The Latin Jazz Corner

Album Of The Week: Finas Misturas, Antonio Adolfo

chip — Fri, 24 May 2013 14:00:52 +0000

Finas Misturas
Antonio Adolfo
AAM Music
In a lot of ways, a jazz musicians’s performance is all about their perspective upon the way that jazz reflects their lives. The simple choice of dedicating your artistic identity towards jazz reveals a value statement about the importance of history and the genre’s bold tradition – jazz musicians see their connection to the lineage as an important commitment. At the same time, the way that they choose to interpret the tradition connects them to a bigger vision of culture and society. While most musicians will spend some time emulating the way that standards were originally recorded, more experienced musicians will shape them using a variety of factors from their personal lives. They do more than just put a spin of a standard, they let us look at the way that the song fits into the modern world through their eyes. Different rhythmic traditions will find their way into the music, alongside harmonic changes, improvisational approaches, and more. The way that these musicians mix various influences in different proportions shows us the way that they see the world, and with the right amount of transparency, it can be a beautiful sight. Pianist Antonio Adolfo mixes jazz standards, original compositions, Brazilian rhythms, and modern improvisation technique into a wonderful blend on Finas Misturas, giving us an inspired view of the jazz tradition.

Adolfo’s Perspective Seen Through Original Compositions
The clearest perspective upon Adolfo’s vision of the jazz world comes through a collection of original compositions. Moody textures from Adolfo and Jorge Helder’s bowed bass, lead into a rhythmic collection of piano melodies that set-up Marcelo Martin’s flute melody on “Floresta Azul.” Adolfo builds a memorable statement using a caraful sense of lyrical development, until a unified band break leads into an impassioned solo from Martins, full of edgy rhythms and melodic runs. The group returns to the break, taking them back to the main theme before Adolfo and Martins engage in a playful improvised interplay which brings the song to a close on an uplifting note. Drummer Rafael Barata wraps colorful cymbal textures around Adolfo’s melody, full of retrospective phrasing and lush harmonies, on “Balada,” while Helder and acoustic guitarist Claudio Spiewak add gentle support. Adolfo takes his time developing a gorgeously expressive solo where he combines pure melodies with bluesy embellishments, pushing and pulling the rhythm towards waves of tension and release. There’s a wonderful sense of interplay between Adolfo and his bandmates that plays upon a sense of space and subtlety reminiscent of Bill Evans. Arpeggiated figures and sharp rhythmic turns lead into a driving samba from Barata and Helder, while Adolfo and electric guitarist Leo Amuedo dig into an aggressive unison melody. Adolfo attacks his improvisation with a distinctly rhythmic flair, attacking each note with an individual characteristic that leads to a lively and rollicking stream of notes. Amuedo shapes his solo with a fluid phrasing that takes interesting twists as he cleverly grabs the most interesting tones, building excitement into a hard hitting series of hits for a solo from Barata. The melody on “Tres Meninos” comes alive with a exuberant bounce, as Adolfo and Amuedo dance around a lively momentum, driving by a wave of bass, drums, and percussion. Amuedo plays upon the forward motion with an assertive solo that shows both a comfort in the rhythmic setting, but also a very jazz informed approach to the changes. A growing collection of Brazilian percussion brings Adolfo’s solo to life with an addictive drive, jumping down to a whisper as Helder applies a combination of strong technique, deep tone, and melodic knowledge to a smart improvisation. These songs give a pure sense of Adolfo’s approach to harmony, rhythm, and improvisation, letting us get a true look at his thoughts.

Looking At Jazz Standards From Wind Players
Adolfo shows us one side of his perspective upon the jazz tradition by arranging a number of songs by historically important wind players. The familiar descending chords and melody of John Coltrane’s “Giant Steps” comes from Adolfo and Martins until the rhythm section enters with a distinctly Brazilian groove and the two musician twist the melody into something new. As the chords stretch across longer spans, Adolfo’s approaches his improvisation with a beautiful combination of lyrical invention, rhythmic edges, and thematic development. Martins inserts a bit more fire into his solo, running quick lines through the changes, leading into a brief but assertive statement from Helder. There’s a downtempo and relaxed feel from the rhythm section as Amuedo, Adolfo, and Martins take turns interpreting the melody to Dizzy Gillespie’s “Con Alma.” Amuedo dives into his solo with a fearless attack full of interesting note choices and creativity, followed by a bold improvisation from Martins, whose tenor sax bounces nimbly through the changes. A brief flurry from Spiewak takes the group back to the melody, which falls into an unaccompanied solo from Adolfo that builds back into a driving groove. Adolfo introduces the melody to John Coltrane’s “Naima” unaccompanied until the full band joins him, leading both Martins and Spiewak to a spacious interpretation of the melody. Martin’s stretches across a lengthy improvisation, running his flute through a number of emotions, pushing the band into an intensive texture. Adolfo grabs the momentum and drives syncopated rhythms and inventive melodies through the changes, and upon Martin’s return to the melody, Helder creatively weaves improvised lines throughout the phrases. These songs take on a vibrant and colorful new life when seen through Adolfo’s eyes, giving us a new way to look at some important voices.

