s a fantastic album that truly does explore the outer edges of the Latin Jazz world while making a serious nod to tradition.
———- 2011 Latin Jazz Flautist Of The Year
Mark Weinstein El Cumbanchero
Mark Weinstein
It’s hard to walk into a style with a clearly defined lineage of great instrumentalists and then try to bring your own voice to the forefront. While the flute has plenty of space for creative interpretation in the jazz world, the role of the instrument has been spelled out through years of history in the Cuban charanga orchestra. When Mark Weinstein brought together the Cuban charanga with jazz improvisation, he faced the responsibility of respecting the instrument’s long history in the music while asserting his personality. Weinstein certainly isn’t a newcomer to blending jazz ideals with thick Cuban traditions – his ground breaking album Cuban Roots brought jazz into the world of Santeria rhythms. Armed with gorgeously intricate arrangements from pianist Aruán Ortiz, Weinstein delivered a memorable performance that brought the best of the two musics together in a highly artistic blend.
———- 2011 Latin Jazz Vibes Player Of The Year
Stefon Harris Ninety Miles
David Sánchez, Stefon Harris, & Christian Scott
The vibraphone has held a long tradition in Latin Jazz, established by essential musicians such as Tito Puente and Cal Tjader, and the addition of a Vibraphonist category to the Best Of The Year Awards is long overdue. The instrument holds to key to both sides of the equation – the ability to outline melodies and harmonies while hitting them with an edgy percussive attack. Our first winner, Stefon Harris, has established himself as a major player in the world of modern jazz and sets himself alongside musicians with some serious Latin Jazz credibility on Ninety Miles. Along with trumpet player Christian Scott and Latin Jazz veteran David Sanchez, Harris traveled to Cuba and recorded with some of the island’s finest jazz musicians. The inspiration brought out a fine performance from Harris and gave us a prime example of the potential behind the vibraphone in Latin Jazz.
———- 2011 Latin Jazz Guitarist Of The Year
Romero Lubambo Bons Amigos
Claudio Roditi
One of the things that sets Brazilian Jazz part from Afro-Cuban Jazz is the predominance of the guitar, and as a result, the style demands the presence of fine guitarists. There’s a relation to the use of guitar in traditional Brazilian music and a requirement to understand a broad swipe of jazz guitar – these guitarists need to be loaded with knowledge about a full bounty of rhythmic, melodic, and harmonic guitar approaches. There are very few guitarists that can bring these elements together in a smart, creative, and flexible fashion, but for many years, Romero Lubambo has shown these qualities at a very high level. He has asserted his abilities both as a leader and a member of Trio Da Paz, but has been recruited quite often as a sideman, as on Claudio Roditi’s Bons Amigos. Lubambo’s work on Roditi’s album overflows with the same class and style that goes along with his reputation, showing us another example of excellence in Latin Jazz guitar playing.
———- 2011 Latin Jazz Vocalist Of The Year
Poncho Sanchez Poncho Sanchez & Terence Blanchard = Chano y Dizzy!
Poncho Sanchez
When most people think of iconic Latin Jazz artist Poncho Sanchez, they picture his explosive displays of percussive virtuosity on the conga drums . . . but that’s not the whole story. Sanchez actually made his first entry into the world of performance as a singer, and even though he found the core of his musicianship in percussion, he never stopped singing. This skill has been a steady part of his Latin Jazz unit’s performances, with the inclusion of straight-ahead salsa songs in their repertoire as well as looser, more descarga based vocal tunes. His 2011 collaboration with trumpet player Terence Blanchard leaned heavily upon the group’s jazz side, paying tribute to Chano Pozo and Dizzy Gillespie. While Sanchez contributed this vocal talents to the album more sparsely, he brought that great rhythmic edge to vocal melodies on several tracks, capturing the imagination of LJC readers.
