The San Francisco Bay Area has long been an important spot for Latin music on the West Coast, acting as home to a thriving salsa and Latin Jazz scene.  Historically, the region found some inspiration from its Latino population, but experienced a surge of excitement through the transplant of important mentors such as Mongo Santamaria, Armando Peraza, and Orestes Vilato.  One of the most important names in Latin Jazz during the fifties, sixties, and seventies came from Bay Area, vibraphonist Cal Tjader.  Today, numerous intelligent and wildly creative musicians such as John Santos, Wayne Wallace, Rebeca Mauleon, and John Calloway continue to push the music into the twenty-first century.  Through the hard work of this long line of musicians, we’ve seen the emergence of a distinctive musical hybrid that calls upon Afro-Cuban influences, jazz tradition, educated musicianship, and diverse stylistic integration.   Without a doubt, the Bay Area has produced a highly individual style of Latin music that is intimately intertwined with the history of both Latin Jazz and salsa, but also resonates with its own charismatic personality.

In an attempt to secure the San Francisco Bay Area’s place in the Latin Jazz history books, dancer Rita Hargrave and musician Wayne Wallace have started an ambitious film project entitled The Last Mambo.  The documentary movie digs deeply into the rich historical development of the region’s Latin music scene, looks at its bustling modern day state, and peers into the future of Latin music in the Bay Area.  Hargrave did significant research into the topic, interviewing musicians such as Santos, Mauleon, and Wallace, as well as area icons Karl Perrazo, Edgardo Cambon, and more.  She heard their words, captured them performing, and dug into their years of artistic contributions to the area.  She saw the importance of the enthusiastic community around the music as well, getting input and information from local DJs and dancers to round out the project.  Wallace served as both musical director and producer, getting the film’s score in order; his company Patois Records will be distributing the DVD, set for release in 2013.  The Last Mambo should serve as an important and entertaining slice of historical reality that will set the record straight about the important place of the San Francisco Bay Area within the greater scope of Latin music’s lineage.

With much work on The Last Mambo already behind them, Hargrave and Wallace still have a ways to go, so they’ve established a KickStarter campaign to fund the final steps in the process.  Seeking $9,500 to complete production on the film and ensure its distribution around the world, the KickStarter campaign is an important part of making the project a reality.  As with any time that we support an artistic venture financially, it’s important to get the full story behind the project; the weight of its worth will undoubtedly clinch our decision one way or the other.  The Last Mambo presents an important opportunity to capture a somewhat forgotten history in the greater scope of Latin Jazz, so we wanted to help you make up your mind by asking director Rita Hargrave for the full scoop.

LATIN JAZZ CORNER: How long have you been involved in the Bay Area Latin music scene and in what capacity?

RITA HARGRAVE: I started dancing salsa in 1995 and my life has never been the same. I am mainly a social dancer, but I have taught salsa, as well as written about salsa for magazines and websites. For the past five years I have studied AfroCuban percussion at La Peña Cultural Center, The Jazz School in Berkeley, and the National School for the Arts in Havana. 

LJC: What initially inspired you to put together The Last Mambo project?

RH: In 2000, I took the first of many educational tours to Cuba with the Oakland based company that is now called Plazacuba. Of course the trip was magical—so much music and dance, and so many warm-hearted people. I was particularly impressed with the number of museums and institutes in Havana that were devoted to music and dance history. But after talking with Olavo Alen Rodriguez, a renowned ethnomusicologist, I realized how much Afro-Cuban music in the Bay Area reflects our diverse, ever evolving and high pressure society. We’re not Havana, San Juan or New York. We’ve got our own story and sound that people want to hear. 

LJC: What is it about Latin music in the San Francisco Bay Area that is unique and special?

RH: I think Wayne Wallace said it best. Everything we do here artistically is a hybrid. Since there is no one dominant Cuban community, Dominican community or Puerto Rican community, artists can freely borrow flavors from many pots. Cross-fertilization, collaboration, and experimentation are the name of the game.

LJC: The history books have always favored New York as the “home” of Latin music, overshadowing the presence of the music elsewhere, including the Bay Area – what would you like to change about the way that people perceive Latin music in the Bay Area?

RH: There is no question that New York in the mother ship as far as salsa and Latin Jazz in the United States. But the Bay Area is full of gifted musicians, choreographers, and dancers from all over the world who flourish in the free-spirited, creative West Coast environment. I would like more people to appreciate and applaud the talent we have here, find out more about the pillars of the Latin music/dance community, and support live music. I would love for people in Seattle, Portland, Chicago and D.C. to explore and document their own regional experience and history of salsa and Latin Jazz. 

LJC: How did Wayne Wallace get involved in the project and what has he brought to the table?

RH: I had been enrolled as percussionist in Wayne’s R&B ensemble class at the Jazz School for over a year before I started this project. Wayne was one of the first people I interviewed and his positive attitude towards music, the creative process, and life in general inspired me to expand the scope of the film. I switched my focus from using the closing of the San Francisco salsa club Jelly’s as a metaphor for the end of informal community salsa to exploring the dramatic expansion of Afro-Caribbean music beyond the nightclub circuit. I used Wayne’s tune “La Escuela,” as the soundtrack for the trailer that won an award at the Berkeley Film and Video Festival. Wayne has become music director and major consultant, bringing all his skills as songwriter, composer and bandleader. The Last Mambo DVD will be released in 2013 under his label, Patois Records. Most of all he is an energetic, creative, and gracious mentor. 

LJC: Who are some of the additional musicians involved in the project?

