Nelson Riveros - The Latin Side of Wes Montgomery

Nelson Riveros - The Latin Side of Wes Montgomery - Zoho Music

New York guitarist Nelson Riveros provides a Latin accent on seven of Wes Montgomery's compositions and two originals. Riveros is joined by Hector Martignon (piano), Mark Walker (drums), Andy McKee (bass), and Jonathan Gomez (percussion) for this different twist on Montgomery's music. This project took place after he played a gig that involved performing some of Montgomery's songs. The gig inspired Riveros to reimage Montgomery's music in a Latin American style. Riveros said, "I started to hear all kind of rhythms, bass lines, and melodic variations to some of his tunes. The next day, I started writing arrangements, and this very project began to take shape." 

Riveros is an impressive player and does provide an imaginative gloss to the Montgomery compositions. He and pianist Martignon stand out throughout with fresh inventions. The rhythm section on this recording is top-flight. "West Coast Blues" may be the only arrangement that the Latin coating on Montgomery's loping blues doesn't completely jell to these ears, yet his fleet, sophisticated playing still sparkles. "Jingles" is a terrific, briskly paced performance with sterling piano along with Riveros' mix of single notes runs, octaves, and chords. Riveros' original, "Nelson's Groove," is inspired by "Wes' Tune," and he mostly employs octaves during the bridge. His interpretation of "Wes' Tune" has one of his most inspired improvisations, including his use of octaves. Bassist McKee takes a robust solo on this number.

There are standout renditions of Montgomery's "Road Song" and "Four On Six." The album closes with a lovely, relaxed unaccompanied performance of "Leila," played on a nylon-string guitar. It caps an auspicious and outstanding Zoho Music debut for Riveros that also is an excellent tribute to Wes Montgomery.

I received my review copy from a publicist. Here is "Road Song."

Yulia Musayelyan Tango Project - Oblivion

Yulia Musayelyan Tango Project - Oblivion - Zoho Music

Born in Moscow, Russia, flautist-composer Yulia Musayelyan leads an ensemble on this auspicious exploration of tango music. An award-winning artist in her native Russia before she moved to the United States. Currently, she is on the faculty at the prestigious Berklee College of Music. The quartet's other members also are on the Berklee faculty: pianist Maxim Lubarsky, bassist Fernando Huergo, and drummer Mark Walker. 

The musicians are a stellar group, with Musayelyan playing with fluidity and a gorgeous tone throughout. Pianist Lubarsky adds a definite romanticism with his outstanding accompaniment and inspired solos, while Huergo and Walker provide the dynamic underlining pulse. Musayelyan's performances reflect her cross-genre background. While she was classically trained, as exhibited by her flawless intonation, she is quite an inspired improviser as well. The opening rendition of Astor Piazzolla's "Fuga Y Misterio" illustrates this with the quartet freely negotiating shifts in tempo and musical temperature. Then there is the waltz-like "Flor de Lino," with her lush melodic playing at the fore.

Piazzolla also composed the title track, with a deep, sober melody that provides a backdrop for strongly evocative flute and piano solos. Taken at a breathtaking tempo, "Milonga De Mis Amores," a listener can imagine stylish tango dancers on a performance that displays the clean precision that Musayelyan and the band play. "Como Dos Extraños" is a masterful flute-bass duet along with Musayelyan delivering a charming vocal along with a splendid solo. It is followed by the exhilarating "La Muerte Del Angel." On "Nada," a tango canción written by composer José Dames in 1944, Musayelyan plays the melody on bass flute, while bassist Huergo and pianist Lubarsky both take lyrical solos. Other performances include the beautiful "Nostalgias" with inspired, elegant solos and a vibrant interpretation of Piazzolla's "Libertango." 

The Yulia Musayelyan Tango Project has provided a unique, memorable jazz-tango fusion on "Oblivion."

I received my review copy from a publicist. Here is a performance by Yulia Musayelyan of  "Milonga De Mis Amores."

Noah Bless New York Strong - Latin Jazz!

