Bebe & Cece Winans – Close To You – Live On Sundays Best

MORNING CUP OF INSPIRATION – 21:03 – YOU

TAKA BOOM – Middle Of The Night

MORNING CUP OF SOUL – Bobbby Womack – Harry Hippie [LIVE] featuring Altrinna Grayson

PAULA ABDUL – Here For The Music [American Idol Performance]

MORNING CUP OF SOUL – SAM COOKE – YOU SEND ME [VIDEO]

Taste of Chicago – Music Schedule

If you live in Chicago or will be visiting Chicago between June 26 – July 5, 2009 you must attend The Taste of Chicago. The food will cost you but the music is always FREE. Looking at the beautiful women also free. Damn, I love free stuff especially free live music! Here is the schedule…

NEW FEATURE ON THE FRESH MUSIC PAGE

MORNING CUP OF SOUL – THE EMOTIONS – ME FOR YOU

Guest Mix: DarrenKeith’s MyLoveForMusic: Twilight ( May 2009 Extended Edition)

This is a special podcast because this is a special month for me…May. I was born this month and I have been told that it is better to give than receive so this podcast I have put together show about 90 minutes of music from talented artists from seasoned artists and artists which star is on the rise.

The cool thing about loving different genres of music for me is that when I began this podcast in 2007 is that right off the back I began meshing different style of music because I did not want my shows to be painted in a corner. Although I chose that path it took a minute to build a following and at times I found myself wondering if I made the right decision in going this direction but now it seems that I have come to realize that I am who I am when it comes to my taste in music and when you stick to your passion it will work out in the end.

This show is a combination of different genres/different artists that otherwise would never be in the same line up but through the wonderful world of the internet and the open minds of people I can bring this eclectic of music. Enjoy

Be Blessed, Be Safe,
& Have a Wonderful Weekend/Work Week

~DarrenKeith

To Listen[Click Here]right click to download
To Subscribe to my podcast, copy this rss feed…copy and paste into iTunes

Tracks/Artists/Albums(or website)

1. The Camera Never Lies - Michael Franks{from “The Camera Never Lies}
2. Another Country - Shadowfax{from “What Goes Around: The Best of Shadowfax“}
3. Back To Life - Corneille{from “The Birth of Cornelius“}
4. Try To Understand - City Rain{from “This I Will Remember“}
5. So Lovely – Amber Ojeda{from “myspace.com/amberojeda“}
6. Shanghi Express - The Shanghai Restoration Project{from”The Shanghai Restoration Project“}
7. Vector Sector - Axiotronic{from “Of Latitude And Longitude“}
8. Saunter – Fave
9. Pudong New District -(feat. Jennifer Kim) The Shanghai Restoration Project{from “Reinterpretations“}
10. Flying Spiders of Bablyon - Atomic Skunk{from “Binary Scenes“}
11. Wide Asleep - Michael Manring{from “Drastic Measures“}
12. When Luvrzs Come (Together) - Fave{Big La remix}
13. Human Nature - Miles Davis{from “You’re Under Arrest“}
14. State of the Heart - Rick Springfield{from “Tao“}

Bonus Track…
Jewel - Musrat Fateh Ali Khan{from compilation LP “World Dance Beat“}
How I Remember You - Michael Franks{from “Dragonfly Summer“}
Just Got off The Phone With You - City Rain{from “This I Will Remember“}
(I Know) I Love You - Fave{Big La remix}
Chance of Rain - T.J. Brown{Big La remix}
Robot Placism - Axiotronic{from “Of Latitude And Longitude“}
Anything But No - Fave{Big La remix}

intro underscore music: todd kelley
outro underscore music: nicolay

“Thank You’s” to these artists & podcasters…
Amber Ojeda
Atomic Skunk(Rich Brodsky)
Nicolay
Mike Spinka
Natlie
My Podcast Brothers and Sisters

follow me: twitter.com/myloveformusic & Facebook(myloveformusic)
email me:myloveformusic08@gmail.com

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Classics: “Stay This Way” – Brand New Heavies

I remember how blown away I was when the Brand New Heavies dropped their first CD in 1992. The fact that this Euro-Soul group was popping up on everyone’s HIp-Hop list was a little confusing but pleasantly surprising. Since then, they’ve become one of my favorite bands. “Stay This Way” is my favorite song off of their self-entitled first CD.

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5 Albums That Remember Bay Area Latin Jazz Saxophonist Ron Stallings (1947 – 2009)

Bay Area saxophonist Ron Stallings made a huge impact upon the broad San Francisco music scene, spending several decades contributing high-level musicality to Latin Jazz and beyond. Born in Houston, Texas in 1947, Stallings moved to San Francisco at the age of 8; right away, the city’s diverse musical environment inspired him and opened his eyes to numerous musical possibilities. The 1960s and 1970s found Stallings acting as a featured soloist with many of the Bay Area’s famous rock and pop acts, playing sax, flute, and sometimes singing. Stallings appears on Mike Bloomfield’s It’s Not Killing Me, Tom Fogerty’s Zephyr National, Jesse Colin Young’s Songbird, and Otis Rush’s Right Place, Wrong Time. He performed live with many more notable rock artists, including Jerry Garcia, Elvin Bishop, and Boz Scaggs, maintaining a busy and invigorating schedule. During the 1980s, he led the Monday night blues house band at Slim’s, and over the next two decades, he continued to work with artists such as Huey Lewis, Gladys Knight and Merl Saunders. Stallings consistently maintained a reputation as a first call musician on many fronts, working as a desired sideman on recordings and performances.

In 1997 Stallings traveled to Cuba and returned with a new found passion for Latin music that would strongly influence the later half of his career. While in Cuba, he experienced a different perspective on music, hearing many of the island’s top groups and listening to lectures by artists such as Juan Formell and Chucho Valdes. Stallings recognized the potential in the Bay Area’s thriving Latin music scene and immediately found ways to become deeply involved. He soon joined John Santos’ Machete Ensemble, working as a saxophonist in the group and contributing to several of the band’s important recordings. At the same time, he collaborated with pianist Mark Levine and organized Que Calor, a Latin Jazz group with some of the area’s finest supporting musicians. The band recorded one album, Keeper Of The Flame, and continued to perform live sporadically over the next ten years. When the Machete Ensemble ended its tenure as Latin Jazz innovators, Stallings continued to work with the group’s individual members, recording on albums by Machete alumni Wayne Wallace and John Calloway. In 2009, Stallings released his last recording, Dia Real, a venture into Brazilian Jazz with a group called Tanaora. Stallings jumped into the Bay Area’s Latin music scene with a passion and became a major member of the community.

Stallings’ death from cancer on Monday April 13th leaves a gap in the Bay Area Latin Jazz world, and without a doubt, it is one loss that will be remembered in this community. A number of musicians that performed with Stallings during his time on the Bay Area scene will be holding a benefit concert this Sunday April 26th at La Peña Cultural Center to honor Stallings’ memory and raise funds to offset his medical expenses. Some of the musicians scheduled to perform include John Santos, Wayne Wallace, John Calloway, Mark Levine, David Belove, Jeff Cressman, and many more. It should be an outstanding musical event and a great cause – if you’re in the Bay Area, please come out and support the memory of this fantastic musician! Full details are HERE.

A Tribute To Ron Stallings
Sunday 4/26/09
WHERE: La Peña Cultural Center
3105 Shattuck Ave
Berkeley, CA
TIME: 7:30 p.m.
TICKETS: $12

I’ve briefly highlighted some great Latin Jazz albums below that feature Stallings. If you’re not familiar with his work, check them out – you’ll be glad that you did. Take the opportunity to listen to his wonderful musicality and honor his memory!

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Keeper Of The Flame – Que Calor
During Stallings study trip to Cuba that inspired his love for Latin Jazz, he traveled with another icon of Bay Area music, pianist Mark Levine – who also returned with a new passion for Latin music. Levine had years of experience in the Latin Jazz world, working as the pianist for vibraphonist Cal Tjader, so the two veteran musicians were quickly able to pull together a top-notch Latin Jazz group, which became Que Calor. Their only album, Keeper Of The Flame, includes original compositions and a number of jazz standards interpreted through creative arrangements. Tension streams through pedal tones, fiery improvisations, and a driving bomba groove on the group’s version of Bobby Hutcherson’s “Isn’t This My Sound Around Me?” Stallings provides soothing English lyrics over a cha cha cha on “Havana,” his own composition that remembers his inspirational trip to Cuba. A syncopated melody floats over a colorful montuno on Levine’s “Keeper of the Flame,” creating an addictive groove that pushes the group into a dizzying inertia. Each track resonates with a creative drive, a professional attitude, and an enthusiastic love for the music, grounded by the shared vision of Stallings and Levine. As co-leader of the group, Stallings had a huge artistic impact upon the creative process and this album provides the best insight into his overall concept of Latin Jazz.