A Personal View On Jazz Standards From Piano Players
Adolfo provides a personal view on a collection repertoire that he’s obviously studied closely, as he digs into several songs from well-known jazz pianists. There’s a subtle and nuanced interplay between Adolfo and Amuedo as the two musicians exchange phrases on the melody to Keith Jarrett’s “Memories Of Tomorrow.” Amuedo provides a backdrop of arpeggiated figures and rhythmic accents as Adolfo spins lush melodies through the chords, cleverly playing around the melody. Taking a distinctly different approach, Amuedo builds upon the original chord changes with tastes of unique phrases and dissonance. Adolfo establishes a contemplative mood, setting the ground for Martins to leap into the melody of Chick Corea’s “Crystal Silence,” which the band frames with tasteful colors. Barata and Helfer move into a bossa nova rhythm, setting the stage for an understated improvisation from Adolfo, who sends beautiful lines thorough the chords. A band break transitions the group into a solo from Martins, who gradually builds into a frenzied stream of notes that inspire an enthusiastic response from the rhythm section. A sense of frozen time sits behind Adolfo and Martins as they perform the melody to Bill Evans’ “Time Remembered” with a spacious calm. Adolfo draws upon the impressionistic influence of Evans which a rich statement that paints a picture in sound. Martins attacks the chord changes a bit more aggressively, pushing and pulling upon the structure until he sends the rhythm section into a climactic double time feel. There’s a distinctly personal feel to these tracks, as Adolfo uses some more intimate settings to show us his deep connection to these artists.

A Beautiful Perspective On The Jazz World
Adolfo chooses a wonderful mixture of jazz tradition, Brazilian rhythmic styles, and improvisational approaches on Finas Misturas, letting us see exactly how he views the genre. Those decisions come from his culture and surroundings, but also from years of experience performing a wide variety of jazz and Brazilian music. There’s a finesse and beauty that keeps Adolfo’s music from becoming a simple combination of jazz standards floating over Brazilian rhythms. The different elements of Adolfo’s music flow into each other seamlessly, sounding more like a unified concept than the blend of disparate elements. This means that at times the harmonies overshadow the music’s rhythmic aspect, and at other times, the Brazilian rhythms take the front seat. There’s never a feeling of sacrifice in the music though; it’s more like all the pieces are working together fluently to show us Adolfo’s vision. His band supports this concept with power and conviction, delivering a performance that overflows with empathy and musicality. Adolfo’s paying is full of lush colors and smart interplay, an approach supported by the interactive way in which the band members play the music. With every piece on Finas Misturas, Adolfo and his group give us a glimpse into their world, inspiring us with their beautiful perspective on jazz.

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Track Listing:
1. Floresta Azul (Antonio Adolfo)
2. Balada (Antonio Adolfo)
3. Giant Steps (John Coltrane)
4. Con Alma (Dizzy Gillespie)
5. Misturando (Antonio Adolfo)
6. Memories Of Tomorrow (Keith Jarrett)
7. Naima (John Coltrane)
8. Três Meninos
9. Crystal Silence (Chick Corea & Neville Potter)
10. Time Remembered (Bill Evans)

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Musicians:
Antonio Adolfo – piano; Leo Amuedo – electric guitar; Claudio Spiewak – acoustic guitar; Marcelo Martins – tenor sax, flute; Jorge Helder – double bass; Rafael Barata – drums, percussion

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Check Out These Related Posts:
Album Of The Week: Chora Baîao, Antonio Adolfo
Latin Jazz Conversations: Antonio Adolfo (Part 4)
Album Of The Week: Lá e Cá (Here And There), Antonio Adolfo & Carol Saboya
Album Of The Week: Belezas: The Music Of Ivan Lins & Milton Nascimiento, Rick Davies

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The Stanford Afro-Latin Jazz Ensemble With Ray Vega: An Interview With Murray Low

chip — Wed, 22 May 2013 14:00:54 +0000

Music education is a multi-layered process that demands both a student and teacher to always look to the next level, finding ways to keep musical enrichment growing. From a student perspective, the need for constant practice and individual study must be balanced with group rehearsal and self-refelction. This time with their mentors is invaluable, and it’s essential that they take advantage of every opportunity by being prepared. On the same token, educators have the task of finding new and challenging experiences for their students that will lead to a higher level of musicianship. Sometimes that job requires finding new repertoire, while other times, they need to discover original and impactful ways to make the nuts and bolts stick. When both a student and teacher hold up their end of the bargain and dig a little deeper into the musical process, magical things can happen.

The magic has been happening in the South Bay Area for several years now, as the Stanford Afro-Latin Jazz Ensemble and their leader Murray Low continue to bring some of the top names in Latin Jazz into their process. As a teacher, Low brings a wealth of knowledge to the ensemble, drawing upon his vast professional experience with artists like Pete Escovedo, Wayne Wallace, and more. The SALJE students are extremely lucky to have Low as an instructor, for he brings even more than experience to the table. He has been programming a series of guest artist concerts over the years, so that each Spring, the studnets can gain additional insights into the music from a second professional. Veterans of the SALJE have had the opportunity to learn and perform with John Santos, Andrea Brachfeld, John Calloway, and more. The guest artist concers have bred a hard working ensemble that digs deeply into authentic experiences and produces very musical results.

This year, Low has brought yet another great musician into the ensemble for their Spring Concert, trumpet player Ray Vega. A well respected sideman and bandleader, Vega has spent time on the stage with Mongo Santamaria, Tito Puente, Ray Barretto, and many others. He appeared as a guest artist alongside a number of other musicians in the band during the 2010 concert, so this should be a good opportunity for him to dig in a little deeper with the students. In anticipation of this concert, I asked Low about his experiences with the ensemble, guest artists, and Vega in particular, getting the inside scoop of this fantastic educational experience.

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LATIN JAZZ CORNER: You’ve had Ray Vega out to work with the ensemble as a guest artist in 2010; what inspired you to bring him back to work with the students a second time around?

MURRAY LOW: Ray was part of larger group of artists that I brought in simultaneously that winter, in a year in which I had received a special one-time Stanford Arts grant. This time around, he’ll be working with the band exclusively on his own. I had always wanted to bring him back out in a situation where he could play a larger role with my students. Three years later, the timing and logistics finally worked out for both of us.