Noah Bless
New York Strong - Latin Jazz!
Zoho Music

On the back cover of "New York Strong," Arturo O'Farrill is quoted, "Noah Bless is New York Strong. I've seen him on the finest bandstands representing this great city, in a manner that honors that NYC tradition of purposefulness. He is equally at home in swing, rumba, or samba, but always strong." Trombonist, composer and leader Bless is a 30-year veteran of New York City's rich Latin Jazz scene. Bless, in the words of Bill Milkowski, "has immersed himself in Afro-Cuban music, soaking up mambo and rhumba while getting the clave ingrained into his DNA." He toured with legends such as Mario Bauza, Celia Cruz, Eddie Palmieri, Ray Santos, the Spanish Harlem Orchestra, and Arturo O'Farrill's Afro Latin Jazz Orchestra. On this recording, Bless leads a band of Mike Eckroth on piano, Boriz Koslov on bass, Pablo Bencid on drums, and Luisito Quintero on percussion. Alejandro Aviles adds flute to two selections.

Bless is a trombonist who can exhibit a lyrical side as own his "Chasing Normal" or add heat to the surging Afro-Cuban groove of Rudy Calzado's "Ganga." This latter number places the spotlight on Bencid and Quintero. Bencid is on electric piano on the delightful Baden Powell samba, "Canto De Ossanha," with the spotlight on Bless' cashmere wool tone trombone. There is also considerable charm to Bless' interpretation of Jobim's "Ligia," which again shows his melodic side. Bless, in fact, says, "That melodic things always been my strong suit."

Bill Mobley's "49th Street" is transformed from a hard bop composition into a relaxed Afro-Cuban performance with Aviles' flute complementing Bless fluid solo flight over the effervescent groove. Aviles is also present on Bless' original "The Key," a rhythmically charged composition with alternating leisurely and feverish tempos that provides solo space to everyone. An unexpected delight is Bless' arrangement and the group's rendition of James Taylor's well-known folk composition, "Fire and Rain." It is another selection that results in Noah Bless' long-overdue debut as a leader being such a marvelous listening experience.

I received a review copy from a publicist. This review originally appeared in the January-February 2021 Jazz & Blues Report (Issue 394). I have made a couple minor edits. Here is "Sunny Ray" from the album.

Douglas Olsen 2 Cents

Douglas Olsen
2 Cents
Self-Produced

Veteran trumpeter Douglas Olsen makes his recording debut as a leader with "2 Cents." A mainstay on the New England scene, Olsen's trumpet and flugelhorn are joined on this recording by Dino Govoni on alto and tenor saxophone, Angel Subero on trombone and guiro, Yaure Muniz on trumpet, Tucker Antell on tenor saxophone, Tim Ray on piano, Dave Zone on bass, Mark Walker on drums, and Ernesto Diaz on congas. These musicians are heard in differing configurations on a program of nine bop and Latin jazz tunes that include a couple of bop classics and Olsen's originals.
 
Olsen's "Tailwind" is an uptempo quartet number that allows the composer to showcase his crisp, bright tone with some fiery playing before Ray takes a hot solo with Zone and Walker adding a crisp groove. Govoni adds tenor sax for the relaxed, strutting groove of the title track, with bassist Zinno taking a solo on a number with the mix of polish and fire that was characteristic of the legendary Clifford Brown-Max Roach quintet. "Critical Mass" is a first-rate straight-ahead hard bop performance with Olsen and Govoni memorably soloing and trading phrases. Olsen's flugelhorn shines on a lovely ballad, "Una Para Ti." The energetic "Passage" is another strong hard-bop quintet performance.

On Dizzy Gillespie's "Algo Bueno" (aka "Woody'n' You"), Angel Subero, Year Munizt, Tucker Antell, and Diaz replace Govoni on this terrific Latin jazz performance. Besides his interplay with Olsen, Subero adds plenty of heat with his trombone solo. Fats Navarro and Howard McGhee collaborated on "Boperation," which is played at a slower pace than usual and spotlights Olsen and fellow trumpeter Muniz.

Kudos to Douglas Olsen for his compositions, superb playing, and leadership of the first-rate musicians heard with him. The result is this outstanding recording.

