Felicidade
Gary Morgan & PanAmericana
Consolidated Artists Productions

Tackling Pieces From Modern Brazilian Composers
Several songs reveal Morgan’s high-level skill as an arranger as he tackles a number of pieces from modern Brazilian composers. A delicate woodwind duet floats over a rubato piano accompaniment on the introduction to Itiberê Zwarg’s “Pedra Vermelha,” leading into a thick band sound. After a rhythmically bouncing melody spread between woodwinds and trombones, pianist Cliff Korman spins logical melodies over the samba foundation. Trombonist Jeff Bush jumps right into an improvisation over a saxophone background line that provides momentum to his rhythmic solo. The saxophone section charges a furious line through a series of band hits to open Hermeto Pascoal’s “Viajando Pelo Brasil,” and then the group follows the inertia into a driving melody. Bassist Andy Eulau relies upon moving sequences to build an engaging statement that transitions into an enthusiastic improvisation from baritone saxophone player Terry Goss. Morgan pulls together tonal colors from the different sections into an intertwining interlude, which sets up a tasteful solo from trumpet player John Bailey. Goss provides a sensitive reading of the melody on Antonio Carlos Jobim’s “A Felicidade” over the rich texture of a brass choir. After an energetic restatement of the melody over an up-tempo samba, Goss explodes into an impassioned solo, pushed higher by strong background lines. Trumpet player Chris Rogers mixes flowing lines with a bebop flavor on his statement that moves into a clever shout section. Korman establishes a series of rhythmic ideas echoed by the saxophone section on Jovino Santos Neto’s “Batuki Di Bangu,” followed by a funky melody. Saxophonists Todd Bashore and Bruce Williamson trade enthusiastic blues licks that drive the rhythm section into a heated climax. The intense funk sound disappears as the rhythm section quiets for a muted solo by Bailey, which glides over some inventive flute background lines. These tracks reveal Morgan’s keen ability to creative interprets a variety of compositions, and his inclusion of diverse Brazilian composers reflect a broad study of the music.

Richly Arranged Original Compositions
Morgan shines as a composer on richly arranged pieces of Brazilian Jazz. A constant surdo emphasizes drummer Ray Marachica’s bossa nova underneath rhythmic chordal patches in the winds on “Tudo Bem,” leading into a lush melody played by Rogers on the flugelhorn and tenor saxophonist Dave Riekenberg. The rhythm section jumps into a double time samba feel as the winds drive short rhythmic ideas over the percussion and then restate the melody with a full band sound over the bossa nova. Rogers builds a melodic idea over the bossa nova until the band pushes him into the double time feel, driving him into a series of quick lines. After a richly orchestrated interlude, Riekenberg improvises over the same form, developing his statement into a series of long phrases. The wind players boldly push a bluesy line over a maracatú rhythm, which transitions into an open melody riding on a baiáo feel on “Moragatu.” After an assertive interlude over the maracatú driven by powerful brass playing, the band shrinks to a minimal baiáo for tenor saxophonist Ben Kono’s improvisation. Starting with strongly developed melodic statements, Kono collaboratively builds his statement with the rhythm section, growing into a frenzied series of notes. Morgan’s compositions show an understanding of several Brazilian styles, but also a talent for creatively manipulating them into larger structures that hold rich jazz harmonies.

Influences Outside The Brazilian Tradition
Three tracks reflect influences outside the Brazilian tradition. A simple yet catchy melody moves through a variety of melodic and textural variations over a son montuno rhythm on “Because Why?” Bush attacks his improvisation with syncopated rhythms and rapid phrases, cutting through the airy background lines with a powerful voice. The rhythm section establishes a funky vamp behind a brass mambo that moves into a well-constructed improvisation from Korman. Lush chordal patches and beautiful melodies give an almost symphonic feel to the introduction on “Dream City,” which gently moves into a delicate melody over a bolero foundation. Morgan utilizes his group’s unique instrumentation to color the harmony, drawing upon french horns, flutes, and clarinets. Riekenberg’s soprano sax and Rogers’ flugelhorn get extended solos, which they both fill with thoughtful lines that combine blues notes with sophisticated phrases. A pedal tone over a son montuno provides the foundation for a quick improvisation from Korman on “Celtic Echoes Theme,” leading into a menacing minor melody. Korman draws upon the harmonic freedoms of the pedal tone to build a quick but impressive improvisation. Rogers gets more time to explore his ideas, spinning long phrases over a variety of textures. These tracks display a fluent command of Latin styles outside the Brazilian tradition, giving a hint of even more artistic directions.

A World of Possibilities
Morgan and his group reveal of world of possibilities inherent in Brazilian big band jazz on Felicidade, driven by Morgan’s fine tuned orchestration skills and smart repertoire. Morgan’s ability to extract less common sounds from the ensemble and then place them in primary roles sets his group apart from most big bands. Small groups of flutes play background lines, french horns thicken harmony, and muted brass color the band’s tone; there’s a sonic richness to the ensemble that escapes most big bands. He consistently maintains the rhythmic power of the Brazilian genres - from Batuque to Maracatú, the rhythms propel the compositions. They never become the music’s defining factor though; they simply sit on par with Morgan’s deep textural concept. As a composer, Morgan spins clever variations upon standard conventions from the Brazilian, Afro-Cuban, and straight-ahead jazz big band format. The songs stay connected to the music’s rich lineage, but the numerous and clever variations stem from Morgan’s artistic prowess. Morgan’s use of compositions from modern, and in some cases lesser known, Brazilian composers provides a look into a fresh musical world. He dug deep to find unique repertoire, and in turn, he brings an intriguing sense of authenticity and discovery to the band. Morgan opens the door onto many possibilities on Felicidade, but two major factors stand out - the opportunity to establish a modern and distinctive Brazilian big band jazz sound and the emergence of an arranging stylist with the massive potential for future endeavors.

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Check Out These Related Posts:
Album of the Week: Why Deny, The Marty Sheller Ensemble
Album of the Week: Marooned/Aislado, Papo Vazquez and the Mighty Pirates
Album of the Week: Song For Chico, Arturo O’Farrill and the Afro-Latin Jazz Orchestra
Album of the Week: Alma do Nordeste (soul of the northeast), Jovino Santos Neto

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Benitez’s solo on “Slowvisor” from the Eddie Palmieri album Palmas provides a perfect picture of his ability to tap into the essential rhythmic language of Afro-Cuban music while keeping a bluesy sense of melody. The song plays like an extended blues form in the key of C, moving over a funky cha cha cha. Benitez only takes one chorus, but he makes every note count. He follows solos from a heavy wind section that includes Conrad Herwig, Brian Lynch, and Donald Harrison and he’s got plenty of support from a rhythm section that includes Palmieri and drummer Robbie Ameen. The combination of all these elements makes for a memorable solo within an already powerful track.

Some Points of Interest:
* The Use of Sequences Through Scales
Benitez starts his solo with a series of thirds descending through the scale. He spends two full measures taking the pattern through a descending series of notes. The line adds a sense of fluidity to the overall phrase, declaring a distinct melodic slant to Benitez’s approach. The tension of the descending line combined with the triplets immediately lets the listener know that Benitez means business. Notice that he resolves the line with an eighth note melody that ends on a clave attack.