Ray brings with him a great sense of the tradition of multiple idioms of music, while at the same time not being ‘bound’ by that tradition. He has instant credibility and respect because he has ‘lived’ the music and can speak to its roots in a first-hand manner. Additionally, he has solid academic acumen through his work at SUNY Purchase and now at the University of Vermont, whom we thank for allowing him to come out during the academic year.

Finally, his passion and earnestness about the music are infectious. I know I’ve said that before, but it’s worthy repeating.

LJC: It’s a pretty straight-ahead thing to teach students scales, chords, and rhythms, but there are also some intangible qualities in music that are more challenging – how do you think working with professionals taps into those less concrete aspects of music?

ML: Professionals are at a level such that scales, chords and rhythms are a given. The countless hours of practice yield that result. So when Ray listens to the band, he’ll be focusing on the intangibles you mention. As with any idiom, there are aspects such as groove, solid time, feel, listening and playing together. Next, there are the specific aspects of Latin jazz such as phrasing, accents, and playing true to the style. At the highest level, there is the emotional and aesthetic intent that players must approach the music with to truly perform it well.

As the group rehearses only 90 minutes a week, much of the time is spent working up therepertoire in a basic way. Having Ray here changes their focus completely, and they elevate because of it. I am very careful to make sure that the group is well rehearsed ahead of time so we can maximize Ray’s expertise in the limited time we get to spend with him.

LJC: What’s the repertoire like for this concert? Will you be playing Ray’s compositions, standards, or other original music?

ML: Ray has submitted four pieces – two original compositions with an instrumental jazz focus,and two arrangements of classic tunes that most will recognize. In addition, I have also chosen some additional material from bands that Ray has played with, including one piece where he appears on the original recording. I’m really excited about that, as he can tutor the group on *exactly* how the song should be played!! He’s lived it.

I’m very careful to choose a varied repertoire so that listeners can walk away with a full appreciation for how vast the musical territory of “Latin Jazz” is. As an example, we are doing some lesser known Brazilian tunes too. This quarter, I am fortunate to have a vocalist who studied in Brazil for an extended tenure and thus we able to perform those pieces authentically.

LJC: You’ve titled the concert “Left Coast/Right Coast” – you’ve cued into the individual traditions of East Coast and West Coast Latin Jazz with guest artists in the past, this seems to be a recurring theme – why do you think that it’s important for your students to understand and respect the difference between these two traditions?

ML: The “Right Coast” has a longer-standing tradition with a richer history — the evolution from the roots of the music is much more evident. As a musician who has lived his entire life on the Left Coast, I feel no shame in saying that. Why apologize? It’s not a competition; it’s simply history – that’s where the majority of musicians first migrated to from the Americas further south.

The key for educators is to insure that young musicians are listening to enough of the older recordings in order to better understand the various aspects of the idiom that “make it what it is”, where it all comes from, and how it evolved into what they are actively playing. At a nuts and bolts level, they are able to more deeply understand the reason why they are being asked to play or sing something a certain way. I love Timba and changing odd-meter Latin Jazz as much as anyone else, but when one is playing such music, a lot of the interpretation should still come from a “place” that was developed long beforehand.

As a member of the Right Coast, Ray brings tremendous knowledge and first-hand experience in a way that I cannot. I’ll be learning too!

LJC: Ray is an interesting musician in that he has a massive reputation in Latin music, but he’s also a well-respected figure in straight ahead Jazz and Classical music – what do you think that diversity brings to his playing and what could your students learn from that example?

ML: Afro-Latin music sometimes gets a bum rap as being somehow “easier” than either straight-ahead jazz or classical music. Fortunately that perception is not as true today, but when I was coming up, that was definitely the attitude of many. It is true that the harmonic structure of the more traditional pieces tend to be simpler. It’s my opinion that many other aspects of the music are actually more difficult. For example, some experienced jazz players entering the group initially struggled with some of the syncopations. I am constantly trying to throw new challenges at my group to help them grow.

The fact that Ray is proficient in Classical and Jazz instantly legitimizes Afro-Latin music asa topic worthy of extended study. If someone of his stature is taking the time out to immerse himself that deeply in it, others will think that there must be something to it. He’ll be able to demonstrate his virtuosity in a very concrete and obvious way.

To be honest, my students have long considered Latin Jazz as an “equal”. The greater challenge is to raise this awareness amongst the larger Stanford community. I’d say it’s been pretty successful so far!

LJC: You’ve mentioned in an earlier interview that Latin Jazz has been slowly gaining acceptance in the academic world – how do you see both the student body and community-at-large within Stanford embracing Latin Jazz through the ensemble?

ML: It’s amazing how far we’ve come since 2008. With each passing year, I run into people who come up to me in an unsolicited manner and mention the ensemble and want to chat about the music. Attendance at our concerts increases every year. Recruiting has become easier as more students approach me wishing to become members — I wish I had room forthem all! More and more professional musicians are contacting me wanting to become involved somehow.

I’ve also had solid support from the Stanford Department of Music, which has done a lot of work behind the scenes to provide services, publicity and funding.

LJC: At this point, you’ve put students together with guest artists several times – have you seen specific students grow as musicians and artists through their connection with guest artists?

ML: Most of the members enter the group with little or no exposure and/or training in Latin Jazz. Over the course of their respective tenures, they gain a tremendous amount of proficiencymostly through hard work of their own. More importantly, they gain a lifelong passion for the music that will be with them for the rest of their lives. I’m absolutely certain that the guest artist program plays a critical role in this regard – particularly when I’m able to bring icons of Ray’s status into the mix.

Maybe this sounds mushy, but it warms my heart. It’s the motivation for doing this in the first place.

LJC: Any other thoughts on Ray, the show, or the SALJE?

