José Rizo's Mongorama Mariposas Cantan

José Rizo's Mongorama
Mariposas Cantan
Saungu Records

Popular Los Angeles DeeJay José Rizo founded Mongorama in 2011, a nonet inspired by the great conga master Mongo Santamaria's early 1960s band. This album is the group's third album under the musical direction of flutist Danilo Lozano. The personnel on this recording are Justo Almario (tenor sax, flute); Danilo Lozano (flute, musical director); Ramon Banda (timbales); Dayren Santamaria (violin); Joey De Leon (congas); James Zavaleta (lead vocals); Joe Rotondi (piano); Alfredo Ortiz (guiro, bongo, bell, chekere, vocals); George Ortiz (timbales); and Ross Schodek (bass). Darynn Dean, Yoshigei Rizo, and Alexis De La Rocha are guest vocalists. Francisco Torres plays trombone on one selection, wrote nine of the arrangements, and co-wrote five compositions with Rizo. This album includes the final recordings of Ramon Banda, who is considered one of the greatest of timbales players.

"Mariposas Cantan" is an exhilarating recording for Latin Jazz fans. I point to "Mongorama," a Santamaria composition that provided this group its name. Besides the spirited ensemble playing, there is a section where the percussionists are featured playing over a piano vamp. On his solo, Banda scorches the groove on timbales. There is so much to enjoy from all the players. I was especially impressed by Dayren Santamaria's violin playing, whether as part of the horn ensembles or taking his terrific, soaring solos such as on the opening track, Cal Tjader's "Mambo Minduro." Almario's tenor sax impresses throughout, including his solo on the Rizo/Torres original "Mariposas Cantan" with James Zavaleta's vocal.

Danilo Lozano is featured on flute on "Helen of Jazz." He is also one of the soloists on his ebullient original "Fiesta de Charangueros." Alfredo Ortiz takes the lead on this spicy number that also spotlights violinist Santamaria, pianist Joe Rotondi, and George Ortiz on timbales. Other notable selections include a relaxed "Watermelon Man," harking back to Mongo Santamaria's classic hit recording of the Herbie Hancock composition. Joe Rotondi on piano and Joey De Leon on congas take first-rate solos. It is Justin Almara's tenor sax solo that especially shines here.

There is plenty of tropical heat on "Descarga Ramon Banda," which is Ruiz and Torres' celebration of their 'musical brother," with Rotondi exquisite on his solo. At the same time, Francisco Torres plays some fiery trombone, and Zavaleta leads the impassioned vocals. "East L.A. Meets Napa" honors an annual event that features "the amazing wines made by the hard-working Mexican-American winemakers." The exhilarating ensemble supports the exuberant singing and Lozano's floating flute. It closes this superlative recording. One should check one's pulse if one isn't at least tapping one's feet, listening to this outstanding recording.

I received my review copy a publicist. Here is Mongorama performing with special guest Hubert Laws.

Brian Scanlon Brain Scan

Brian Scanlon
Brain Scan
Scan Man Music

Having worked as a studio musician for recordings, movies, and television shows, veteran saxophonist Brian Scanlon has a debut album as a leader. In addition to studio work, he has played behind some great names and perhaps is best known for his work with The Gordon Goodwin's Big Phat Band. Originally from New Jersey, it was while playing with the touring company of "Pippin," which led him to become a member of Ben Vereen's road band. Eventually, he ended up in Los Angeles, which led to his work as a studio musician.

On "Brain Scan," he plays both tenor and alto saxophones, composed eight originals, and interpreted one older tune. His backing musicians include including Tom Ranier and Ed Czach on piano, Trey Henry on bass, Peter Erskine on drums, Andrew Synowiec, Larry Koonse, and Avery Scanlon on guitar, and Joey De Leon on percussion. His compositions display a bunch of influences, including an affinity for funk and Latin grooves, with ingenious use of tempo changes.

The album starts with the title track, a playful number that evokes classic Blue Note recordings. His bright, fluid alto sax is complemented by Czach's comping and spirited guitar from his son Avery. "El Entrometido," with its percolating Latin groove, showcases his robust, driving tenor sax. Trey Henry and Peter Erskine are superb here and throughout this album, while Tom Ranier adds a choice piano solo. 'Re-Entry" takes us in more of a Grover Washington or David Sanborn funk-jazz vein while "Not Watching (For Nancy)" is a beautiful ballad performance with Scanlan on alto sax. Synowiec's guitar enhances it.