*Use of Double Stops
In measures 15 & 16, Benitez breaks away from single-note lines and includes some double stops. Integrating double stops into a bass solo adds some power to the line and allows Benitez to reinforce his rhythmic momentum. Notice that he doesn’t just hit one double stop as an accent - he plays a whole phrase in double stops. He moves the double stops through the scale, alternating between an interval of a fourth and a fifth. This presents many challenges such as intonation and right hand plucking, but Benitez handles it like a pro.

*Use of Range Displacement to Emphasize Rhythms
In measures 17 - 19, Benitez includes some extreme range differences that add rhythmic propulsion to his line. This stands as a widely used tool for the improvising Latin bassist, being used often by musicians such as Cachao and Andy Gonzalez. It allows him to emphasize certain pieces of the rhythm while maintaining a constant rhythmic pulse.

Make sure that you check out the recorded version of “Slowvisor” on Eddie Palmieri’s Palmas to fully capture the spirit of Benitez’s solo. He’s got a feel that simply pushes the solo forward - that needs to be heard in order to recreate it! Some of his licks are classic rhythmic and melodic figures that you should pull apart and insert into your repertoire. The solo may be short, but there’s a lot of meat in there - take some time to study this one! I’ve included links to transposed versions below - enjoy!

John Benitez “Slowvisor” Solo (C)
John Benitez “Slowvisor” Solo (Bb)
John Benitez “Slowvisor” Solo (Eb)

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Check Out These Related Posts:
Carlos Del Puerto Bass Solo on “Chucho”
Cachao Bass Solo on “Descarga Cubana”
Jerry Gonzalez Trumpet Solo on “Obsesion”
5 Latin Jazz Bass Players That You Must Hear!

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Latin Jazz musicians may have a strong foundation in Cuba, Puerto Rico, or Brazil, but their jazz roots share the same common exposure to Coltrane. While studying harmony and jazz history, Latin Jazz musicians undeniably run into Coltrane’s music and recordings. His work didn’t share the same rhythmic basis as Latin Jazz, but the power of his music is universal. Many Latin Jazz musicians arrived in their careers with Coltrane’s sound resonating in their heads, which eventually led them to record his compositions. This places Coltrane’s legacy in a completely new light, providing unique perspectives of classic material.

I’ve chosen ten examples of Latin Jazz artists performing Coltrane’s compositions, with each musician placing their unique slant upon the song. The diversity of the tracks is stunning, but the Trane influence peers through each song, bringing outstanding musicianship to the forefront. The Coltrane influence reaches to very corner of the Latin Jazz world, and I’ve tried to reflect this in the list. I’ve varied the list by including examples of Coltrane adaptations using Afro-Cuban, Brazilian, Afro-Peruvian, and Argentinean rhythms. Take a few minutes to check out these tracks, you’ll be amazed at the breadth of Coltrane’s influence in the Latin Jazz world.

1. Impressions - Manhattan Mambo, Hilton Ruiz
This intensive song receives a rumba treatment, but the performance stays firmly planted in the Coltrane lineage. Ruiz improvises with a power reminiscent of McCoy Tyner, spinning a non-stop series of inventive ideas. His note choice also reveals Tyner’s influence as he utilizes pentatonic lines and rhythmic interplay from his left hand. Tenor Saxophonist David Sanchez leads the group as a lone wind player, and he invokes Coltrane at every turn - his tone, idea development, and screeching upper register all show an influence. Behind Sanchez, the rhythm section pushes, pulls, and interacts with the strength of Coltrane’s classic quartet, taking the soloist to higher levels. This song always allowed Coltrane’s group to explore extensively, and Ruiz’s band follows their lead with an interpretation that lasts over 10 minutes. These guys did their homework and authentically bring a Coltrane classic into the Latin Jazz world.

2. Moment’s Notice - Impressions, Claudio Roditi
At first turn, the samba foundation seem to fundamentally change the nature of this up-tempo Coltrane classic, but Claudio Roditi and his group validates their vision on many turns through their performance. Roditi puts a unique spin on his improvisation, intertwining a virtuosic trip through the chord changes with his characteristic mellow tone. His creative ability to creatively invent bebop lines recalls trumpeter Lee Morgan’s work on the original recording, but his understated tone remains uniquely his own. Both saxophonist Idriss Boudrioua and pianist Dario Galante avoid a direct Coltrane reference, presenting their own takes on the challenging chord progression. Brazilian drummer Pascoal Mereilles trades eight measure phrases with Roditi offering an inspiring cross between Brazilian and bebop drumming with his statements. It’s a rousing version of the song that appropriately touches both worlds.

This album also serves as a tribute to Coltrane, looking at his work through the eyes of Brazilian samba. In addition to “Moment’s Notice,” Roditi’s quintet tackles a variety of Coltrane classics, including “Impressions,” “Naima,” and “Giant Steps.” His group includes musicians that each share a bi-lingual musical vision - a deep familiarity with Coltrane’s work and a thorough knowledge of samba. For LJC listeners that love both Coltrane and Brazilian music, Roditi’s Impressions is a good place to start.

3. Giant Steps - Funk Tango, Paquito D’Rivera
Paquito D’Rivera’s quintet applies their ample chops and massive musicality to the best-known and most studied Coltrane classic, placing it over a Peruvian Festejo rhythm. The group alters the classic melody with rhythmic variations, fitting it creatively into the Festejo’s 6/8 pulse. Trumpet player Diego Urcola furiously runs lines through the Peruvian rhythm, until the band moves into an up-tempo guaguanco for D’Rivera’s improvisation. A return to the Festejo foundation provides a backdrop for an interesting interlude, followed by a statement from pianist Alon Yavnai over an airy openness. Drummer Mark Walker and percussionists Pernell Saturnino and Paulo Stagnaro take the center stage with some engaging Festejo percussion work, leading back into the melody. Overall, it’s a Latin Jazz thrill ride that takes an already complex song and makes it much more challenging - Coltrane himself would have been proud.

4. Syeeda’s Song Flute - Tribute to the Masters, John Santos and the Machete Ensemble
This Coltrane classic rarely appears in Latin Jazz circles, but based upon this version, it should be played more often! The rhythm section provides a funky swagger beneath tenor saxophonist Melecio Magdaluyo’s reading of the melody. The band dives into a straight-ahead son montuno behind Magdaluyo’s solo as mixes pieces of Coltrane with a bluesy appeal that matches the arrangement. Trombone player Wayne Wallace tears through the chord changes with creative rhythmic phrasing that builds his statement into a frenzy. Two masters meet as legendary timbalero Orestes Vilato displays his musical muscle over the Coltrane classic. This arrangement touches the Coltrane legacy but also contains all the corner pieces of the Machete sound that made them a legend in San Francisco Bay Area Latin Jazz.