RH: Besides Wayne Wallace, I have interviewed many leading Bay Area musicians including John Santos, John Calloway, Karl Perrazo, Anthony Blea, Tregar Otton, Edgardo Cambon, Kenny Hawkins, Orestes Vilato, Rebeca Mauleon, Marco Diaz, Saul Sierra and Carlos Caro. We also shot footage of numerous bands including The John Santos Sextet, The Latin Jazz Youth Ensemble, Mazacote, La Clave, Orquesta Moderna La Tradicion, Candela, The Wayne Wallace Quintet, Anthony Blea Y Su Charanga, Benny Velarde Y Su Supercombo, and Son Cubanos.

LJC: You included more perspectives than just musicians – how did you involve dancers, DJs, and Bay Area Latin music fans in the project?

RH: I’ve interviewed DJs Luis Medina, Ivette Fuentes, Chata Gutierrez and Jose Ruiz. I was also fortunate enough to film veteran dance teachers and performers Ava Apple and Rudolfo Guzman as they unraveled the subtle differences in footwork and body movement in different styles of salsa—On 1, On classic 2, On modern 2. 

LJC: What is the scope of the project in terms of both history and musical styles (salsa, Latin Jazz, merengue, cumbia, Latin Rock)?

RH: “The Last Mambo” is primarily focused on salsa and Latin Jazz though there is no escaping the influence of Santana’s high voltage Latin Rock on the local music scene. 

LJC: In my opinion, this is a long overdue project – how has the response been from the Bay Area Latin music community as you informed them about the project?

RH: I have been excited and thrilled by the encouragement and support from friends and family. I’m getting lots of suggestions and feedback by way of Facebook and I encourage everyone to spread the word about the project. People have been amazingly generous contributors to our KickStarter campaign but we need more donations by May 23 to make our goal. All donations are tax-deductible and come with great gifts.

LJC: Following the Kickstarter project, what steps need to happen in order to bring the movie and the message to the masses?

RH: We will be having a premiere event which will include a panel discussion with experts from various fields including, music, dance, education, and more. This will also include an opportunity for people to ask questions and allow us the opportunity to educate the community.

The documentary will be presented at film festivals plus the DVD will be made available for retail. We hope to introduce it to educators. We hope that this film will inspire people to hold their own screening/community events, share this film, and discuss how to continue enriching our community with music and education. Who knows, maybe it will end up on PBS one day!!

We would love to see our multi-ethnic community come together to help educate the community about the rich culture, heritage, and legacy they have created in the Bay Area

LJC: If there’s one thing that you’d like people to know about Bay Area Latin music after seeing The Last Mambo, what would it be?

RH: Salsa in the Bay Area is a powerful force that brings together our unique community of music lovers, embodies cultural preservation and promotes artistic expression and education. Salsa in the Bay lets us showcase our history, our stories, and our songs.

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Help Document The Impact Of San Francisco Latin Jazz & Make The Last Mambo Become A Reality
The Last Mambo KickStarter campaign runs through Wednesday May 23rd; they’re hoping to raise $9,500 within that time. You can help make the film a reality by pledging your financial support to this fantastic project. Not only do you get the knowledge of knowing that you helped make the documentary happen, but there’s also lots of great prizes. Check out The Last Mambo KickStarter page and sign up to support this project; the Bay Area deserves a place in the history books of Latin music.

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Check Out These Related Posts:
Latin Jazz Conversations: Benny Velarde (Part 1)
Latin Jazz Conversations: Wayne Wallace (Part 6)
Latin Jazz Conversations: Pete Escovedo (Part 1)
Album Of The Week: ¡Bien Bien!, The Wayne Wallace Latin Jazz Quintet

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If you need a little bit more regular Latin Jazz fix, I’m committing to regularly updating the LJC Facebook Page with news, videos, and more. LIKE us today to get your Latin Jazz fix on a daily basis.

The San Francisco Bay Area has a decades long historical involvement in Latin music, with roots in everything from Latin Jazz to salsa, timba, and beyond. While musical insiders have long reveled in the outstanding musicianship that has come from the area and local residents have passionately embraced the music, the greater world has largely overlooked the Latin music contributions of the Bay Area. Most of the music’s history has been written around New York City, a relevant fact due to the wealth of important music that has risen from the East Coast musical hub; still, this historical one-mindedness has overshadowed the Bay Area. That’s about to change due to a fantastic project spearheaded by dancer Rita Hargrave and trombonist Wayne Wallace – a documentary about Bay Area Latin music entitled The Last Mambo. Hargrave and Wallace are currently running a KickStarer campaign to complete the film, which you may want to support. Check out the trailer below and then go to The Last Mambo KickStarter page and show your support!

Congratulations to Dr. John Calloway for being honored as a “Jazz Hero” by the Jazz Journalists Association in conjunction with their 2012 jazz awards. The organization hands out the honor annually, recognizing jazz advocates who have made a major impact upon their local community. Calloway certainly qualifies in this category, from his work as a musician with The Machete Ensemble and beyond, his tireless commitment to music education, his role in the establishment of Latin Jazz Youth Ensemble Of San Francisco, his strong voice in the San Francisco community, and much more. He will be recognized in an event on June 20th, 2012 at the African-American Cultural Arts Complex in San Francisco, which will run from 6:30 p.m. to 8:30 p.m. and be open to the public. Get the full details on Calloway’s “Jazz Hero” honors and celebrate this extraordinary musician!

