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.
For those of you in the San Francisco Bay Area, there’s an incredible Latin music education opportunity starting this week – acclaimed percussionist, bandleader, and educator John Santos will be offering a multi-week course on the Afro-Cuban rumba. Santos will cover the different styles in depth, starting with the music’s early roots on the docks of Cuba, traveling through the many regional variations, and ending in the continuing modern day versions of rumba. The courses, offered in collaboration with SFJazz, will be held on Tuesday nights in The Museum of the African Diaspora. Get the full details HERE.
6 Latin Jazz Tracks That Feature Guitarist Edgardo Miranda
Looking Back Upon The Latin Jazz World’s Losses In 2009
Album of the Week: El Viaje, Pedro Giraudo Jazz Orchestra
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Mike Arroyo: Transition
Magos Herrera: Distancia
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If you’re in SOUTH AMERICA this week . . .
MANANTE
WHEN: Monday 5/4/09
WHERE: La Noche
Avenida Bolognesi 307 (El Boulevard)
Barranco, Lima, Peru
TIME: 11:00 p.m.
TICKETS: NO COVER
If you’re in EUROPE this week . . .
OMAR SOSA
WHEN: Tuesday 5/5/09
WHERE: Theatre Duchamp-Villon
Rouen, France
TIME: 8:30 p.m.
TICKETS: 19 euros
WHEN: Thursday 5/7/09
WHERE: Mai : Jazz Festival Stavanger Kulturscene
Stavanger, Norway
TIME: 7:00 p.m.
PAQUITO D’RIVERA
European Premiere of Paquito D’Rivera compositions “Conversations With Cachao”
WHEN: Saturday 5/9/09
WHERE: Metropole Orchestra
Heuvellaan 33
1217 JL HILVERSUM
Amsterdam
TIME: 8:30 p.m.
If you’re in CANADA this week . . .
JANE BUNNETT
WHEN: Thursday 5/7/09
WHERE: The Grand Theater
218 Princess St
Kingston, ON K7L, Canada
TIME: 8:00 p.m.
TICKETS: $34 – $39
If you’re on the EAST COAST this week . . .
ARTURO O’FARRILL
Solo Piano
WHEN: Wednesday 5/6/09
WHERE: Puppet’s Jazz Bar
481 5th Avenue Park Slope
Brooklyn, NY
TIME: 7:00 p.m.
TICKETS: $10
BOBBY SANABRIA
New School Afro-Cuban Jazz Small Ensemble
WHEN: Tuesday 5/5/09
WHERE: Jazz and Contemporary Music Performance Space, Arnhold Hall
55 W. 13th Street – 5th Floor
Manhattan, NY
TIME: 7:00 p.m.
TICKETS: FREE
CHEMBO CORNIEL
WHEN: Thursday 5/7/09
WHERE: Nuyorican Poet’s Cafe
236 East 3rd Street
New York City, NY
TIME: 9:00 p.m.
TICKETS: $10
WHEN: Friday 5/8/09
WHERE: Coquito
31 Forester Avenue
Warwick, NY
TIME: 10:00 p.m. & 11:30 p.m.
CHICO O’FARRILL’S AFRO-CUBAN JAZZ ORCHESTRA
WHEN: Sunday 5/10/09
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 5/10/09
WHERE: Smoke
2751 Broadway
New York, NY
TIME: 8:00 p.m., 10:00 p.m. & 11:30 p.m.
TICKETS: $20 minimum
ETERNAL TANGO TRIO
WHEN: Saturday 5/9/09
WHERE: Brookline Tai Chi Center
1615 Beacon Street
Brookline, MA
TIME: 9:00 p.m.
TICKETS: $25
HOT HOUSE
WHEN: Thursday 5/7/09
WHERE: La Fonda Boriqua
172 E 106 St.
New York, NY
TIME: 9:00 p.m.
TICKETS: FREE
LEHMAN COLLEGE LATIN JAZZ BAND
WHEN: Tuesday 5/5/09
WHERE: Lehman College Studio Theater
250 Bedford Park Boulevard West
Bronx, NY
TIME: 4:30 p.m.
VENISSA SANTÍ
WHEN: Thursday 5/7/09
WHERE: Beautiful Blooms Boutique & Eclatante
1031 North 3rd Street
Philadelphia, PA
TIME: 6:00 p.m.
WHEN: Sunday 5/10/09
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 5/7/09
WHERE: The Firefly Club
637 S. Main
Ann Arbor, MI
TIME: 8:00 p.m.
TICKETS: $8
PONCHO SANCHEZ
WHEN: Saturday 5/9/09
WHERE: Gem Theater
1616 E. 18th Street
Kansas City, MO
TIME: 8:00 p.m.
TICKETS: $30 – $50
TUMBAO BRAVO
WHEN: Sunday 5/10/09
WHERE: Sangria – Royal Oak
401 S. Lafayette
Royal Oak, MI
TIME: 9:00 p.m.
If you’re on the WEST COAST this week . . .
ARTURO SANDOVAL
WHEN: Monday 5/4/09
WHERE: Kuumbwa Jazz Center
510 Embarcadero West
320-2 Cedar Street
Santa Cruz, CA
TIME: 7:00 p.m. & 9:00 p.m.
TICKETS: $28 in advance; $31 at door
WHEN: Tuesday 5/5/09 – Wednesday 5/6/09
WHERE: Anthology
1337 India Street
San Diego, CA
TIME: 7:30 p.m.
TICKETS: $43
PETE ESCOVEDO
WHEN: Saturday 5/9/09
WHERE: Theater 39
Beach & Leavenworth
San Francisco, CA
TIME: 8:00 p.m. & 10:30 p.m.
TICKETS: $25 – $65
PONCHO SANCHEZ
WHEN: Friday 5/8/09
WHERE: Carson Community Center
801 East Carson Street
Carson, CA
TIME: 8:45 p.m.
SAN JOSE STATE UNIVERSITY LATIN JAZZ ENSEMBLE
WHEN: Wednesday 5/6/09
WHERE: San Jose State Concert Hall
1 Washington Square
San José, CA
TIME: 7:30 p.m.
SCOTT MARTIN LATIN SOUL BAND
WHEN: Saturday 5/9/09
WHERE: Victoria Gardens Cultural Center
12505 Cultural Center Drive
Rancho Cucamonga, CA
TIME: 6:30 p.m.
TICKETS: FREE
WHEN: Sunday 5/10/09
WHERE: Mayfair Park
Clark and South Street
Lakewood, CA
TIME: 11:00 a.m.
TICKETS: FREE
SONANDO
WHEN: Tuesday 5/10/09
WHERE: Olympic College
1600 Chester Avenue
Bremerton, WA
TIME: 11:00 a.m.
SONOMA STATE LATIN JAZZ ENSEMBLE
WHEN: Thursday 5/7/09
WHERE: Warren Auditorium
1801 East Cotati Avenue
Rohnert Park, CA
TIME: 7:30 p.m.
TICKETS: FREE
TANAORA
CD Release Celebration – Dia Real!
WHEN: Monday 5/4/09
WHERE: Yoshi’s – Oakland
510 Embarcadero West
Jack London Square
Oakland, CA
TIME: 8:00 p.m.