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For the inside scoop on the awards and continuing info on everything happening in the Latin Jazz world, sign up for the LJC newsletter through the form below:
The Latin Jazz Corner Best Of The Year Awards is an annual event fueled by the will of our readers – the winners are selected through a voting process open to LJC readers, Latin Jazz artists, Latin Jazz fans, and the general public. The voting for our fifth annual awards ran from December 8, 2011 – December 23, 2011 and drew over 20,000 participants from around the world. It was an exciting process that engaged numerous artists, fans, and music business professionals from all areas of the Latin Jazz world. You can learn more about the LJC Best Of The Year Awards by checking out this post – What Are The LJC Best Of The Year Awards?; on that page you’ll find links to frequently asked questions that should give you the complete scoop on the awards.
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In the remaining days of the year, we’ll be taking a look at the winners in each of the Best Of 2011 Award categories, revealing a small number with each passing day. In today’s post, we’ll be looking at the winners in Category 3 – Composition/Arrangement and Category 4 – Business/Promotion. This covers four awards – 2011 Latin Jazz Composition Of The Year, 2011 Latin Jazz Arrangement Of The Year, 2011 Latin Jazz Record Label Of The Year, and 2011 Latin Jazz Album Art Of The Year.
———- 2011 Latin Jazz Composition Of The Year
“Pueblo [Village]”
Composed by Pedro Giraudo Córdoba
Pedro Giraudo Jazz Orchestra
The ability to turn ideas into song and then translate that sound into meaning within a listener’s ears sits at the core of a composer’s task. It’s not an easy job – it’s a process that requires a complete understanding of your core concept, a wide range of musical tools to express your idea, and then the skill to create a product that will allow musicians to adequately execute your creation. Bassist Pedro Giraudo put all these pieces together into a multi-movement piece that drew together imagery from his hometown of Córdoba, colorful jazz harmony, rhythms from Argentina and beyond, as well as his distinctive approach to texture and arrangement. “Pueblo (Village)” clocks in at over 20 minutes and elegantly brings Giraudo’s ideas to the listener in an unforgettable listening experience that overflows with a power and expression that can’t be beat.
———- 2011 Latin Jazz Arrangement Of The Year
“El Cumbanchero”
Arranged by Aruán Ortiz El Cumbanchero
Mark Weinstein
When exploring new musical settings in Latin Jazz, any project requires a solid architect, that can construct original settings to inspire improvisation. Mark Weinstein’s El Cumbanchero explored combinations of jazz, danzon, and charanga instrumentation, requiring an architect that could bring together strings, rhythmic structures, and jazz harmony. Pianist Aruán Ortiz was the perfect musician for this job – his studies in Cuba as a violist gave him ample background in strings and charanga settings, while his work in the United States as a jazz pianist left him with a thorough understanding of modern harmony and improvisation. This allowed him to take a standard like Rafael Hernandez’s “El Cumbanchero” and turn it into an intricate and exciting vehicle for improvisation. The memorable musical result is a tribute to Ortiz’s musical skills and his ability to envision the possibilities of an inspired artistic setting.
———- 2011 Latin Jazz Record Label Of The Year
2011 Latin Jazz Releases: Jazz Brasil
Mark Weinstein Tito Puente Masterworks, Live!!!
Bobby Sanabria Conducting The Manhattan School Of Music Afro-Cuban Jazz Orchestra El Cumbanchero
Mark Weinstein
We’re living in an era where large record companies with a financial bottom line are being replaced by smaller, artist-run labels with an eye for artistic concerns. Pianist Randy Klein runs Jazzheads, a label that most certainly falls into the latter category. Klein has put ample effort into creating a label where the highest quality improvised music makes its way into the world, and as a result, Jazzheads has long been a serious supporter of Latin Jazz. Each year, Jazzheads releases albums from some of New York’s top Latin Jazz musicians, including Bobby Sanabria, Mark Weinstein, Chris Washburne, and more. This type of support and integrity insures that the world hears artistic, challenging, and exciting Latin Jazz consistently, making Jazzheads a jewel among modern record labels.