I received my review copy from a publicist. It is available as a download (and perhaps CD) from bandcamp, https://douglasolsen.bandcamp.com/album/2-cents. Here is a performance from Douglas Olsen.

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.

The Spanish Harlem Orchestra The Latin Jazz Project

The Spanish Harlem Orchestra
The Latin Jazz Project
ArtistShare

The Grammy® Award-winning Spanish Harlem Orchestra's latest project is their first full Latin Jazz project by the ensemble is considered today's premier salsa ensemble. Oscar Hernández, the leader of the SHO, has himself released two acclaimed Latin jazz albums. The Latin Jazz Project presents a new side to the Spanish Harlem Orchestra. Co-producer and trombonist Doug Beavers says: "…we really wanted to present SHO in a different light with this project- that of a world-class ensemble that can go toe-to-toe with any renowned jazz ensemble or jazz orchestra in the world."

The band on this recording includes Hernández on piano; Marco Bermúdez, Carlos Cascante, and Jeremy Bosch (who also plays flute) on vocals; Héctor Cólon, Manuel 'Maneco' Ruiz, and Jonathan Powell on trumpet and fluegelhorn; Doug Beavers and Noah Bless on trombone; Jorge Castro on baritone sax; Liusito Quintero on timbales, shekere, shakers, and chimes; George Delgado on congas; Jorge González on bongos; and Geraldo 'Jerry' Madera on bass. Mitchell Frohman plays baritone sax on one selection.

SHO has included jazz artists on its prior recordings, including Chick Corea, Joe Lovano, and Randy Brecker. There is an impressive group of jazz giants on this date, including Miguel Zenón, Kurt Elling, Bob Mintzer, Bob Franceschini, Tom Harrell, Jimmy Haslip, Dave Liebman, Jonathan Powell, Michael Rodrigeuz, and Joe Locke that contribute to the performances here.

Of the prior SHO recording "Anniversary," I wrote that "the Spanish Harlem Orchestra dazzles throughout with their vibrant music that will thrill dancers and listeners on a terrific recording." Indeed much can be said about the strong and varied performances here. Hernández contributed seven of the eleven tracks on this album that are melodically and rhythmically captivating. His "Ritmo Di Mi Gente" opens and showcases Bosch's flute and his piano along with the volcanic percussion section. Marty Sheller composed and arranged "Bobo," a tribute to the great Willie Bobo, which is a feature for Bob Mintzer's brawny tenor sax.

Doug Beavers arranged the jazz standard "Invitation." Doug Beavers' arrangement is taken at a tad too quick a tempo for Kurt Elling's vocal. It is not a bad vocal, but one suspects that it would have been more convincing if it had been played slightly slower. Miguel Zenón's alto sax ably negotiates this pace on alto sax. Hernández's "Las Palmas" sounds like a Latinized rendition of a TV theme with its memorable melody. This track is a feature for Tom Harrell's lyrical trumpet. One of Hernández's most beautiful compositions on this album is "Silent Prayers," with Jimmy Haslip's rhythmically intriguing electric bass solo, Jeremy Bosch's lovely flute, and David Liebman's serpentine soprano sax solo.

Gene Amato crafted the arrangement for Thelonious Monk's "'Round Midnight." The lively performance is taken at a quicker tempo than usual and showcasing Jonathan Powell's fiery trumpet solo. Bosch's flute and vibes master Joe Locke charm on "Latin Perspective." SHO showcases its explosive salsa roots on "Descarga De Jazz," the only selection with vocalists along with Mitchell Frohman's raucous baritone sax solo. It caps another outstanding recording from the Spanish Harlem Orchestra with memorable compositions, terrific arrangements, first-rate ensemble work, and excellent solos.

I am not sure if I purchased this or received it from a publicist. Here is "Ritmo Di Mi Gente" from this recording.