ML: Well, lest this interview sounds too serious, we also have a lot of fun! “Serious fun”, I like tocall it. So come out and enjoy the evening with us. As busy as Ray is, we feel very privileged that he is out here, and I suspect there won’t be too many chances in the future to hear and see him perform. Don’t miss it.

For local readers, Ray will also be holding a free, public master class on Friday May 24 (4:15-5:45) on campus where he will further share his insights. Check our website for more information.

Finally, thanks to you Chip for giving us a little mindshare! We are all huge fans of the Latin Jazz Corner.

BAY AREA LATIN JAZZ FANS – DON’T MISS THE STANFORD AFRO-LATIN JAZZ ENSEMBLE WITH RAY VEGA!
WHEN: Sunday May 26, 2013
WHERE: Dinkelspiel Auditorium, Stanford Campus
TIME: 8:00 p.m.
COST: $10 general/$9 senior/$5 student

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Check Out These Related Posts:
Latin Jazz Beyond The Americas: Murray Low, The Stanford Afro-Latin Jazz Ensemble, & The VW Brothers
Latin Jazz Conversations: Wayne Wallace (Part 5)
Weekly Latin Jazz Video Fix: John Santos
Latin Jazz Photo Album: Stanford Afro-Latin Jazz Ensemble

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Michel Camilo Trio: On Fire

chip — Tue, 21 May 2013 14:00:58 +0000

Not all musicians reach an advanced level of virtuosity on their instrument; it’s a hard earned responsibility that demands certain qualities from a musician. On a surface level, instrumental virtuosity requires a musician to put in a constant stream of hard work to maintain technical abilities and keep their perspective from growing stale. From there, virtuosic musicians need to remain constantly aware of the temptation to over rely upon the impressive quality of their technique to wow audiences instead of applying their skills liberally to musicianship. After spending so much time developing technique, it’s easy to concentrate on that aspect during performance, but its important to highlight expressive qualities as well. At the same time, individuals with strong technical skills need to search for like minded musicians to support their artistic concept; if they collaborate with similarly skilled musicians, they need to beware of clashing concepts. The road to a unique and original jazz voice as a virtuoso can be a precarious journey, and one that has lost many instruments; when a musician finds their way though, the artistic output can be stunning.

Pianist Michel Camilo certainly displays a jaw dropping level of technical virtuosity when he performs, but there’s never any question that the integrity of the music comes first. From his work as a sideman with Paquito D’Rivera to his impressive output as a bandleader, Camilo continues to create challenging musical settings full of energy and individuality. His compositions blend rhythms from Cuba, Brazil, and beyond with dense jazz harmonies, while his performances display a flawless technical execution and addictive energy. He has explored a number of musical opportunities in his recordings, from his trio work on albums like Spirit of the Moment and Rendezvous, symphonic pieces on Concerto for Piano & Orchestra, flamenco influences alongside Tomatito on Spain, and Latin Jazz big band with Caribe. At every turn, he applies his musicality first, using his technical ability as a tool to support musical settings instead of define them. On every level, Camilo is a musician who brings music alive from the inside, relying on his creativity and musical instincts to guide an immense set of technical skills.

This video finds Camilo leading a trio of like-minded virtuosos that bring his original composition “On Fire” to life with passionate intensity. The performance begins with a mind boggling display of rhythmic exchange between Camilo and drummer Horacio “El Negro” Hernandez. When the band gets into the groove, electric bassist Anthony Jackson jumps into the mix, contributing some simply brilliant note choices and another level of syncopated tension. There’s plenty of virtuosity on display from all three members of the trio in this video, but its put to good use at every moment, leading to some outstanding displays of creativity and musicianship.

Check out Michel Camilo’s Website
Check out some recordings from Michel Camilo:

What’s Up?

Mano a Mano

Live At the Blue Note

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Check Out These Related Posts:
Chucho Valdes & Paquito D’Rivera Performing Claudia
Tito PUente, Nicky Marrero, & Kako: Timbale Jam
Rebeca Mauleon Acoustic Quartet: Serenata Ritmica
Jovino Santos Neto Quinteto Performing Zagaia

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Jovino Santos Neto Quinteto Performing Zagaia

chip — Mon, 20 May 2013 14:00:27 +0000

There are many cultural components that a composer needs to consider when creating repertoire for a Latin Jazz ensemble, ranging from the Caribbean or South American rhythmic basis to the harmonic language of jazz; still, there’s one important element that only a select number of composers consider – the culture of their ensemble. It’s very possible for a musician to write a more generic piece of music that will work for any ensemble; we’ve seen that happen with jazz standards for years. Something special happens when a composer considers the individual musicians in their band though; the music fits them like a glove. Space for improvisation gets created that will either suit or challenge a particular musician, bringing out completely different sides of their musicianship. In fact, when a composer considers the culture of their own group, an overall greater sense of investment in the music results, generally giving way to inspired performances and memorable songs.

There’s few musicians in Latin Jazz that understand the importance behind the culture of their ensemble like pianist Jovino Santos Neto. He spent years working with one of Brazil’s most important and distinctive composers, Hermeto Pascoal, who crammed insanely dense layers of culture into everything that he did. Drawing upon his time with Pascoal and his own inherent musicianship, Neto has continued the tradition of digging deeper into the cultural elements behind his music. He draws upon a number of musical traditions from Brazil, ranging from the styles you might expect like Samba to Northeastern genres baião, forro, and more. He’s also a writer who is extremely aware of the musicians around him; the music that he writes doesn’t just showcase his prodigious piano technique, it shines a spotlight upon his band members. Working with groups of musicians from both Brazil and his stateside home of Seattle, Neto has developed a continually growing repertoire that looks at culture on both the immediate and large scale.