Machetazo!: 10 Years on the Edge – John Santos & The Machete Ensemble
By the time that Stallings joined John Santos & The Machete Ensemble, the group had established itself as important players on the Bay Area Latin Jazz scene. Machetazo!: 10 Years on the Edge reflects upon band’s history with tracks recorded with various configurations from 1991 – 1997. Stallings shares sax duties with Melecio Magdaluyo on several tracks, doubling on tenor, soprano, and flute. The group displays a solid foundation in folkloric Afro-Cuban music throughout the album, with creative arrangements of traditional tunes such as “Eshú Laroye” and “Changó Pachanga.” There’s a historically rooted connection to jazz as well, which the group highlights on superb interpretations of the Duke Ellington classic “Caravan” and Wayne Shorter’s “Footprints.” Santos contributes several original pieces to the album as well, including “Sueño de la Mision,” “Free At Last,” and “Caribeño.” It’s an outstanding collection that clearly shows the group’s artistic integrity and the level of importance that they held in maintaining the Bay Area’s Latin Jazz scene. Machetazo!: 10 Years on the Edge also contains several tracks that show Stallings playing in top form, displaying his newfound passion for Afro-Cuban music.

Mambo Jazz – Bobby Matos & John Santos
This West Coast Latin Jazz summit brought together two of the top bandleaders from Northern and South California, combining members of their respective ensembles into an inspiring supergroup. At this point, Stallings was an established member of Santos’ Machete Ensemble, making him an ideal representative for this larger ensemble. Much of the album delivers interesting percussion arrangements and the use of several different rhythmic styles, but a good number of tracks feature Stallings and the other wind players. “Caminando” begins with a chaotic free improvisation and then explodes into a full-blown rumba descarga with plenty of space for the wind players to trade ideas. There’s a contemporary songo feel on “Nueva Diana” allowing for a funky melody and extensive fiery solos from Stallings and the wind section. An ebullient montuno anchors the descarga on “Ya Se Ve” as Stallings trades improvisatory licks with a moving melody. The album represents an overall essential meeting of the West Coast’s best Latin Jazz musicians at the turn of the century, and Stallings stands firmly in the mix.

The Code – John Calloway
The Code is flautist John Calloway’s recognition of the unspoken language shared by musicians that have played together for several years – an important component of the San Francisco Latin Jazz scene and a language spoken by Stallings. Most of the album features Calloway’s stunning writing and musicianship, but Stallings stands out as a vital presence. Stallings delivers more than his usual saxophone genius on this album though – he introduces the album highlight track “Asokere” with an original poem about the Santeria deity Ellegua on “Light Upon A Path.” As the group delves into a free improvisation, Stallings’ deep voice adds a tone of seriousness, balancing the playful spirit of the gospel-tinged vocals on “Asokere.” Calloway pays tribute to Stallings on a smart and funky composition, “El Ron De Ron.” Melecio Magdaluyo provides the saxophone magic here, blowing fiercely on bari sax, but Stallings remains in the mix in spirit. Calloway captures the spirit of community found strongly in the Bay Area Latin Jazz community on The Code, a place that housed Stallings’ creative soul for many years.

Dia Real – Tanaora
Stallings leaped into the Latin Jazz world based on his inspiring trip to Cuba, but his love for Latin Jazz didn’t end on the island. One of his last recorded projects brought together some of the Bay Area’s top musicians into Tanaora, a group primarily focused upon Brazilian Jazz. Cecilia Englehart’s vocals add a commercial tinge to many of the tracks, while the harmonic ingenuity of pianist Bob Karty and bassist David Belove and Stallings’ improvisatory flights keep the album grounded in jazz. Englehart’s percussive scatting and the contemporary samba groove underneath “Rollon” inspire some fantastic playing from Stallings and a Tania Maria influenced sound. There’s a funky smooth jazz feel combined with an underlying samba on “Love Understands,” giving Stallings a chance to play off Englehart’s sultry English lyrics. A few tracks integrate Cuban rhythms – “The Katanga Patrol” rides on an upbeat son montuno and “Bonita” maintains a steady cha cha cha – but the majority of the album stays focused upon Brazilian rhythms, providing an opportunity to hear Stallings in a different Latin setting.

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Don’t forget to check out the Tribute to Ron Stallings Sunday April 26th at La Peña Cultural Center in Berkeley, California. You can get the information HERE.

For more Stallings listening, you can check out:

Infinity, Wayne Wallace Latin Jazz Quintet

Vagabundeo/Wanderings, Alexa Weber Morales

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Check Out These Related Posts:
Album of the Week: Perspectiva Fragmentada, The John Santos Quintet
Album of the Week: Azucar De Amor, Kat Parra
Spotlight: Sonando Vuelos, Anna Estrada
Spotlight: Viajando Choro e Jazz, Grupo Falso Baiano

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Focusing The Spotlight: Yuri Juarez & Tutuma Social Club

Our current Spotlight Artist Yuri Juarez brings his brand of Afro-Peruvian Jazz into the world for the first time on his album Afroperuano, but he is hardly a stranger to the growing style. He played a major role in the stellar recording by trumpet player Gabriel Alegria, Nuevo Mundo, serving as the primary harmonic instrument and a featured soloist. In 2009, Juarez continues to perform with Alegria, touring the United States and participating in the group’s latest recording project. Juarez also acted as a second guitar voice on the LJC 2008 Album of the Year, Eric Kurimski’s Réplica. Throughout the album, Juarez traded solos with Kurimski and contributed to the overall momentum that sent the recording into a furious musicality. Afroperuano represents another stop on Juarez’s journey through Afro-Peruvian Jazz, with the guitarist stepping into the forefront of the musical mixture. Modern compositions and interesting rhythmic combinations stem directly from his broad knowledge of Afro-Peruvian traditional music and jazz. It may be his first recording as a leader, but Juarez shines like an experienced veteran, bringing all his experiences into a great collection of music.

Juarez holds a small web presence at this point, with a steadily growing list of sites incorporating his music. His Facebook page includes some info, photos, and an opportunity to interact with Juarez by writing on his wall. You can hear some of Juarez’s music, check out more photos, and become friends on his MySpace Page. Juarez can also be found quite a bit on Alegria’s various pages – check out the MySpace HERE, the Facebook page HERE, and the group’s main site HERE. As word about the album grows, I’m sure that Juarez’s web presence will expand; look for updates here!

Juarez is also playing a major role in the early stages of Tutuma Social Club, a new restaurant and live music venue opening in New York City on April 28th that will be featuring daily Afro-Peruvian Jazz performances. Tutuma represents an important step forward in the evolution of Afro-Peruvian Jazz, giving the music a regular home where artists can hone their craft and reach a wide audience. Juarez will be a regular performer at the club, accompanying a diverse crowd of artists, and serving as a member of the house band. In the club’s first couple of months, Juarez will be playing with Alegria, trumpet player Ingrid Jensen, vocalist Angela Vicente, pianist Andy Milne, and percussionist Freddy “Huevito” Lobaton. At some points, Juarez will play 2 – 3 gigs during a single day at the club! The club will be located at 164 East 56th Street in New York – in you’re in NYC, head out to the Tutuma Social Club, support Afro-Peruvian Jazz, and hear Juarez performing!

I’ve collected a few videos of Juarez playing with a variety of different people. From a duo to Alegria’s sextet, you can see Juarez spinning his expert blend of Afro-Peruvian music and jazz. Enjoy!

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Yuri Juarez, Lucho Gonzalez, and Marco Mosquera

Yuri Juarez Performing With Gabriel Alegria’s Afro-Peruvian Jazz Sextet

Yuri Juarez Accompanying Vocalist Victoria Villalobos

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Check Out These Related Posts:
Album of the Week: Aureá, Geoffrey Keezer
Spotlight: Para Los Engreidos, Manante
Exploring Latin Jazz: 2 Modern Latin Jazz Artists In Peru
Album of the Week: Nuevo Mundo, Gabriel Alegria

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Latin Jazz This Week

Latin Jazz This Week will bring you a weekly look into news from the Latin Jazz world. You’ll find new releases, recommended performances, web finds, and more. You can check out some current sounds in the Listening Center tab at the top of the page. Performance dates will be kept in the Live Latin Jazz tab at the top of the page.

NEWS
San Francisco Bay Area saxophonist Ron Stallings died this week after a long struggle with cancer. Stallings straddled San Francisco’s thriving jazz and pop worlds since the 1970s, but he became strongly committed to Latin music after a 1994 trip to Cuba. He became a member of John Santos’ Machete Ensemble and played on recordings by flautist John Calloway and trombonist Wayne Wallace. He formed a group with pianist Mark Levine called Que Calor, bringing together some of the Bay Area’s best Latin Jazz musicians to create some incredible music. Many musicians will be doing a tribute to Stallings this Sunday, April 26th at La Peña Cultural Center; the proceeds will help his family off-set medical expenses. Please come out and honor the memory of this incredible musician – get the details HERE.