Manuel Valera New Cuban Express Big Band José Martí en Nueva York

Manuel Valera  New Cuban Express Big Band
José Martí en Nueva York
Greenleaf Music

Cuban-born pianist Manuel Valera leads his New Cuban Express Big Band in a marvelous song cycle inspired by José Martí, the famed Cuban writer and independence hero. "José Martí en Nueva York" features Valera's original music based on nine poems from Martí's seminal 1891 collection, "Versos Sencillos." As Kabir Sehgal observes in his album notes, this book was one "Martí wrote during his fifteen year stay in New York as a journalist, as he helped to fund the ongoing struggle for independence in Cuba. The poems address a range of political and societal issues."

For this recording, the New Cuban Express Big Band consists of (VOICE): Camila Meza, Sofia Rei (TRUMPETS): John Walsh, Brian Pareschi, Michael Rodriguez, David Smith, Alex Norris (REEDS): Michael Thomas, Roman Filiu, Joel Frahm, Charles Pillow, Andrew Gutauskas (TROMBONES): Matt McDonald, John Yao, Andy Clausen, Jeff Nelson, and (RHYTHM SECTION): Manuel Valera, Alex Goodman, Ricky Rodriguez, Jimmy Macbride, Samuel Torres, Mauricio Herrera.

This album is a wonderfully orchestrated, sung, and played recording of these poems. While I am not fluent in Spanish, the vocals by both Camila Meza and Sofia Rei are captivating with the clarity and purity of their voices and immaculate phrasing set against the luxurious musical settings Valera provides. Furthermore, he develops each of the seven tracks with shifts in tempos and orchestral colors. The opening "Odio La Mascara Y El Vicio," begins as ballad spotlighting Mesa's vocal before transitioning into a more heated instrumental passage. The transitions in tempos and musical temperature are seamless. In addition to her ardent also, there is Andy Clausen's impressive, smoldering trombone solo.

Sofia Rei is as engaging a vocalist as shown on "Es Rubia, El Cabello Suelto," with the brass and reeds riffing against each other over a tropical rhythm. This recording is music for one's feet and one's head. One can easily imagine dancers filling a dance floor while Alex Norris' trumpet is spotlighted on a lyrical solo. Many of the members get to display their talents and be part of the marvelous ensemble playing. For "Por Sus Ojos Encendidos," the leader's piano is in the spotlight along with the trumpeter, Michael Rodriguez. Among other delights, Joel Frahm's husky tenor sax and David Smith's trumpet are featured on the spirited medley of "Yo Quiero Salir Del Mundo / Yo Pienso Cuando Me Alegro."

With all the superb singing and playing, Andrew Gutauskas's barreling baritone sax and Valera's piano solo on "Si Quiere Que De Este Mundo," are favorite moments on this outstanding recording. The performances are so genuine and naturally sung with the New Cuban Express Big Band's exquisite backing making for truly sublime listening.

I purchased this recording.  Here is a selection from the CD which is available from Greenleaf Music on bandcamp.

Julio Botti Pure Tango

Julio Botti
Pure Tango
Zoho Music

"Pure Tango" is a collaboration between saxophonist Julio Botti and pianist Matias Lanfranco. Introduced to each other in late 2017, they performed a few tunes together and clicked immediately. While Lanfranco hails from a traditional tango tradition that features folkloric music, and Botti integrates modern jazz and nuevo tango, they blended seamlessly. They performed at the Teatro Coliseo in Argentina on September 8, 2018. While a great success, this concert was bittersweet for Botti. "I realized that it would likely be the last concert that my mother would witness," said Botti. His mother, who had struggled valiantly against cancer, would pass away four months later. Wanting to pay tribute and honor his mother, Botti was inspired to record the music from that concert.

Lanfranco and Botti collaborated in this production. After selecting the repertoire and crafting the sophisticated arrangements, Lanfranco came to New York to record the set, first tracking saxophone and piano, and later the rest of the instruments and vocals in Cordoba, Argentina. Botti observed, "This production is a new path for me, celebrating traditional tango, music which I had never performed, but was always somewhere within me." Kabir Sehgal comments in the liner notes, "Pure Tango" is a blend between the vivid colors that traditional tango offers, with its traditional instrumentation -- and the compelling sound of Botti's saxophone."