This video is a great example of Neto’s skillful writing and the way that he shapes the experience around his musicians. There’s space for everyone in this performance of “Zagaia,” ranging from the the opening vibraphone solo from Ben Thomas to the challenging melody for saxophonist Harvey Wainapel and the fierce rhythmic structure for bassist Chuck Deardorf, drummer Mark Ivester, and percussionist Jeff Busch. It’s a lively performance that involves everyone on a very real scale, leading to an inspired display of musicality, creativity, and deep culture.

Check out Jovino Santos Neto’s Website
Check out some albums from Jovino Santos Neto:

Current

Alma Do Nordeste (Soul of the Northeast )

Veja o Som (See the Sound)

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Check Out These Related Posts:
Album Of The Week: Current, Jovino Santos Neto Quinteto
Latin Jazz Conversations: Jovino Santos Neto (Part 5)
Weekly Latin Jazz Video Fix: Hermeto Pascoal
Chucho Valdes & Paquito D’Rivera Performing Claudia

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West Coast Big Band Latin Jazz: Pacific Mambo Orchestra Performing Asi, No Papa

chip — Fri, 17 May 2013 14:00:14 +0000

While the West Coast has built its own unique history of Latin Jazz over the past several decades, with significant contributions from musicians in the San Francisco Bay Area, Los Angeles, and beyond, there’s one area that the West Coast has missed until recently – the Latin Big Band. While Latin Jazz really took roots and grew into an essential part of the jazz scene through the work of big bands led by folks like Tito Puente, Machito, Dizzy Gillespie, and more, these groups were established around East Coast aesthetics. The West Coast certainly has an important history of Latin Jazz, based around artists like Cal Tjader, Poncho Sanchez, John Santos, and more, most of this work is based around smaller groups. We’ve seen groups fluctuate into larger ensembles, but we haven’t really seen the existence of a working Latin Jazz Big Band that continually inspires audiences and gets them moving on the dance floor.

The Pacific Mambo Orchestra has been changing the state of West Coast Latin Jazz history by bringing the Latin Big Band to life in the San Francisco Bay Area. Led by trumpet player Steffen Kuehn and pianist Christian Tumalan, the group honed their sound and approach through a regular Monday night  gig at San Francisco salsa mainstay Cafe Cocomo. Working every week with some of the Bay Area’s finest musicians, the PMO developed a hard hitting sound that combined salsa, jazz, and mambo power. Their rising profile and popularity among the Bay Area scene led to the recording of their self titled debut album, which featured guest appearances from folks like percussionist Karl Perazzo, drummer Tommy Igoe, guitarist Ray Obiedo, and vocalist Kenny Washington. The recording has exploded in popularity, finding an audience for the PMO around the world. As the band’s reputation continues to grown, the Pacific Mambo Orchestra has made the existence of West Coast Big Band Latin Jazz a reality and ensured that its a tradition that will me around for a while.

This video finds the Pacific Mambo Orchestra performing live, giving us an interesting blend of East Coast heritage with a song made famous by Machito’s orchestra, “Asi No, Papa,” and some West Coast soul. The clip features the band’s heavy hitting rhythm section, solid horn section, and some great vocals in both Spanish and English from Alexa Weber Morales. It’s an inspired performance that shows the Latin Big Band tradition alive and well on the West Coast.

Check out Pacific Mambo Orchestra’s Website
Check out the Pacific Mambo Orchestra’s debut release:

Pacific Mambo Orchestra

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Check Out These Related Posts:
Great Latin Jazz Albums From 2012
Bobby Sanabria & The Manhattan SchoolOf Music Afro-Cuban Jazz Orchestra On The Second Line
Andrea Brachfeld Pays Tribute to Hilton Ruiz: Cha Cha Blue
Chucho Valdes & Paquito D’Rivera Performing Claudia

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Bobby Sanabria & The MSM Afro-Cuban Jazz Orchestra On The Second Line

chip — Mon, 06 May 2013 14:00:45 +0000

There’s no doubt that the modern jazz world is completely fragmented into any number of different styles and approaches, but an authentic approach in jazz definitely involves a connection to the music’s roots. Whether an artist decides to integrate rhythms from Cuba or Brazil, add rock aesthetics to the groove, or look at improvisation from a perspective of freedom, they need to tie their work to the lessons of the past. They’re certainly not required to repeat the music of the past; doing that would mean that they hadn’t really learned their history lessons. They need to build upon the jazz work that has come before them in order to create something new and exciting that reflects an authentic connection to jazz.

The students at the Manhattan School Of Music are definitely some lucky young people, as they’ve got one of the most knowledgeable folks about the past, present, and future of jazz in Bobby Sanabria. He leads the Afro-Cuban Jazz Orchestra with smarts and style, making sure that the students are aware of the importance of Puente, Machito, and Bauza, so that they are ready to push the style into the next generation. That’s a lesson that was clearly evident on two of the group’s most recent recordings, Kenya Revisited Live and Tito Puente Masterworks Live, where the group revisited some of the most important Latin Jazz compositions in history. It was more than a simple recreation of past recordings though – this band tore through these charts live with passion and knowledge, showing that they’d done their studies. Sanabria makes sure that these folks know more than just their Latin rhythms though, these musicians leave their time with the Afro-Cuban Jazz Orchestra connected to the greater tradition. As a result, these are folks that are ready to make their mark onto the jazz world, and it will be one filled with an authentic connection to jazz.

This video shows the depth of Sanabria’s teaching as the musicians in the Manhattan School Of Music Afro-Cuban Jazz Orchestra step outside the world of Latin Jazz and even make a move outside modern jazz. In celebration of Duke Ellington Day 2013, these young musicians are diving headfirst into a second line New Orleans groove, including parade and all. We don’t have the rest of this live performance, but there’s no doubt that these musicians could have been ripping apart a furious mambo and then getting into this amazingly addictive groove – now that’s a connection to the greater history of jazz.