———- 2011 Latin Jazz Album Artwork Of The Year
Cover Design: Felipe Taborda & Lygia Santiago; Illustration: Bruno Liberati Chora Baião
Antonio Adolfo
In our current digital era where pictures are manipulated and contorted into anything that our minds can imagine, it’s always refreshing to be reminded that people still put a brush to a canvas. When looking at the album artwork for Antonio Adolfo’s Chora Baião, the striking combination of bold colors and large imagery is the first thing that catches your eye. When you look more closely, you can actually see the brush strokes and the texture of the paint against the canvas, helping the image capture the human feeling of the album’s music. This amazing detail comes from Bruno Liberati’s strong artwork and Alex Sandro’s photography, put together into the album format by Felipe Taborda and Lygia Santiago.
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El Cumbanchero
Mark Weinstein Jazzheads
Cuba’s musical history is vast and it holds a wide number of styles and approaches, but in many cases, Latin Jazz continues to investigate only a small slice of that musical horizon. In the early days of the style, Latin Jazz was built upon dance traditions, a natural fit which served the development of the style well. The use of Cuban dance styles didn’t act as a starting point though; it became the path that outlined the careers of most Latin Jazz musicians. The reasoning behind the use of these rhythms is logical – the dance element connects with a wide audience and for many jazz musicians, it delivers a different yet accessible foundation for improvisation. The overlooked creative possibilities in the greater world of Cuban music is staggering though – from Santeria songs to rumba rhythms, there’s many opportunities for improvisation. Some Latin Jazz artists have dug deeper into these waters, but those projects are far too rare – when they arise, they should be cherished. Flautist Mark Weinstein teams with pianist and arranger Aruán Ortiz on one of these projects, El Cumbanchero, a deep exploration of the combination between jazz and charanga music.
Charanga Classics With An Improvisatory Edge
Weinstein merges the charanga tradition with jazz ideals by performing through classics arranged with a improvisatory edge by Ortiz. A long and winding string melody flies into the rhythm section’s explosive groove on Rafael Hernandez’s “El Cumbanchero,” charging towards the main theme. Weinstein assertively places the well known melody over the thick string texture, pushed into the forefront by an engaging rhythmic accompaniment. The strings frame the flautist’s improvisation with strong and abrupt attacks, while the Weinstein leads the rhythm section through a whirlwind of spontaneous creation. Ortiz introduces a piece of the melody which the string take in several different harmonic directions, until Weinstein enters with the unforgettable melody to Alejandro Gonzales’ “La Mulata Rumbera.” The clever arrangement sends the ensemble through several colorful variations before an energetic montuno from Ortiz sends Weinstein into a solo full of running lines and melodic exploration. A unison band attack opens into a vamp for percussion solo, where an overdubbed Mauricio Herrera trades beautifully syncopated ideas between congas and timbales. The rhythm section rhythm section places rhythm attacks around short string melodies on Enrique Jorrín’s “Doña Olga” before Weinstein moves into the main melody. The ensemble captures the dignified grace of classic danzones with an arrangement that finds the melody traveling between Weinstein, Ortiz, and the string section with a delicate beauty. A montuno from Ortiz introduces the montuno section, where Weinstein skillfully integrates his own voice into the classic Cuban setting. An ascending melody made up of abrupt staccato notes falls into an elegant melody that plays upon the rhythmic character and lush texture of the danzon with sensitive performances from Weinstein and the string section Israel “Cachao” Lopez’s “Armoniosos de Amalia.”. Bassist Yunior Terry sets up the mambo section with a great tumbao that inspires a furious flight of improvised notes from Weinstein. Ortiz follow with an insightful statement that plays heavily upon tipico phrasing that hints at his prodigious jazz vocabulary while staying firmly set in tradition. Weinstein steadily walks between worlds on these tracks, exploring the possibilities of the charanga around the idea of jazz improvisation.