The blend of traditional tango with Botti's superlative sax makes for stirring listening, with performances ranging from an elegant chamber group to fiery rousing performances. There is "Taquito Militar" that sounds like a musical cousin to a Brazilian choro composition. The facility of both Lanfranco and Botti is evident here. His soprano sax has the warmth of a master clarinetist, and mention should be made of guitarist Gustavo Gancedo. Botti's gorgeous soprano sax is also featured on Lanfranco's waltz "Cuando Llueve," with Gancedo's acoustic guitar prominent. Pablo Ziegler contributed the arrangement to "Nostalgias." Botti's eloquent soprano sax is set against Lanfranco's stately piano and Alejandro Colombatti's bandoneon. "El Día Que Me Quieras" is an enticing duet between Lanfranco's elegant piano and Botti's pensive soprano sax. Another alluring duet between the two is Botti's 'Recordando" with a simple melody that evokes memories of his mother for Botti.

María Jose Rojas sings on several selections. She is a singer who imparts a dramatic flair on the lovely "Cualquiera de Estas Noches" with Botti's tenor sax snaking around her singing. Colombatti's bandoneon adds to the song's atmosphere. The beautiful tango "El Último Café" evokes the Charles Trenet song, "Que reste-t-il de nos amours?" (known in the US as "I Wish You Love.") While not credited on the album, Rojas stamps her personality on the spirited "Oro Y Plata." Botti adds a rousing tenor sax solo. Botti's tenor sax also lends to the bittersweet quality of "Una Canción," where Rojas sings about an alcoholic smitten by a lady.

Combining passion with the imaginative virtuosity of Botti, Lanfranco and the other performers, 'Pure Tango" is a superlative recording.

I received my review copy from a publicist. Here is Julio Botti and Matias Lanfranco performing "Nostalgias."

Vanderlei Pereira and Blindfold Test Vision for Rhythm

Vanderlei Pereira and Blindfold Test
Vision for Rhythm
Jazzheads

While he has been an in-demand Brazilian drummer who has been in the U.S. for over 30 years, "Vision for Rhythm" is Vanderlei Pereira's recording debut. Born and raised in Macaé, Brazil, Vanderlei Pereira began playing drums professionally when he was 15. Conservatory trained and playing with a symphony orchestra, he became blind in his early thirties as a result of inherited retinitis pigmentosa. Not able to work as a classical musician (which requires reading), he concentrated on his work as a top jazz and samba drummer. Moving to New York in 1988, Pereira became a greatly in-demand drummer on the Brazilian jazz scene and earned a degree in Jazz Studies from the Mannes College of Music. His resume includes working and recording with legends such as Toots Thielemans, Airto Moreira and Flora Purim, Sivuca, Leila Pinheiro, Dom Salvador, Bebel Gilberto, Leny Andrade, Tito Puente, Arturo O’Farrill’s Afro-Latin Jazz Orchestra, Paul Winter, Claudio Roditi, and Romero Lubambo.

His blindness led to the pun of both his band's name (Blindfold Test) and the album title (Vision). On this recording, the great drummer is joined by Jorge Continentino – tenor sax, flute, alto flute, pifano; Susan Pereira – voice, percussion; Deanna Witkowski – piano; Paul Meyers – acoustic guitar; and Gustavo Amarante – electric bass. Rodrigo Ursaia – tenor sax, and Itaiguara Brandão – electric bass play on 3 tracks. This is a formidable group of musicians as is evident immediately when listening to Aorta's "Misturada." Not only does Vanderlei Pereira provide an irresistible samba groove, but the harmonious horn lines of Continentino's flute and Susan Pereira's wordless horn-like vocalizing captures the listener's ears and body. In the publicity for this recording Aorta is quoted, “The best version of Misturada so far! The melody with Susan and the flute is perfect and the band is killing.”