TICKETS: $10
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Album of the Week: El Viaje, Pedro Giraudo Jazz Orchestra
Filed under: Jazz, Latin Jazz, Podcasts, Soul/R&B, SoulSites, SoulTrackin'
Pedro Giraudo Jazz Orchestra
Great Latin Jazz composers derive inspiration from a variety of sources, and when it strikes, they rely upon elements from their musical toolbox to clearly express their thoughts and emotions. Strong melodies often form the core of a piece’s mood, expressing the heart of the composer’s inspiration and guiding the piece’s overall structure. A composer’s ability to tap into different types of melodies from classical themes and folk songs, to jazz lines broadens their palette and allows them to develop more powerful themes. When the composer harmonizes the melody, they take large strides towards setting the piece’s mood. A basic set of chords can set a light and fun tone while a distinctly modern harmonic structure, full of complex note clusters, establishes a serious and sometimes dark mood. With these pieces in place, the instrumentalists then serve as paints on a canvas, with different combinations of brass, woodwinds, and rhythm section players shading the pieces with different colors. The integration of solid musical concepts like dynamic contrast, changing timbre, and crisp articulations hone these ideas even further, adding clarity to the piece. Rhythmic structures allow a composer to make both overt and subtle cultural references or simply add intensity and spirit to a piece. When a composer clearly captures their concept and then they choose the right tools to communicate the message, they always create powerfully moving music. Argentinean bassist and composer Pedro Giraudo found a deeply effective inspiration in his personal life, which he beautifully translates into a rich and intriguing large ensemble work on El Viaje
Expressing Emotions In A Rich Four-Movement Suite
The album’s centerpiece, “El Viaje,” a four-movement suite, focuses upon the different feelings and emotions that Giraudo experienced during his wife’s pregnancy and the birth of his first child. Pianist Jess Jurkovic introduces “Tramo I” with a contemplative piano introduction based upon an implied tango feel that grows into a rich wave of sound as the band enters. Giraudo pushes the band into a sense of urgency with a repeated melodic pattern as the brass players force bold rhythmic patterns over racing saxophone lines. Tenor saxophonist Luke Batson captures the song’s underlying tone with a tension filled statement that combines lush melodicism with a driving intensity. Giraudo creates a striking contrast with a brash funk drumbeat, waves of brass, and slippery saxophone melodies as the band explodes into “Tramo II.” Trombonist Mike Fahie leaps into his solo with a funky swagger that matches the rhythm section, developing his improvisation into longer complex lines as the wind players push him with thick background lines. A constant stream of winding saxophone lines support trumpet player Jonathan Powell, who drives his solo into a climax with crackling high notes. Alto saxophonists Todd Bashore and Will Vinson thoughtfully travel through a series of reflective melodies on “Tramo III” that intertwine with a delicate sensitivity, building potent textures. Baritone saxophonist Carl Maraghi enters the mix with a careful walk through his improvisation, letting his deep soulful tone speak volumes about the song’s message. The rhythm section infuses the piece with interactive excitement as the band grows behind Maraghi, encouraging him into a frenzy of wild runs and daring improvisatory choices. The saxophones and brass converse with contrasting lines over a funk drumbeat on “Tramo IV,” starting the piece with a boost of attention-grabbing energy. Vinson jumps into his improvisation with an enthusiastic vigor, winding around the groove until his saxophone explodes into a passionate stream of squelching post-bop intensity. The band transitions from Vinson’s solo into a brash combination of pounding rhythmic figures, tense melodies, and free improvisation, ending the suite on a screaming high. Giraudo creates a deeply effective combination of pieces with El Viaje, fueling the four movements with intricate writing, interesting musical ideas, and outstanding performances.
Transparently Exposing His Musical Personality
Several other compositions emanate from Giraudo’s family life, inspired by his wife and child. Bold brass figures thrash against a bombarding rhythm section attack on “El Bajonazo,” shrinking into a quiet conversation between Jurkovic and the potent sensitivity of Giraudo’s bowed bass. After a quick burst of big band strength, saxophonist Alejandro Aviles engages the band with a meditative statement that quickly grows into an intensive attack of urgency and passion. As the power of the full band returns, Giraudo finds a balance between structure and chaos in his writing with bold, distinct figures and moments of free improvisation that send the piece into an exciting finish. Batson takes center stage on clarinet as he interacts with Jurkovic, Giraudo, and percussionist Tony De Vivo in an intimate and joyful melodic reading on “Yarulina,” a dedication to Giraudo’s wife. The piece moves into a decidedly more serious tone as the brass and saxophones spin long melodic lines, playing together and between phrases, only to fall back into a harmonization of Batson’s original melody. Jurkovic thoughtfully begins his improvisation against a thin texture, developing into fuller ideas as the band interjects short punchy rhythmic figures and quiet chordal patches. Batson weaves a contemplative melody through thick walls of sound on “Nachgeschmack,” finding his way through sometimes dissonant chords or classic jazz voicings. Trumpet player Tatum Greenblatt rises from this moody setting with a confident sense of lyricism, asserting himself with clean and clear melodies that push his sound into the forefront. Giraudo closes his thought on this piece with some engaging writing, combining constant saxophone vamps, rhythmic brass, and dissonant harmonies into a powerful mixture. Trombonist Ryan Keberle, Giraudo, and Bashore each introduce pieces of the melody on “Punto de Partida” until the rhythm section battles against a sea of slurred trombones and rich textural writing. Keberle boldly leaps out of this foundation into an assertive improvisation that drives rapid melodies and repeated figures against a sparse rhythm section. Bashore follows Keberle’s lead with a fiercely strong improvisation that pushes the band into a dramatic climax with streams of outside notes, squelching screams, and quick runs. Giraudo’s writing consistently provides interesting moments and emotional outbursts that transparently expose his musical personality in a highly personal fashion.
Delivering An Emotionally Charged Masterpiece
Giraudo crafts a beautiful statement on El Viaje
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Check Out These Related Posts:
Album of the Week: Ven Baila Conmigo (Come Dance With Me), The Latin Giants of Jazz
Album of the Week: Midnight Jazz Affair, Edy Martinez & His Jazz Orchestra
Album of the Week: Áurea, Geoffrey Keezer
Album of the Week: Roots Propaganda, The Paul Carlon Octet
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6 Latin Jazz Tracks That Feature Guitarist Edgardo Miranda
Filed under: Jazz, Latin Jazz, Podcasts, Soul/R&B, SoulSites, SoulTrackin'
Guitarists are few and far between in the Latin Jazz world, but Edgardo Miranda used his vast array of skills to make a career as a guitar player in the genre. His mastery of both Afro-Cuban and Puerto Rican rhythms formed the foundation of his playing, helping him spin authentic phrases in improvisations and beyond. His knowledge went beyond common salsa forms though; Miranda dug deeply into Cuban folklore and Puerto Rican jibaro music. Miranda knew the songs, traditional licks, and standard guajeos that shaped the style, and he integrated all of that into his guitar playing. He played the Puerto Rican cuatro at an equally high level, finding a place in traditional bomba and plena performances. Miranda fluently worked through jazz changes, integrating bebop lines, complex harmony, and thematic development with an equal artistry. Rock and funk rhythms played a significant role in Miranda’s voice as well, allowing him to walk into the contemporary music world at any moment. He expertly shaped his tone to fit the context of his performance, moving from clean, jazz inflected tones to dirty and loud distortion. Taste and keen artistic judgment always drove Miranda’s work – although he felt comfortable in many worlds, he never forced conflicting aesthetics upon a musical setting. These are the signs of an outstanding musician, regardless of instrument, and as a result, Miranda found a regular spot in many pieces of New York’s Latin Jazz world.
Despite his acceptance in New York’s Latin Jazz circles, Miranda appeared sporadically on Latin Jazz albums, mostly playing a supporting role. In many cases, musicians would form a more traditional ensemble including a rhythm section and wind players for their albums; Miranda would enter the mix for one or two tunes. Some artists would integrate Miranda to add a modern edge to their sound, referencing rock energy or electric textures with the guitar. Miranda could play with a fusion intensity or a jazz subtlety, so his guitar playing could add several different layers of color to a recording. Artists often included Miranda’s cuatro skill into their pieces that drew upon Puerto Rican bomba or plena. Very few guitarists played cuatro skillfully, and even fewer musicians could play the instrument with an authentic feel and approach; Miranda covered all these bases, so he was a perfect choice for any recording with a traditional Puerto Rican feel. Still other times, musicians would choose to use Miranda simply because he was an outstanding soloist, knowing that he would add a meaningful statement to his work. He found an abundance of work for many reasons; he simply acted as a guest in most cases rather than a regular band member.
I’ve collected several examples of Miranda’s work across a wide spectrum of Latin Jazz albums. Each recording demonstrates a different strength inherent in Miranda’s playing and showcases his versatility as a musician. Individually, each track stands as a prime example of his artistry, musical taste, and individual voice. As a collection, these tracks paint a more complete picture of Miranda the guitarist and Latin Jazz giant. Take a minute to check them out and remember this important figure in Latin Jazz.
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1. “Gumbo” – Cortijo & His Time Machine, Rafael Cortijo
Miranda took a major role in the production of Cortijo & His Time Machine, and his unique skills allowed him to build a modern sound upon Cortijo’s authentic blend of jazz, bomba, and plena. “Gumbo,” a piece co-written by Miranda, illustrates this point strongly, with a contemporary funky sound built upon a standard percussive foundation. As a fat electric bass sound rides a solid backbeat, Miranda’s funky strumming offsets the bold Fender Rhodes sound. Miranda spontaneously bursts into extended single note lines that race in unison alongside the wind players, pushing the arrangement into a powerful momentum. There’s a healthy helping of jazz improvisation with solos from most musicians, including Miranda. His heavily distorted tone cuts through the ensemble with running lines and melodic ingenuity. Miranda continues to fill around melodies and other soloists, providing a consistent interactive voice throughout the track. The song evolves through a series of tempo and feel changes, walking the line between funk and traditional Puerto Rican styles. Miranda holds down the foundation throughout the song, allowing some deep insight into the fusion of modernity and tradition that made Cortijo & His Time Machine such as classic album.