Emphasizing The Strings
Weinstein applies his gorgeous tone to some beautiful Ortiz arrangements that forego the rhythm section in favor of rich string textures. The string ensemble flirts with subtle dissonances as they engage in a tender call and response with Weinstein’s bass flute on Sindo Garay’s “Perla Marina.” The dramatic rhythmic pauses and textural shifts allow for complex intertwining of melodic phrases and subtle harmonic coloring. Weinstein’s bass flute adds a fascinating element to the string sound, allowing for understatement and fine dynamic shading. The deep tone of Terry’s bass underlies an engaging introduction with shades of mystery and light on Cesar Portillo de la Luz’s “Contigo en la Distancia.”. Ortiz’s piano outlines structure behind Weinstein’s interpretation of the melody while the strings add contrary lines and rhythmic motion. There’s a beautiful simplicity to Weinstein’s performance here that is both appropriate and touching, blending perfectly with the intricate string parts. These pieces add a distinctly different element to the album that simultaneously calls upon the classical element inherent in the charanga, emphasizes the string section, and displays Ortiz’s wonderful writing.
Original Compositions From Ortiz
Ortiz contributes a collection of original compositions to the piece, allowing the group to step outside the tradition slightly, while staying within the theme of the album. A flute melody leads the group through an introduction filled with chromaticism before moving into a more traditional melody on “Danzon de Liz.”. The rhythm section keeps the momentum behind Weinstein’s solo, which travels through a variety of melodic ideas between sparse interjections from the strings. A quick interlude brings the groups to a whisper behind a tasteful solo from Ortiz that gently pushes the limits of the danzon with edgy harmonic twists. A subtly burning rumba blazes behind a flowing melody and a syncopated bass line on “Aruancó,” a piece without strings that leans more on the group’s jazz side. Ortiz utilizes the spacious texture and rhythmic syncopation inherent in the piece to build a wonderful solo dripping with creative tension. Weinstein flies into an enthusiastic solo turn, winding through the colorful support provided Ortiz before moving aside for a ferocious conga solo from Herrera. A beautifully executed exchange between Weinstein and cellist Aristides Rivas brings “Av. Pintor Tapiro” to life against the sensitively supportive backdrop of the rhythm section. Weinstein explores the improvisatory possibilities over a danzon rhythm, and once the jumps into the mambo section, Terry moves into the forefront with a strong melodic bass solo. A return to the melody serves as a transition point into an energetic statement from Ortiz before the group sets up a vamp for a powerful timbale solo from Herrera. These original pieces from Ortiz emphasize the jazz edge of the equation, exposing another set of possibilities when combining jazz with danzon.
A Deep Improvisatory Exploration Of Charanga
Weinstein and Ortiz demonstrate the potential behind a blend of charanga music and jazz on El Cumbanchero, showing us the benefits of a deeper improvisatory exploration of Cuban styles. This is not the first time that Weinstein has gone deep into the Cuban music tradition through a jazz perspective; he’s made a career from digging deeper into the world of Cuban music. That experience is readily apparent in his performance, as he plays through melodies and improvisations with comfort and a curious spark. Ortiz shines on multiple levels throughout the recordings, showing his skills both as a performer and an arranger. His string arrangements form the heart and soul of the recording; they brilliantly connect with charanga tradition while consistently delivering uniquely creative spins on the style. His playing is smart and informed, showing a broad understanding of Cuban performance approaches with an unwavering sense of personality. Terry and Herrera supply outstanding support throughout the recording, playing with an assertive feel that never overwhelms the group. The string ensemble plays beautifully, navigating Ortiz’s complex arrangement while keeping a solid groove. Weinstein and Ortiz explore jazz through a facet of Cuban music that deserves more attention on El Cumbanchero and the results are both stunning and inspiring, proving that digging deeper into this rich cultural tradition is a practice that delivers beautiful music.
