Spotlight: Día Real, Tanaóra
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.
Tanaóra
Moondo Records
Listeners often criticize the difference between commercial appeal and artistic integrity, yet they often overlook the fact that these two different aesthetics can live side by side in the same recording. Widely accessible elements can be found throughout the jazz world, from one-chord funk grooves to sequenced synthesizers and distorted guitar solos. Purists frown upon these elements, claiming that they “water down” the rich nature of jazz harmony and improvisation. In many cases, these musical pieces do dilute jazz, but they can also enrich it, challenge listeners, and force musicians to explore new territories. When musicians integrate commercial elements into music with a desire to sell CDs, they overlook the artistry needed to authentically blend two traditions. If an artist defers to accessible elements due to a lack of knowledge, they lack the resources to pull two different worlds together. The musician that deeply understands jazz, Latin music, funk, and more can honestly cross between genres, maintaining a genuine respect for the roots and lineage of each style. Artists that include electronic sounds and rock elements into their overall musical vision take the time to integrate these elements with sufficient depth, taste, and style. The difference between these approaches lies in intention, background, knowledge, and artistic vision – when all these factors are in place, musicians create outstanding statements that reach a wide audience. The San Francisco Bay Area group Tanaóra brings together all of these pieces on Día Real
Original Compositions With Brazilian Rhythms
The group finds it strength in several original compositions that emphasize Brazilian rhythms while keeping the music accessible with a funky undertone. Pianist Bob Karty introduces “Día Real” with a short and thoughtful improvisation before vocalist Cecilia Engelhart leaps into a Portuguese lyric over a lush sea of strings. Saxophonist Melecio Magdaluyo starts his solo with memorable phrases that he skillfully develops into longer strings of rhythmically interesting ideas and running notes. The band quiets behind bassist David Belove, who weaves through the synthesized texture with bluesy lines, leading the group back to Engelhart’s soulful vocal. A unison run guides the band into an addictively funky groove behind Engelhart’s English lyric on “Love Understands,” balancing the song’s form with a more traditional samba section. Guitarist Jeff Buenz attacks his improvisation with an aggressive attitude, perfectly complimenting the song’s funky nature. Karty turns up the heat on his solo with driving syncopated rhythms and a strong melodic development. The rhythm section builds a funky foundation beneath Engelhart’s scatted vocal on “”Rollón,” quickly pushing the momentum forward with a change into samba. Karty subtly builds upon the rhythm section’s groove with strongly developed catchy lines until saxophonist Ron Stallings dives into his improvisation with an assertive rhythmic drive. Engelhart returns with an enthusiastic restatement of the melody, leading the band into an explosive batucada style samba section that closes the track with a bang. Brazilian rhythms arise as a strength for the group, and these performances showcase their authentic connection to the music along with their funky edge.
Demonstrating Diversity With Different Influences
Many songs bring together different influences with a healthy dose of Afro-Cuban rhythms, displaying an inherent diversity to their music and a creative blending of stylistic boundaries. Karty and Belove soften a driving Afro-Cuban 6/8 rhythm with a Yellowjackets-esqe chordal vamp on “El Pez,” creating a smooth foundation for Engelhart’s sultry Spanish vocal. Stallings cuts through the band with a biting soprano sax tone, tearing through the changes with a melodicism reminiscent of Wayne Shorter. There’s a sudden texture change behind Karty’s solo, who inventively creates harmonic variations and utilizes tension to build an exciting statement. Engelhart and trombonist Jeff Cressman push a melody over an energetic son montuno rhythm on “The Katanga Patrol,” taking brief dips into a bubbling bomba rhythm. Stallings captures the rhythm section’s unstoppable momentum with an engaging soprano sax solo, handing the spotlight off to Karty, who takes his time building his ideas into an intricate statement. After a return to the main melody, Cressman grabs the band with assertive rhythmic ideas and builds into a powerful climax. The band cuts loose and has some fun with a funky groove on “Jam #1.” Stallings riffs around the groove with bluesy soprano sax ideas while Engelhart mixes scat and Portuguese lyrics. The track serves as a short but fun outtake, showing another side to the group. These songs step outside the Brazilian realm and demonstrate the band’s diversity across several genres.
Reinventing Classic Standards
The group reinvents some classic standards with inventive arrangements that bring together all their interests and influences. Karty delivers a tender unaccompanied solo and then sensitive accompaniment behind Engelhart’s captivating vocal on Tadd Dameron’s “If You Could See Me Now.” The rhythm section builds into an interesting variation on a bossa nova that mixes Brazilian percussion and an Udu drum, giving Engelhart ample inspiration to twist the melody into an expressive statement. Karty thoughtfully winds melodies through the changes, expanding upon the track’s contemplative nature. Magdaluyo slices through an addictive cha cha cha groove with rhythmic lines on Antonio Carlos Jobim’s “Bonita” before the band segues into bossa nova behind Engelhart’s English vocal. Engelhart caresses the melody through the soft Brazilian setting until the band explodes back into a cha cha cha for a driving tenor sax solo from Stallings. The band breaks away from the changes for a standard descarga montuno as a catchy coro and Magdaluyo’s memorable flute work rides over a cha cha cha. A bebop charged unison line drops into Engelhart’s voice, accompanied only by son montuno percussion on the Burke and Vanheusen classic “Polkadots and Moonbeams,” until the band pushes Engelhart into a album highlight performance with a strong samba rhythm. Karty follows Engelhart’s lead with an inspired and melodically captivating solo, until Stallings aggressively winds tenor sax lines around the son montuno. After an enthusiastic return to the melody, Karty and Belove fall into a timba breakdown and a driving montuno while percussionist Michael Spiro breaks into a strong conga solo. The group displays a creative spirit as well as a broad knowledge of jazz and Latin styles on these arrangements that deliver some of the album’s best tracks.