Cuatro and guitar player Edgardo Miranda died this week, leaving behind a legacy of incredible Latin Jazz recordings and performances. Miranda played on some legendary recordings such as Cortijo & His Time Machine, Jerry Gonzalez’s Ya Yo Me Cure, Tito Puente’s On Broadway, and more. He made the rounds among New York’s active Latin Jazz scene, recordings with musicians such as Bobby Sanabria, William Cepeda, Steve Berrios, Papo Vazquez, Daniel Ponce, and more. In most of these cases, he served as a sideman, and for the most part, his legacy remains a bit in the background. His contributions will be remembered among the Latin Jazz community, and he will be missed.

Another reminder – the Tutumaya Social Club, a club dedicated to Afro-Peruvian Jazz and cuisine will be opening in New York on April 28th. There’s some great people involved in this – their current artistic director is Afro-Peruvian Jazz trumpet player Gabriel Alegria. You’ll be able to hear plenty of great musicians performing at the club – their initial line-up includes Ingrid Jensen, Sofia Rei Koutosvitis, Pilar de la Hoz, and more. The club will be located at 164 East 56th Street in New York City. It sounds like a fantastic home for the music, so go out and support the club on their grand opening, April 28th.

HOT RECENTLY AT LJC
Latin Jazz Conversations: Mitch Frohman, Part 1

Latin Jazz Conversations: Mitch Frohman, Part 2

Latin Jazz Conversations: Mitch Frohman, Part 3

Album of the Week: Brazilliance x$, Claudio Roditi

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AVAILABLE NOW

Al Delory: Hot Gandinga

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LIVE LATIN JAZZ
If you’re in EUROPE this week . . .
OMAR SOSA
WHEN: Tuesday 4/21/09
WHERE: Moods
Zurich, Switzerland
TIME: 8:30 p.m.
TICKETS: CHF 40

WHEN: Wednesday 4/22/09
WHERE: Treibhaus
Innsbruck, Austria
TIME: 9:00 p.m.

WHEN: Thursday 4/23/09
WHERE: Jazzit
Salzburg, Austria
TIME: 8:00 p.m.
TICKETS: VVK 15,- / AK 20,– / Jugend 7,–

WHEN: Friday 4/24/09
WHERE: Porgy & Bess
Vienna, Austria
TIME: 8:30 p.m.
TICKETS: 18 euros

WHEN: Saturday 4/25/09
WHERE: Mediawave Festival
Gyor, Hungary
TIME: 6:30 p.m.

PAQUITO D’RIVERA
WHEN: Friday 4/24/09
WHERE: Russian Cultural Center Great Hall
Tallinn, Estonia
TIME: 9:00 p.m.
TICKETS: 400-600 EEK

WHEN: Sunday 4/26/09
WHERE: VDU Grand Hall
Kaunas, Lithuania
TIME: 7:00 p.m.
TICKETS: 26.07 euros

If you’re in SOUTH AMERICA this week . . .
EDWARD PEREZ
WHEN: Friday 4/23/09
WHERE: Cocodrilo Verde
Francisco de Paula Camino 226
Miraflores, Lima. Peru
TIME: 8:00 p.m.
TICKETS: 20 soles

OSCAR STAGNARO
WHEN: Friday 4/23/09
WHERE: Auditorio ICPNA Miraflores
Av. Angamos Oeste 120
Miraflores, Lima. Peru
TIME: 7:30 p.m.
TICKETS: 20 soles

If you’re in HAWAII this week . . .
PONCHO SANCHEZ
WHEN: Thursday 4/23/09
WHERE: Maui Arts and Cultural Center
One Cameron Way
Kahului, HI
TIME: 7:30 p.m.
TICKETS: $12 – $40

WHEN: Friday 4/24/09 – Saturday 4/25/09
WHERE: Honolulu Symphony Neal Blaisdell Concert Hall
777 Ward Avenue
Honolulu, HI
TIME: 8:00 p.m.
TICKETS: $20 – $82

WHEN: Sunday 4/26/09
WHERE: Kahilu Theatre
67-1186 Lindsey Road
Kamuela, HI
TIME: 7:00 p.m.
TICKETS: $40 – $45

If you’re on the EAST COAST this week . . .
ADRIANO SANTOS QUARTET
WHEN: Saturday 4/25/09
WHERE: Watchung Arts Center
18 Stirling Road
Watchung, NJ
TIME: 8:00 p.m.
TICKETS: $16

ANNETTE AGUILAR & STRINGBEANS
WHEN: Thursday 4/23/09
WHERE: Nuyorican Poet’s Cafe
236 East 3rd Street
New York, NY
TIME: 9:00 p.m.
TICKETS: $10

ARTURO O’FARRILL
Afro-Latin Orchestra w/Ballet Hispanico at The Black Slipper Ball
WHEN: Monday 4/20/09
WHERE: Waldorf Astoria
301 Park Avenue
New York, NY
TIME: 7:00 p.m.
TICKETS: $1000

Solo Piano
WHEN: Wednesday 4/22/09
WHERE: Puppet’s Jazz Bar
481 5th Avenue Park Slope
Brooklyn, NY
TIME: 7:00 p.m.
TICKETS: $10

WHEN: Thursday 4/23/09
WHERE: Brooklyn Public Library – Central Library
Grand Army Plaza
Brooklyn, NY
TIME: 7:00 p.m.
TICKETS: $10

ARTURO SANDOVAL
WHEN: Friday 4/24/09
WHERE: Largo Cultural Center
1650 Broadway
New York, NY
TIME: 2:00 p.m. & 8:00 p.m.
TICKETS: $35 day of show; $30 in advance

BOBBY SANABRIA
WHEN: Monday 4/20/09
WHERE: Dizzy’s Club Coca-Cola
Frederick P. Rose Hall
5th Floor
33 West 60th Street
New York NY
TIME: 7:30 p.m. & 9:30 p.m.
TICKETS: $20 – $35

WHEN: Thursday 4/23/09
WHERE: Edison Ballroom
240 West 47th Street
New York, NY
TIME: 7:00 p.m.
TICKETS: $195 & up

WHEN: Saturday 4/25/09
WHERE: John Addison Concert Hall
10701 Livingston Road
Ft. Washington, MD
TIME: 8:00 p.m.
TICKETS: $15

CHICO O’FARRILL’S AFRO-CUBAN JAZZ ORCHESTRA
WHEN: Sunday 4/26/09
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 4/26/09
WHERE: Smoke
2751 Broadway
New York, NY
TIME: 8:00 p.m., 10:00 p.m. & 11:30 p.m.
TICKETS: $20 minimum

ENCLAVE
WHEN: Friday 4/24/09
WHERE: Acton Jazz Cafe
452 Great Road
Acton MA
TIME: 9:00 p.m.
TICKETS: $12

FB LATIN JAZZ CREW
WHEN: Thursday 4/23/09
WHERE: Fonda Boricua
East 106th Street
New York, NY
TIME: 9:00 p.m.
TICKETS: NO COVER

GARY MORGAN & PANAMERICANA
WHEN: Tuesday 4/21/09
WHERE: Iridium Jazz Club
1650 Broadway
New York, NY
TIME: 8:00 p.m. & 10:00 p.m.
TICKETS: $25

HENDRIK MEURKENS
WHEN: Saturday 4/25/09
WHERE: Westmoreland Congregational Church
1 Westmoreland Circle
Bethesda MD
TIME: 8:00 p.m.
TICKETS: $30

JULITO ALVARADO
WHEN: Thursday 4/23/09
WHERE: Fonda Boricua
East 106th Street
New York, NY
TIME: 9:00 p.m.
TICKETS: $10

LAYLA ANGULO
WHEN: Sunday 4/26/09
WHERE: Jules Bistro
65 St. Marks
New York, NY
TIME: 8:00 p.m.

NEGRONI’S TRIO
WHEN: Friday 4/24/09
WHERE: Books & Books
265 Aragon Avenue
Coral Gables, FL

WHEN: Saturday 4/25/09
WHERE: Jazziz Bistro
5751 Seminole Way
Fort Lauderdale, FL

PAQUITO D’RIVERA
WHEN: Wednesday 4/22/09
WHERE: Merkin Concert Hall at Kaufman Center
129 West 67th Street
New York, NY
TIME: 7:30 p.m.
TICKETS: $50 – $125

PEDRO GIRAUDO
WHEN: Tuesday 4/21/09 – Wednesday 4/22/09
WHERE: Jazz Standard
116 East 27th Street
New York, NY
TIME: 7:30 p.m. & 9:30 p.m.
TICKETS: $20

SALLY’S TOMATO – A TRIBUTE TO CAL TJADER
WHEN: Friday 4/24/09
WHERE: Newport Beach Resort
16701 Collins Avenue
Sunny Isles Beach, FL
TIME: 9:00 p.m.