A big thumbs up to pianist Arturo O’Farrill and the Afro-Latin Jazz Orchestra for their performance this past weekend entitled Musica Nueva 5: Big Band Poetry Jam & Beyond. It’s one thing for a band of master musicians like this to revisit classic repertoire and bring it into the twenty-first century, something this ensemble consistently does with class and style. O’Farrill and his Orchestra goes above and beyond though, pushing the genre in new directions and forcing us to think about unconsidered possibilities. The Musica Nueva concert combined the ensemble with unexpected musicians such as DJ Logic and a wealth of spoken word poets. This is the type of forward thinking that will keep Latin Jazz healthy and moving into the future. While the concert already passed, it’s worth checking out the promo video below to get an idea of the concert’s scope.

Cuban trumpet virtuoso Arturo Sandoval recently released a tribute to his Stateside jazz mentor Dizzy Gillespie entitled Dear Diz (Every Day I Think of You), where he hits on the bebop master’s wonderful sense of melody, complex harmonies, Afro-Cuban leanings, and improvisational prowess. He displays a deep knowledge and a strong connection to Gillespie on the recording, a reflection of the many years that he spent with the legendary trumpet player. NPR Music recognized the importance of this link between Sandoval and Gillespie, so Guy Raz discussed the relationship with Sandoval on All Things Considered. The interview covers the scope of the new record, but also details the first meeting between Sandoval and Gillespie in Cuba. It’s a great listen that paints a fantastic picture of both artists.

If Sandoval’s new recording inspires you to get a little deeper into Gillespie’s work, you might want to check out this DownBeat interview with the trumpet player from 1972. The bebop legend answers questions about his illustrious history, covering topics that range from the beginnings of bop to his religious connection to music. There’s only a passing mention to his involvement in Afro-Cuban music, but it’s a great opportunity to get further insights into an important musicians that shaped the early days of Latin Jazz.

Alejandro Rutty: The Conscious Sleepwalker

Latin Jazz Corner Podcast #3: Mark Weinstein, Grupo Falso Baiano, & 5 Ways To Support Latin Jazz In 2012

Album Of The Week: Current, Jovino Santos Neto Quinteto

Revisiting Latin Jazz Classics: California Jam, Fania All Stars

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Well, it’s that time of year again – Grammy fever. CBS ramps it up with a constant barrage of mega-bucks commercials of all lengths and even specials leading up to the February 12th telecast that is expected to produce multi-gazillions of dollars. The National Academy of Recording Arts and Sciences (NARAS) inundates the membership with nomination and voting materials, invitations to the big event and its surrounding activities including post and pre-parties, local nominee celebrations and simulcasts, and other propaganda. We’re in the midst of the classic, inescapable corporate full press publicity campaign on TV, radio, print ads, internet, email, facebook, Twitter, and regular old US Postal Service.

But this year, NARAS’ brilliant Grammy image has a dark secret. All the smiling faces, glitter, multi-million dollar sets and promises of America’s greatest Vegas act cannot hide the deceit, ill-will and unethical behavior they took a few months ago when they unceremoniously eliminated thirty-one categories from Grammy consideration. It is particularly dishonest and distasteful that NARAS, a non-profit organization that is supposed to honor excellence in the music of our country and advocate for the benefit of its membership, had the gaul to lop off mainly just categories that are the least commercial and happen to be among the most creative and important “roots” categories. They also happen to be the categories that represented what ethnic diversity the Grammys might claim.

The corporate music industry that makes the lion’s share of the profits generated by musicians and the Grammys is of course fully supportive of NARAS’ narrow-mindedness. The latest special issue of Billboard Magazine, dated January 7th, 2012 is 100% Grammy propaganda with full-page ads congratulating the stars and the newest hopefuls backed with huge promo dollars for their nominations. Of course there is not one mention of the conspicuous absence this year of the 31 cut categories nor the growing international uproar that has produced over 1200 published pieces over the last few months protesting and condemning the outrageously insensitive action by NARAS in all forms of media. The current Billboard also features hypocritical statements directly from NARAS including these gems:

“Recording Academy Voting Membership: A Privilege Worth Earning.”
(So long as you don’t mind having no say in the organization gutting the voting categories of most of their musical diversity.)

” . . . members become part of a collective that advocates for the rights of music makers . . .” (at the same time that they reverse the hard fought battles and decisions of former open-minded administrations that deemed it appropriate to recognize more American music than just the most profitable.)

Music’s Biggest Night as they have self-proclaimed the Grammy telecast, never included much, if any of the wonderful music they have now reduced or eliminated, but with the current hatchet job, they now officially sever ties with those undeserving, insignificant and marginal musical styles that by some coincidence are also among the deepest and most creative, albeit unfortunately, non-lucrative.

They have the cojones to announce the induction of Big Bill Broonzy, Sergio Mendes’ Brasil 66, and Martin Luther King into the Grammy Hall of Fame at the same time that they cut down the Blues categories, eliminate Latin Jazz (Sergio’s 1966 group would not be eligible with this year’s eliminations), cut down Gospel and Rhythm and Blues, and eliminate Contemporary Jazz (Dr. King is turning in his grave). A well-intentioned writer states in this issue “This crop of inductees also fleshes out the story of Latin music in America.” (PLEASE – it most certainly does not do anything close to that) But he makes the valid point in a sideways manner, that ” . . . the rich and far reaching legacy created by Latin musicians . . . often gets lumped into one catch-all category . . .” This, of course is exactly what NARAS has done with the 2012 awards, by eliminating the Latin Jazz, and Traditional World Music categories, and combining certain Mexican categories.

They have a category called Tropical Latin. What in hell is that supposed to mean? NARAS officials write in Billboard about education and social strategy, but fail to see the hypocrisy and the ramifications of disenfranchising entire communities from the Grammy process.