Check out Bobby Sanabria’s Website
Check out some recordings from Bobby Sanabria & The Manhattan School OF Music Afro-Cuban Jazz Orchestra:

Manhattan School of Music Afro-Cuban Jazz Orchestra Performing Tito Puente Masterworks Live!!!, Bobby Sanabria & Manhattan School Of Music Afro-Cuban Jazz Orchestra

Kenya Revisited Live!!!, Bobby Sanabria & The Manhattan School of Music Afro-Cuban Jazz Orchestra

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Check Out These Related Posts:
Andrea Brachfeld Pays Tribute to Hilton Ruiz: Cha Cha Blue
Latin Jazz Conversations: Bobby Sanabria (Part 3)
Album Of The Week: Tito Puente Masterworks Live!!!, Bobby Sanabria Conducting The Manhattan School Of Music Afro-Cuban Jazz Orchestra
Chucho Valdes & Paquito D’Rivera Performing Claudia

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Andrea Brachfeld Pays Tribute To Hilton Ruiz: Cha Cha Blue

chip — Fri, 03 May 2013 14:00:15 +0000

At this point, Latin Jazz has a long and varied history; while we still have a number of important figures that contributed to the creation of the music with us, a larger number of those folks have left us. Some musicians passed the test of time and stayed with us over the long haul of a lifetime career. Others fell to some sort of tragedy that took them away from us much too soon. Regardless of the details behind their passing, we can’t deny the importance of the work that they did while they were with us. Even though we may not be able to experience their music in a live setting anymore, it’s important that we never forget those folks, continuing to remember how they shaped the music that we know and love.

Pianist Hilton Ruiz was an important figure in Latin Jazz throughout the seventies, eighties, and nineties, who unfortunately died much too young. A child prodigy, Ruiz studied classical piano diligently, and then dived head first into jazz studies with Mary Lou Williams. He performed with a number of jazz musicians around New York, and then hit the world stage when he got a gig with Rahsaan Roland Kirk. He stayed with Kirk for four years, recording some classic albums like The Return of the 5000 Lb. Man, and then moved onto support a number of high profile artists like Betty Carter and Freddie Hubbard. He started recording his own albums in the late seventies, leaning towards Latin Jazz, and collaborating with musicians like Tito Puente and Paquito D’Rivera. In next two decades, Ruiz became an important part of New York’s Latin Jazz scene, contributing a number of classic compositions to the genre and turning out several albums both as a leader and sideman. He passed away in 2006 after an accident in New Orleans, at the young age of 54.

During his years in the Latin Jazz world, Ruiz touched a number of musicians, including flautist Andrea Brachfeld. Performing alongside conguero Chembo Corniel, Brachfeld pays tribute to Ruiz in this video with a song called “Cha Cha Blue.” It’s a spirited performance, that resonates with the lively and influential memory of Hilton Ruiz.

Check out Andrea Brachfeld’s Website
Check out Hilton Ruiz’s Website
Check out Chembo Corniel’s Website
Check out some recordings from Andrea Brachfeld, Hilton Ruiz, & Chembo Corniel:

Hands On Percussion, Hilton Ruiz

Lady of the Island, Andrea Brachfeld

Afro Blue Monk Chembo Corniel Quintet

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Check Out These Related Posts:
Album Of The Week: Hilton’s Last Note, Hilton Ruiz
Latin Jazz JAM Session #11: Live At Birdland, Hilton Ruiz
Latin Jazz Standards: 10 Versions Of Mambo Inn
4 Latin Jazz Flautists Bringing The Instrument Into The Forefront

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Pablo Ziegler Classical Tango Quartet: Fuga y Misterio

chip — Thu, 02 May 2013 14:00:00 +0000

The survival of a musical genre is the result of artistic evolution, passed through generations of musicians, largely through the roles mentor and student. There’s always a key figure that puts together the disparate cultural pieces that form an inspirational spark. These folks generally gather some attention, and they require musicians to support their concept through live performance. The musicians that they hire get that first hand experience of learning the foundation of this new style from its creator, and often times, they even see it evolve through the years. On a rare occasion, a special kind of musician gets hired; this type of musician will dedicate themselves fully to the new style and stay with the master as long as possible. More importantly, they’ll continue performing this music long after their time with their mentor and they’ll eventually become responsible for taking the music to a new generation.

Pianist Pablo Ziegler has taken on the duty of carrying the art of nuevo tango onto the next generation, continuing the musical tradition begun by his mentor, Astor Piazzolla. Raised in Buenos Aires, he studied classical piano intensely, stretching his interests into the world of jazz as he hit his teen years. These two realms made up his musical life for much of his time in Argentina, as he performed with his own groups, and wrote music for stage and television. In 1978, he hit a major turning point in his musical evolution when he joined Astor Piazzolla’s quintet and became a major player in nuevo tango. He stayed with Piazzolla for eleven years, until the well known composer ended his quintet due to health issues. Hitting a major crossroads in his career, Ziegler could have gone in any musical direction, but he decided to stay committed to nuevo tango, the music created and made famous by Piazzolla. Over the years, he has fronted a number of different configurations, ranging from solo concerts to quintets, including acoustic and electric groups, and even writing for orchestral groups. One thing has remained consistent though – through the performance of original compositions and Piazzolla pieces over the long term, Ziegler has become the most important voice in modern nuevo tango.