SAMUEL TORRES
WHEN: Thursday 4/23/09
WHERE: Zinc Bar
82 West 3rd Street
New York, NY
TIME: 9:30 p.m., 11:00 p.m., 12:30 a.m.

VENISSA SANTÍ
WHEN: Sunday 4/26/09
WHERE: Bistro St. Tropez
2400 Market Street
Market Place Design Center 4th Floor
Philadelphia, PA
TIME: 11:30 p.m.

WILLIE MARTINEZ
WHEN: Friday 4/24/09
WHERE: Schenectady Whisperdome
1221 Wendell Avenue
Schenectady, NY
TIME: 8:00 p.m.
TICKETS: $15

If you’re in the MID-EAST this week . . .
EDDIE PALMIERI
Tri-C Jazz Festival
WHEN: Saturday 4/25/09
WHERE: Cuyahoga Community College Metro Campus Auditorium
2900 Community College Avenue
Cleveland, OH
TIME: 8:00 p.m.
TICKETS: $25

LOS GATOS
WHEN: Thursday 4/23/09
WHERE: The Firefly Club
637 S. Main
Ann Arbor, MI
TIME: 8:00 p.m.
TICKETS: $8

TUMBAO BRAVO
WHEN: Sunday 4/26/09
WHERE: Ypsilanti District Library
5577 Whittaker Road
Ypsilanti, MI
TIME: 2:00 p.m.
TICKETS: FREE

WHEN: Sunday 4/26/09
WHERE: Sangria – Royal Oak
401 S. Lafayette
Royal Oak, MI
TIME: 9:00 p.m.

If you’re in the MID-WEST this week . . .
DAVID SANCHEZ
Guest Artist w/Baylor University Big Band
WHEN: Saturday 4/25/09
WHERE: Jones Concert Hall
Baylor University
Waco, TX
TIME: 7:30 p.m.
TICKETS: FREE

If you’re on the WEST COAST this week . . .
ALEXA WEBER MORALES
WHEN: Saturday 4/25/09
WHERE: Senzala
250 E Java Drive
Sunnyvale, CA
TIME: 7:30 p.m.
TICKETS: $12

ESTRADA BROTHERS
WHEN: Saturday 4/25/09
WHERE: Steamers
138 W. Commonwealth
Fullerton, CA
TIME: 8:30 p.m.
TICKETS: $8

JERRY GONZALEZ & THE FORT APACHE BAND
WHEN: Saturday 4/25/09
WHERE: Yoshi’s – San Francisco
1330 Fillmore Street
San Francisco, CA
TIME: 8:00 p.m. & 10:00 p.m.
TICKETS: $25

JOHN SANTOS SEXTET
A Tribute To Ron Stallings
WHEN: Sunday 4/26/09
WHERE: La Peña Cultural Center
3105 Shattuck Ave
Berkeley, CA
TIME: 7:30 p.m.
TICKETS: $12

JOVINO SANTOS NETO
WHEN: Friday 4/24/09
WHERE: Ballard Jazz Walk
Ballard Avenue
Seattle, WA
TIME: 8:00 p.m.
TICKETS: $25

KAT PARRA
WHEN: Thursday 4/23/09
WHERE: East Palo Alto Library
2415 University Avenue
East Palo Alto, CA
TIME: 6:30 p.m.
TICKETS: FREE

WHEN: Saturday 4/25/09
WHERE: San Carlos Library
610 Elm Street
San Carlos CA
TIME: 2:00 p.m.
TICKETS: FREE

MARK LEVINE & THE LATIN TINGE
A Tribute To Ron Stallings
WHEN: Sunday 4/26/09
WHERE: La Peña Cultural Center
3105 Shattuck Ave
Berkeley, CA
TIME: 7:30 p.m.
TICKETS: $12

SCOTT MARTIN LATIN SOUL BAND
WHEN: Thursday 4/23/09
WHERE: Romance Latin Restaurant
203 N El Camino Real
San Clemente, CA
TIME: 7:00 p.m.

WHEN: Saturday 4/25/09
WHERE: Kobe Japanese Steak House
3001 Old Ranch Parkway
Seal Beach, CA
TIME: 8:00 p.m.

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Latin Jazz Conversations: Mitch Frohman (Part 3)

When a musician develops a reputation as a reliable sideman, a strong leader, and an exciting artistic voice, the musical world seems ripe with opportunities. They reach the first call spot for numerous top-notch bands, finding a regular stream of work in an artistically invigorating environment. Other musicians rely upon them as subs and collaborators, building upon the trust established over years of hard work. Their own projects often thrive, fueled by a strong work ethic and the passionate support of their professional associations. Most importantly, a fan base of long time listeners relate to their past work in different contexts, and they want to hear more. Long standing performance commitments may remain steady or they may disappear; but a musician with a career based upon a strong performance history will find more work ahead.

By the time that Tito Puente died in 2000, Frohman had established himself as a major player in the Latin Jazz world. Puente’s passing meant the end of an era in Frohman’s career, but the strength of his reputation left him with ample musical opportunities. The Bronx Horns existed as an established Latin Jazz group, with two albums recorded and numerous live dates. The Puente band continued to tour after El Rey’s death, with pianist Eddie Palmieri serving as a guest artist. Once the band stopped performing under Puente’s name, percussionists Jose Madera and Johnny Rodriguez formed a new Palladium style big band, The Latin Giants of Jazz, and recruited Frohman as both sax player and road manager. At the same time, pianist Oscar Hernandez recruited Frohman as an original member of The Spanish Harlem Orchestra, revisiting the 1970s Fania-era salsa sound with some of the best in the genre. As Frohman moves into the future, he continues to supply the sax sound to some of the top bands in the Latin Jazz world.

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LATIN JAZZ CORNER: After Tito died, together with Jose Madera and Johnny Rodriguez, you put together The Latin Giants of Jazz . . .

MITCH FROHMAN: Well, Johnny put that together with Joe being the musical director. And then I, being a long time member (of Puente’s band) and very close friends with Johnny and Joe, became the straw boss or the road manager of the band. But that was really something formed by Johnny and then with Joe being the musical director.

LJC: What does your role as road manager consist of?

MF: Well, I hire the guys – with Johnny and Joe’s approval, I choose the personnel. Like I said, with the approval of Johnny and Joe – if there was somebody that they wanted that I didn’t or somebody that I wanted that they didn’t, then I definitely I defer to them. I’m third in command. So I make the phone, you know, I’m kind of like the middleman, the liaison between the guys and Johnny and Joe. Kind of like the day to day stuff –telling them what time to show up, what to wear, how much we’re getting paid, that type of stuff.

And I should mention, one thing that seems to get lost in the history of all this stuff, the person that really was the leader behind the scene of the Tito Puente Orchestra was a gentleman named Jimmy Frisaura. He started the band with Tito Puente, I think back in 1948, and he died a few years before Tito. But he really kept the Tito Puente Orchestra together. He was the trumpet player and Tito’s partner in the band. He ran the band in the day to day operations; I’m kind of doing, on a much lower level, the kind of things that he did, with The Latin Giants.

LJC: Wow, that’s really interesting, I didn’t know that about Jimmy Frisaura.

MF: Yea, that gets lost in the history and that’s something. Jimmy Frisaura was in Pupi Campo’s band with Tito Puente and then they broke off and they formed The Picadilly Boys in 1948. And then a little after that, they put Tito’s name in front and it became The Tito Puente Orchestra. Without Jimmy, Tito would not been able to have a band for fifty years. He would have been one of the greatest Latin American musicians there was, and had bands, and been a featured soloists, but as far as keeping a steady, working big band together, that was because of Jimmy Frisaura.

LJC: The first album, The Latin Giants Play the Music of the Palladium, that one had a distinctly more jazz focus. I imagine as a horn player, it much have been so incredible to be playing in that big band setting.

MF: Oh, it was wonderful. And it’s always wonderful as a saxophone player to play with just a great sax section, which you don’t get a chance to do that often. Many of the bands that I play with, you know, I’m the only saxophone player in the band. They have mainly a brass section and then they’ll have one saxophone player – at the most two. But to play with an all-star five saxophone section is just wonderful. That was classic concert Latin American music.

LJC: Any favorite tracks from that album?

MF: You know, you like different things for many different reasons. There’s a track called “Sunny Ray Mambo” by Ray Santos that I have a featured solo on, so I guess I’m biased towards that. But I like all the stuff for different reasons. I don’t know . . . if you’re a rock and roll fan, what’s your favorite Beatles tune; if you’re a jazz fan, what’s your favorite Coltrane tune; I mean, there’s so much. For different reasons, you like different things. Most good musicians have diverse tastes and don’t focus on one or two things but just appreciate all good things.

LJC: One of the things that stands out to me on the second album, Trip to Mamboland, there’s one track, “Flamenco Mood,” that features one of the last recorded solos of Mario Rivera. I imagine that you spent quite a bit of time with Mario, do you have any memories of him?