An energetic rendition of "Harlem Nocturne" is the one non-original and benefits Scanlan's arrangement for the quartet and the tempo shifts. With the rapid tempo, Scanlan impresses with his facility, clean delivery, and imaginative solo. Ranier and Erskine both solo on this number. Guitarist Koonse is present on the loping lament "Mark's Time." Scanlon wrote if for his brother who died of AIDS in 1992. Koonse adds a thoughtful solo in addition to that from Scanlon. Scanlon's son Avery returns for the closing "Scandalized," with its late-night mood.

There is plenty of excellent music to be heard on "Brain Scan." With excellent tunes, the leader's warm, and robust saxophone, and a terrific studio band, Brian Scanlon's debut as a leader is quite auspicious.

I received a review copy from a publicist. Here is a video of Brian Scanlon performing.

Jim Self and The Tricky Lix Latin Jazz Band !Yo!

Jim Self and The Tricky Lix Latin Jazz Band
!Yo!
Basset Hound Music

What a wonderful new release by tuba player Jim Self and The Tricky Lix Latin Jazz Band. The title "!Yo!" is a translation of self, and the release is a terrific latin jazz recording unusually anchored by Self's Tuba (and on two selections the Fluba, a big tuba sized flugelhorn). Self is a long-time studio musician who can be heard on over 1500 movie scores (his tuba projected those galactic tones as the Voice of Mothership in “Close Encounters of the Third Kind”). he has also done a variety of projects and this release is his 13th album. For this, he has brought together a “who’s who” of young West Coast Latin Jazz Musicians (most of whom are on the great Poncho Sanchez Band). Foremost is trombonist/composer/arranger Francisco Torres who produced, wrote or arranged much of the music. The other players (mostly from the great Poncho Sanchez band) are Ron Blake: Trumpet/Flugelhorn; Rob Hardt: Tenor and Soprano Saxes/Flute; Andy Langham: Piano; Rene Camacho: String Bass; Joey De Leon: Timbales, Batá, Shekere; Giancarlo Anderson: Congas and George Ortiz: Bongos.

Evident on the opening mambo by Eddie Cano "Cal's Pals," dedicated to the great Cal Tjader, is the marvelous arrangements that are fluently played with marvelous solos from trumpeter Blake, Self on tuba, Hardt on tenor sax and De Leon on Timbales. The music is bright, lively and bouncy resulting in an infectious performance that is characteristic of the entire recording. The classic "Poinciana," has the ensemble's seamless rendering of Curt Berg's arrangement to frame the leader's solo. In addition to the warmth of the horns, the mix of rhythm with the horns lends such a relaxed feel to this very charming performance. Even when the groove is kicked up a notch, as on Torres' mambo, "For Charlie," there is an relaxed, yet exhilarating quality as Torres on trombone and Self on tuba play a duet before each solos. Self's own "Encognito," is a slow cha-cha with Blake's trumpet solo followed by Self on fluba.

Torres' "Sweetest Blue" is a spicy Afro-Cuban number with a delightful tropical groove, with a choice soprano sax solo from Hardt, an intricate piano solo from Langham and a Batá solo by De Leon and followed by the calmness of his lovely "Quiero Liegar," with Self playing the melody before some gorgeous trombone and piano. Self composed the title track which is a cheerful, and lovely, cha cha. An invigorating interpretation of Tito Puente's "Old Arrival," with a robust trombone solo and the three percussionists trading eights is followed by the closing track, Clare Fischer's "Morning," with an arrangement by Bill Cunliffe and solos by Rob Hardt on flute and Self on Fluba, after which Stanley the Bassett Hound howls to end this latest Basset Hound recording.

"!Yo!" is a complete listening delight. Like New Orleans Brass bands, and Howard Johnson and Gravity (also known as the horns of Taj Mahal's Tuba Band), Jim Self's performances on tuba exhibit imagination and fluidity that far transcend any novelty, and with the superb ensemble and arrangements here, has provided an album of Latin jazz easy to listen to and full of joy.

I received my review copy from a publicist. This review appeared originally in the November-December 2016 Jazz & Blues Report (Issue 369). Here is a track from "!Yo!"