This video comes from a performance at Birdland, featuring Ziegler performing one of Piazzolla’s classic songs, “Fuga y Misterio” with a recent group, his classical tango quartet. This group brings a variety of sounds together, with Ziegler on piano, Hector del Curto on bandoneon, Pedro Giraudo on acoustic bass, and Sandra Luna on cello. There’s a stately quality to the music here, that pulls together the combination of classical finesse, rich jazz harmonies, and tango rhythmic motion originally presented by Piazzolla and pushed to a new level by Ziegler.

Check out Pablo Ziegler’s Website
Check out some recordings from Pablo Ziegler:

Bajo Cero

Buenos Aires Report – Pablo Ziegler & Quique Sinesi

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Check Out These Related Posts:
Latin Jazz Conversations: Pedro Giraudo (Part 3)
Modern Takes On Nuevo Tango: 5 Latin Jazz Versions Of Astor Piazzolla
Latin Jazz Conversations: Pablo Aslan (Part 3)
Moving Nuevo Tango Into The Next Generation: Buenos Aires Report, Pablo Ziegler

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Descarga with Mitch Frohman, The Curtis Brothers, & More!

chip — Wed, 01 May 2013 14:00:54 +0000

Every style of jazz has its own rite of passage that serves as a measuring stick of the experience and artistry of a musician; while there are certainly different gauges for the Latin Jazz musician, each artist needs to rise to the occasion in an open descarga. This open jam session generally will be based upon basic repetitive chords with a loosely defined structure. In general, there’s not a lot of musical meat at the beginning of the song, just some well known conventions – the excitement and depth of the song comes directly from the improvised actions of the musicians. A group of inexperienced Latin Jazz musicians can go through the motions and get the job done, but it takes something more to set a good descarga on fire. It requires improvisational savvy, an innate mastery of both the harmonic and rhythmic language of Cuban dance rhythms, an instantaneous ability to react to just about anything, and the flexibility to follow the music wherever it leads. You’ve got to have a serious investment in the style and the experience of creating music on the spot to make a descarga move to a high level; when you put a group of these musicians together, you’re going to get an awe inspiring combination of groove and musicianship.

This video captures a descarga moving into high gear through the inspirational performance of several important musicians. The core of the band represents two of the most intriguing figures on the modern Latin Jazz scene – bassist Luques Curtis and pianist Zaccai Curtis. These two rhythm section pros lead the The Curtis Brothers Quartet, but also serve as essential sidemen in a number of projects. There’s some dueling timbale action from two musicians that inhabit the New York Latin music scene in a big way – Willie Martinez and Camilo Molina. The wind players span two generations, with Itai Kriss on flute and Mitch Frohman on tenor sax, but both play with an equal amount of fire and passion. Kriss is a young bandleader that has dived headfirst into the style, while Frohman has honed his chops over decades with Tito Puente, the Mambo Legends Orchestra, and the Spanish Harlem Orchestra. Obanilu Allende flies into a rhythmic frenzy with a memorable conga solo, while Little Johnny Rivero holds the groove steady with a solid campana. There’s a mix of young and old musicians on stage, but age doesn’t matter – what takes this performance into the atmosphere is the unquestionable knowledge of the style along with a healthy dose of musicality and experience, giving us a perfect example of a fiery descarga.

Check out The Curtis Brothers’ Website
Check out some recordings featuring these musicians:

Blood • Spirit • Land • Water • Freedom, Curtis Brothers Quartet

Catch The Feeling, The Bronx Horns

The Shark, Itai Kriss

After Winter, Spring, Willie Martinez La Familia Sextet

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Check Out These Related Posts:
Latin Jazz Conversations: Zaccai Curtis (Part 4)
Album Of The Week: After Winter, Spring, Willie Martinez y la Familia Sextet
Weekly Latin Jazz Video Fix: Mambo Legends Orchestra
Latin Jazz Conversations: Mitch Frohman (Part 3)

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Making A Statement As A Composer: An Interview With Pablo Ablanedo

chip — Wed, 01 May 2013 14:00:06 +0000

Becoming a serious composer requires more than simply studying the techniques and theory behind great music; the compositional process demands a deeper look inside an individual’s life. Pulling together the proper harmonies and melodic pieces are important – they fuel the actual sounds that we hear at the end of the process – but they’re only the tools to build a bigger statement. The depth in a composition comes from presenting a musician’s unique perspective on the world, based upon their personal experiences and their musical background. Finding a way to honestly express a number of different, and sometimes conflicting, elements from a person’s background, is a challenging endeavor – it’s the piece of the puzzle that separates the serious composers from the folks just putting together chords and melodies.

Argentinean pianist Pablo Ablanedo has combined a number of elements from his life to create some very thought provoking music, full of compositional beauty and improvisational energy. Born and raised in Buenos Aires, Ablanedo absorbed the sonic liveliness of his surroundings, exploring everything from nuevo tango to classical music, rock en Español, and more. He studied classical music intently, but built an appreciation for jazz through artists like Bill Evans, an interest that he pursued deeply through a move to the Berklee College Of Music in Boston. He studied jazz composition at school, developing a thorough understanding of the process from mentors like trumpet player Herb Pomeroy. He later formed the Pablo Ablanedo Octet(o) as a vehicle to take his original music into the world, drawing together musicians like bassist Fernando Huergo, drummer Franco Pinna, saxophonist Anat Cohen, and more. The group created some powerful recordings, including the 2001 album From Down There and the 2004 release Alegría. With each new performance and recording, Ablanedo’s compositional concept brought together classical structures, jazz harmonies, improvisational spontaneity, and Argentinean flavors, delivering a distinctive and important sound.

Ablanedo undertook a successful KickStarter campaign in the spring of 2012, which led to the recording and release of his third album with the octet, Recontradoble. The album shows a mature composer, who creates wonderfully personal expressions while leaving ample room for the improvisational identities of his band members. There’s a deep rooted sense of tradition within the music that is balanced by a forward looking feeling; this is some powerful stuff worth hearing. Looking for the full picture behind his music, I asked Ablanedo some questions about his background, his musical identity, and the creation of the music on Recontradoble.