2. “Evidence” – Ya Yo Me Cure, Jerry Gonzalez
When Jerry Gonzalez recorded Ya Yo Me Cure in 1979, he was still refining the concept of the Fort Apache Band, using a larger ensemble, which frequently used Miranda on guitar. Even at this point, Gonzalez walked the tightrope between jazz and Afro-Cuban music with a rare fearlessness – here, he combines the melodic shape of Thelonious Monk’s “Evidence” with the rhythmic structure of the classic Frank Emilio Flynn descarga “Gadinga, Modongo Y Sandunga” over a ferocious rumba. The group strolls through the melody with a confident looseness, moving into passionately wild improvisations from Gonzalez on trumpet and pianist Hilton Ruiz. Miranda hangs in the back throughout this piece of the song, cleverly comping unobtrusively around Ruiz’s active chordal work. After Ruiz storms through a bebop infused solo, Miranda enters his improvisation with long interesting lines that reference Charlie Christian more than Arsenio Rodriguez. Miranda smartly plays with a dry acoustic tone, outlining the changes with a knowledgeable approach that comfortably fits into Afro-Cuban rhythmic structures. “Evidence” displays another side to Miranda’s musicianship that finds him easily playing in a more traditional jazz context.
Puente rarely used guitar on his Latin Jazz recordings, so the inclusion of Miranda served as a major complement to the guitarist’s skills. Pianist Jorge Dalto establishes the familiar vamp from the 1960s hit, giving Miranda a chance to engage in a brief improvisation. Puente’s rhythm section maintains an authentic cha cha cha while Miranda infuses the melody with all the funky grease of the original recording. The rhythm section starts pushing the groove slightly as Miranda improvises carefully around the melody. After a break, Miranda switches to cuatro for a traditional montuno and then a guitar solo that walks the line between contemporary licks and the cha cha cha’s rhythmic language. As Miranda falls more deeply into Afro-Cuban phrasing, the rhythm section explodes into double time for an exciting flute improvisation from Mario Rivera. The band returns to the original feel, giving Miranda an opportunity to restate the main theme. The overall track shines as a feature for Miranda, who plays with a refined ability to work authentically among one of the music’s best rhythm sections while referencing popular music.
Miranda had the ability to take even a short appearance and make it into a memorable event, as evidenced in this track from conguero Carlos “Patato” Valdes’ album El Hombre
Miranda spent years exploring traditional Puerto Rican music with Los Pleneros De 21 (and beyond), so his cuatro playing fit perfectly into trombonist William Cepeda’s concept of Afro-Rican Jazz. As “Ponte Pa’l Monte” opens, Miranda improvises tipico lines around an explosive trumpet before falling into a unison melodic line with pianist Eric Figueroa. Miranda’s cuatro trades places in the forefront with the jazz tinged horn section, the churning percussion, and Cepeda’s trombone, creating an interesting textural mix. While bassist Ruben Rodriguez takes a solo, Miranda wisely disappears into the background, allowing Rodriguez to take center stage. After an explosive percussion break, Miranda assertively states his territory with rapid runs that quickly demonstrate his chops. The onslaught of notes continues throughout the solo, yet Miranda never falls into the trap of virtuosity. He creates jagged rhythmic emphasis with the beginning and ends of his phrases that wrap tightly around the bomba sica foundation. This track finds Miranda in a combination of traditional Puerto Rican music and jazz, another context where his broad skills become just the right tool for the job.
Throughout Chango Te Llama
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Check Out These Related Posts:
5 Albums That Remember Bay Area Latin Jazz Saxophonist Ron Stallings (1947 – 2009)
8 Latin Jazz Tracks Featuring Manny Oquendo
7 Great Latin Jazz Albums From Ralph Mercado and RMM Records
Orlando Lopez (1933 – 2009): 5 Albums To Help Remember Cachaito
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Looking Back Upon The Latin Jazz World’s Losses In 2009
Filed under: Jazz, Latin Jazz, Podcasts, Soul/R&B, SoulSites, SoulTrackin'
2009 is still young, but already it has been a memorable year. We’ve some outstanding music from established Latin Jazz artists, who continue to take Latin Jazz and push it into the future. Marlon Simon’s Afrocuban & Live, Wayne Wallace’s Infinity, and Claudio Roditi’s Brazilliance x4 are just a few of the albums from familiar faces that jump to the forefront of 2009’s Latin Jazz world. Younger artists created engaging pieces of art with Latin Jazz albums that honored tradition and explored their personal identities. Scott Oakley’s Canción Para Mi Amor, Grupo Falso Baiano’s Viajando: Choro e Jazz, and Yuri Juarez’s Afroperuano all stand as creative statements from newer voices on the Latin Jazz scene that need to be heard. Fresh faces entered the world of Afro-Peruvian Jazz, giving us some incredible albums, such as jazz pianist Geoffrey Keezer’s Áurea and Manante’s Para Los Engreidos. With eight months left in the year, we can anticipate a wealth of great music; yet, as we look back upon the first piece of 2009, there’s a sobering reality that needs to be recognized.
The Latin Jazz world felt the sorrow of loosing several major figures, who effected broad aspects of the music world from coast to coast. Timbalero Manny Oquendo passed away, leaving behind a massive legacy of recorded works that touch large parts of the jazz and salsa worlds. His work with Eddie Palmieri’s La Perfecta, Grupo Folklorico Y Experimental, and Conjunto Libre stands as some of the best Latin Jazz and salsa in the music’s history. Promoter Ralph Mercado died in March, after spending a lifetime spreading the word about New York’s vibrant Latin Jazz and salsa scene. He ensured the recording of important albums from Eddie Palmieri, Tito Puente, Juan Pablo Torres, Michel Camilo, and more, as well as forming an all-star group that created two memorable albums. Bay Area Saxophonist Ron Stallings died recently, after following his passion for Latin music into a variety of influential San Francisco-based groups. His performances with John Santos and the Machete Ensemble, Que Calor, Wayne Wallace, and John Calloway helped fill several recordings with a substantial voice. New York guitarist and cuatro player Edgardo Miranda passed away after years of high quality musical service alongside some of New York’s finest musicians. Always a reliable sideman, Miranda performed on important albums from Jerry Gonzalez, Cortijo, Tito Puente, William Cepeda, and more. It’s a long list considering we’ve only experienced four months of 2009, and let’s hope that it ends here.
With so many artists leaving us in such a short time, I thought that we should look back upon some of their contributions and remember these artists in a thoughtful light. LJC has covered many aspects of the lives and music attached to these figures, and we’ll continue to honor their memories. As we look into the future, it’s important to remember our past and stand upon our roots as we allow the music to grow. With this in mind, I’ve added some tracked down some videos related to each of these artists and provided links to earlier LJC coverage of their lives. As we enjoy all the new music around us, let’s take a minute to reflect upon all the important work done by our predecessors!
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Manny Oquendo Performing With Conjunto Libre
News Clip On The Machete Ensemble, Including Footage of Saxophonist Ron Stallings
Guitarist Edgardo Miranda Performing With Tito Puente
Ralph Mercado’s Tropijazz All-Stars Performing “Bembe”
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Links to LJC Articles On Oquendo, Mercado, and Stallings:
Manny Oquendo (1931 – 2009): A Career Based On Tradition And Innovation
8 Latin Jazz Tracks Featuring Manny Oquendo
Manny Oquendo’s Influence: Libre Members Working As Bandleaders
Remembering Ralph Mercado (1941 – 2009): Tropijazz All-Stars On Video
7 Great Latin Jazz Albums From Ralph Mercado and RMM Records
5 Albums That Remember Bay Area Latin Jazz Saxophonist Ron Stallings (1947 – 2009)
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Latin Jazz This Week
Filed under: Jazz, Latin Jazz, Podcasts, Soul/R&B, SoulSites, SoulTrackin'
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.
For the past few weeks, we’ve been reporting on the Grand Opening of Tutuma Social Club, a restaurant and nightclub dedicated to great Afro-Peruvian food and daily doses of Afro-Peruvian Jazz. The Grand Opening celebration was originally scheduled for this week, but due to construction issues, the club’s debut has been postponed until Tuesday May 12th. You’ll still get all that great Afro-Peruvian Jazz that the club promises, you’ll just have to wait a little longer . . . more news as we get closer!