———- Track Listing:
1. El Cumbanchero (Rafael Hernandez)
2. La Mulata Rumbera (Alejandro Gonzales)
3. Doña Olga (Enrique Jorrín)
4. Aruancó (Aruán Ortiz)
5. Av. Pintor Tapiro (Aruán Ortiz)
6. Perla Marina (Sindo Garay)
7. Armoniosos de Amalia (Israel Lopez)
8. Danzón de Liz (Aruán Ortiz)
9. Contigo en la Distancia (Cesar Portillo de la Luz)
One of the most engaging trends in Latin Jazz over the past decade has been the growth in visibility and prominence of Afro-Peruvian Jazz. While musicians have flirted with the style for several years, the use of Afro-Peruvian rhythms in a jazz setting has become a noticeable part of the scene in the new millennium. In an insightful guest post, film producer Eve A. Ma discusses Afro-Peruvian Jazz and some of the musicians that have made an impact upon the style. Ma will be releasing an independent documentary in 2012 that digs deeply into the traditional side of the music – it sounds like a must see, so check out the links to this great documentary on Afro-Peruvian music.
———- Afro-Peruvian jazz is part and parcel of Latin jazz, a mixture of traditional Afro-Peruvian rhythms and inclination to improvise, with the New York jazz scene of the 1980s and beyond.
Guitarist Richard Zellon is generally credited with introducing Afro-Peruvian jazz to the United States. Another important figure is trumpet player Gabriel Alegria. Both of these, as well as most other musicians playing Afro-Peruvian jazz, are Peruvian but not Afro-Peruvian.
For Afro-Peruvians involved in jazz, you would want to look at the singers Susana Baca and Eva Ayllón.
But maybe we should start at the beginning.
Most people agree that jazz is a musical form that grew out of the experience of Africans in America, an experience that included slavery, discrimination and other hardships; but in contrast to the blues, jazz has a generally optimistic outlook on life. It is vibrant. It is often joyful. It is fun.
In addition, rhythm and improvisation are key elements in jazz. And if you accept that jazz grew in large part out of the black experience, then it´s clear a lot of those rhythms came from Africa.
Originally, jazz was considered something that “belonged” to the United States. It was thought of as being an “American” form of music, where “American” referred to the United States of America.
But since the late 1940s, when Dizzy Gillespie, working with Chano Pozo and Mario Bauza, introduced the world to Afro-Cuban jazz, jazz became more international. More and more musicians began combining the sound and rhythms of traditional Latin American beats with (North) American jazz. Afro-Cuban jazz was soon joined by Cuban jazz, Puerto Rican jazz, Afro-Brazilian jazz, and then Afro-Peruvian jazz. All of these taken together are what is now known as Latin jazz.
Again, each one of these forms of Latin jazz seem to have started when musicians from Latin American countries came to New York and started making music with New York musicians, transforming their traditional music into a new form of jazz.
Thus it was that in the 1980s and especially after the year 2000, Peruvian musicians in New York began developing Afro-Peruvian jazz out of Afro-Peruvian traditional music. This Afro-Peruvian traditional music is lively, has complex rhythms, allows for improvisational riffs, and has contributed several important percussion instruments to the world, including the quijada de burro (donkey´s jawbone) and the Peruvian cajón (as distinguished from the Cuban cajón).
I find it fascinating that the musicians who are the major proponents of Afro-Peruvian jazz are not themselves black. As noted above, they are usually Peruvian, but not Afro-Peruvian.
This is not true of singers, however. Several well-known singers from the Afro-Peruvian community who were brought up with their traditional songs have now begun to include jazz in their repertoire. These include most importantly the women we mentioned above, Susana Baca (who is not only a fine and well-known singer, but also since summer of 2011 is the Minister of Culture of Peru) and Eva Ayllón (lead singer of Perú Negro, one of the oldest and most prestigious Afro-Peruvian performing groups).
A few words here about traditional Afro-Peruvian music, and the dances that accompany it. Some of these numbers are over 300 years old. They show a community that was resourceful in the face of adversity, able to bear up under extreme hardship in part by making fun of the white Spanish masters who were treating them so cruelly.