Our country is full of vibrant musical communities directly and negatively affected by this issue. The earning capabilities of the artists as well as the businesses and schools that present and teach the various types of music that were cut are all compromised. Marginalizing the musical expression of these communities in this way also carries deeper repercussions than the immediate economic hits. Kids and youth who have spent years studying these types of music and have been properly taught to see music with a broad perspective are now confronted with the further invalidation of non-commercial music, narrowing their appreciation and understanding of music to only the most visible and most highly promoted which is clearly not where all the quality and creativity lie. It is obviously devastating to teachers who have spent our lives trying to give students rich alternatives to the top 40 mentality spoon-fed to them via mass media at every moment.

It should also not be lost that NARAS itself has severely tainted its own reputation and credibility, both with the membership and with the public, although they are in complete denial.

For those who don’t know, these are some of the categories that were eliminated:

Native American
Contemporary Jazz
Classical Crossover
Latin Jazz
Traditional Blues
Instrumental Rock
Zydeco
Cajun
Hawaiian
Traditional World Music
Traditional Folk Music
Traditional Gospel
Contemporary R&B Gospel
Polka
Contemporary Folk
four categories of Rhythm & Blues


Don’t be taken in by the lies NARAS administration and staff are putting forth. They say all of the eliminated categories were cheapening the value of the Grammy award and statue. Au contraire – it has been clearly devalued by their non-inclusive actions. They say everyone is still welcome to submit even though our categories have been eliminated. Thanks a lot – so now we can compete in categories that don’t apply to us and where the voting membership does not know our music, giving us zero chance of seriously competing for a Grammy. For example, Latin Jazz is performed by any size group, from duos to big band. The only category that even crosses into this area now is Big Band Jazz where duos, trios, quartets, quintets, sextets, septets, etc, cannot apply and if your Latin Jazz project does happen to be a big band format, then you’re competing in the US against our national art form – basically a snowball’s chance in hell. My five nominations (over a 40 year career) were in three categories that have all been eliminated.

I’ve been a member for some 25 years, supporting the organization with yearly dues, and by volunteering for Grammys in the Schools programs. I lobbied for years and wrote many letters, attended countless meetings and had many a phone conversation with various administration and staff about how to improve the organization and have always felt that there was very slow progress, but at least it was progress – up until now. This disrespectful mandate by the Academy sets the organization, civil rights, and creative expression in the United States back several decades. It matters not whether their decision was made out of ignorance, arrogance or racism, it is simply wrong and to add insult to injury, was made by secret committee and handed down seven months after the eligibility year had begun, meaning that all of us who produce our projects on a timeline to be eligible for a nomination were abruptly dropped on our arses in the middle of the Grammy year!

They are also trying to ignore away the fact that they secretly changed the eligibility rules for numbers of submissions required to have a category and didn’t bother to let anyone know until after they announced the axing of all the categories based on not having enough submissions! Simply disgraceful! We’d love to take a poll of the membership to get the administration and staff that created and support this colonial mentality removed, but NARAS has refused to allow us access to the membership rosters. This is a violation of non-profit corporate conduct in the State of California and legal actions are being pursued in California as well as in New York. But with no money to back up our legal challenges, that remains a slow and difficult proposition.

If this were not enough, after stabbing a large portion of the membership in the back, many of the staff, and administration have admitted that it was a huge mistake in every way, but they have refused to acknowledge this officially and refuse to correct it. They seem to think that since we appear to be relatively few, we will just disappear under the glitz and clamor of the Grammy apparatus. Although we are all working stiffs and have much more important and urgent things we’d rather do, we don’t plan to let that happen and we hope you will help us go viral and let the world, NARAS, CBS, and the sponsors/advertisers of the Grammys, all know that this is not acceptable and we are considering an occupation of the Grammys and a boycott of their products and “services” until they really fix it.

Herbie Hancock, Eddie Palmieri, Paul Simon (also inducted into the Hall of Fame this year), Carlos Santana, Bill Cosby, Esperanza Spalding, Bonnie Raitt, Stanley Clark, David Amram, Pete Escovedo, Oscar Hernandez, Larry Harlow and many others have openly condemned NARAS’ actions. It is a shame though not completely surprising that many more celebrities have not spoken up strongly against this culturally devastating position by NARAS. Many of them have large potential earnings at stake and are not willing to risk a penny of it. Others don’t feel that NARAS has ever deserved our participation and support.

Our informal national coalition has held bi-coastal press conferences and written related posts and letters ad-nauseam. We hope that the action of posting on the internet and writing letters to the appropriate parties will be carried out by anyone and everyone who feels strongly about maintaining any semblance of diversity in the music business and understands what the threat of capitalism-gone-berzerk in the music business means to artistic freedom and creativity. We are extremely encouraged however by the continued international support and today’s news that both Reverend Jesse Jackson and Cornell West have joined our ranks with strong statements against NARAS’ actions and demands for equitable resolution (See below for links).

The 54th Grammy awards telecast is sold out (in more ways than one) and we also congratulate all the nominees and winners. But when our esteemed organization violates it’s membership, its own mandates, and the public trust, we are all losers. Please help us get NARAS back on track. It can be a very worthwhile organization when run from the heart instead of the wallet.

Visit Grammy Watch for updates, addresses, and info, and let CBS know your thoughts directly with the link below, too . . . .

In solidarity and with gratitude, as your help is much needed and highly appreciated,

John Santos
Five-time Grammy nominee, educator, composer, producer, percussionist, bandleader, US Artist Fontanals Fellow

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Make your voice heard on the CBS comment form

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Check out what Rev. Jesse Jackson had to say about the Grammy Travesty HERE.