Last week, we reported on the passing of the great New York guitarist and cuatro player Edgardo Miranda, who performed with a wealth of Latin Jazz legends, from Jerry Gonzalez to Papo Vazquez and more. The blog over at La Fonda Boricua also remembered Miranda with a short write-up on his life and music. Check it out HERE.
Ted Panken leads an interesting interview with clarinetist Anat Cohen and Brazilian drummer Duduka da Fonseca over at Jazz.com this week. The pair has worked together often, most prominently on da Fonseca’s 2006 album Samba Jazz in Black and White. Panken goes in deep with the duo, discussing ideas around Brazilian music, da Fonseca’s background, and their ideas about collaboration. It’s an interesting article about a dynamic pair of musicians – check it out HERE.
Focusing The Spotlight: Yuri Juarez & Tutuma Social Club
5 Albums That Remember Bay Area Latin Jazz Saxophonist Ron Stallings (1947 – 2009)
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Bobby Sanabria Conducting The Manhattan School of Music Afro-Latin Jazz Orchestra: Kenya Revisited Live!!!
Irene & Her Latin Jazz Band: A Song Of You
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If you’re in EUROPE this week . . .
DAVID SANCHEZ
WHEN: Saturday 5/2/09
WHERE: Menorca Jazz Festival
Menorca
Balearic Islands, Spain
TIME: 10:00 p.m.
TICKETS: 24 euros
If you’re on the EAST COAST this week . . .
ARTURO O’FARRILL
Solo Piano
WHEN: Wednesday 4/29/09
WHERE: Puppet’s Jazz Bar
481 5th Avenue Park Slope
Brooklyn, NY
TIME: 7:00 p.m.
TICKETS: $10
BLUE MAMBO
WHEN: Wednesday 5/29/09
WHERE: Willie’s Steak House
1832 Westchester Ave
Bronx, NY
TIME: 8:00 p.m.
CHICO O’FARRILL’S AFRO-CUBAN JAZZ ORCHESTRA
WHEN: Sunday 5/3/09
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 5/3/09
WHERE: Smoke
2751 Broadway
New York, NY
TIME: 8:00 p.m., 10:00 p.m. & 11:30 p.m.
TICKETS: $20 minimum
CHUCHITO VALDES
WHEN: Thursday 4/30/09 – Saturday 5/2/09
WHERE: Bank & Blues Club
Main Street
Daytona Beach, FL
TIME: 10:00 p.m.
TICKETS: $28
DAFNIS PRIETO
WHEN: Saturday 5/2/09
WHERE: Western Connecticut State University – Ives Concert Hall
181 White Street
Danbury, CT
TIME: 7:00 p.m.
TICKETS: $15
GARY MORGAN & PANAMERICANA
WHEN: Sunday 5/3/09
WHERE: Brooklyn Lyceum
227 4th Avenue
Brooklyn, NY
TIME: 9:00 p.m.
TICKETS: $10
HENDRIK MEURKENS
WHEN: Wednesday 4/29/09
WHERE: The Kitano
66 Park Avenue
New York, NY
TIME: 8:00 p.m. & 10:00 p.m.
TICKETS: NO COVER, $15 minimum
JOHN BENITEZ LATIN JAZZ GROUP
WHEN: Thursday 4/30/09
WHERE: La Fonda Boricua
East 106th Street
New York, NY
TIME: 9:00 p.m.
TICKETS: NO COVER
LATIN GIANTS OF JAZZ
WHEN: Saturday 5/2/09
WHERE: Hyatt Regency of Greenwich
1800 East Putnam Avenue
Old Greenwich, CT
TIME: 6:00 p.m.
WHEN: Sunday 5/3/09
WHERE: Dance Manhattan Studio
39 W. 19th Street
Manhattan, NY
TIME: 5:00 p.m.
TICKETS: $14
LAYLA ANGULO
WHEN: Sunday 5/3/09
WHERE: Jules Bistro
65 St. Marks
New York, NY
TIME: 8:00 p.m.
NEGRONI’S TRIO
WHEN: Friday 5/1/09
WHERE: Books & Books
265 Aragon Avenue
Coral Gables, FL
VENISSA SANTÍ
WHEN: Sunday 5/3/09
WHERE: Bistro St. Tropez
2400 Market Street
Market Place Design Center 4th Floor
Philadelphia, PA
TIME: 11:30 p.m.
WILLIE MARTINEZ
WHEN: Thursday 4/30/09
WHERE: Nuyorican Poet’s Cafe
236 East 3rd Street
New York, NY
TIME: 9:00 p.m.
TICKETS: $10
If you’re in the MID-EAST this week . . .
CRAIG RUSSO LATIN JAZZ PROJECT
WHEN: Thursday 4/30/09
WHERE: Zorba’s
627 E Green St
Champaign, IL
TIME: 9:30 p.m.
DAVID SANCHEZ
Guest Artist w/Black Hawk College Jazz Ensemble
WHEN: Thursday 4/30/09
WHERE: Black Hawk College
6600 34th Ave
Moline, IL
TIME: 7:30 p.m.
TICKETS: FREE
LOS GATOS
WHEN: Thursday 4/30/09
WHERE: The Firefly Club
637 S. Main
Ann Arbor, MI
TIME: 8:00 p.m.
TICKETS: $8
PONCHO SANCHEZ
WHEN: Friday 5/1/09
WHERE: New Orleans Jazz & Heritage Festival – WWOZ Jazz Tent
1751 Gentilly Boulevard
New Orleans, LA
TIME: 5:45 p.m.
TICKETS: $40
TUMBAO BRAVO
WHEN: Saturday 5/2/09
WHERE: Niki’s Pizza
735 Beaubien Street
Detroit, MI
TIME: 8:00 p.m.
WHEN: Sunday 5/3/09
WHERE: Sangria – Royal Oak
401 S. Lafayette
Royal Oak, MI
TIME: 9:00 p.m.
If you’re on the WEST COAST this week . . .
ANNA ESTRADA
WHEN: Tuesday 4/28/09
WHERE: Caffe Trieste
1667 Market
San Francisco, CA
TIME: 6:00 p.m.
ARTURO SANDOVAL
WHEN: Friday 5/1/09 – Sunday 5/3/09
WHERE: Yoshi’s – Oakland
Jack London Square
Oakland, CA
TIME: 8:00 p.m. & 10:00 p.m.; Sunday 2:00 p.m. & 7:00 p.m.
TICKETS: Friday & Saturday – $28; Sunday 2:00 p.m. – $5 kid & $18 adult; $24 general admission; Sunday 7:00 p.m. – $28
GRUPO FALSO BAIANO
WHEN: Sunday 5/3/09
WHERE: Sam’s Chowder House
4210 North Cabrillo Highway
Half Moon Bay, CA
TIME: 1:00 p.m.
TICKETS: NO COVER
WHEN: Sunday 5/3/09
WHERE: Anna’s Jazz Island
2120 Allston Way
Berkeley, CA
TIME: 8:00 p.m.
TICKETS: $14
JOHN SANTOS SEXTET
Voices Change Lives Banquet
WHEN: Saturday 5/2/09
WHERE: Oakland Åsian Cultural Center
388 9th St. # 290.
Oakland, CA
TIME: 6:30 p.m.
TICKETS: $45
JUAN ESCOVEDO
WHEN: Wednesday 4/29/09
WHERE: Yoshi’s – Oakland
510 Embarcadero West
Jack London Square
Oakland, CA
TIME: 8:00 p.m. & 10:00 p.m.
TICKETS: $14
LOUIE CRUZ BELTRAN LATIN JAZZ ENSEMBLE
WHEN: Saturday 5/2/09
WHERE: Steamer’s
138 W. Commonwealth
Fullerton, CA
TIME: 8:30 p.m.
TICKETS: $8
MARK LEVINE & THE LATIN TINGE
WHEN: Monday 4/27/09
WHERE: Yoshi’s – Oakland
510 Embarcadero West
Jack London Square
Oakland, CA
TIME: 8:00 p.m. & 10:00 p.m.
TICKETS: 8:00 p.m. – $16; 10:00 p.m. – $10
PONCHO SANCHEZ
WHEN: Tuesday 4/28/09
WHERE: The Mint
6010 West Pico Boulevard
Los Angeles, CA
TIME: 11:00 p.m.
TICKETS: $15 in advance; $20 at the door
WHEN: Sunday 5/3/09
WHERE: Steamer’s
138 W. Commonwealth
Fullerton, CA
TIME: 7:00 p.m. & 9:00 p.m.