5. Naima - Trio Nuevo +, Dave Askren
Askren balances creative arranging with musical elements from Coltrane’s original performance to develop a strong interpretation of this Coltrane favorite. Bassist Eddie Resto provides a strong bass line that plants the song firmly in 6/8. Askren approaches both the melody and his solo with a blend of innovation and tradition - his performance harkens to a McCoy Tyner influence, but it remains undeniably guitaristic. Resto’s use of double stops and rhythmically interesting lines recalls Jimmy Garrison during his solo. Drummer Ramon Banda stays connected to the 6/8 bell pattern, but he never feels obligated to play it exactly - there’s a freedom and organic feel to his performance that links powerfully to the Coltrane legacy. This song finds its place on a number of Latin Jazz albums, and Askren’s version sits among one of the better interpretations.

6. A Love Supreme - The Latin Side of John Coltrane, Conrad Herwig
Herwig applies a Cha Cha Cha rhythm to this classic piece of the Coltrane legacy. Actually, his group covers only the first movement of the classic suite, Acknowledgment. In a way, the group steps outside of the flexible and free orientation of the original recording, but they’ve done their homework. The classic bass line sits there; it has been altered to fit clave, but it still creates that hypnotic flow of the original. The piano fills the track with open voicings and syncopated rhythms. The musicians take extended solos, exploring the possibilities originally laid down by Coltrane. Most importantly, the group approaches the song with the same spirituality and reverence that Coltrane applied to the overall suite, which fills the recording with a sense of authenticity.

This album exists as one of the essential Latin Jazz tributes to Coltrane; fans of both Latin music and jazz must hear it. Herwig covers both the standard sides of Trane’s repertoire such as “Impressions,” “Blue Trane,” and “Afro Blue.” He also takes the road less traveled by interpreting compositions like “Africa,” “India,” and “After The Rain.” It’s a broad look at Coltrane’s work that reveals an awareness and appreciation for the full spectrum of Coltrane’s career. The arrangements burn with all the intensity of Latin rhythms, and they are executed by some of the best musicians in the Latin Jazz world. The “Latin Side” never steals the spotlight though - this album remains purely about Coltrane, it simply shows the natural connection between the two worlds.

7. Countdown - Que Viva Coltrane, Conrad Herwig - Brian Lynch
This tune exists as one of the primary studies in Coltrane’s harmonic variations, and this group tackles it with a thorough knowledge. The percussionists provide a funky songo rhythm as bassist John Benitez plays a solo that leads into a nicely harmonized version of the melody. Herwig, Lynch, and saxophonist Mario Rivera all takes turns improvising upon the famous chord changes, playing upon the complexities of both the harmony and rhythm. Pianist Edsel Gomez winds quick melodies and rhythmic snippets until he jumps into a montuno for an explosive solo from conguero Richie Flores. It’s a strong jam session that lets the musicians flex their chops upon a Coltrane classic.

This album deserves many of the same compliments as the Herwig’s other Trane tribute, The Latin Side of John Coltrane, yet the two albums are far from copycat twins. This album contains a completely different selection of Coltrane compositions, covering the same broad range. The songs include “Wise One,” “Locomotion,” and “Central Park West.” Once again the album contains an all-star cast of Latin Jazz musicians, so the arrangements and the performances are top-notch. In reality, Que Viva Coltrane and The Latin Side of John Coltrane should be viewed together as Herwig’s loving Latin Jazz tribute to the master musician.

8. Like Sonny - Portraits in Jazz and Clave, Ray Barretto
Although Barretto places this tune into a Cha Cha Cha, it resonates with a loose groove that provides improvisers great liberty. Barretto began his career deeply intertwined with straight-ahead jazz, so he never hesitated a dip into that world - we hear that influence here. Barretto opens his tumbao, giving leeway to the drum kit without loosing his powerful presence. This track also presents an album highlight when regular band member Adam Kolker trades ideas with guest artist Joe Lovano. Lovano spends the majority of his time in the modern jazz realm, and he has made his Coltrane influence known regularly. The two saxophone players make a major statement here though, proclaiming that the Coltrane influence spans throughout genres.

9. Lonnie’s Lament - Provinciano, Fernando Huergo
Huergo relates his vision of this song’s natural beauty in the liner notes to Provinciano, and he captures that spirit with a sparse Argentinean Vidala rhythm. Huergo’s electric bass shares the melody with flautist Yulia Musayelyan, exposing a simple beauty inherent to the song. There’s a sensitivity and introspection that gets to the core of the song. Saxophonist Andrew Rathbun follows with an equally thoughtful improvisation that quietly builds momentum into Huergo’s understated statement. While visions of Coltrane’s bold tenor sax tone may not jump into your head upon hearing this track, it offers us the opportunity to hear Coltrane through a completely original perspective.

10. Equinox - The Best of the Concord Years, Tito Puente
El Rey brings his characteristically energetic and musically exquisite style to this Coltrane song, placed over an Afro-Cuban 6/8 rhythm. Recorded live, the minor blues serves as a blowing session for many musicians in the group. Saxophonist Mario Rivera pays tribute to Coltrane with a searing soprano sax solo that recalls Trane’s cutting sound and impressive technique. The rhythm section pushes the song forward at every moment, never dropping an ounce of propulsion. When the wind players set aside to reveal a percussion feature, the song explodes with power. At times, the track may loose some “Coltranesqe” sound, but the intensity of the influence remains apparent with forceful improvisations and a driving rhythm section.

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This list presents a good start to the crossroads between John Coltrane and Latin Jazz artists, but it’s certainly not a complete list. Countless Latin Jazz artists have visited Trane numerous times throughout their career, giving us several perspectives upon his compositions. What are your favorite Latin Jazz interpretations of John Coltrane’s work? We could come up with quite a list - leave a comment with your favorites and let’s look at discover all the different ways that the Latin Jazz world has visited John Coltrane’s legacy.

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Check Out These Related Articles:

Remembering Thelonious Monk Through Latin Jazz
Revisiting Latin Jazz Classics: Manhattan Mambo, Hilton Ruiz
Album of the Week: Provinciano, Fernando Huergo
Album of the Week: Funk Tango, The Paquito D’Rivera Quintet

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Last Monday I posted an article on Latin Jazz trends from the first half of 2008; writing this article gave me the opportunity to look back upon all the albums that I’ve reviewed this year. It’s a pretty extensive process to write a complete review on a CD that does justice to the artist’s work. I make sure that I’ve listened to the complete album several times (I generally aim for a minimum of five times). I let myself just soak up the music during the first runs through the recording, but I do some analytical listening as well. I always try to think about the music in relationship to history and the current Latin Jazz scene, searching for ways that the album relates to the greater world. I’ll often do some research on the artist to stay connected to their influences and artistic motivation; I think it’s fair to look at the product from the artist’s perspective as much as possible. Putting all these ideas into words is most likely the hardest part, but really the most rewarding. I feel pretty lucky to do this on a regular basis; I learn so much and stay in touch with a lot of music.

I enjoy the process of reviewing Latin Jazz CDs, but I don’t really think that one person voicing their opinion is a healthy process. My opinion certainly won’t resonate with everyone - music is just too subjective to assume that everyone would like the same album. Regardless of the musical approach, every piece of music will have an audience somewhere. My writing style won’t properly communicate the message to some people. We all process information differently, based on our backgrounds, and we need it presented in different ways. My review process is a bit extensive, so it’s not realistic for me to possibly cover everything all the time either. I need to choose the albums to feature more prominently, providing more promotion to certain artists. Although I’d love to spotlight everyone, there’s just not enough time in the day. One voice offers an opinion; a group of voices provide balance and diversity - I feel like we could use that around here.