MF: Yes – Mario, besides Bobby Porcelli and another wonderful musician that has passed away, Dick Mesa, Mario along with those other two, were probably my biggest influences in the Latin American music scene. Mario was probably one of the most devoted and dedicated musicians that ever existed; he lived all types of music. He was also a virtuoso doubler. He played all of the reeds, all of the flutes, trumpet, percussion – he played so many instruments. I actually used to sub for him with Tito’s Latin Jazz Ensemble, before Tito combined the Latin Jazz Ensemble and the big band. I also subbed for Mario a couple of times with Tipica ’73. Mario was first call before me, so I would sub for him in different situations. Because of his expertise, he would play tenor, soprano, flute, piccolo, and alto flute in Tito’s Latin Jazz Ensemble. So when I would sub for him, I would have to practice those other instruments that I didn’t play all the time to perform and meet the requirements of the job. So it inspired me to become a better doubler. He actually told me that he would lay all of his instruments on his couch or on his bed and he would just pick one of them up, play it for 10 minutes, put it down, and play another one for 10 minutes, put it down. He’d just get the flexibility of the embouchure and get the lips and the mouth accustomed from one instrument to the other. So that when you pick one up on a gig . . . let’s say you play saxophone for a half-hour and you have to pick up the piccolo right away, or the alto flute right away – you need that lip flexibility. So this was a good way to practice at home, switching from on to the other. So I was definitely influenced by his genius musicianship.

LJC: One of the tracks on the latest Latin Giants album, “Cookin’ The Mambo,” features you trading solo lines with Peter Brainin.

MF: Peter’s a fantastic jazz musician, he has his own voice. On “Cookin’ The Mambo,” we did two takes, and I actually liked the way Peter and I sounded on the other take. I think there were some mistakes in some of the background figures that the rest of the horn section had, so they chose to use that take. It’s a wonderful track on the record, but maybe one day they’ll release the other take. Like sometimes in jazz records they release the outtakes. But it was a wonderful experience. We did all that stuff live – me and Peter stood up in the recording session. We didn’t overdub any of the stuff; all the solos that you hear on the record were done on the spot within the context of the performance.

LJC: Touring with the band must set up some interesting financial and logistic challenge . . .

MF: Yea, it’s tough. At the level that we are, we don’t double up as far as rooms go. We tour between 19 and 21 people, depending on the budget. If we’re able to take a couple of extra coro singers, we do. If not, we tour with 19. So that’s 19 airfares, 19 hotels, 19 salaries . . . but when it’s worked, it’s a magical band. There’s no other band in the world today that plays that style of music – that Palladium style of big band music; the Tito Puente, the Machito, the Tito Rodriguez style of music – there’s no other band in the world today. I’m not saying this for egotistical reasons, its just because of the personnel there, there’s no other band that plays that music on the level of the Latin Giants. Because the musicians in the band played with the masters. They didn’t play in bands of the children of the masters; they played with the Tito Puentes, with the Tito Rodriguezes, with the Machitos, with the Mongo Santamarias, with the Eddie Palmieris, with the Celia Cruzes. These are the guys that created those records. And also with the vision of Johnny Rodriguez, who is basically the greatest bongo player for this style of music in the world, and the musical direction of Joe Madera, who I like to call the Quincy Jones of this music – he’s really reached the pinnacle of arranging in this music. Although we still have the greats like Ray Santos, and a few other people who are still with us, I think that Joe has reached the top of the field of arranging in that style of music. It’s really the equivalent to the Count Basie or the Duke Ellington Orchestra for the type of music that we’re doing.

LJC: You’ve played with the Spanish Harlem Orchestra quite a bit.

MF: I’m an original member of Spanish Harlem Orchestra. My good friend Oscar Hernandez is the leader. He was in my band, The Bronx Horns, and fortunately, he asked me to be a member of the Spanish Harlem Orchestra. I think that I’m the last original horn player that’s still in the Spanish Harlem Orchestra. Actually, I think along with one of the vocalists, Ray De La Paz, I’m one of the last original members still playing with Spanish Harlem, and fortunately, I’ve been there since the beginning. For the type of music that we play, it’s also at the top of the food chain. For what they call Salsa Dura, or the Fania All-Star style, you know, that type of seventies and eighties salsa, its as good a band out there as there is.

LJC: I see a similarity to The Latin Giants of Jazz, not musically, but what you do in terms of approach and quality.

MF: Right, it’s an all-star band, made up of predominantly musicians that came up in the New York scene during the seventies and eighties. We’ve gone through some personnel changes over the years, but that was the original concept. Where the Latin Giants represents the top of the food chain of that Palladium era type of music, the Spanish Harlem Orchestra represents the top of the food chain for the New York salsa band sound from the seventies, eighties, and the Fania All-Star period. It’s really the authentic way that the bands played it when we were coming up. I played mainly with Tito Puente and Mongo Santamaria, but there’s guys in the Spanish Harlem Orchestra that played with Ruben Blades, Ray Barretto, Johnny Pacheco, and many of the wonderful bands in that golden period in New York.

LJC: One last thing, what I see with the Latin Giants and the Spanish Harlem Orchestra is really keeping those traditions alive. What do you see for the future of those styles past Spanish Harlem or the Latin Giants? Do you see someone else picking up the ball?

MF: I’m sure. There’s wonderful musicians out there, wonderful bands. This music is not going to die, there’s always a love and appreciation for it. I’m sure that just like we came up with Spanish Harlem at a time when there was room for it to be heard, I’m optimistic that good things will continue.

In the same way with the Bronx Horns, I would like to continue that tradition of Latin Jazz and smaller groups. Where the Latin Giants and Spanish Harlem are a bigger level, I’d like to follow the Tito Puente Latin Jazz Ensemble, the Mongo Santamaria Latin Jazz Band – the smaller Latin Jazz groups. With the Bronx Horns, I’d like to continue that tradition. So with each of the groups that I’m playing in, we’re trying to continue the traditions and further the music of the different eras that I’ve been fortunate to be a part of.

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Thanks to Mitch Frohman for spending this time with me discussing his career, it was a fun, informative, and engaging conversation! Make sure that you check out all three parts of the interview. From here, you can jump to:

Part 1 where Frohman discusses his early career, entry into the Puente band, and his time with Mongo Santamaria

Part 2 where Frohman discusses his development of The Bronx Horns

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Check Out These Related Posts:
Latin Jazz Conversations: Jose Madera, Part 3
Album of the Week: Ven Baila Conmigo (Come Dance With Me), The Latin Giants of Jazz
Album of the Week: Live At The 1977 Monterey Jazz Festival, Tito Puente & His Orchestra
Album of the Week: United We Swing, The Spanish Harlem Orchestra

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Latin Jazz Conversations: Mitch Frohman (Part 2)

When a group of musicians share a common background, musical philosophy, or goal, the music that they create often shines with a special glow. Their shared experiences allow them to find sympathetic ideals that make the process of music making an easier experience. They can listen more closely and blend tone, phrasing, and stylist interpretation into a unified whole. Their improvisational exchanges start rising to a magical level that can’t be explained in words, but simply experienced. Sometimes these magical moments are brief and fleeting, one incredible gig that never again becomes a reality. Every musician desires those magical moments in their performances though, so when they encounter a group of like-minded musicians, they should certainly strive to keep them together.

Mitch Frohman found the right combination of musicians while working as a member of Mongo Santamaria’s band and he took the necessary steps to keep the group together. Santamaria’s horn section at the time included Frohman, saxophonist Bobby Porcelli, and trumpet player Ray Vega. All three musicians had worked with Puente, shared a broad knowledge of both jazz and Latin music, and they were at the top of their game. They found a common voice as a section, and they recognized the power of that unity before they left Santamaria’s group. The three musicians gathered together, found a rhythm section, compiled some original compositions, and formed The Bronx Horns. The new band offered a distinct sound and years of experience; they recorded two albums and performed around the world. As The Bronx Horns became a strong voice in the Latin Jazz world, the formation of the group marked another milestone in Frohman’s career.

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LATIN JAZZ CORNER: One of my favorite Mongo albums that you play on is Live at Jazz Alley. That had Ray Vega and Bobby Porcelli on there with you, which seemed like a step into The Bronx Horns. How did you guys start that group and what was your initial inspiration?

MITCH FROHMAN: Well, we were getting many, many compliments over the years – we had a wonderful blend together. You know, Bobby is one of the greatest alto players alive, playing this music. I’m sure that I can also speak for Ray; for me and Ray to play alongside Bobby was just a wonderful experience. Plus I had played with Bobby for many, many years, next to him in Tito Puente’s band, so I was very fortunate to have that influence in my playing. We all grew up in the Bronx, and when we were introduced on every gig, it would be, “ And from the Bronx, New York – Bobby Porcelli. And from the Bronx, New York – Ray Vega. And from the Bronx, New York – Mitch Frohman.” And you know, some people would kind of chuckle and call us the Bronx Boys, or the guys from the Bronx. It kind of rang a bell in my head. When we all left Mongo’s band in the early nineties, I kind of wanted to keep the horn section together, and I had some music that I had written. So I called some rehearsals, and got a rhythm section together. Basically, I changed it to the Bronx Horns, because I thought it was a catchy name, but it was also true. We all grew up in the Bronx and I basically started The Bronx Horns with the same horn section that we had in Mongo’s band, because we had a nice sound together.