TICKETS: $15
SCOTT MARTIN LATIN SOUL BAND
WHEN: Friday 5/1/09
WHERE: Vintage Steak House
26701-B Verdugo Street
San Juan Capistrano, CA
TIME: 8:30 p.m.
WHEN: Saturday 5/2/09
WHERE: Seabird Jazz Lounge
730 E. Broadway
Long Beach, CA
TIME: 9:00 p.m.
WHEN: Sunday 5/3/09
WHERE: The Redondo Pier
Torrance Boulevard
Redondo Beach, CA
TIME: 4:00 p.m.
TICKETS: FREE
TANAORA
CD Release Celebration – Dia Real!
WHEN: Monday 5/4/09
WHERE: Yoshi’s – Oakland
510 Embarcadero West
Jack London Square
Oakland, CA
TIME: 8:00 p.m.
TICKETS: $10
WAYNE WALLACE
WHEN: Thursday 4/30/09
WHERE: Kuumbwa Jazz Center
320-2 Cedar Street
Santa Cruz, CA
TIME: 7:00 p.m.
TICKETS: $12 in advance; $15 at door
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5 Albums That Remember Bay Area Latin Jazz Saxophonist Ron Stallings (1947 – 2009)
Filed under: Jazz, Latin Jazz, Music News, Podcasts, Soul/R&B, SoulSites, SoulTrackin'
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
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
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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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
Machetazo!: 10 Years on the Edge
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
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
Filed under: Jazz, Latin Jazz, Music News, Podcasts, Soul/R&B, SoulSites, SoulTrackin'
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
Filed under: Jazz, Latin Jazz, Music News, Podcasts, Soul/R&B, SoulSites, SoulTrackin'
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.
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.
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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Al Delory: Hot Gandinga
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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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Album of the Week: Brazilliance x4, Claudio Roditi
Filed under: Jazz, Latin Jazz, Podcasts, Soul/R&B, SoulSites, SoulTrackin'
Claudio Roditi
Resonance Records
An artistic encounter of sympathetic musical personalities can inspire fine performances from all involved, often bringing unexpected qualities to the surface and almost always guaranteeing unforgettable recordings. Many professional musicians spend the majority of their time working with high quality collaborators, and they often explore interesting artistic avenues through brief gatherings of different groups. Most of the time these musicians get the job done and they provide inspiration, but on some levels, professionalism is simply not enough. When musicians share common cultural backgrounds, similar artistic interests, and identical performance aesthetics, a different type of magic arises from the collaboration. A highly energetic momentum propels the grooves into a new space, the improvisations capture an extra intensity, and the spontaneous interplay appears to be the result of telepathic communication. The performances seem effortless and natural; the artistic output resonates from the performers like a common extension of their bodies. It’s an ideal musical situation that all artists aspire towards, but few rarely capture. Musicians don’t often spend their time with collaborators that share broad pieces of their musical personalities, making those sympathetic moments more magical. Trumpet player Claudio Roditi, a long-time veteran of the Brazilian Jazz scene, gathers a sympathetic group of musicians on Brazilliance x4
Exploring Roditi’s Original Compositions
Roditi contributes several compositions to the recording, moving his musical personality into the forefront. Duduka da Fonseca dramatically introduces “Dinner by Five” with an unaccompanied drum solo before pianist Helio Alves assertively moves chords over a pedal tone and Roditi boldly states the melody. Roditi captures the song’s momentum with a blistering stream of notes before developing his improvisation with smart accents and hard bop intensity. Alves matches Roditi’s fire with virtuosic melodic runs, bluesy embellishments, and shifting thematic ideas. Roditi shapes an upbeat idea with short melodic snippets, allowing da Fonseca to insert some rhythmic commentary on “Tema para Duduka.” Alves creates his own clever twists on the melody, building a strong improvisation until Roditi blasts into an inspired statement. The band disappears allowing da Fonseca to take his time constructing a brilliant unaccompanied solo, full of color and melodic structure. Alves introduces the main theme with subtle flourishes on “Song for Nana” before Roditi tenderly restates the full melodic idea over a gentle bossa nova foundation. This understated setting provides the perfect setting for Alves, who fills his improvisation with jazz finesse and smoldering atmosphere. Roditi travels through his solo with an inventive melodic flair, weaving rapid runs and long tones back into the melody. The group attacks the melody on “Gemini Man” with a vigorous passion, driving the familiar melody through an unstoppable samba groove. Roditi displays his close familiarity with the changes, tearing through the thick momentum with a fierce tone, a technical strength, and a series of strong ideas. Alves draws upon Roditi’s inertia, wildly meshing pieces of the melody, steaming runs, and syncopated rhythmic ideas into an unforgettable display of improvisatory fire. Roditi’s compositions strike a chord with the musicians, inspiring strongly committed performances, interesting conversational interplay, and exposed improvisations.
Drawing Upon Samba Compositions
The group also draws upon samba compositions from well-known Brazilian composers, finding a common ground in familiar repertoire. The rhythm section explodes into a funky strut over a baiao groove as Roditi and Alves gallop through the inspired melody on Victor Assis Brasil’s “Pro Zeca.” Roditi captures the song’s inherent swing and character with a bluesy solo that pushes the groove with rhythmic accents and quick flights of notes. Alves cleverly twists rhythmic phrases into new ideas over the course of an interesting and winding solo, leading into an engaging and creative improvisation from da Fonseca. A unison band run leads into a syncopated melody with a naturally rhythmic nature on Raul de Souza’s “A Vontade Mesmo.” Roditi assertively wraps his ideas around the samba’s rhythmic structure, leading into an energetic statement from Alves who continues to play around the groove. The original unison run introduces da Fonseca’s improvisation, a colorful display of ideas based upon the underlying samba foundation. A stop break makes way for Roditi’s introduction of the melody on Johnny Alf’s “Rapaz de Bem,” an uplifting melody with an active series of chords. Alves leaps headfirst into his improvisation with long winding lines that he develops through strategically placed references to the melody. The mellow sound of Roditi’s flugelhorn offsets the rapid bebop flavored lines that he pushes through his improvisation, providing a distinct edge to the track. These songs create a familiar meeting point for these musicians, allowing them to explore each other’s distinct personalities in a comfortable setting.
Balancing The Repertoire With Bossa Novas
The group balances their traditional repertoire with a group of bossa novas from a variety of composers. The rhythm section indulges in a flowing momentum at the onset of Durval Ferreira and Lula Freire’s “E Nada Mais,” leading into Roditi’s brilliantly understated melodic interpretation. He maintains his burning cool beneath his soulful improvisation, letting his ideas heat to a boil over the course of multiple choruses. Alves displays a similar elegance to his solo, flavoring his statement with a blues edge that pushes the band forward. There’s an upbeat joy behind Joao Donato and Paulo Sergio Valle’s “Quem Diz Que Sabe” emphasized by the simple repetitive nature of the melody. Roditi focuses upon melodic development, using space and rhythmic emphasis to build an appealingly tasteful solo. Alves spins witty rhythmic variations around his ideas, giving way to bassist Leonardo Cioglia’s improvisation, a solid statement that resonates with his instrument’s rich tone. Roditi recalls his jazz roots with a medium tempo bossa nova version of Miles Davis’ “Tune Up,” putting a distinctly different twist on the standard. Roditi skillfully weaves lines through the changes, but there’s a distinct cool to his sound, emphasized by his use of space and his flugelhorn tone. Alves displays a comfortable familiarity with the tune, developing a strong statement that rolls through the groove with an enthusiastic edge. These tracks open possibilities for the musicians to show another side to their musicianship while supporting each other in a common setting.
An Inspiring Sympathetic Relationship Between Musicians
Roditi presents a highly engaging set of Brazilian Jazz on Brazilliance x4
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Check Out These Related Posts:
Album of the Week: Samba To Go!, Hendrik Meurkens
Album of the Week: Lua e Sol, Mark Weinstein
Album of the Week: Forests, Brazilian Trio
Spotlight: Viajando: Choro e Jazz, Grupo Falso Baiano
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Congratulations To The Winners Of The Eddie Palmieri Tickets!
Filed under: Jazz, Latin Jazz, Podcasts, Soul/R&B, SoulSites, SoulTrackin'
Congratulations to our winners in the giveaway for the free Eddie Palmieri tickets. New LJC subscribers Susan Pereira and Vic Godoy will be checking out Mr. Palmieri at SOB’s in New York at the 8:00 p.m. and 10:00 p.m. shows respectively. It should be a fantastic show; we’ll be looking forward to hearing some feedback on the night from them!