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“I thoroughly endorse the efforts of Grammy Watch and Presente.org.  I believe the elimination of the ethnic Grammy categories is unjust and unfair.” -Cornel West

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“The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There’s also a negative side.” -Hunter S. Thompson

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Here is a list of Grammy sponsors, advertisers and tech partners as listed on their website a few weeks ago. I’m sure there are more that have been added . . .

AT&T
Mastercard
Delta 
Harman
Hilton
hp
Waste Management
Diet Pepsi
Acura
Westwood One
People Magazine
Gucci
Lullabot
AEG (digital media)
Live U
Ooyala
Akamai HD

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Constructing A Fascinating Sonic Mix
With the help of producer Greg Landau, Fernandez constructs several pieces based on an earlier recording headed by pianist Omar Sosa. An extended timbale fill leads into a rumba inspired groove filled with wah wah drenched guitar on “Dimelo!,” where Fernandez delivers a spacious melody with layers of saxophone lines. Fernandez digs into the driving feel with a solo that employs both space and bursts of rhythmic intensity, taken to another level through interactive timbale work. An airy collection of percussion and vocal samples serves as a foundation for a harmonized mambo line from Fernandez with overdubbed solo ideas flying over the mix. A vocoded voice floats over a slow and steady percussion groove on “Bolero En El Olvido” leading into an introspective melody on a combination of flute and sax. Fernandez’s bold tenor tone lifts his solo above the shimmering quality of the rhythm section with a quiet intensity. Sosa captures the thoughtfully methodical mood of the piece with a spacious improvisation that delicately explores ideas of texture and shape. A collective improvisation between flute, piano, kalimba, and percussion slowly unfolds behind atmospheric vocals sounds on “Altiplano” until a strong percussion pattern pushes a sax melody into the forefront. Fernandez rides the intensity of the percussion part into a commanding statement that ferocious attacks a healthy series of ideas. A short collection of phrases from Sosa leads into a etherial flute solo which weaves around a collection of electronic sounds and airy vocal samples. Bombastic percussion hits open into a steady cajon rhythm on “Lamento Andino” which sets the stage for a slithering sax melody over a sly groove. Fernandez uses the hypnotic nature of the background as a launching point for a passion drenched sax solo that screams into a scorching combination of runs and high register intensity. As Fernandez switches to flute, an open exploratory vibe overtakes the music, combining percussion, vocal chants, noodling vibraphone, and more. Fernandez and Landau put together a fascinating musical journey over Sosa’s work explores influences form around the world.

Experimenting In A Latin Jazz Setting
Fernandez moves into a more focused Latin Jazz direction on other tracks while keeping an experimental edge. The rhythm section tears into a sparsely funky cha cha cha groove on “Boogaloo Nouveau” while a layer of saxophones play rhythmic lines beneath an energetic flute melody. Fernandez’s flute flies out of the melody into a wandering improvisation that draws strongly upon jazz and Cuban music conventions. Things rise to another level as Fernandez switches to bass clarinet for a driving mambo line before the saxes push their powerful sound to the end of the piece. A running sax line hits accent points from the rhythm section on the strong introduction to “Nati’s Repose” until the a soulful melody works its way through a funky groove. Fernandez skillfully wraps bluesy lines into his improvisation, bouncing around the rhythm section’s lively foundation. Some great background writing for woodwinds helps lift Fernandez’s solo to an exciting climax before smoothly falling back into the melody. Crowd noises fade into a catchy sax ostinato over a second line drum beat on “Qrsna,” before Fernandez enters with a folk flavored melody. The saxophonist displays some strong creative energy, twisting and turning the main melody in numerous different directions that hold onto the core flavor while adding new ideas. As the sax vamp disappears, Fernandez’s solo takes a decidedly Middle Eastern direction with distinctive articulations and scale choices that end the piece with an ear catching flair. A six beat percussion groove segues into an understated flute vamp on “Ciclos,” setting the stage for a cyclical melody filled with thick layers of flutes and sax. As waves of sound fly through the background, Fernandez leaps into a smart solo distinguished by quick streams of notes, expressive phrasing, and reflective pauses. The flutes return with pieces of the original melody behind Fernandez, inspiring the saxophonist to stretch his improvisation into an intensive fury before returning to the main theme. There’s some familiar Latin Jazz approaches on these tracks, but Fernandez’s experimental spirit really brings these songs alive.

A Memorable Sonic Journey
Fernandez blends a world of influences into an intriguing musical statement on Cantos Del Sexto Sol, putting a unique spin on traditional Latin Jazz ideals. His collaboration with Greg Landau results in an intoxicating sonic adventure that blends Sosa’s unique musicianship with inspired creativity. Fernandez’s compositional ideas complement the work of Sosa’s group and interact insightfully with the embedded cultural references. Fernandez freely integrates a variety of sounds from different cultures, ranging from Cuban rhythms to Middle Eastern scales, Peruvian percussion, and more. There’s never a sense that he takes these cultural traditions lightly though; they are respectfully winded into the overall mixture. Studio manipulation and overdubbing plays a big part in Fernandez’s concept, an act that Fernandez uses to his advantage. The thick layers of woodwind instruments combined with clever harmonizations make for a distinctive sound and defined arrangement ideas. As a player, Fernandez exerts a strong improvisational voice that calls upon the influence of musicians such as Pharaoh Sanders and Gato Barbieri. His ability to be quiet and reflective at one moment and then be screaming in passionate intensity shows a wide dynamic range and broad musical concept. With all these pieces in place, Fernandez creates a memorable sonic journey on Cantos Del Sexto Sol that delivers a blend of world influences that is simultaneously exciting, surprising, and overflowing with a twenty-first century mentality.

