Latin Music

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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, rhyth

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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. ———- 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 o

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 ———- 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 ———-

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 the Pacific Mambo Orchestra’s debut release: Current Alma Do Nordeste (Soul of the Northeast ) Veja o Som (See the Sound) ———- 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 ———-

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 ———- 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 ———-

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, makin

Tango Piano (sheet Music) 10 Famous Tangos For Piano Solo Arranged By Juan Mar?a Solare. Tangos By Arolas, Gardel, Greco, Ponzio And Villoldo (middle Difficulty). Publishing House Ricordi Munich, 2013