Meyers' acoustic guitar adds so much flavor to the effervescent "Misturada." Meyer's guitar and Continentino's clean-toned, fluid tenor sax shine on the leader's breezy original, "Ponto de Partida." After this relaxed number, there is the heat of a Carnival parade on Toninho Ferragutti's "Chapéu Palheta." The spirited groove helps spur the sensational wordless soloing from Susan Pereira and others. One cannot praise her contributions along with those of the other musicians. The entire recording is of this quality. Needless to say, Vanderlei Pereira plays impeccably throughout and displays why he has been so in demand over these past thirty plus years. This is simply an outstanding Brazilian jazz album.

I received my review copy from a publicist. Here is Vanderlei Pereira and Blindfold Test performing "De Volta à Festa."

 

Calle Loíza Jazz Project There Will Never Be Another You

Calle Loíza Jazz Project
There Will Never Be Another You
Self-Produced

Calle Loíza is a famous street in Santurce, Puerto Rico, that has a long history as a center of cultural activity. Starting in the late 1970s, with a renowned jazz club, Mini's, it became a center of jazz activity. Years later, in 1990, a club opened, the Apple Jazz Club, where pianist Mark Monts de Oca, drummer Johnny Rivera, bassist Freddy Gumbs, and leader Héctor Veneros formed a quartet that became well known throughout Puerto Rico. They appeared at the Heineken Jazz Festival, and it was there that bassist Tone Batista and guitarist André Avelino would start playing with members of the quartet. The passing of a beloved friend led the core quartet to make a recording to honor legendary Puerto Rican musicians such as musicians Juancito Torres, Dave Valentin, Mongo Santamaria, Carlos "Patato" Torres, and Jerry Gonzalez.

The core quartet of musicians on this recording is de Oca, Batista, Rivera, and Avelino. They are joined by Javier Oquendo on congas, Melvin Jones on trumpet, Gordon Vernick on trumpet, Xavier Barreto on flute, Cándido Reyes on güiro, Daniel López on Brazilian percussion, and Iván pelvis on percussion. This group of musicians tackles eight classics of the jazz canon: "Seven Steps To Heaven," "Someday My Prince Will Come," "Stolen Moments," 'Dolphin Dance," "Old Folks," "In Your Own Sweet Way," "Well, You Needn't," and the title track.

There is some wonderful Latin jazz played on this recording, which starts with two songs associated with Miles Davis. Jones shows himself to be quite a fiery trumpeter on the opening "Seven Steps To Heaven," although the heavy percussion was distracting. Pianist de Oca is outstanding here as well, and the interplay by Jones and Barreto is sterling. There are nice touches in the arrangements such "Someday My Prince Will Come," which opens with Jones delivering muted trumpet in the manner of Miles, before the band engages in a light Latin groove with a terrific solo from guitarist Avelino. Both Jones and Vernick solo on trumpet both employing mutes.

The other Latin jazz performances are equally engaging with plenty of noteworthy highlights such as solos from flutist Barreto and guitarist Avelino on "Stolen Moments." as well as Jones' muted trumpet and de Oca on "Dolphin Dance." Drummer Rivera and bassist Batista provide a reliable rhythmic foundation throughout this marvelous recording that offers fresh, captivating performances on some classic jazz numbers.

I received my review copy from a publicist. This review appeared in the March-April 2020 Jazz & Blues Report (Issue 389). Here is "Stolen Moments" from this recording.

Emilio Solla Tango Jazz Orchestra Emilio Solla Tango Jazz Orchestra

Emilio Solla Tango Jazz Orchestra
Puertos: Music from International Waters
Avantango Records
In 1986, Astor Piazolla praised Argentine-born and NY-based pianist and composer Emilio Solla's first band, Apertura, who was praised by Astor Piazzolla himself as providing some of the most interesting new sounds in the Buenos Aires scene. Today, with eleven CDs as a bandleader and more than forty as arranger/ producer, Solla is considered one of the most outstanding and personal voices in Tango-jazz, as the fusion of modern Argentine tango and folk with jazz and other contemporary music styles is generally known.