So here’s your opportunity to offer a solid review on a current Latin Jazz album. Have you found a Latin Jazz album that everyone should hear? Maybe you’ve got a current favorite that won’t change the world, but it stands as a solid piece of work. Some of you may have spent your hard earned cash on a new Latin Jazz album only to find that you’d rather have the money in your pocket. There are a lot of possibilities here - throw them all at us. I’m not asking for a lengthy article; just give us a few sentences that tell us your opinion on the recording. I think that this could be very enlightening . . .

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* What recent albums have left you inspired?

* If you haven’t seen a recent album highlighted here that you’ve loved - let us know about it!

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Do you have an idea for a future Community Conversation? As much as I enjoy exploring my own interests with this regular post, I’d prefer to have this forum address the overall interests of the entire community. Do you have an issue that effects Latin Jazz? Do you have an idea for a fun topic? Let me know so that we can throw it out to the whole community - Leave a Comment or e-mail me.

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Adrian Iaies: Vals de la 81st & Columbus

Tom Lellis & Toninho Horta: Tonight
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WHEN: Thursday 7/17/08
Aarhus International Jazz Festival
WHERE: Musikhuset Aarhus
Thomas Jensens Allé
DK-8000 Århus C
TIME: 9:30 p.m.

WHEN: Saturday 7/19/08
Festival de Pollenca
WHERE: Claustre de Sant Domingo
TIME: 10:00 p.m.
TICKETS: 30 - 40 euros

OMAR SOSA
WHEN: Friday 7/18/08
WHERE: Musikaire Festival
Plaza
Elorrio, Spain
TIME: 10:30 p.m.

WHEN: Saturday 7/19/08
WHERE: Festival Errobiko Festibala
Itxassou, France

If you’re on the EAST COAST this week . . .
ADRIAN SANTOS TRIO
WHEN: Wednesday 7/16/08
WHERE: Cachaca
35 W. 8th Street
New York, NY
TIME: 9:00 p.m., 11:00 p.m., & 12:00 p.m.
TICKETS: $15

ARTURO SANDOVAL
WHEN: Thursday 7/17/08 - Sunday 7/20/08
WHERE: Blue’s Alley
073 Wisconsin Ave. NW
Washington, DC
TIME: 8:00 p.m. & 10:00 p.m.
TICKETS: $43

BOBBY SANABRIA
Quarteto Ache
WHEN: Thursday 7/17/08
WHERE: Newark Museum
49 Washington Street
Newark, NJ
TIME: 12:15 p.m.
TICKETS: $3

CARLOS JIMENEZ
Mambo Quintet
WHEN: Friday 7/18/08
WHERE: Ruben’s Cafe
5 N Division Street
Peekskill, NY
TIME: 9:00 p.m.
TICKETS: NO COVER

CHICO O’FARRILL’S AFRO-CUBAN JAZZ ORCHESTRA
WHEN: Sunday 7/20/08
WHERE: Birdland
315 W. 44th Street
Manhattan, NY
TIME: 9:00 p.m. & 11:00 p.m.
TICKETS: $25

CHRIS WASHBURNE & S.Y.O.T.O.S.
WHEN: Sunday 7/20/08
WHERE: Smoke
2751 Broadway
New York, NY
TIME: 8:00 p.m., 10:00 p.m. & 11:30 p.m.
TICKETS: $20 minimum

LARRY HARLOW
Latin Legends Band
WHEN: Friday 7/18/08
WHERE: Flemington Salsa Night
intersection of Main Street and Mine Street
Flemington, NJ
TIME: 6:00 p.m.
TICKETS: FREE

LUIS MARIO OCHOA
WHEN: Thursday 7/17/08
WHERE: Hotel Le Germain
30 Mercer Street
Toronto, ON
TIME: 9:00 p.m.
TICKETS: $125 - dinner, wine, concert, taxes, & gratuity

NEGRONI’S TRIO
WHEN: Thursday 7/17/08
WHERE: Regattabar
One Bennett Street
Cambridge, MA
TIME: 7:30 p.m.
TICKETS: $15

WHEN: Saturday 7/19/08
WHERE: Smalls Jazz Club
183 West 10th Street
New York, NY
TIME: 7:30 p.m. & 9:00 p.m.
TICKETS: $20

PAQUITO D’RIVERA
WHEN: Saturday 7/19/08
Arts in Southold Town
WHERE: Southold High School Auditorium
Oaklawn Avenue
Southold, NY
TIME: 7:30 p.m.
TICKETS: $45

RAY VEGA
Latin Jazz Quartet
WHEN: Thursday 7/17/08
WHERE: New Rochelle Library
1 Library Plaza
New Rochelle, NY
TIME: 6:00 p.m.
TICKETS: FREE

Latin Jazz Quartet
WHEN: Thursday 7/17/08
WHERE: Nuyorican Poet’s Cafe
236 East 3rd Street
New York, NY
TIME: 9:00 p.m.
TICKETS: $7

Latin Jazz Quartet
WHEN: Saturday 7/19/08
WHERE: Mount Vernon City Hall
1 Roosevelt Square
Mount Vernon, NY
TIME: 6:00 p.m.
TICKETS: FREE

VENISSA SANTÍ
WHEN: Friday 7/18/08
WHERE: Barrington Coffee House
131 Clements Bridge Road
Barrington, NJ
TIME: 8:00 p.m.
TICKETS: $7

WILLIE MARTINEZ Y LA FAMILIA SEXTET
WHEN: Thursday 7/17/08
WHERE: Fonda Boriqua Lounge
169 East 106th St (between Lex & 3rd)
East Harlem, NY
TIME: 9:00 p.m.
TICKETS: NO COVER WITH DINNER

If you’re in the MID-EAST this week . . .
CRAIG RUSSO LATIN JAZZ PROJECT
WHEN: Friday 7/18/08
WHERE: Swinger’s Grille
1304 Cross Creek Drive
Normal, IL
TIME: 8:00 p.m.