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Track Listing:
1. Dimelo!
2. Boogaloo Nouveau
3. Nati’s Repose
4. Qrsna
5. Bolero En El Olvido
6. Altiplano
7. Lamento Andino
8. Ciclos

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Musicians:
Enrique Fernandez – alto, tenor, & baritone saxes, flute, and bass clarinet; Omar Sosa – keyboards and vocoder; Greg Landau – drum and percussion programming; Geoff Brennan – upright bass; Josh Jones – drums; Pauchi Sasaki – chants and Japanese vocals; Tito de la Rosa – Peruvian chants and percussion; David Flores – drums (3)

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Check Out These Related Posts:
Album Of The Week: Latinbird, T.K. Blue
Album Of The Week: Tango Jazz & Panamericana Suite, Paquito D’Rivera
Spotlight: Oscar e Familia, Oscar Feldman
Album Of The Week: Esta Plena, Miguel Zenón

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IMPORTANT ALBUMS:


Poncho Sanchez, Para Todos


Poncho Sanchez, Soul Sauce: Memories Of Cal Tjader


Poncho Sanchez & Mongo Santamaria, Conga Blue


Poncho Sanchez, Freedom Sound


Poncho Sanchez, Afro-Cuban Fantasy


Poncho Sanchez, Latin Soul


Poncho Sanchez, Soul Of The Conga


Poncho Sanchez, Latin Spirits


Scot Martin, Cafe Cubano


Poncho Sanchez, Out Of Sight


Jose Rizó’s Jazz On The Latin Side All-Stars, The Last Bullfighter


Scott Martin, Menudo & Gritz


Jose Rizó’s Jazz On The Latin Side All-Stars, Tambolero


Scott Martin, Voodoo Juice

LINKS:

Scott Martin’s Web Site

Scott Martin’s Reverbnation Page

Scott Martin’s Facebook Page

Scott Martin’s MySpace Page

CHECK OUT SCOTT MARTIN IN ACTION:

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IMPORTANT ALBUMS:


Steve Pouchie, Vibe Mania


Steve Pouchie, El Puente (The Bridge)

LINKS:

Steve Pouchie’s Web Site

Steve Pouchie’s Reverbnation Page

Steve Pouchie’s Facebook Page

CHECK OUT STEVE POUCHIE IN ACTION:

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1. Go See Some Live Latin Jazz
This will always be number one on the list – Latin Jazz is simply a performance art and we can’t really connect with the style until we see it live. Many areas have high end jazz clubs that will occasionally host high profile traveling artists, but it’s just as important to check out your local musicians. Latin Jazz takes on different shades across the country, so it’s important to realize that the local artists that ups support are one of a kind. Realize that many people across the country don’t have the privilege of seeing the artists that you have regular access to, so value what you’ve got!

New York residents have been lucky enough to have Arturo O’Farrill & The Afro-Latin Jazz Orchestra in their community for the past ten years. The group will be celebrating their ten year anniversary this weekend with two concerts. The group will play music from their ten year history and share the stage with a number of guests. The Friday night concert will serve as a fundraiser for the Afro-Latin Jazz Alliance’s educational activities across the city. There are not many bands in the country that have been as forward looking and visible as Arturo O’Farrill And The Afro-Latin Jazz Orchestra, so if you’re in New York, you don’t want to miss this ten year anniversary celebration! Find the details on the concert HERE.

2. Buy Latin Jazz Recordings
Next to attending a live performance, the best way that you can support a Latin Jazz artist is through the purchase of one of their recordings. We all need to hear new music and it’s a good idea to find a way to buy recorded Latin Jazz on a regular basis. As I suggested in the podcast, I would suggest that you mix up your buying habits in 2012 – spend some of your hard earned cash on established artists and then plunk some of that precious savings into an up and coming musician. This way, you insure that you support the past, present and future of the music.

With this in mind, I’ll recommend both an established artist and an up and coming artist with each article. Here’s this article’s suggestions:

Elio Villafranca & Arturo Stable, Dos Y Mas

Enrique Fernandez, Cantos Del Sexto Sol

3. Turn A Friend Onto Some Great Latin Jazz
Many of us hang around with people that share are interests, but that doesn’t mean that everyone you know will enjoy Latin Jazz. In fact, there’s a good chance that many people you know don’t even know what makes up Latin Jazz. There’s a good chance that they haven’t been exposed to great Latin Jazz and they might just like it if they had the chance. So it’s your job to provide that opportunity for them, and there are many ways that you can do that.

On the podcast, I suggested taking a friend to a live Latin Jazz event – a great idea if you can – but here’s another thought – why not turn them onto the LJC Podcast? Most people have some sort of iDevice these days, and if not, they more than likely have access to iTunes. Show them how to listen and they’ll hear some music, get the story from the artists themselves, and check out additional information. They get all those great things and it’s FREE – you can’t go wrong with that price. It’s a risk free way to turn people onto this wonderful music. In order to check out the podcast, send them HERE.

4. LIKE A Latin Jazz Artist On Facebook
When you like an artist on Facebook, you help them spread the word about their music, but they do need to get the ball rolling. Artists can’t simply create a page and expect the world to listen – they’ve got to do something with it. A Facebook page is a prime spot to share pictures, concert footage, news, and link with fans, opening to door to interaction. The artists that regularly put information out to the public are making a connection with you and they’re letting you help them – an end result that we all want.

These are the artists that we want to follow, so each article in this series will highlight a Latin Jazz musician that uses Facebook effectively. Trumpet player Gabriel Alegria and his Afro-Peruvian Sextet does a great job of posting pictures, videos, updates on concerts, and more. Check out the link below and LIKE them today!