If you didn’t win but you still want to check out Palmieri at SOB’s, you can still buy tickets! The show info is below:
EDDIE PALMIERI
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
I’d highly recommend it – the opportunity to see Palmieri live is always a treat. Just to give a sense of what you might expect, I’ve included a video of Palmieri performing live below. Enjoy!
Latin Jazz Conversations: Mitch Frohman (Part 3)
Filed under: Jazz, Latin Jazz, Music News, Podcasts, Soul/R&B, SoulSites, SoulTrackin'
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
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
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.
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.
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)
Filed under: Jazz, Latin Jazz, Music News, Podcasts, Soul/R&B, SoulSites, SoulTrackin'
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
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
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
LJC: Silver in the Bronx
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)
Filed under: Jazz, Latin Jazz, Music News, Podcasts, Soul/R&B, SoulSites, SoulTrackin'
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
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
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.
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.
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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!
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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
Filed under: Jazz, Latin Jazz, Music News, Podcasts, Soul/R&B, SoulSites, SoulTrackin'
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.
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.
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
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Felipe Salles: Timeline
Roger Davidson & Raúl Jaurena: Pasión Por La Vida
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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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Album of the Week: Canción Para Mi Amor, Scott Oakley Y Sus Incomparables
Filed under: Jazz, Latin Jazz, Music News, Podcasts, Soul/R&B, SoulSites, SoulTrackin'
Scott Oakley Y Sus Incomparables
Invisible Music
Latin piano styles have a rich and complex background, full of colorful musicians and diverse performance aesthetics – its a world that appeals strongly to many jazz pianists, but one that takes some serious study to master. Experienced jazz pianists walk into the style with some good skills; their advanced knowledge of harmony, technical proficiency, and ability to improvise are all major benefits to a student of Latin piano. These are simply pieces of a larger puzzle though. The jazz pianist needs to make some serious adjustments to their performance approach before feeling comfortable in a Latin Jazz setting. A Latin pianist’s accompaniment style differs greatly, with montunos taking a good deal of a pianist’s time as well as a different rhythm language to comping. Their improvisations need to reach beyond the running streams of notes and swung phrasing that jazz offered them; instead they need to find an attachment to the clave and discover how to play within every space of it. The aspiring Latin pianist needs to look across the whole scope of influential pianists from classic players such as Pedro “Peruchin” Justiz to modern stylists like Eddie Palmieri and Chucho Valdes. Once they’ve wrapped their heads around the major names in Latin piano, they need to head back to their roots and examine how a jazz voice fits into the Latin music world. The transition from jazz pianist to Latin Jazz pianist requires more than a simple change of repertoire, it demands a thorough study of history, technique, and performance style. Pianist Scott Oakley made this transition from jazz pianist to accomplished Latin Jazz musician through a deep study, and he demonstrates his new voice with a modern and funky sound, grounded in tradition, on Canción Para Mi Amor
Paying Tribute To Influential Cuban Pianists
Oakley pays tribute to influential Cuban pianists on several tracks. A massive percussion feature explodes into an aggressive break on “Para Pupi” before an addictively funky groove enters behind saxophonist James King’s melody. The band charges forward with a timba influenced momentum behind King’s improvisation, enthusiastically interacting with his quick, rhythmically displaced lines. Oakley takes a quick solo that displays his ability to cleverly manipulate a melody’s rhythmic structure. Oakley jumps right into a straight-forward melody over a son montuno rhythm on “Mi Peruchin Descarga #1,” and then sets up the open jam with a catchy montuno. He respects his role model’s influence with some fairly tipico lines while the rhythm section consistently rides the tumbao. The drummers establish a modern songo groove on “Al Estilo De César “Pupi” Pedroso” until Oakley storms into a powerful montuno while King plays a minor melody. King takes advantage of the band’s unstoppable inertia with aggressively creative lines played with a biting tone. Oakley stretches the time and plays off snippets of montuno with a well-constructed statement that recalls Pedroso’s sound. King’s flute doubles Oakley on a rhythmic melody over a son montuno foundation on “Mi Peruchin Descarga #2.” Oakley sets the band on fire with a strong montuno, pushing King’s improvisation into a new level of excitement. The band lowers down for Oakley’s improvisation that presents a refreshingly long stream of creative developments. On each track, Oakley shows that he has done his homework, and he represents each of his influence with style and ingenuity.
Compositions Reflecting An In-Depth Study
Several original compositions help further Oakley’s study, with focused explorations that allow him to practice certain elements of the music. Originally an exercise in phrasing around 3-2 clave, “La Pregunta De Tres Dos” presents an angular melody that smartly wraps around the clave. King indulges in the rhythm section’s driving cha cha cha groove, slyly spinning brash lines with bold conviction. Oakley takes a more tipico approach with classic ideas that lock strongly over the band. Oakley puts a spin on a typical piano montuno with an extra beat on “Cha Cha Cha en Cinco,” leading into a sparse melody that slyly winds around the five beat structure. King interjects short improvised phrases around the pulse, staying close to the melody while the rhythm section indulges in the unique groove. Oakley and López open “Las Perlas Caen en el Plato de Jade” with an understated groove until Lopez compliments the melody with a strong bass pulse that emphasizes every third beat. After the angular melody runs its course, Oakley pushes the tempo with a pulsating montuno that serves as the basis for King’s searing solo. The band lowers its dynamic behind Oakley who drives the momentum forward with syncopated ideas and rhythmic displacement. Oakley explores the concept of clave and changing direction on “Corremos, después Saltamos,” starting with a catchy flute melody accompanied a comping pattern closely aligned to clave. The group shifts direction behind the solos as King displays a nimble fluency on the flute with flying notes and a percussive attacks. Oakley follows with bouncing lines that leap around the groove, held together with long collections of jazz oriented phrases. These pieces show the depth of Oakley’s work, and their specific purposes reflect a smart musician mastering his craft.
The Emergence Of A Creative Voice
Oakley completes the repertoire with a collection of original compositions that display a distinct comfort in the style and a creative playfulness. The full band attacks the melody on “Canción Para Mi Amor” with a ferocious intensity, contrasted by a subtly funky interlude with Oakley and bassist Rigoberto López playing a unison line. The group roars into King’s improvisation, who grabs the wave of passion and rides it with a fearless drive. Oakley immediately counters the mood, utilizing sharp rhythmic phrases, quick breaks for air, and a quiet focus to develop a strong idea. López begins “Persiguiendo El Bajo” with a distinct groove, and as each band member joins, the song’s texture grows into an explosive melody. The band hits full throttle as King leaps into his improvisation with catchy themes and strong development. Oakley finds a balance between jazz and clave with long flowing lines that fragment into repeated phrases and a percussive intensity, building into an ear-catching statement. King’s flute floats over an interesting cha cha cha groove and angular rhythm section breaks on “Para Becky,” a song defined by outstanding arranging ideas. A barrage of bata drums enters behind the solo section, providing King with a wealth of possibilities to travel between a four and six beat emphasis. Oakley also finds inspiration in the bata, leaning upon rhythmic ideas to serve as the foundation for his soaring statement which fluidly connect these two worlds into a logical whole. There’s a defined voice in each of these pieces that demonstrate Oakley’s mastery of the style, and his current ability to express himself within the genre.
Announcing Oakley’s Arrival As A Latin Jazz Artist
Oakley demonstrates the results of his in-depth study into the world of Latin music, performing with an authentic feel, a thorough understand, and a limitless creativity on Canción Para Mi Amor
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Check Out These Related Posts:
Album of the Week: Afrocuban & Live, Marlon Simon and Black Chantilly
Album of the Week: Enclave Diaspora, Rebecca Cline and Hilary Noble
Album of the Week: Ven Baila Conmigo (Come Dance With Me), The Latin Giants of Jazz
Spotlight: September’s Child, The Joel Larue Smith Trio
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Win Free Tickets To Eddie Palmieri’s Performance At SOB’s New York!
Filed under: Jazz, Latin Jazz, Music News, Podcasts, Soul/R&B, SoulSites, SoulTrackin'
Latin Jazz Corner and SOB’s nightclub in New York are joining forces and giving two loyal LJC readers free tickets to attend Eddie Palmieri’s performance next Thursday night, April 16th.This legendary Latin Jazz pianist will be making a rare nightclub appearance and you can bet that the intimate setting will only intensify his explosive musical personality. If you’re in the New York area, you can’t miss this show – and LJC is going to help ensure that you check it out.