MACHITO ORCHESTRA
Concert of Colors
WHEN: Saturday 7/19/08
WHERE: Max M. Fischer Music Center
3711 Woodward Avenue
Detroit, MI
TIME: FREE

TUMBAO BRAVO
WHEN: Tuesday 7/15/08
WHERE: Detroit Public Library
5201 Woodward Avenue
Detroit, MI
TIME: 6:00 p.m.
TICKETS: FREE

WHEN: Wednesday 7/16/08
WHERE: Linden County Park
15349 S. Linden Road
Linden, MI
TIME: 7:00 p.m.
TICKETS: FREE

Birmingham JazzFest
WHEN: Saturday 7/19/08
WHERE: Shain Park
Bates St. between Martin and Merrill
Birmingham, MI
TIME: 1:00 p.m.
TICKETS: Festival Tickets: $75

WHEN: Sunday 7/20/08
WHERE: Schoolcraft Colleges
18600 Haggerty Road
Livonia, MI
TIME: 12:15 p.m.
TICKETS: FREE

If you’re on the WEST COAST this week . . .
BOBBY MATOS
WHEN: Saturday 7/19/08
WHERE: Levitt Pavilion
85 E. Holly St.
Pasadena, CA
TIME: 8:00 p.m.
TICKETS: FREE

FRANCISCO AGUABELLA
WHEN: Thursday 7/17/08
WHERE: Griffith Park
Autry National Center
4700 Western Heritage Way
Los Angeles, CA
TIME: 6:30 p.m.
TICKETS: $7

FRANK CANO
WHEN: Saturday 7/19/08
WHERE: Steamers Jazz Club
138 W. Commonwealth
Fullerton, CA
TIME: 8:30 p.m.
TICKETS: NO COVER

JOVINO SANTOS NETO
WHEN: Friday 7/18/08
WHERE: Crossroads Center
15600 NE 8th St
Bellevue, WA
TIME: 7:30 p.m.
TICKETS: FREE

OSKAR CARTAYA’S ENCLAVE
WHEN: Tuesday 7/15/08
WHERE: The Baked Potato
3787 Cahuenga Blvd. West
Studio City, CA
TIME: 9:30 p.m. & 11:00 p.m.
TICKETS: $15

PETE ESCOVEDO
WHEN: Tuesday 7/15/08
WHERE: Mitchell Park Bowl
600 East Meadow Drive
Palo Alto, CA
TIME: 6:30 p.m.
TICKETS: FREE

Jazz Fest West
WHEN: Saturday 7/19/08
WHERE: Mitchell Park Bowl
Bonelli Park - Main Stage
San Dimas, CA
TIME: 8:00 p.m.
TICKETS: $48

Berkeley Jazz Festival
WHEN: Sunday 7/20/08
WHERE: UC Berkeley Greek Theater
Hearst & Gayley
Berkeley, CA
TIME: 8:00 p.m.
TICKETS: $45.75 - $89.75

PONCHO SANCHEZ
WHEN: Wednesday 7/16/08
WHERE: Norwalk City Hall
12700 Norwalk Blvd.
Norwalk, CA
TIME: 7:00 p.m.
TICKETS: FREE

WHEN: Saturday 7/19/08
WHERE: La Ve Lee
12514 Ventura Blvd.
Studio City, CA
TIME: 8:30 p.m.

WHEN: Sunday 7/20/08
WHERE: Crazy Horse
1360 W. Garvey Ave S.
West Covina, CA
TIME: 8:00 p.m.
TICKETS: $20

SONANDO
WHEN: Thursday 7/17/08
WHERE: Tula’s
2214 Second Ave
Seattle, WA
TIME: 8:00 p.m.
TICKETS: $10

YOSVANY TERRY
WHEN: Friday 7/18/08
WHERE: La Peña Cultural Center
3105 Shattuck Avenue
Berkeley, CA
TIME: 8:00 p.m.
TICKETS: $12 adv./$15 at door

WHEN: Saturday 7/19/08
WHERE: Yerba Buena Gardens
760 Howard Street
San Francisco CA
TIME: 1:00 p.m.
TICKETS: FREE

WHEN: Saturday 7/19/08
WHERE: Dinkelspiel Auditorium - UC Berkeley
Lagunita Drive
Stanford, CA
TIME: 7:30 p.m.
TICKETS: $28

WHEN: Monday 7/21/08
WHERE: Kuumba Jazz Center
320-2 Cedar Street
Santa Cruz, CA
TIME: 7:00 p.m.
TICKETS: $22 in adv/$25 at door

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Live at JazzBaltica
Trio Da Paz & Joe Locke
MaxJazz

Collaboratively Exploring Brazilian Jazz
Trio Da Paz collaboratively explores Brazilian Jazz with Locke on a series of original compositions. An unaccompanied introduction by guitarist Romero Lubambo evolves into a rhythmic vamp and an urgent melody on his “Bachião.” Locke’s improvisation captures the song’s spirit with a flurry of rapid notes, while Lubambo invites enthusiastic rhythm section response with interesting lines and syncopated chordal figures. After an intriguing solo from bassist Nilson Matta, Locke and Lubambo engage in a collective improvisation, leading into a well-constructed statement by drummer Duduka Da Fonseca. A swaying samba vamp leads into a beautifully simple and colorful melody on Matta’s “Copacabana.” Lubambo strings together chordal melodies and cleverly shaped single-note lines into a tasteful statement. Locke applies his jazz sensibility to the song’s rich chordal pattern, resulting in a lyrical solo. A loose Partido Alto groove introduces Da Fonseca’s “Dona Maria,” laying a foundation for Lubambo’s chordal interpretation of the melody. As the rhythm section transitions into an up-tempo Samba, Locke attacks his improvisation with a ferocious passion, building into a wild frenzy. Lubambo matches Locke’s intensity with syncopated rhythms, rapid patterns of notes, and dissonant chordal sounds. The trio thrives in their element on these tracks, while Locke demonstrates his ability to express himself in Brazilian music.

Looking At Jazz Repertoire
The group also plays upon Locke’s strengths by integrating songs from the jazz repertoire into their set. Lubambo and Locke playfully trade short ideas before falling into the melody on “All The Things You Are.” After both Locke and Lubambo display a vast familiarity with the song through inspiring solos, the band disappears as Da Fonseca explores a variety of freely interpreted ideas. As the band returns, Locke and Lubambo aggressively trade ideas, building intensity with each exchange. Matta and Lubambo maintain a steady vamp while Da Fonseca adds coloristic embellishments behind Locke’s gentle melody on his “Sword of Whispers.” Locke thoughtfully builds his statements, using space and lyrical grace. After a more assertive solo from Lubambo, Matta develops his idea with a combination of strong themes, rhythm ideas, and an underlying conviction. These pieces demonstrate a broad range of abilities from all the musicians who easily connect jazz and Brazilian music.

Trio Da Paz As An Independent Unit
The trio establishes themselves as a solid unit on several songs performed without Locke. After a subdued guitar introduction, Lubambo and Matta share the melody on Antonio Carlos Jobim’s “Wave.” Da Fonseca and Lubambo maintain a sparse backdrop as Matta delicately explores the classic song’s harmony with a thoughtful improvisation. Da Fonseca disappears completely behind Lubambo as he creates a clever variation on the main them with a chordal melody. An open vamp, full of anticipation, leads into an up-tempo melody, ripe with quick lines and accented breaks on Lubambo’s “Pro Flávio.” After a rhythmically interesting solo from Matta, Da Fonseca helps push Lubambo’s improvisation towards a high dynamic with gradually thickening textures. As Matta and Lubambo move aside, Da Fonseca varies accents on a snare, building into a complex statement across the full drum kit. Lubambo presents a subdued vamp before easing into an understated melodic reading on Jobim’s “Look To The Sky.” Matta displays a gift for melodic invention, weaving tasteful lines into a complete statement. Lubambo follows with rhythmic variations. The strong musicianship and constant communication found on these tracks reveal a tightly knit group with years of unified performance experience.