LJC: The rhythm section that you guys had initially – and the rhythm section that you have now – is massive! How did you get those guys together?

MF: Well, when you’re in the business for a long time, you have relationships with people. These are all guys that I had been working with in different situations over the years, and I loved their playing. So these were just guys that were professional associates of mine.

LJC: Catch the Feeling was the first Bronx Horns album . . .

MF: I actually wrote that song during my years with Mongo, and we played it with Mongo Santamaria – he included it in the repertoire. I was actually hoping that he was going to record it, but I never got the opportunity to record it with him. Now I’m kind of happy because I was able to record it on my first album. But that tune was actually first played during my tenure with Mongo’s band.

LJC: Most of that album is compositions from you, Ray, and Bobby – were a lot of those songs that you had written earlier or did they come together around the album?

MF: Well, there was another song on the record that was called “Get Back In” which Bobby Porcelli wrote probably 30 years earlier – another one that Mongo played but never recorded. And then there were some songs that we had played years earlier with a big band that I had with this piano player Joe Mannazi in the early eighties. I had tunes like “Mitch’s Mambo” and “King Jacob” and some other tunes that were on that CD. I had big band versions of that which I then scaled down for three horns to record. I’m not exactly sure when Ray had written his tunes . . . well, I know there’s one tune on the record, “Mambo Melani,” that Ray wrote for his first daughter, so that was probably a recent tune, because his daughter had just been born, not too long before we recorded the record. Some tunes were tunes that had been written a long time ago by Bobby or myself, and some tunes were written fairly recently for the recording.

LJC: I saw you guys play in the late nineties at the San Jose Jazz Festival, it’s an incredible live group. I know you guys are all very busy – initially did the group get out and perform much?

MF: Well, I was still playing steady with Tito Puente’s band, so that was always my primary job, as far as my steady monetary employment for supporting my family. We did some touring, you know, we did some festivals around Europe and the United States. Never on a full time basis though. Basically the first record company that put Catch the Feeling out ripped us off and never paid me a penny in royalties. We had a licensing deal with them which has since expired, so now I own the product. Then the records were re-released by company called 32 Jazz in the late nineties, and within a year, that company went bankrupt and I never got a penny from them. I basically had not the best luck with record companies, although the record company Timeless that recorded us on the Silver in the Bronx album, we did get paid for the CD. But after the initial tours that we did in Europe for them, they basically never supported or promoted the CD. What we got, we got on reputation, which was nice, but I didn’t hustle the band that much, it was more of a part time thing. What I’m doing now, I’m starting to make a push this year, with a website, thebornxhorns.com, and I’m making a push to get the band out more. I’ve added a vocalist, Frankie Vazquez, so that, kind of like what Tito used to do with his Latin Jazz Ensemble, and his big band, where he would play maybe half a set Latin Jazz and then maybe half a set typical dance music for the people. I’m doing the same thing with The Bronx Horns where we have the ability to play the typical dance music and also the Latin Jazz, depending on the requirements for the gig and for the audience. So I’m making more of a push right now to get the band back out there.

LJC: Silver in the Bronx was a great record, how did you decide to create the tribute to Horace Silver – was it an appreciation of his music or did it seem like a natural fit for Latin Jazz?

MF: A combination of both. I was always a big fan of Horace Silver’s music and his music lent itself so effortlessly to our Latin rhythms. So I took a long time in compiling a list of songs and then going down and conferring with some of the guys. There were so many songs to choose from – we would make a list, come up with about 30 or 40 tunes, and then knock it down to 15 or 20 tunes, and then knock it down to a final list. And then I came up with the idea of picking which rhythms we would apply to each tunes. Instead of just doing the regular formula – maybe one tune would be a mambo jazz tune, another tune we would play a cha cha or boogaloo. Another tune we’d play an Afro-Cuban 6/8, another tune we’d play an Afro or a bolero. Just using many different forms of the Latin rhythms, and seeing which ones fit the melodies of Horace’s tunes. And then the other thing was choosing which tunes to give which the arrangers. For example, Marty Sheller, who did the arrangement and was the original trumpet player for Mongo’s “Watermelon Man” – I specifically gave him a tune called “Home Cookin’” to do in that cha cha-boogaloo feel. I wanted that type of feeling and he’s as good as anybody in the world for that kind of thing. And then the other arrangers – Joe Madera and Oscar Hernandez – Ray Vega contributed a few arrangements; they took tunes that they felt would show off their arranging strengths. So we put a lot of thought into it and I’m very proud of how it came out.

LJC: Around that time, Tito Puente died. You’ve said a lot of great things about Tito, but if you could isolate one thing that you took away from those years, what would that be?

MF: That’s hard to pin down. I was in his band for 25 years! It’s not one thing. He was a hard worker; the music was always the first thing in his life. He had his own school of music. There was also the school of Machito. It was like the Count Basie band and the Duke Ellington band – they were all great but they had their own styles and schools of music. It was a very exciting way of playing. It was a very percussive way of learning how to play this music. Also I guess seeing how to play this music in an exciting fashion without always having to play super loud. Tito could play exciting and fast, but with the sensibilities of a jazz drummer. He was a studied percussionist; he had the technique in his wrist. Where maybe some other Latin percussionists play more with their arms, Tito had the sensibilities of the great wrist action. It was learning how to play this music at many dynamic levels but in a very exciting way. You know, the show must go on. And basically playing all styles of Latin music, which I feel is a lost art with a lot of the bands today. Where the bands will either just play salsa or they’ll just play merengue or they’ll just play bachata. We had more than 1000 tunes in the book and we would play every type of function available. The first time I ever played a merengue was in Tito Puente’s band. We had merengues in the band, we had cumbias, we had paso dobles, and we had danzones. It was just “salsa.” He always used to joke how the word salsa was just a ridiculous marketing term. You know, we didn’t just play mambo, cha cha, and bolero, we played all types of Latin American rhythms. We even played some big band jazz tunes when we would play some society parties where they would want a couple of swing tunes mixed in. He even had that in the book. I got the appreciation of all forms of Latin American music and rhythms that we played. He was a very diverse musician. When I joined his band, I didn’t really know anything about Latin flute, but the person whose place I took did the Latin flute solos. So I basically immersed myself in learning that style, and I think that I’ve become a fairly good Latin flute player over the years. And that was something that I developed in his band.

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In Part 3 of our interview, discussing some of Frohman’s current projects. We take a look at The Bronx Horns, The Latin Giants of Jazz, The Spanish Harlem Orchestra, and more. Come back tomorrow, you don’t want to miss this!

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Check Out These Related Posts:
Latin Jazz Conversations: Jose Madera, Part 2
10 Latin Jazz Perspectives On Horace Silver
10 Latin Jazz Perspectives On Charlie Parker
Latin Jazz Standards: 10 Versions Of Mambo Inn

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Latin Jazz Conversations: Mitch Frohman (Part 1)

Wind players that travel through the Latin Jazz world gain a totally different experience than most rhythm section players. While the rhythm section players garner much of the spotlight due to the music’s percussive intensity, wind players work as the sidemen, providing the music’s stable side. The great wind players certainly turn up the heat with their improvisations, and they make substantial contributions to the Latin Jazz world. The great wind players understand clave, can often play percussion patterns, compose Latin Jazz charts, and have a firm understanding of the music’s history. The skills that these first rate Latin Jazz wind players carry allow them to base their lives around the style, working with many of the genre’s legendary musicians. Wind players may not live their lives in the spotlight of the Latin Jazz world, but the wind players that truly spend their lives immersed in the style have long and interesting careers.

Saxophonist and flautist Mitch Frohman has been one of the most prominent wind players in the Latin Jazz world for decades, adding his defined artistic voice to a variety of the genre’s great bands. Fresh from college, he discovered New York’s thriving Latin music scene, earning work as a sub with greats such as Charlie Palmieri. He gained a true education on the bandstand, learning the details of Afro-Cuban rhythms while he played alongside Tito Puente. Frohman earned a widespread reputation as a strong woodwinds player and when Puente focused on a smaller Latin Jazz Ensemble, Frohman found a spot in percussionist Mongo Santamaria’s band. He built a strong bond with the other wind players in Santamaria’s band, and when they all left the group, they formed another Latin Jazz supergroup, The Bronx Horns. Since then, Frohman has found steady work as a member of The Bronx Horns, The Latin Giants of Jazz, and The Spanish Harlem Orchestra. For the last thirty years, Frohman has been one of the top wind players in Latin Jazz, working alongside the major names in the genre.