In addition, the original Afro-Peruvians developed a form of footwork, or zapateo, that used the feet as a percussive instrument. The zapateo began in dances related to Christian celebrations and had its origin in the process by which Spaniards converted Africans to Christianity—teaching Spanish footwork which the Africans then combined with their own footwork styles, footwork they used to communicate with Mother Nature.
The connection between Afro-Peruvian jazz and Afro-Peruvian traditional music is important, and the traditional music deserves to be more widely known in the United States. It is also important to maintain the traditional music and dances, both because of their intrinsic value, and because they are a source of inspiration and an essential element in the richness of Afro-Peruvian jazz.
———-
Eve A. Ma, an independent producer-director of video and film, will be releasing A Zest for Life: Afro-Peruvian Rhythms, a Source of Latin Jazz, a one hour documentary, in January of 2012. It stars Lalo Izquierdo, world-famous performer of Afro-Peruvian music and dance, who is the lead percussionist, dancer, choreographer and chief interview subject of the documentary. Find out more on the new documentary on Afro-Peruvian music and Ma’s production company Palomino Pro.
IMPORTANT ALBUMS:
Carlos Garnett, Black Love
Carlos Garnett, Journey To Enlightenment
Carlos Garnett, Let This Melody Ring On
Carlos Garnett, Cosmos Nucleus
Carlos Garnett, The New Love
Carlos Garnett, Fuego En Mi Alma
Carlos Garnett, Resurgence
Carlos Garnett, Under Nubian Skies
Carlos Garnett, Moon Shadow
Welcome to Episode # 2 of the Latin Jazz Corner Podcast, we’ve got a lot of great things packed into this show, all suited for the Latin Jazz community.
We start out by talking about a yearly tradition on the Latin Jazz Corner site, the Best Of The Year Awards. As this episode comes out, we are knee deep in the voting for the Best Of 2011 Awards – it’s an exciting time where we look back and celebrate the outstanding music that we’ve experienced throughout the year. Here’s a couple of links so that you can dig a little deeper into the Best Of The Year Awards.
Here’s the main page for the Best Of 2011 Awards. Voting runs between December 8th, 2011 and December 23rd, 2011 – if you’re checking this out between those dates, head on over and place your vote! Otherwise, you’ll be checking out the results.
The LJC Best Of The Year Awards have been running since 2007, so a lot of great music has been recognized. Take the opportunity to go back through the years and check out the music – start of the main page for the LJC Best Of The Year Awards.
In our second segment, we take a look at the new album from Alexa Weber Morales, I Wanna Work For You. There’s a snippet of an interview that I did with Morales as she was putting together this album, where she talks about the idea behind the album and we listen to a track from the recording, “Catastrofe De Amor.”
You can check out the transcription of the full, three part interview that I did with Morales – here’s Part 1, Part 2, and Part 3.
The last piece of the podcast focuses upon percussionist Sammy Figueroa and his latest album, Urban Nature. There’s a piece of an interview that I did with Figueroa that delves into his career as a bandleader and digs into the creation of Figueroa’s album Urban Nature. It’s a great insight into one of the modern Latin Jazz world’s very important artists.
When you take a look at Figueroa’s career, you’ll be impressed with all of the amazing music that he’s been a part of – to get the full picture, head on over to Sammy Figueroa’s website.
You’ve also got to take a listen to Urban Nature – it’s really an outstanding piece of Latin Jazz. Here’s a link where you can pick up Sammy Figueroa’s Urban Nature.