Emphasizing The Commonalities Between The Latin and Jazz Worlds
Trio Da Paz builds a sympathetic relationship with Locke on Live at JazzBaltica, forming a cohesive sound through complimentary performance approaches. Locke improvises with a ferocious passion, but his momentum never overrides his sense of group collaboration. He moves between asserting his own voice, bending to the will of the trio, and pushing his fellow musicians to new heights. He acts as both a sensitive and fearless musician, bravely finding his place within an established unit. Trio Da Paz continues their ride as a dominant voice in Brazilian Jazz with an exciting, multi-dimensional performance. Their knowledge of the greater Brazilian tradition fuels each piece of their musical journey, but they always find room to prioritize jazz improvisation. Their collaboration with Locke demonstrates a broad understanding of jazz, and their ability to work as a sympathetic rhythm section that provides both support and interaction. Live at JazzBaltica showcases the best aesthetics of both jazz and Latin styles, but it also blurs the line between the two genres, emphasizing their strong commonalities.

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It’s a strong group aesthetic - something you don’t hear everyday in our modern jazz world. You can check out The Craig Russo Latin Jazz Project on MySpace and their own website. In The Middle is actually the group’s second album, so there’s more great Latin Jazz on their first album, Soul Eyes!

Don’t Forget! You can download a free track from In The Middle at the LJC Listening Center!

I’ve combined material from the band’s website, teaching bios, and individual web pages to bring you some background information on the different band members. Check it out and then head over to the LJC Listening Center - you’ve got to hear these guys!

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The best of both worlds when Latin meets jazz! The Craig Russo Latin Jazz Project is a fresh mix of outstanding jazz soloists, rich, Afro-Cuban inspired rhythms, and unique arrangements of jazz standards.

Featuring:
Craig Russo (Drums,Congas)
Craig Russo has performed as a Latin percussionist and drumset artist for twenty years in the Midwest and Northeast. In addition to his strong jazz background, Craig has a special interest in Afro-Cuban music styles. He has traveled several times to Cuba in recent years, to study at the National School of Arts with such renowned Cuban percussionists as Enrique Pla’, Jose Eladio, Roberto Vizcaino, Adel Gonzalez, Jose Lario and Sergio Luis Cardoza.

Craig has been featured on both drumset and congas with several regional Salsa and Latin jazz groups, over the last several years. These include Adelante (Champaign, IL); Miavana (Champaign, IL); The Tim Green Latin Jazz Ensemble (Champaign, IL); Urbano (Syracuse, NY); The Walter Bell Latin Jazz Unit (Richmond, VA); and Clavesol (St. Louis, MO). In 2002, Craig formed The Craig Russo Latin Jazz Project. This unique group, based in Central Illinois, features some of the finest area musicians between St. Louis and Chicago. The group’s focus is to blend jazz repertoire with Afro-Caribbean rhythms. The group most commonly performs as a quintet or sextet, using one or two horn players, two percussionists, piano, and bass.

Chip McNeill (Tenor Saxophone)
Chip McNeill is a jazz tenor saxophonist, composer, arranger, and educator. In addition to his responsibilities as associate professor and chair of jazz, Professor McNeill is the musical director and jazz tenor saxophonist for Grammy award-winning recording artist Arturo Sandoval. Professor McNeill has recorded with Sandoval on his CDs Americana and Hot House. Hot House won a Grammy Award for Best Latin Jazz Performance. Professor McNeill has also worked closely with legendary jazz trumpeter Maynard Ferguson. He produced, wrote, and performed on five recent CDs with Ferguson and has toured with Ferguson, Sandoval, and many other notable jazz performers. Professor McNeill has performed at countless jazz festivals and clubs around the world, including the Montreux Jazz Festival (Switzerland), Monterey Jazz Festival (U.S.A.), and Noto Jazz Festival (Japan), as well as performing at Carnegie Hall, Town Hall (Sydney, Australia), London Palladium, and on numerous jazz radio and television productions in Europe, Japan, the U.K., India, and Indonesia. In addition to recording with Sandoval and Ferguson, Professor McNeill has recorded with such musicians as Nat Adderley, David Liebman, Duffy Jackson, Ira Sullivan, The Woody Herman Orchestra, Ted Shumate, and Larry Willis, and has performed with such entertainers as Frank Sinatra, Sammy Davis, Jr., Joe Williams, Dizzy Gillespie, Billy Eckstine, and Wynton Marsalis. Prior to coming to the University of Illinois, McNeill held similar academic positions at Florida International University and at Virginia Tech University.

Check out Chip McNeil’s MySpace.

Chip Stephens (Piano)
Sought after for his outstanding collaborative abilities, Chip Stephens can be heard on nearly 40 records and compact discs as a side-man and band leader. As a faculty member at the University of Illinois at Urbana-Champaign, Mr. Stephens maintains a very diverse teaching and performing career at both the national and international levels. He has performed on four continents with some of the finest names in jazz, and frequently appears as a guest artist and clinician in the United States. A former faculty member at the University of Colorado at Boulder and Youngstown State University, many of Mr. Stephens’ students have received national and international recognition for their work. Chip performed on the Grammy Award winning CD by Arturo Sandoval, Hot House, and the Emmy Award winning sound track to For Love or Country, about the life of Sandoval. Stephens’ performing credits are many and include appearances with Eden Atwood, Michael Brecker, Jerry Brown, Kenny Burrell, Teresa Carroll, Clare Church, John Fedchock, Maynard Ferguson, Cutis Fuller, George Garzone, Greg Gisbert, The Woody Herman Orchestra, Milt Hinton, Red Holloway, Javon Jackson, Ingrid Jensen, Randy Johnston, Steve Kirby, Bill Kirchner, Ernie Krivda, Ralph Lalama, Tony Leonardi, Pete Lewis, Joe Lovano, The Glenn Miller Orchestra, Keith Oxman, Tito Puente, Nelson Rangell, Arturo Sandoval, Jack Schantz, Bobby Shew, Howie Smith, Clark Terry, Frank Tiberi, Roseanna Vitro, Bobby Watson, and Nathanial Yarbrough. Mr. Stephens is a Capri Records recording artist.

Jeff Helgesen (Trumpet)
Jeff Helgesen, a native and resident of Champaign-Urbana, Illinois, has been an active fixture in east central Illinois music circles for over twenty-five years. The son of a prominent local trumpet player, Helgesen began playing trumpet professionally in local dance bands at the age of 15, later studying music at the University of Illinois under Ray Sasaki while working actively as a freelance performer and studio musician. In 1987, Helgesen accepted a position as a featured soloist with the Ray Charles Orchestra, with whom he recorded and toured internationally until late 1990.

Helgesen’s credits include live performances with Aretha Franklin, Natalie Cole, Manhattan Transfer, Jon Faddis, Clark Terry, Louis Bellson, Jimmy Heath, Ed Thigpen, Pete Christlieb, Bill Watrous, and Anthony Braxton, as well as the Les Elgart and Tommy Dorsey Orchestras, and the Jazz Members Big Band of Chicago. He has recorded with such artists as Ray Charles, Anthony Braxton, Chicago pianist Joan Hickey, the Jazz Members Big Band of Chicago, Medicare 7-8-9, and the Craig Russo Latin Jazz Project.