Here’s all you have to do – simply sign up to have LJC delivered directly to your e-mail and you’ll be entered in the drawing for the free tickets. I’ll collect all the names that sign-up for e-mail delivery between now and Tuesday April 14th, and then I’ll do a drawing on Tuesday night. We’re giving away a set of two tickets for the 8:00 p.m. show and a set of two tickets for the 10:00 p.m. show, so I’ll draw a name for each. I’ll contact those readers, post an announcement here at LJC, and they’ll be off to check out Eddie Palmieri at SOB’s next Thursday night.
What are you signing up for exactly? All the great articles that you read here on the LJC site will be delivered to your e-mail account. You won’t get any spam and I won’t share your e-mail addresses with anyone. I’m just making your life easier by sending all the news, articles, reviews, and more that you experience here at LJC directly to your e-mail. No need to visit the site, simply open your e-mail and jump into the Latin Jazz world. You get everything you already enjoy and you get a chance to win tickets to the Eddie Palmieri concert at SOB’s.
Ready to enter? Click HERE to sign-up for e-mail delivery. Once you sign-up make sure that you verify your subscription, then you’re in the running.
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Still looking for some motivation to enter? Here’s a few reasons that you might want to see Eddie Palmieri in concert.
1. He Puts On An Incredible Live Show
Palmieri never ceases to amaze me with the amount of energy, creativity, and passion that he puts into performance. He plays fearlessly, putting himself into every note and pounding out every syncopated rhythm. He takes risks and explores each corner of the music, always looking for a new angle. He inspires the best performances from his musicians, taking the whole experience to a new level. The last time I saw Palmieri in concert, he was performing in an open-air stadium with a less than ideal sound system. Forget about the details of sound and atmosphere, Palmieri and his group lit the place on fire with a massive performance. I imagine that he’ll do the same at SOB’s.
2. He’s A Esteemed Elder Of The Latin Jazz World
Closing your eyes and listening to Palmieri brings to mind the image of a vivacious young man passionately slamming away at the keyboard; in reality, Palmieri has 72 years of life behind him. He carries a world of experience with him and he can display the results of that background live. He’s a true master, and you need to show your respect for that status by checking him out. He’s also in the later half of his life; you’ve got to see him while you’ve got the chance.
3. It’s a Rare Opportunity To See Palmieri In a Small Venue
Once again, Palmieri is a Latin Jazz master with over 50 years of performance behind him; he has a huge fan base that wants to see him live and for the most part, he performs in larger venues these days. Palmieri certainly knows how to make these venues explode with excitement during a performance, but most people would agree that there’s something magic about seeing a high caliber performer in a smaller setting. You get closer to the music, you can see the performers, and you simply become a deeper part of the performance. Put some headphones on and listen to Palmas at high volume – then close your eyes and imagine yourself right in front of the music . . . priceless.
4. Brian Lynch Will Be Playing With Him
Palmieri’s career has been filled with an illustrious group of sidemen – Manny Oquendo, Andy Gonzalez, Barry Rogers, and Robby Ameen to name a few; its a list that reflects the best of New York’s Latin music world, and Brian Lynch sits near the top. Palmieri’s music always included a jazz edge, but Lynch brings major jazz credentials into the group that include stints with Art Blakey, Horace Silver, and Phil Woods. In addition, Lynch is knee deep in the Latin music world – he carries a deep understanding of clave and Cuban styles. He doesn’t simply blow jazz lines over Latin rhythms; he integrates the rhythmic structures into his playing. His adventurous spirit matches Palmieri’s innovative edge; in many ways, Lynch serves as the perfect balance for Palmieri.
5. It’s Free
The current U.S. economy has got all of us in a spending slump, especially when it comes to entertainment. Let’s face it, concerts are expensive in today’s world, and it’s harder to check out all the artists you’d like to hear. Here’s an opportunity to see one of the best free of charge – hard to pass up in this day and age. Just enter the contest and if you win, you’ll be checking out Palmieri at SOB’s!
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Don’t hesitate – enter now! Sign up for an e-mail subscription to The Latin Jazz Corner by clicking HERE and you’re in the running for those tickets! If you’ve already subscribed, send me a message with “Palmieri Tickets” in the subject and your name in the message body. Good luck to everyone!
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Spotlight: Afroperuano, Yuri Juarez
Filed under: Jazz, Latin Jazz, Music News, Podcasts, Soul/R&B, SoulSites, SoulTrackin'
The Spotlight Series highlights upcoming Latin Jazz musicians that have yet to reach national recognition. Many of these musicians thrive in local scenes and some tour in support of releases. All these musicians contribute greatly to the overall Latin Jazz scene, and they deserve our “spotlighted” attention.
Afroperuano
Yuri Juarez
Saponegro Records
When a new style of Latin Jazz emerges, artists have plenty of work ahead of them, developing the nuances and subtleties of the genre. When musicians draw upon a specific cultural heritage, they need to decide how deep they will dig into its background. They could simply draw upon the culture’s popular music or they could integrate the country’s folklore, connecting their artistic statement to a sense of national identity. The artist needs to determine which aspects of jazz they will use as a basis for their unique fusion. Most rhythmic styles from the Caribbean and South America can hold a variety of approaches to jazz harmony – from the straight ahead movement of swing to the rapidly changing chords of bebop or the open foundation in free jazz; it can all serve as a realistic connection to Latin rhythms. At that point, the artist needs to decide if they will combine their concept with any other rhythmic ideas. They could potentially utilize pieces of rock or fusion as well as other Latin American styles. There’s ample room for experimentation and development in the early stages of a Latin Jazz style, and the more people that seriously tackle this undertaking, the more interesting the style becomes. Guitarist Yuri Juarez, already experienced in Afro-Peruvian Jazz through performances with trumpet player Gabriel Alegria and guitarist Eric Kurimski, looks at the style from his own vantage point on Afroperuano.
Balancing Peruvian Influences With A Commercial Sound
Juarez builds upon established Afro-Peruvian Jazz settings on many pieces with the integration of synthesizers, extensive vocal scats, and tightly arranged forms. A thick synthesizer patch and an electric bass float over a driving festejo rhythm on “Cantelo Usted” before Juarez jumps into the Metheny-esque melody. After a brief guitar and marimba unison passage, Juarez leaps into a well-constructed improvisation first on acoustic guitar before making a switch to electric. The rhythm section delivers a strong accompaniment with a commercial edge, filled with slickly produced synthesizers and repetitive grooves. Juarez plucks a lush chordal accompaniment over a slow valse rhythm on “Guisella” before sharing melodic duties with a lyricless vocal that adds a smooth quality to the track. Juarez shines on his improvisation, crafting lines that smartly play off the rhythmic foundation and connect into a flowing melodic whole. The acoustic quality of the group during Juarez’s solo provides a striking contrast to the soft melodic section, providing a distinctly different beauty. A sparse marimba groove interlocks with an upbeat festejo groove on “Festejeando” before Juarez launches into a catchy melody dripping with lush synthesizer accompaniment. Flautist Junior Pacora flies into his improvisation with nimble lines and a sharp tone that cuts through the thick texture behind him. Juarez follows with an assertive improvisation that drives long lines straight into Jorge Luis Cardenas’ synthesizer solo. The rhythm section plays with a dramatic intensity behind vocalist Jorge Pardo’s urgent melody on “Rosa Del Mar” before the mood changes into a lighter feeling with Pilar de la Hoz scatting an upbeat phrase. Saxophonist Abel García pushes the groove with a brash tone and aggressive ideas, transitioning to Juarez, who captures the mood and drives angular melodic lines through the changes. After a brief vocal interlude from Pardo, the group quiets as percussionist Larua Robles and drum kit player Hugo Alcázar trade rhythmic ideas over the festejo background. These pieces add a different element to Afro-Peruvian Jazz, exploring a softer and more commercial sound to the music.
Exposing Unexpected Influences
Juarez integrates a variety of unexpected influences into the Afro-Peruvian context on other tracks. The rhythm section supports Juarez with a laid-back funk feel on “Acuariana,” providing a refreshing change with a move into a samba behind the catchy bridge section. Juarez captures the song’s feel precisely with strongly constructed melodic lines filled with a sense of motion and lyricism reflective of Wes Montgomery. Pianist Pepe Cespedes follows with an understated improvisation on synthesizer that builds the intensity with a bluesy forward motion. A repeated guitar riff accompanied by violin implies a tango edge on “Astorpolka” before Juarez enters a cleverly constructed melody riding a country-influenced polka. Juarez takes an extended improvisation bursting with inspired creativity as the rhythm section moves through polka, swing, and more. Cespedes gets a brief opportunity to create a statement, developing an understated solo that leads directly back into the melody. Enderson Herencia complements Juarez’s melody with phrases on both quena and zampoña, giving an Andean flavor to the driving funk groove on “Carnaval De Arequipa.” Juarez and Herencia both travel through variations upon the main theme as the rhythm section alters its foundation with breaks, funky changes, and swing sections. The band explodes into a funk breakdown that adds a different twist to the melody as Herencia comps underneath Juarez with rapid charango strums. Juarez takes Afro-Peruvian Jazz in a variety of directions on these tracks, blending Peruvian rhythms with funk, polka, samba, and jazz improvisation to create a new edge to the style.