Reaching A Wide Audience And Maintaining Artistic Integrity
Tanaóra shows the potential to reach a wide audience with an abundance of accessible tracks on Día Real
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Check Out These Related Posts:
5 Albums That Remember Bay Area Latin Jazz Saxophonist Ron Stallings (1947 – 2009)
Spotlight: Sonando Vuelos, Anna Estrada
Album of the Week: Infinity, Wayne Wallace Latin Jazz Quintet
Spotlight: Viajando: Choro e Jazz, Grupo Falso Baiano
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Latin Jazz This Week
Latin Jazz This Week will bring you a weekly look into news from the Latin Jazz world. You’ll find new releases, recommended performances, web finds, and more. You can check out some current sounds in the Listening Center tab at the top of the page. Performance dates will be kept in the Live Latin Jazz tab at the top of the page.
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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Song Stuck In My Head: I’m Decending From Heaven Above
In honesty, this is one of my favorite pop songs of all-time. Yes, I’m a sucker for a random electric guitar solo and some cutesy lyrics about being in love. Sue me. Even after not hearing it for years and re-discovering it about a week ago, I still can’t help but think this is pop perfection.
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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RGMS (28th April 2009)
MP3 Download (Right click, Save Target As…) 280409-RGMS
(117 mins, 96 Mb, 112 kbps)
- PLAYLIST
- Heaven & Earth – I Really Love You (1981) That’s Love]
- Funk Deluxe – Tender Lovin’ (1984) [Funk Deluxe]
- Billy Boomer – I Like What She ’s Doin (1982)
- Norman Connors – She’s Gone (1981) [Mr. C]
- Evelyn King – What Are You Waiting For (1981) [I'm In Love]
- Lakeside – It’s Got To Be Love (1981) [Keep On Moving Straight Ahead]
- Jocelyn Brown – If I Can’t Have Your Love (1981)
- Kwick – Let This Moment Be Forever (1980) [Kwick]
- Cecil Parker – Really Really Love You (1980)
- Patterson Twins – They’re Playing Our Song In The Radio (1984)
- Phil Flowers – Stay A While (1984)
- Marvin Sims – Love Is On The Way (1980)
- Convertion – All I Want Is You (1980)
- Larry Whittington – You Can Always Count On Me
- Arthur Adams – I Can’t Believe My Eyes (1973) [Private Tonight]
- Doris Duke – The Feeling Is Right (1969) [I'm A Loser]
- Janet Lawson – Dindi (1977)
- Charles Earland – Drifting (1976) [The Great Pyramid]
- J B Bingham – All Alone By The Telephone (1976)
- Milton Parker – Women Like It Harder (1970)
- Natural Four – I Thought You Were Mine (1969) [Good Vibes!]
- Lee Williams And The Cymbals – Lost Love
- The Originals – I’m Someone Who Cares
- Eugene Smiley & The Essence Of Love – Yes It’s You (1978)
- Lamont Dozier – Groovin On A Natural High (1976) [Right There]
- Jerry Butler – Let’s Make Love (1978) [Nothing Says I Love You Like I Love You]
- Lee Oskar – Feelin’ Happy (1978) [Before The Rain]
- Sharon Ridley – Where Did You Learn To Make Love The Way You Do (1975) [Stay A While With Me]
- Sharon Ridley – Changin’ (1978) [Full Moon]
- The Tams – This Precious Moment (1978)
Audio Vision: Karina Gets The Unplugged Treatment
Listening to Karina’s voice, you are hard pressed to think that she is indeed only sixteen years of age. But she is, and she will blow you away.
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James Blake Upset By Qualifer In Rome
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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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Shenay Perry Wins USTA Movie Gallery Pro Classic
Filed under: Athletes, Podcasts, Soul/R&B, SoulSites, SoulTrackin', Sports, Tennis
Fed Cup: Amazing Turnaround Puts USA In Final
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Top 5: More Hall-of-Famers
Whatever happened to all the famous DJs? The best-known jock in America right now is probably Ryan Seacrest, although he’s less famous for being on the radio than for hosting American Idol. It used to be Howard Stern, but he’s been a talk show host for years, and he’s disappeared …
PIONEERING AGENT RUTH BOWEN DIES: Tuesday at 84
MORNING CUP OF SOUL – GLADYS KNIGHT – MIDNIGHT TRAIN TO GEORGIA
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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Cupid’s Hunt: 2009
Translator
By N2H