Helgesen’s influences on the trumpet and flugelhorn include Louis Armstrong, Miles Davis, Clifford Brown, Kenny Dorham, Freddie Hubbard, Lee Morgan, Carl Saunders, and Woody Shaw. He is at equally at ease playing dixieland, bebop, big band, commercial pop music, and modern small group jazz.

Check out Jeff Helgesen’s MySpace.

Tito Carrillo (Trumpet)
Tito Carrillo joined the Illinois faculty in the Spring of 2006. He is a trumpeter, educator, bandleader, composer, and arranger, and since 1996 he has been a fixture in the Chicago jazz and Latin music scenes. The list of artists he has performed, recorded, and toured with is as varied as his skill set: Chicago heavyweights Willie Pickens, Bobby Broom, Patricia Barber, and Kurt Elling; big bands such as the Woody Herman Orchestra, Chicago Jazz Ensemble, Chicago Jazz Orchestra, and Smithsonian Masterworks Orchestra (directed by David Baker); jazz greats such as Toshiko Akiyoshi, Louis Hayes, Jon Faddis, and Vincent Herring; Salsa legends such as Andy Montañez, Tony Vega, and Cheo Feliciano; Latin jazz giants Tito Puente and Paquito D’Rivera; and pop icons Quincy Jones and Phil Collins. Carrillo has played some of the most prestigious venues in the world, including Chicago’s Symphony Center, Carnegie Hall, Kennedy Center, and London’s Royal Albert Hall. His work has been heard at international jazz festivals in Chicago, Telluride, Montreux (Switzerland), North Sea Jazz Festival in The Hague (Netherlands), and Pori, Finland. As an educator, he served on the faculties at both the Chicago College of Performing Arts at Roosevelt University, as well as Northwestern University prior to his appointment at Illinois. He has also brought his talents as an educator and performer to Chicago’s inner-city high schools through the Ravinia Festival’s community outreach program, the Ravinia Jazz Mentors. Of Carrillo, the Chicago Tribune states “he has acquired a reputation as a fluid improviser, doubly-blessed with a warm lyric style and technique to burn.” He continues to lead his own quintet in Chicago and throughout the Midwest, as well as being an active guest soloist and clinician at various secondary and collegiate jazz programs.

Josh Walden (Bass)
Recently returned from several years in Los Angeles, Josh Walden is one of the most versatile and respected bass players in the region. He works regularly on a wide variety of groups including Latin, funk, and straight-ahead jazz.

Jeff Magby (Drums, Congas)
Jeff is one of the region’s most in-demand musicians. Jeff lives in Urbana, IL, where he maintains a busy schedule teaching and performing a wide variety of music styles.

Other musicians that have appeared or recorded with The Craig Russo Latin Jazz Project include:
Carlos Vega, Ricardo Flores, Tim Green, Douglas Little, Simon Rowe, and Glenn Wilson.

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OUR PREVIOUS POLL - HOW OFTEN DO YOU ATTEND A LATIN JAZZ PERFORMANCE?
According to our last poll, the majority of LJC readers attend a Latin Jazz performance once every couple of months. At that rate, most people see between 4 and 6 Latin Jazz shows every year. A large number of artists will perform anywhere between 50 and 200 shows every year. Considering our poll results, they would need thousands of people to support their art. They would still have less than stellar attendance, making a sustained career somewhat difficult.

That leads me to ask - are we doing enough to support Latin Jazz musicians? We certainly want our favorite Latin Jazz artists to continue their careers, and they do rely upon us to support them through live performances. We purchase their albums, but that only encompasses part of their income. As listeners, we do have our limits - finances, time restrictions, and work all push us into a corner. The reasons that we don’t regularly attend Latin Jazz performances certainly exist, but maybe we need to look at our priorities. If we want Latin Jazz to survive, maybe we should be attending more live shows.

There are a variety of things that we can do to increase our support of live Latin Jazz, ranging from the obvious to the creative. We can make an effort to see both major Latin Jazz names and local artists on a regular basis. Many of us may take time to see a visiting act but ignore the Latin Jazz groups that play weekly in our own communities. If your area doesn’t have a local Latin Jazz scene, find the closest groups from neighboring cities or towns. Travel to them or encourage local venues to hire these bands at some point. Think outside the box as well - maybe someone could help a Latin Jazz group simultaneously webcast their performance from a club. I know that I would happily pay $5 - $10 to watch a group at home on my computer. There are many options, we just need to make live Latin Jazz a priority and pursue it strongly.

I’d be curious to hear what you think - are we doing enough to support live Latin Jazz? It’s a fine line between our busy lives and the music we love, but our actions now effect the future of Latin Jazz. Do we attend enough performances? What can we do to increase our support of live Latin Jazz? LEAVE A COMMENT and give us your thoughts - every reader’s idea would help!

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OUR NEW POLL - WHAT LATIN JAZZ STYLE GETS THE MOST ATTENTION FROM YOU?
Over the past few years, the Latin Jazz world has experienced a massive expansion. In its early years, Cuban dance rhythms dominated Latin Jazz with Dizzy Gillespie’s big band, Machito and his Afro-Cubans, and Tito Puente’s Orchestra leading the charge. The bossa nova’s popularity in the United States infused a Brazilian influence into the Latin Jazz community through albums by Stan Getz and Antonio Carlos Jobim. Recently, musicians from across the Caribbean and South America have freely explored their native musics and then combined them with jazz. Music from Argentina, Peru, Puerto Rico, Haiti, and more have all found an equal footing within the genre. Musicians involved with Cuban and Brazilian rhythms have integrated lesser known and folkloric styles more liberally, showing a different side of the music. Latin Jazz is riding through a renaissance period, and it now reflects every shade of Latin influence.

This creates a wide-open world for today’s Latin Jazz listener to explore. Artists such as trumpeter Gabriel Alegria mix Peru’s Festejo and Lando rhythms with jazz improvisation. Trombone player Papo Vazquez creates powerful small group and big band jazz based upon Puerto Rican styles such as Bomba and Plena. Pianist Jovino Santos Neto composes innovative pieces using a variety of Brazilian genres such as Xote, Baião, and traditional Samba. Bassist Fernando Huergo explores a wide range of Argentinean traditions in a jazz context. Arturo O’Farrill and the Afro-Latin Jazz Orchestra utilize Cuban approaches from both the past and present, producing a rich big band sound. These are just a few examples in an ever growing world of Latin Jazz possibilities.

Focusing upon this modern diversity of approaches, our latest poll asks: What Latin Jazz style gets the most attention from you? Please VOTE IN THE SIDEBAR TODAY - I’m looking forward to seeing the results!

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If you haven’t commented on our current community conversation yet - GO THERE NOW! Our topic is: What’s The Best Latin Jazz That Noone’s Ever Heard? Check in the comments section - we’ve got some thick lists . . . but there’s got to be more! Let us know which Latin Jazz albums or artists you think are underserved - GO THERE NOW!