Remember, you can stay updated about all the great things happening in the Latin Jazz world and the LJC site in a couple of ways:
IMPORTANT ALBUMS:
Jerry Gonzalez And The Fort Apache Band, Obatala
Jerry Gonzalez And The Fort Apache Band, Earthdance
Papo Vazquez, Breakout
Jerry Gonzalez And The Fort Apache Band, Crossroads
Steve Berrios And Son Bachéche, First World
Jerry Gonzalez And The Fort Apache Band, Pensativo
Jerry Gonzalez And The Fort Apache Band, Firedance
Jerry Gonzalez And The Fort Apache Band, Rumba Buhaina
The Latin Jazz Corner Best Of The Year Awards is an annual event fueled by the will of our readers – the winners are selected through a voting process open to LJC readers, Latin Jazz artists, Latin Jazz fans, and the general public. The voting for our fifth annual awards ran from December 8, 2011 – December 23, 2011 and drew over 20,000 participants from around the world. It was an exciting process that engaged numerous artists, fans, and music business professionals from all areas of the Latin Jazz world. You can learn more about the LJC Best Of The Year Awards by checking out this post – What Are The LJC Best Of The Year Awards?; on that page you’ll find links to frequently asked questions that should give you the complete scoop on the awards./antonio adolfo chora baiao.jpg)
/jamie dubberly orquesta dharma road warrior.jpg)
/pedro giraudo jazz orchestra cordoba.jpg)
/john santos sextet filosofia caribena vol 1.jpg)
/pablo aslan quintet piazzolla in brooklyn.jpg)
/claudio roditi bons amigos.jpg)
/wayne wallace latin jazz quintet to hear from there.jpg)
/alexa weber morales i wanna work for you.jpg)
/mark weinstein el cumbanchero.jpg)
/david sanchez stefon harris christian scott ninety miles.jpg)
/poncho sanchez terrence blanchard chano dizzy.jpg)
/mark weinstein jazz brasil.jpg)
/bobby sanabria manhattan school of music tito puente masterworks live.jpg)
Afro-Peruvian jazz is part and parcel of Latin jazz, a mixture of traditional Afro-Peruvian rhythms and inclination to improvise, with the New York jazz scene of the 1980s and beyond.
Most people agree that jazz is a musical form that grew out of the experience of Africans in America, an experience that included slavery, discrimination and other hardships; but in contrast to the blues, jazz has a generally optimistic outlook on life. It is vibrant. It is often joyful. It is fun.
Thus it was that in the 1980s and especially after the year 2000, Peruvian musicians in New York began developing Afro-Peruvian jazz out of Afro-Peruvian traditional music. This Afro-Peruvian traditional music is lively, has complex rhythms, allows for improvisational riffs, and has contributed several important percussion instruments to the world, including the quijada de burro (donkey´s jawbone) and the Peruvian cajón (as distinguished from the Cuban cajón).
NAME: Carlos Garnett/carlos garnett black love.jpg)
/carlos garnett journey to enlightenment.jpg)
/carlos garnett let this melody ring on.jpg)
/carlos garnett cosmos nucleus.jpg)
/carlos garnett the new love.jpg)
/carlos garnett fuego en mi alma.jpg)
/carlos garnett resurgence.jpg)
/carlos garnett under nubian skies.jpg)
/carlos garnett moon shadow.jpg)
We start out by talking about a yearly tradition on the Latin Jazz Corner site, the Best Of The Year Awards. As this episode comes out, we are knee deep in the voting for the Best Of 2011 Awards – it’s an exciting time where we look back and celebrate the outstanding music that we’ve experienced throughout the year. Here’s a couple of links so that you can dig a little deeper into the Best Of The Year Awards./sammy figueroa urban nature.jpg)
The last piece of the podcast focuses upon percussionist Sammy Figueroa and his latest album, Urban Nature. There’s a piece of an interview that I did with Figueroa that delves into his career as a bandleader and digs into the creation of Figueroa’s album Urban Nature. It’s a great insight into one of the modern Latin Jazz world’s very important artists.
NAME: Larry Willis/jerry gonzalez fort apache band obatala.jpg)
/jerry gonzalez fort apache band earthdance.jpg)
/papo vazquez breakout.jpg)
/jerry gonzalez fort apache band crossroads.jpg)
/steve berrios first world.jpg)
/jerry gonzalez fort apache band pensativo.jpg)
/jerry gonzalez fort apache band firedance.jpg)
/jerry gonzalez fort apache band rumba buhaina.jpg)