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LATIN JAZZ CORNER: You were born and raised in Buenos Aires – what music and artists influenced you early in your musical life and how did that filter into your studies at Berklee?

PABLO ABLANEDO: Buenos Aires is a big city, and as a kid, I was raised in an urban environment. I was exposed to a lot of different kinds of music, especially in Argentina where you have many styles of music. I remember my mother listening to classical music and my father listening to folklore. You always can listen to the Tango and Piazzolla around the corner. Also there was an original and creative Spanish rock movement, with very important poets and composers like Luis Alberto Spinetta and Charley Garcia. Later, Egberto Gismonti and Bill Evans had a strong impact on me. When I arrived to Berklee, all these sounds and poetics were in my head.

LJC: You mention in your bio that you owe much to your work with Argentinean classical pianist Susana Bonora, someone LJC readers may not be familiar with – can you give us a little background and let us know how this classical influence impacted you as a jazz musician?

PA: Susana Bonora was a pupil of Fedora Aberastury. Fedora came back to Argentina after studying with Claudio Arrau and Salvador de Silva and created her method “Sistema Conciente para la Técnica del Movimiento”. Susana today teaches to a varied range of pianists and musicians in Buenos Aires using her own synthesis or method, C.A.P.T.O. She made a big impact in my life and music. It would be long to explain why, but one thing all pianists have in common is that we play an instrument that was not born with jazz – it preceded it. Also so far, I know there is no piano technique for jazz. All of the technique comes from the classical tradition. Regarding Susana’s work, I never saw anything like it in the U.S. Many pianists and musicians would be surprised to know how fundamentally different and revolutionary her work is. But she lives at the end of the world.

LJC: Your music has been described as “definitely jazz, but distinctively Argentinean” – I think that many people think tango when they think of Argentina, and wouldn’t hear that immediately in your music – what do you think brings the Argentinean quality to your music?

PA: Obviously there is folklore and Tango influences in my music. You could sound “Argentinian” without these traditional elements in your work or having a bandoneón in your ensemble. It is like having an accent and different view or experience of life that goes in consequence with the music. Just different not better not worse. I think there is a kind of meta-style or way to play and compose the music that I recognize in many of my colleagues from down there across different kinds of genres. It could be compare with the music of the Nordic countries or with the music of Brazil for its distinctive meta-voice.

LJC: The one consistent thread in your octet over the past three albums has been the bass and drum duo of Fernando Huergo and Franco Pinna – what has that consistency brought to the growth of your music and why do you think they are such a perfect match for your compositions?

PA: Franco and Fernando are very good friends and very supportive colleagues, creative musicians in any style and masters on the Argentinian music styles. I have been lucky to have them in all my albums even the one with the big band. I think this has helped to create a homogenous sound across the albums. The Piece ReContraDoble is dedicated to both of them.

LJC: Your compositions walk the line between modern jazz harmonies, contemporary classical forms, and Argentinean rhythms – how do you go about bringing these elements into play when you write something new?

PA: Sincerely I do not intend to do it; they are probably all mixed in me, in who I am. That is why they are all present in my music.

LJC: There are some interesting compositional concepts behind pieces on Recontradoble – can you tell us a little bit about the main concept and how it came alive in some of your pieces?

PA: “ReContraDoble” and “Antiphona” are based on a two-voice traditional scale from the Argentina folklore. I used it, absorbing its peculiarities, and creating mirrored harmonies that resisted the use of common chord symbols.

LJC: You wrote a number of the pieces focusing upon the relationship with the solo cycle – this must have been somewhat in relationship to the people that would be improvising as well.  How did the individual personalities in your octet inspire your writing on ReContraDoble?

PA: The composition for a jazz group should not be anonymous. I think one of the more important elements of composing for a jazz group is to not only to have in mind the players you are working with, but to write according to and for them. Saying this, there are always compositional ideas in my head and for this album I was exploring some new ideas about the relationship between the solo and the composition. In “ReContraDoble,” the solo and the melody occupy the same space from beginning to end, and in my arrangement of “Silence,” the head is in the middle of the score as a consequence of accumulation of the different choral voices in the composition at the same time that the soloist starts the piece alone and goes non-stop soloing until the end. I composed “ReContraDoble” with Fernando and Franco in mind and having a Eric Hofbauer, a guitar player with a strong unique and original voice, doing “Silence” was a pleasure.

LJC: Large groups certainly present a number of logistical challenges that have caused many modern jazz artists to go small – what is it about the octet instrumentation that really speaks to you?

PA: There two different parts in your question. To have an octet is logistically “masochistic” – a good way to avoid going on tour and make rehearsals difficult to happen! On the other hand, to have all these voices and colors is very important for my writing.

LJC: You’ve released three very strong albums as a composer and bandleader that have shown strong artistic growth and gained some solid notoriety – what plans do you have for your own music and the octet going into the future?

PA: The octet(o) could be not only eight; actually during the last year, we were more than that and many of the pieces of the album required nine or ten musicians. I went one time with an octet of six to the Ottawa Jazz Festival and I am thinking seriously in this group number as a way of touring more. These days, I am starting to compose new material for the next album.

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Check Out These Related Posts:
Latin Jazz Conversations: Pedro Giraudo (Part 3)
Following A Deep Connection To The Drum: An Interview With Johnny Conga
Taking Bay Area Latin Jazz Into The Future: Brian Andres And The Afro-Cuban Jazz Cartel
Weekly Latin Jazz Video Fix: Pedro Giraudo

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