Gabriel Alegria Afro-Peruvian Sextet Facebook Page

5. Support A Kickstarter Campaign From A Latin Jazz Artist
The 21st Century is as time of exchange between musician and audience on more ways than one. Gone are the days where a musician breaks the bank to record an album and then hope that the audience supports them. Today, fans can show their support to an artist before the music hits the studio and become collaborators in the process of bringing music into the world. It’s a model facilitated by sites such as Kickstarter or ArtistShare, where audience members pledge their financial support, enabling new music from their favorite artists.

Supporting Latin Jazz in 2012 certainly involves KickStarter projects and there’s a great one brewing right now from vocalist Kat Parra. Her latest recording, Las Adventuras De Pasión, features Parra’s wonderful voice in a variety of sparse settings that connect her with a number of South American, Caribbean, and Spanish traditions. The album is near completion but it still needs a few more tracks recorded as well as distribution and promotion. The details are available on Parra’s Kickstarter site, where you can see a video about the project as well as check out the rewards for your financial contribution. It’s a project well worth supporting, so start 2012 by pledging your money to Kat Parra’s Las Adventuras De Pasión Kickstarter project.

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Check Out These Related Posts:
Latin Jazz Conversations: Arturo O’Farrill (Part 5)
Latin Jazz Conversations: Gabriel Alegria (Part 3)
Latin Jazz Conversations: Kat Parra (Part 1)
Album Of The Week: The Source In Between, Elio Villafranca Quartet

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Stay up to date on all the latest happenings at LJC and the greater Latin Jazz world on the LJC Facebook Page, so go there and LIKE us today to stay in the loop!

Last week, Arnold Jay Smith encouraged us to Boycott The Grammys (an action that I would wholeheartedly agree with!), and he returns this week with more thoughts on Latin Jazz. In this week’s article, “Latin Jazz Lives!,” Smith restates the issue with NARAS and then takes a fascinating approach by asking Jazz Journalist Association president Howard Mandel for his take on this issue. Mandel’s comments seem a bit snarky and cynical about the whole thing – granted, this might be the way that Smith frames the conversation, but I just don’t sense a whole lot of support for Latin Jazz there. It’s definitely worth reading – some thought provoking stuff HERE.

Don’t forget, for all the latest updates on the protest against The NARAS elimintion of 31 Grammy categories, check out Grammy Watch.

NPR’s World Cafe kicked off a new program this past week entitled Latin Roots, an ambitious program that aims to dig through the history of Latin music through a combination of talk and music. Host David Dye, along with producer and Latin music specialist Aaron Luis Levinson, jump into the mix this week with a focus on salsa. The duo discusses Fania, the influence of jazz, and more, giving us some examples from Cortijo and Bio Ritmo. It’s a good listen that is both accessible and interesting, showing potential for future episodes. Take a listen to this week’s salsa episode of Latin Roots and check back in for future shows!

NPR delivered a couple of Latin Jazz gems this week – in addition to the Latin Roots show, they’ve got a streaming live performance of the David Murray Cuban Ensemble. This group delivered a fantastic tribute to a legendary singer in 2011 entitled David Murray Cuban Ensemble Plays Nat King Cole En Español. Part of the beauty of that recording was the arrangements and thoughtful authentic perspective on Cole’s original recording. Here you get to see the group take those arrangements and stretch out, giving you a wonderful compliment to the recording. There’s about an hour of David Murray’s Cuban Ensemble performing live – put aside the time to check this out, you’ll be glad that you did.

Over at the Latino Music Cafe, Hector Aviles looks back upon the Latin Music Highs and Lows, with a focus on Latin Jazz. He points out some great albums, reminding us once again what a whirlwind of wonderful music came along in 2011. The low point undoubtedly falls upon the elimination of 31 Grammy categories by NARAS, with a special focus upon the loss of the Latin Jazz category. There’s some good thoughts here – give the Highs And Lows of 2011 a read for some insightful looks back at the year.

Fernando Huergo: Suite En Celeste Y Blanco (Suite In Blue And White)

Latin Jazz Corner Podcast #3: Mark Weinstein, Grupo Falso Baiano, & 5 Ways To Support Latin Jazz In 2012

Album Of The Week: Current, Jovino Santos Neto Quinteto

Revisiting Latin Jazz Classics: California Jam, Fania All Stars

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IMPORTANT ALBUMS:


Marlon Simon And The Nagual Spirits, Rumba A La Patato


Michael Simon And Roots United, Revelación


Marlon Simon And The Nagual Spirits, Live In La Paz, Bolivia


Marlon Simon And The Nagual Spirits, In Case You Missed It


Fra Fra Sound, Dya So


Michael Simon, New York Encounter

LINKS:

Michael Simon’s Web Site

Michael Simon’s Reverbnation Page

Michael Simon’s Facebook Page

Michael Simon’s Twitter Page

CHECK OUT MICHAEL SIMON IN ACTION:

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Far Reaching Artistry And Cohesion As A Quintet
The core quintet is featured on several tracks, showing the far reaching artistry and cohesion as a unity. Neto establishes a funky strut with a vamp on Fender Rhodes, giving “Corrente (Current)” a reggae edge, which gets a subtle tension from saxophonist Harvey Wainapel’s rhythmic melody. The saxophonist falls into the groove with his improvisation, slowly building into a climax with tense melodic lines, followed by Neto’s bluesy electric statement. Percussionist Jeff Busch leaps into a fascinating solo, pulling a variety of sounds from the berimbau, and after a return the melody, drummer Mark Ivester develops a colorful rhythmic idea over a vamp. Bassist Chuck Deardorf solos freely over a collection of drum textures, making way for an uptempo groove on “Two Friends, True Friends.” Wainapel’s spacious melody intertwines beautifully with scatted vocals from Lena Simon and Caroline Corcoran until the saxophonist launches into a lyrical improvisation that skillfully plays upon the song’s lush texture. The band quiets to a whisper behind Deardorf, who builds a running stream of melodic ideas that lead smoothly back into the melody. Wainapel leads the band into a driving bossa nova on “Outras Praias” with a rich melodic idea that flows cleanly over Neto’s rhythmic comping. The pianist spins winding melodies that cur through the harmony with a jazz flair and bounce around the rhythm in a syncopated fashion. Deardorf skillfully develops a strong idea, thoughtfully running connected thoughts and rising melodic sequences over the whole spectrum of his bass. The deep rich tone of Wainapel’s unaccompanied clarinet sounds with a bluesy seriousness on “A Fonte (The Source),” taking on a solemn reflective quality as the band falls into place behind him. A repeat of the melody allows Wainapel to further elaborate on the main theme while the band builds the emotional depth of the song. Neto follows with an introspective improvisation that reaches into the inner edges of the music, emerging with a personal statement that completes the performance. Neto and his group fluently move through several different stylistic approaches on these tracks, showing impeccable teamwork and creative interaction at every turn.

An Inspired Addition To The Group
Vibraphonist Ben Thomas joins the group on several pieces, adding an inspired element to the group. Ivester and Busch leap into a driving samba groove on the introduction to “Vivendo No Presente (Living In The Present),” which serves as a launching point for an energetic melody from Wainapel and Thomas. Neto plays upon the addictive feeling of the song with an enthusiastic improvisation that overflows with rhythmic vitality and interesting melodic shapes. Wainapel tears into his solo with a serious edge, blazing right into Thomas’ improvisation that come alive as the percussive nature of his notes blend with the rhythm section. A combination of percussion and clapping establish an edgy rhythmic foundation for a precocious melody on “Matraca (Rattle),” that explodes forward with an unstoppable power. Neto engages in an overdubbed flute dual with himself, that cleverly builds the song’s motion with smart intertwining lines. A sudden stop break opens the door for a ferocious solo from Wainapel, who cuts through the band’s groove with a forceful series of bop fueled runs. Thomas delicately introduces “Zagaia (Spear)” with an unaccompanied solo that suddenly falls into an unabashedly funky groove. A winding melody leads into an edgy solo from Neto, who assertively plays off the song’s charging groove, until Wainapel races into a strong series of cutting lines. The combination of melody and percussion on Thomas’ solo make the vibraphonist’s idea leap from the music, while Deardorf digs deeply into the song’s funky soul with a slippery electric bass solo. A unison melodic explosion from Neto, Wainapel, and Thomas lead into a flowing melody on “Sea And Sky.” A long and winding line shared between Wainapel, Thomas, and Neto’s melodica set the stage for thoughtfully constructed improvisation from Wainapel. Neto jumps into a lively solo on melodica, making his way through the changes with a smart collection of melodies that play off interaction from Thomas and Ivester. Thomas asserts his voice strongly on these tracks, and the group responds enthusiastically, playing off his performance with a evident excitement.

Imaginative And Interactive Playing
Neto and his Quinteto deliver an outstanding performance on Current, full of imaginative and interactive playing that comes from years of collective flow. As a bandleader, Neto supplies direction and freedom in a free flowing way, constantly serving as a bright and powerful creative spark. It’s a wonderful duality that makes his music come alive – his artistry is in clear focus while simultaneously being open to new ideas. Neto’s compositions provide a wide variety of textures and harmonic colors, with moods ranging from playful to deeply introspective. The band reacts to each setting with vivid engagement, obviously enjoying the thrill of the far reaching musical journey. Wainapel is a perfect complement to Neto’s powerful artistic personality, enthusiastically exploring the full range of Neto’s composition and asserting his own personality in a bold yet tasteful manner. Even though he joins the group as a guest, Thomas is a perfect fit among the musicians – his lyrical percussive voice is a fantastic layer. Deardorf plays with authority and insight, working well as both a support person and a smart soloist. Ivester and Busch support the group with creativity and knowledge, tapping both into authentic grooves and colorful percussion techniques. The combination of all these elements makes Current an inspired Brazilian Jazz statement, showing a snapshot of Neto and his Quinteto, a group that has flowed through a collective growth into musical maturity.

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Track Listing:
1. Corrente (Current) – (Jovino Santos Neto)
2. Vivendo No Presente (Living In The Present) – (Jovino Santos Neto)
3. Two Friends, True Friends – (Jovino Santos Neto)
4. Matraca (Rattle) – (Jovino Santos Neto)
5. Outras Praias (Other Beaches) – (Jovino Santos Neto)
6. Zagaia (Spear) – (Jovino Santos Neto)
7. Pra Casa (Homeward) – (Jovino Santos Neto)
8. Sea And Sky – (Jovino Santos Neto)
9. A Fonte (The Source) – (Jovino Santos Neto)

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Musicians:
Jovino Santos Neto – piano, rhodes, flute, melodica, handclaps; Harvey Wainapel – clarinets and saxophones; Chuck Deardorf – acoustic and electric basses; Mark Ivester – drums; Jeff Busch – percussion; Ben Thomas – vibraphone (2, 4, 6, 8); Lena Simon – vocals (3); Caroline Corcoran – vocals (3)

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Check Out These Related Posts:
Latin Jazz Conversations: Jovino Santos Neto (Part 1)
Weekly Latin Jazz Video Fix: Jovino Santos Neto
Album Of The Week: Alma Do Nordeste (Soul Of The Northeast), Jovino Santos Neto
Weekly Latin Jazz Video Fix: Jovino Santos Neto (2)

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