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I’ve broken our list into several trends that I’ve noticed in Latin Jazz during the first part of 2008. It’s impossible to place every release into a trend, but these topics cover some of the main ideas becoming apparent in the music this year. The links will take you to the LJC reviews of these albums, giving you a chance to catch-up on recordings that you may have missed. I’ve added streaming players to most of these reviews so that you can hear the music as well. These albums represent some of the best Latin Jazz of 2008 thus far; so take a minute to check it out. Enjoy!

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1. Latin Jazz Big Band Albums
Latin Jazz in the United States originated with large orquestas dominating the scene, but things have changed over the years. In the 1940s and 1950s, Dizzy Gillespie, Machito, Tito Puente, and more all lead large ensembles through a vast repertoire of instrumental jazz tunes, mambos, and dance numbers, thrilling New York audiences. As the American audience turned their attention to rock, these large jazz groups became financially unrealistic. Smaller Latin Jazz combos became the major force on the scene, changing the art form completely.

Latin Jazz big bands never disappeared completely, but they haven’t come back onto the scene in large numbers until recently. Large ensembles have built momentum over the past couple of years with some quality albums, including the Afro-Latin Jazz Orchestra’s 2005 album Una Noche Inolvidable and Bobby Sanabria’s 2007 release Big Band Urban Folktales. These albums, along with a renewed interest in Latin Jazz history and education, pushed Latin Jazz big bands into focus, inspiring a number of current releases. So far, we’ve seen high quality, a respect for tradition, and an avid exploration of modern ideas in 2008’s big bands releases, resulting in some exciting music. The good news is that big bands show no sign of slowing down - we can expect at least a couple more releases before year’s end. This is one trend that I would love to see continue!

Arturo O’Farrill & The Afro-Latin Jazz Orchestra, Song For Chico

Papo Vazquez & The Mighty Pirate Orchestra, Marooned/Aislado

Caribbean Jazz Project, Afro Bop Alliance

2. Small Groups That Are Stretching Boundaries of Latin Jazz
Big Bands may be a major piece of the tradition, but small groups have long explored a variety of Latin Jazz approaches. Combos and small groups began their assent with the massive popularity with Cal Tjader’s groups, and took charge once big bands lost momentum. Beginning in the 1970s, Latin Jazz combos began to see a wide range of directions, spearheaded by Jerry Gonzalez and the Fort Apache band. Straight-ahead groups led by artists such as Tito Puente, Poncho Sanchez, and Ray Barretto dominated the 1990s, but experimentation remained popular with many groups.

2008 has seen experimental Latin Jazz small groups becoming the norm, led by several well-trained musicians. Freedom of expression rose to the top of the priority list, and the confining quality of dance rhythms moved aside. Artists leaned heavily upon the flexible nature of modern straight-ahead jazz and often implied Latin influences. Composers took inspiration from Cuban folkloric styles and music of often-unexplored South American styles. The spontaneity, diversity, and innovation inherent in these recordings resulted in some exciting recordings that demand multiple listens!

Dafnis Prieto, Taking The Soul For A Walk

Elio Villafranca, The Source In Between

David Sanchez, Cultrual Survival

3. Afro-Peruvian Jazz
In a genre dominated by Cuban dance rhythms, Afro-Peruvian styles have risen to the forefront as an important source of musical possibilities. After years of hearing panpipes everywhere, most of the North American world was unaware of Afro-Peruvian styles. The 1995 release The Soul of Black Peru found major success, fueled by a magical performance from Susana Baca. Since then, musicians have increasingly put more attention upon Afro-Peruvians styles. Festejo, Lando, and other Peruvian styles hold rich rhythmic ideas, and the typical percussion instruments such as cajon add another color to a group’s sound. Several Peruvian artists have entered the jazz scene, and Afro-Peruvians Jazz has finally found its place in the Latin Jazz world.

Artists incorporating Afro-Peruvian styles are not creating music in isolation; they have learned from their counterparts that have used Afro-Cuban styles for many years. Some artists have placed Afro-Peruvian rhythms beneath jazz changes and used them as inspirations for jazz improvisation. Musicians have found subtle relationships between straight-ahead swing and Afro-Peruvians rhythms, allowing them to move between genres freely. Other artists actively experiment with new concepts, referring to Afro-Peruvian styles as their foundation. These albums are far from stiff combinations of jazz musicians and Afro-Peruvian rhythms; they are rich and artistically produced statements that will hopefully continue for years to come.

Gabriel Alegria, Nuevo Mundo

Edward Perez, The Year of Two Summers

Eric Kurimski, Réplica

4. Female Vocalists Fronting Latin Jazz Groups
Female vocalists have been a major piece of the jazz tradition throughout its history. Dating back to early blues artists like Bessie Smith, female vocalists have been icons of the music. Big bands found popularity among dance audiences by using vocalists, making their messages less obscure to their audiences. Ella Fitzgerald and Billie Holiday became jazz legends; their unique phrasing and improvisations put them on par with instrumentalists like Charlie Parker and Dizzy Gillespie. Modern jazz artists such as Diane Reeves and Diana Krall have continued this tradition, boosting jazz sales with their mass audiences hungry for a vocal connection to jazz.

The majority of Latin music vocalists have found more success in salsa than jazz, but a group of female musicians have extended the bold jazz tradition into Latin styles during 2008. While modern jazz vocalists have touched upon Latin Jazz, it always seemed superficial; these releases scream with authenticity. From the arrangements to the performances, every element reflects a deep study of the style and a quest for a unique artistic personality. They’ve hired musicians thoroughly entrenched in the music, who show a commitment to the vocal approach and a tradition soaked aesthetic. These releases are becoming an important piece of the Latin Jazz tradition, and hopefully we’ll hear more soon!

Venissa Santí, Bienvenida

Kat Parra, Azucar de Amor

Layla Angulo, Mientras…

5. A Variety of Brazilian Jazz
Brazilian rhythms took hold of the North American audience in the early 1960s, and they never let go. The Getz/Gilberto album encountered massive success, and it became the first jazz album to win the Album of the Year Grammy award. The Bossa Nova has become an essential part of the jazz repertoire, and it can be found in a variety of popular and smooth jazz contexts. Samba also found an audience among jazz listeners, who thrilled from the music’s rhythmic content and strong forward motion. Pop and jazz artists have loosely interpreted these styles through the years, while most Latin Jazz musicians have reached towards authenticity.

The Brazilian Jazz scene has grown tremendously over the past decade, and the diversity of 2008’s Brazilian releases reflects this expansion. Some artists still focus upon samba, and to a lesser extent Bossa Nova, but they’ve integrated jazz structures much more extensively. Brazilian structures have always shown a good degree of flexibility, but modern musicians are stretching the boundaries of the rhythms to emphasize jazz improvisation. The music never looses its connection with traditional styles though; it just opens its reach. In other cases, artists are exploring lesser-known styles of Brazilian music, exposing us to the wealth of styles inherent in the large country. It’s been an exciting ride with some intriguing music!

Jovino Santos Neto, Alma do Nordeste (soul of the northeast)

Hendrik Meurkins, Sambatropolis

Trio Da Paz & Joe Locke, Live at JazzBaltica

It’s been a great year so far, and I’m looking forward to more inspiring Latin Jazz!

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