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LATIN JAZZ CORNER: You grew up in the Bronx and started playing music in elementary school band. At the time, there were a wealth of great Latin and jazz musicians in the area – do you have any early memories of local musicians that inspired your love for music?

MITCH FROHMAN: Not in elementary school, when I was in third, fourth, fifth grade and junior high school, they had a band program in junior high school. You know, I made the band program, but at that age I think I was more into the popular artists of the day. The Beatles and the musicians that any other 10-year-old kid would listen to. I was really into sports more than music at that age.

LJC: When you decided to focus on music, what were some of your initial inspirations?

MF: After I graduated from high school, I went to the State University of New York at New Paltz. That was my first college; it was a State University about an hour and a half or two hours from New York City. I actually played junior varsity basketball and baseball; I also started taking music lessons there and playing in the band program. I got injured towards the end of my first year and then made a decision to concentrate more on music. Then I transferred to the University of Miami School of Music, where I really immersed myself in it.

LJC: Was there a Latin music scene down, or were you doing more straight ahead jazz?

MF: This had nothing to do with Latin music. When you’re learning to play your instrument, you’re just learning the instrument. I was taking regular classical saxophone lessons and also immersing myself in the jazz program – they have a wonderful jazz program down there. This was in the early seventies.

LJC: You eventually came back up to New York in 1975, what type of gigs did you jump into at first?

MF: It was just anything. As a young musician, you would try to play anything – a little rock band, sit in with a jazz rehearsal band, a wedding, a bar mitzvah, a Latin band – I mean, just whatever you can. I got very fortunate and within a year of graduating college, I started to substitute in some Latin bands. I substituted with Charlie Palmieri, I played with Kako’s band, and then I was substituting steadily in Tito Puente’s band. And then after about a year of substituting in Tito Puente’s band, one of the musicians left, and I was offered the job.

But I should say, my first experience in a real Latin band was the opportunity to sit in with Joe Cuba. When I graduated college, I was playing at a hotel for older people up in the Catskill Mountains in the summer. Joe Cuba was playing at The Pines Hotel down the road from where I was playing. When I’d be finished, I’d take a drive over there and hang out and listen to them. Joe Cuba let me sit in once in a while during that summer. That was kind of my first experience of playing with a real authentic Latin group. And then after that I started to substitute with Tito Puente, Charlie Palmieri, Kako, with many different of the Latin bands, until I started to play with Tito Puente steady.

LJC: When you first joined Puente’s band on a regular basis, was that 1977?

MF: I was subbing for a year and then I officially joined his band on October 3, 1977.

LJC: That was about the time that they recorded Homenaje a Beny Moré, Volume 1 . . .

MF: I subbed with the band when they had actually just finished recording the La Leyenda record. I subbed on the rehearsals for the recording, but I joined the band steady after they made that record. And then the first Beny Moré record -Homenaje a Beny Moré, Volume 1 – was the first record that I did. I think they recorded that about a year after I joined the band.

LJC: At the time, Puente was working pretty steady – 6 or 7 nights a week. What was the creative energy like in the band?

MF: It was a small big band; the steady working unit was three saxes (we recorded with four saxes, but the steady working unit was three saxes), and a full brass section, rhythm section, and vocals. Basically, we were playing dances; we weren’t doing as much traveling at that time. We were playing what was called the cuchifrito circuit that was going strong then, in the mid-seventies. We were playing dances every night, and doubling or tripling on the weekends. I was getting paid to learn a whole other style of music – it was like my graduate school in music. It was wonderful for me. There were other musicians who were in their fifties or sixties in the band, so the creative process was probably different for them at the time. But I was 22, 23 years old, so for me, everything was an exciting experience.

LJC: At the time, I’ve read that you played with Charlie Palmieri, Eddie Palmieri, Machito, and Larry Harlow . . .

MF: I never played steady with Eddie Palmieri. We would play opposite him or he would be a guest with Tito’s band. Years later, we did concerts together. At that time, I did substitute many times with Charlie Palmieri’s band and many other bands in New York that had saxophones. I did sub many times with Machito’s Orchestra during the eighties, as one of the other big bands of the area.

Once I joined Tito Puente’s band, we were working every single night, so there was not as much opportunity for me to play with other bands. It was a steady job. For a period of years after I joined Tito’s band, I really didn’t play with any other people because we were playing full time. When we started to get more into traveling and not doing the cuchifrito circuit as much, you know playing every single night at each club, I had the availability to play with many more of the different Latin and Latin Jazz bands from the New York area. People had gotten to know me more after a few years.

LJC: That would have been the early eighties, right?

MF: Well, he started his Latin Jazz Ensemble, so there were times that he would take off and play with his Latin Jazz Ensemble. And so then there would be some periods where I would be freer to play with other people. It wasn’t until the early nineties that he combined his Latin Jazz Ensemble and his big band so that it was like a large Latin Jazz Ensemble, which I was a member of. We did everything. But during the mid-eighties, he kind of still played mainly with his big band, which I was the saxophone and flute soloist; but with his Latin Jazz Ensemble, Mario Rivera was the saxophone player. Although when Mario would go play with Dizzy Gillespie’s United Nations Orchestra, then I would sub for Mario in Tito’s Latin Jazz Ensemble. So I got a taste of that early on. I also became a member in 1988 for four years with Mongo Santamaria, while still keeping my job with Tito Puente. I did extensive traveling with Mongo Santamaria as his featured saxophone player and flute soloist.

LJC: You really played with the two giants of music. When you started with Mongo in ’88, what where the differences that you experienced between his band and Puente? They are both incredible figures in the music, but very different stylistically.

MF: Oh, of course. With Mongo, it was a small conglomeration – three horns (two saxes and a trumpet), with the saxes doubling on flute. In Mongo’s band, the horn section stood in front of the band, alongside Mongo. We played more of the jazz clubs. It was not really a dance band at that time. Mongo had dance bands earlier in his career, but at this time, it was mainly an Afro-Cuban Latin Jazz band. We did play some typical music, but it was more of a concert, Afro-Cuban band. It was more along the lines of a jazz band the way that it was set up – we were given the opportunity to take more extensive solos and be a little more part of . . . how can I say this? It was more of a total high energy show with Tito while with Mongo it probably coming from a little more of a jazz sensibility, on a different level.

The other thing with Mongo that was a little different than Tito was the way that Mongo approached 6/8 Afro-Cuban rhythms – it was really on another level. It was as authentic as you can get. While I was very, very, very well versed in all the traditional Latin rhythms from playing many, many years with Tito Puente, playing these 6/8 rhythms with Mongo on tunes like Afro-Blue, it was a different approach than the way that many of the New York Latin bands approached the 6/8 rhythm. So I would say that I got a real education on how to play 6/8 rhythms during the years with Mongo. They both – Mongo and Tito – were a school unto themselves, in different forms of Latin American music.

LJC: I noticed too, during your time with Mongo, on the album Olé Ola, you contributed a song, “Jeannie’s Tune.” Was this you first leap into composing and getting your songs recorded?

MF: I had composed since I was in college, but that was the first opportunity that I had to have a tune recorded on a professional level and put on a CD. So, yes, that was my first tune that was ever recorded. That was not my first tune that I had written, but it was my first tune that was recorded on a professional level.

JLC: Was Mongo pretty open to band members contributing things and working together?

MF: Yes, that also was probably more of a difference between Tito and Mongo’s band. With Mongo, we had a little more freedom to participate in the writing process and contributing songs to the repertoire. Whereas Tito, being such a great writer, he wrote a lot of his own stuff. But with Mongo, the guys in the band were given the opportunity to write stuff for the band, and then have it played and recorded. Mongo was definitely receptive to that.

Although, a few years after, I had a wonderful tune called “Point East Memories,” that Tito recorded on his Special Delivery album for Concord Picante. But, you know, that was after many more years of playing with Tito. I think he was more receptive to contributions from his band members as the years went on, but Mongo was definitely always open to his band members contributing to the repertoire.

LJC: Are there any memories that you share with us about Mongo as a person? What was he like?

MF: Well, when I joined the band, he was fairly quiet and fairly reserved. I had heard from other musicians that played with him in the sixties and early seventies, that at time, he was more talkative with the audience and a more outgoing person. He was an older gentleman when I joined the band. He was an incredible, deep, spiritual musician, one of the deepest percussionists that ever lived. He was nice to us; once in a while, he would open up and tell us some stories of the past and different things. But Mongo was more showing what he wanted by example. Whereas Tito might be able to talk to us more in musical terms – he was an accomplished arranger, writer, and composer. He played many, many, many different instruments. Mongo was one of the deepest percussionists that ever lived and I think demonstrated more by example. Where Tito had a much more outgoing personality, Mongo had a much more reserved personality.