Creeping Closer To Tradition On Acoustic Tracks
Juarez creeps closer to a traditional idea of Afro-Peruvian Jazz on some tracks, showing a strong diversity. The sole sound of Juarez’s guitar anchors the melody on “Una Noche Sin Ti,” sailing over a laid-back jazz ballad with the bluesy Montgomery influenced conviction. After the melody, percussionist Juan Medrano “Cotito” begins a landó rhythm on his cajon, pushing Juarez’s solo in a different direction. Juarez spins inspired lines with a bluesy edge, followed by Céspedes, who assertively builds a simmering solo over the acoustic setting. Juarez travels through series of descending lines while a cajon, cajita, and quijada hold a steady festejo rhythm on Roberto Rivas’ “Arroz Con Conolón.” A small group of string players interject complementary lines around Juarez’s melodic material, creating a tightly interlocking arrangement. Juarez doesn’t include much improvisation here; it’s a solid piece of traditional music played with conviction and style, wrapped around a pre-constructed form. Bassist Mariano Liy and Juarez provide a smoldering melodic interpretation on Chucho Valdes’ “Mambo Influenciado,” altering the standard melody to fit the six beat structure of the Zamacueca rhythm. Trumpet player Pepe Villanueva and Juarez trade improvisational statements, taking turns filling each chorus with a bluesy intensity that recalls the source material while integrating new rhythmic ideas. Liy displays character and personality in his solo, utilizing slides between notes, quick runs, and double stops to build a distinct statement. Juarez moves through a traditional melody with a repeated phrase on “Gracia,” playing with an elegant finesse over a steady valse rhythm from Marcos Mosquera’s cajon. A well-crafted string arrangement complements Juarez’s performance, providing ample amounts of graceful atmosphere and rhythmic propulsion. The recording stays faithful to the song’s traditional roots, avoiding jazz embellishments and following a clearly defined arrangement. These tracks show a more acoustic side to Juarez’s musical personality, firmly grounded in both traditional Peruvian music and jazz influences.
Exploring New Possibilities In A Young Style
Juarez explores many possible interpretations of Afro-Peruvian Jazz on Afroperuano, integrating a wide range of ideas that include fusion, jazz, pop, and traditional rhythms. There’s an abundance of commercially accessible material, guaranteed with tightly arranged forms, strategically produced sounds, and memorable melodies. Juarez walks the line between infusions of improvisatory personality and synthesizer-laden smooth jazz, indulging in both worlds, but never quite falling into them completely. The acoustic tracks shine brightly, as Juarez digs into traditional Peruvian music and jazz, seemingly revealing a more honest side to his personality. He displays admirable strength as a performer throughout the release though, interpreting melodies and improvising with great skill. Juarez’s phrasing owes a great deal to Metheny, as he effortlessly creates flowing melodies with substance and style. There are many sides to Juarez’s improvisational voice though, as he integrates rougher rhythms and note choices into his ideas. His arrangements really run the show, serving as defining structures for the musicians and artistic concept. He gives extensive thought to each tune; his combination of Peruvian rhythms and contemporary styles blend seamlessly. Juarez relishes in his themes extensively, repeating them with variation many times, often at the cost of improvisation. His concept remains sound throughout the album, giving a pleasant and even experience. Juarez bravely pushes Afro-Peruvian Jazz through these stylistic directions on Afroperuano, helping carve new directions for this still young branch of Latin Jazz.
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Check Out These Related Posts:
Album of the Week: Nuevo Mundo, Gabriel Alegria
Album of the Week: Replica, Eric Kurimski
Album of the Week: Áurea, Geoffrey Keezer
Spotlight: Para Los Engreidos, Manante
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Latin Jazz This Week
Filed under: Jazz, Latin Jazz, Music News, Podcasts, Soul/R&B, SoulSites, SoulTrackin'
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.
NPR’s All Things Considered recently featured Latin Jazz harpist Edmar Castaneda in an article that includes both audio and a written interview. There’s some interesting information about Castaneda’s initial love for the harp, his immersion in jazz and American music, and some background on his trio. You can stream the audio interview with Castaneda as well as a live recording of his trio performing with jazz vibraphonist Joe Locke. There’s also some preview tracks from Castaneda’s new ArtistShare release – due on May 1, 2009, Entre Cuerdas includes all the inspiring extras that accompany an ArtistShare project. You can check out the NPR article HERE and Castaneda’s ArtistShare page HERE.
Cachaça, the New York hotspot for jazz and Brazilian music, recently felt the heavy effects of the sour U.S. economy and had to shut their doors after almost two years of service to the city’s Latin Jazz community. It’s a sad reality check when jazz clubs close their doors, a story that we hear all too often. This one hits home especially hard, as the club served a wide range of artists from the established Latin Jazz community to the up and comers finding their voice. Jazz.com contributor Eugene Marlow comments upon “the demise of Cachaça” and the effects of the current economy upon the jazz world – check it out HERE.
We should learn from Cachaça’s story – even in these tough economic times, it’s important to support venues that host live Latin Jazz, and there’s a fantastic new club opening in New York – Tutuma Social Club. Located at 164 East 56th Street in New York, the club will feature Afro-Peruvian food and nightly Afro-Peruvian Jazz with no cover and no drink minimum. Club owner Santina Bari Matwey has tapped trumpeter Gabriel Alegria as the club’s artistic consultant, and the future looks good – performers currently scheduled to appear include vocalists Sofia Rei Koutsovitis and Pilar de la Hoz, trumpeter Ingrid Jensen, pianist Andy Milne, and more. It sounds like an incredible spot – Tutuma Social Club opens on Tuesday, April 28, 2009; you can check out their website HERE. Go out and support live Latin Jazz!
Make sure that you get a chance to check out our articles reflecting on Manny Oquendo’s career:
Manny Oquendo (1931 – 2009): A Career Based On Tradition And Innovation
8 Latin Jazz Tracks Featuring Manny Oquendo
Manny Oquendo’s Influence: Libre Members Working As Bandleaders
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Pedro Giraudo Jazz Orchestra: El Viaje
Claudia Acuña: En Este Momento
Tanaóra: Dia Real
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This week’s Live Latin Jazz listings will be updated in the Live Latin Jazz tab. Next Monday, the listings will return as part of Latin Jazz This Week.
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All That Jazz: In Celebration of Jazz Appreciation Month
I don’t talk about my love for jazz enough on this blog so I figure jazz appreciation month is the perfect time to do so. I have to admit that my knowledge is lacking. Mama Vivrant Thang was never really into jazz so it wasn’t played much around the house. She did love Kenny G though and [...]
The “Boys” Are Back In Town…
Remember the Four Brothers Beats blog? Well, the boys are back! BUT... not quite in the way you may have been expecting. It's, how shall we say, "the same, but different!"
Vendors, Authors and Artists– Sell Your Items in This Year’s Capital Hip Hop Soul Fest
Last year's Capital Hip Hop Soul Fest was a musical celebration while vendors sold their products to eager to buyers. Book authors, including Felicia Pride-- writer of The Message and activist author Devin Walker were among some of the top authors who sold their books. The 2009 Capital Hip Hop Soul Fest will be held this year on Sat., July 25 in Marvin Gaye Park in Washington DC. While the musical acts are still being selected, vendors are able to reserve their tables now to receive our Early Bird Discount. For more info, email us at CapitalHipHopSoulFest@gmail.com
Fusion: Where Music, Technology, and Artist Creativity Intersect
Hello readers and listeners. I trust all is well today. This post is a follow-up to the previous post about the subject of an upcoming podcast I hope to resurrect entitled Fusion. The concept of this podcast came to me via an off the cuff discussion I had a few years ago with a fellow podcaster/recording artist/graphic designer. Both of us, being musicians in our own right, began discussing our backgrounds and influences in making music, which invariably talking about how technology (past and present) played a role taking the music from inner to outer. I began to see the different paths ...
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Cupid’s Hunt: 2009
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By N2H