———-
In Part 2 of our interview, we’ll be looking the formation of The Bronx Horns and discuss their two recordings. Frohman discusses some of the ideas behind the group and reflects some more upon his time with Tito Puente. Check back tomorrow, you don’t want to miss this!

———-
Check Out These Related Posts:
Latin Jazz Conversations: Jose Madera, Part 1
2 Legendary Latin Jazz Congueros
Revisiting Latin Jazz Classics: At The Blackhawk, Mongo Santamaria
8 Tito Puente Albums To Kickstart Your Latin Jazz Record Collection

———-
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Latin Jazz This Week

Latin Jazz This Week will bring you a weekly look into news from the Latin Jazz world. You’ll find new releases, recommended performances, web finds, and more. You can check out some current sounds in the Listening Center tab at the top of the page. Performance dates will be kept in the Live Latin Jazz tab at the top of the page.

NEWS
There’s still a few days left to win FREE TICKETS to see Eddie Palmieri perform live this Thursday night April 16th at SOB’s in New York. All you need to do is sign up to have LJC delivered to your e-mail account. You get all the great Latin Jazz info that you’ve come to love – it’s just delivered directly to your inbox . . . and you get a chance to win Eddie Palmieri tickets. For more info, go HERE. Good luck!

Latin Jazz vocalist Venissa Santí was recently signed to the Sunnyside Records label, allowing for a wider distribution of her outstanding release Bienvenida. I absolutely love this album, a fantastic vocal feature with some great musicians supporting Santí – you can check out the LJC review HERE. So, if you didn’t get a chance to hear this album the first time around, check it out as a Sunnyside release.

I recently ran across a new web home for legendary Latin Jazz pianist Hilton Ruiz. You can find information about his life, buy his recordings, check out some pictures, and more. It’s a great hang, and it let me know that there will be a new release with some of Ruiz’s unreleased material – Hilton’s Last Note, available May 29th, 2009. Check out the website HERE.

Another reminder – the Tutumaya Social Club, a club dedicated to Afro-Peruvian Jazz and cuisine will be opening in New York on April 28th. There’s some great people involved in this – their current artistic director is Afro-Peruvian Jazz trumpet player Gabriel Alegria. You’ll be able to hear plenty of great musicians performing at the club – their initial line-up includes Ingrid Jensen, Sofia Rei Koutosvitis, Pilar de la Hoz, and more. The club will be located at 164 East 56th Street in New York City. It sounds like a fantastic home for the music, so go out and support the club on their grand opening, April 28th.

HOT RECENTLY AT LJC
Spotlight: Afroperuano, Yuri Juarez

Win Free Tickets To Eddie Palmieri’s Performance At SOB’s New York!

Album of the Week: Canción Para Mi Amor, Scott Oakley Y Sus Incomparables

———-

AVAILABLE NOW

Felipe Salles: Timeline

AVAILABLE THIS WEEK

Roger Davidson & Raúl Jaurena: Pasión Por La Vida

———-

LIVE LATIN JAZZ
If you’re in EUROPE this week . . .
OMAR SOSA
WHEN: Thursday 4/16/09
WHERE: Le Petit Faucheux
12, rue Léonard de Vinci
37000 Tours, France
TIME: 8:30 p.m.
TICKETS: 8 – 20 euros

If you’re in CANADA this week . . .
JANE BUNNETT
WHEN: Friday 4/17/09
WHERE: Community Theatre Arts Centre
1221 – 10th Ave SW
Medicine Hat, AB
TIME: 8:00 p.m.

WHEN: Saturday 4/18/09
WHERE: Bragg Creek Centre
23 White Ave., Box 39
Bragg Creek, AB
TIME: 8:00 p.m.
TICKETS: $15 – $32

If you’re in SOUTH AMERICA this week . . .
EDWARD PEREZ
WHEN: Tuesday 4/14/09
WHERE: Centro Cultural de España en Lima – Perú
Jr. Natalio Sánchez 181
Frente a la Plaza Washington.
Cdra. 6 Av. Arequipa, Lima
TIME: 8:00 p.m.
TICKETS: FREE

ERIC KURIMSKI
WHEN: Tuesday 4/14/09
WHERE: Centro Cultural de España en Lima – Perú
Jr. Natalio Sánchez 181
Frente a la Plaza Washington.
Cdra. 6 Av. Arequipa, Lima
TIME: 8:00 p.m.
TICKETS: FREE

WHEN: Thursday 4/16/09
WHERE: Jazz Zone
Av. La Paz 646
Pasaje El Suche
Miraflores, Lima, Peru
TIME: 10:30 p.m.
TICKETS: 20 soles

If you’re on the EAST COAST this week . . .
ARTURO O’FARRILL
WHEN: Wednesday 4/15/09
WHERE: Puppet’s Jazz Bar
481 5th Ave
Brooklyn, NY
TIME: 7:00 p.m.
TICKETS: $10

ARTURO SANDOVAL
WHEN: Thursday 4/16/09 – Sunday 4/19/09
WHERE: Iridium Jazz Club
1650 Broadway
New York, NY
TIME: 8:30 p.m. & 10:30 p.m.
TICKETS: $35 Thursday & Friday; $40 Saturday & Sunday

BOBBY SANABRIA
lecture/performance
WHEN: Thursday 4/16/09
WHERE: University of Albany – CS 375
1400 Washington Avenue
Albany, NY
TIME: 7:30 p.m.
TICKETS: FREE

DAFNIS PRIETO
Percussive Arts Society Clinic
WHEN: Saturday 4/18/09
WHERE: Pottsgrove High School
1345 Kauffman Rd
Pottstown, PA
TIME: 2:30 p.m.

EDDIE PALMIERI
WHEN: Thursday 4/16/09
WHERE: S.O.B.’s
204 Varick Street
New York, NY
TIME: 8:00 p.m. & 10:00 p.m.
TICKETS: $25 in advance; $28 on day of show

FELIPE SALLES
w/Sofia Rei Koutsovitis
WHEN: Friday 4/3/09
WHERE: Dix Hills Performing Arts Center
305 North Service Road
Dix Hills, NY
TIME: 7:30 p.m.
TICKETS: $20

NEGRONI’S TRIO
WHEN: Saturday 4/18/09
WHERE: CIFO Miami
1018 North Miami Avenue
Miami, FL

PONCHO SANCHEZ
WHEN: Thursday 4/16/09 – Sunday 4/19/09
WHERE: Manchester Craftsmen’s Guild
1815 Metropolitan Street
Pittsburgh, PA
TIME: Th. – 7:30 p.m.; Fri. – 8:00 p.m.; Sat. – 7:00 p.m. & 9:30 p.m.; Sun. – 2:30 p.m.
TICKETS: $39.50

VENISSA SANTÍ
WHEN: Sunday 4/19/09
WHERE: Bistro St. Tropez
2400 Market Street
Market Place Design Center 4th Floor
Philadelphia, PA
TIME: 11:30 p.m.

If you’re in the MID-EAST this week . . .
LOS GATOS
WHEN: Thursday 4/16/09
WHERE: The Firefly Club
637 S. Main
Ann Arbor, MI
TIME: 8:00 p.m.
TICKETS: $8

PONCHO SANCHEZ
WHEN: Tuesday 4/14/09
WHERE: Sauder Hall – Goshen College
1700 South Main Street
Goshen, IN
TIME: 7:30 p.m.
TICKETS: $20 – $35

TUMBAO BRAVO
WHEN: Sunday 4/19/09
WHERE: Sangria – Royal Oak
401 S. Lafayette
Royal Oak, MI
TIME: 9:00 p.m.

If you’re in the MID-WEST this week . . .
JEFF JONES
Mosaic Trio
WHEN: Saturday 4/18/09
WHERE: Wigwam Resort
300 Wigwam Boulevard
Litchfield Park, AZ
TIME: 8:00 p.m.

WHEN: Sunday 4/19/09
WHERE: Kerr Cultural Center
6110 N. Scottsdale Road
Scottsdale, AZ
TIME: 3:00 p.m.
TICKETS: $12.50 – $18.50

If you’re on the WEST COAST this week . . .
FRANCISCO AGUABELLA
WHEN: Saturday 4/18/09
WHERE: Steamer’s
138 W. Commonwealth
Fullerton, CA
TIME: 8:30 p.m.
TICKETS: $8

KAT PARRA
WHEN: Friday 4/17/09
WHERE: Belmont Library
1110 Alameda de las Pulgas
Belmont, CA
TIME: 7:00 p.m.
TICKETS: FREE

RAMON BANDA
WHEN: Tuesday 4/14/09
WHERE: Steamer’s
138 W. Commonwealth
Fullerton, CA
TIME: 8:30 p.m.
TICKETS: NO COVER

SCOTT MARTIN LATIN SOUL BAND
WHEN: Saturday 4/18/09
WHERE: Vintage Steak House
26701-B Verdugo Street
San Juan Capistrano, CA
TIME: 8:30 p.m.

———-
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