He continues to tour Europe with his Barcelona's based quintet, Emilio Solla & Afines while working as a free-lance arranger and pianist in different projects in NY. He leads a 9- piece orchestra, La Inestable de Brooklyn, and in November 2014, his first symphonic work had its World Premiere at the Palau de la Musica, during the Barcelona Jazz Festival and its US Premier at the Chicago Symphony Hall by the Chicago Sinfonietta. In 2018, he started composing for his brand-new project, the Tango Jazz Orchestra, a 17-piece big band using a bandoneon, using his blend of Latin American sounds and jazz, The result is the recording which is inspired by the fact that traveling by water has been a principal pathway of migration. Tracing these routes of migration doesn't just yield insights into our collective history but also our musical one, which we explore from the collisions of different countries and civilizations. As Solla observes having lived in the port cities of Buenos Aires and New York, "Both are integral to unique forms of music: jazz and tango. Foreigners made these port cities home and, in turn, made their place in the world." He began writing and arranging music that invoking this theme of the role of ports in a cultural collision.

The performers on this recording include Alejandro Aviles (soprano, alto, piccolo, flute), Todd Bashore (alto, flute, clarinet), Tim Armacost (tenor, alto flute, clarinet), John Ellis (tenor, soprano, clarinet, flute), Terry Goss (baritone, bass clarinet), Alex Norris (trumpet, flugelhorn), Jim Seeley (trumpet, flugelhorn), Brad Mason (trumpet, flugelhorn), Jonathan Powell (trumpet, flugelhorn), Noah Bless (trombone), Mike Fahie (trombone), Eric Miller (trombone), James Rodgers (bass trombone), Julien Labro (bandoneon, accordina), Emilio Solla (piano, conductor), Pablo Aslan (double-bass), and Ferenc Nemeth (drums). There are guest percussionists Samuel Torres (congas on track 1), Arturo Prendez (percussion on track 2), and Franco Pinna (bombo legüero on track 6). Arturo O'Farrill (piano on track 2) and Edmar Castañeda (harp on track 6) are special guests,

What stands out about this recording is how gorgeous Solla's compositions and arrangements with the transitions in tempos and mood within all these performances. There is the energy of the opening "Sol La, al Sol" with standout tenor sax and trombone solos, as well as the interplay between the horn sections along with crisp rhythmic backing. There is the bop-Latin fusion of "Chacafrik", with inspired alto sax along with Solla's fresh, piano, with the rhythm section supporting the superlative horn section. The lovely "La Novena" showcases Labro's marvelous organ-like soloing on the bandoneon as well as Terry Goss' burly baritone sax, both set against the stormy atmospheric setting.

"Four For Miles" provides a showcase for the brass with open-ended trumpet and trombone interplaying with muted brass and the energetic reeds with Labor weaving his lines in and out. This composition showcases the trumpeters who initially display plenty of fire exchanging choruses before transitioning to a muted trumpet's smoldering heat. Again, Solla's orchestration is sublime. Edmar Castañeda plucking of the harp provides a different flavor to "Allegrón," as he duets with Franco Pinna on the bombo legüero, with the horns adding accents and musical colors to his remarkable playing. This exceptional session concludes with an unusual blues composition, "a" again displaying the imagination and ingenuity of the leader with outstanding trombone, trumpet and baritone sax solos over the leader's comping along with some superb ensemble sections.

With the inspired compositions and arrangements, exquisite ensemble playing and inspired solos, Emilio Solla's "Puertos: Music from International Waters" is among the most compelling big band recordings of recent years.

I received a download to review from a publicist. Here is a performance of "La Novena."

Negroni's Trio Acústico

Negroni's Trio
Acústico
Sony Music/ Latin

Negroni’s Trio is comprised of a “father and son team,” José Negroni, on piano and keyboards,  Nomar Negroni, on drums and percussions, completing the trio for this recording is bassist Josh Allen. José, who was born in Puerto Rico, is a classically trained pianist, composer, and arranger while his son, Nomar, followed in his father’s footsteps and developed into a consummate percussionist. The father and son have created their own unique voice performing traditionally known jazz classics, Latin jazz, and jazz fusion. "Acústico" is their latest recording and one that will mesmerize listeners with the mix of the trio's virtuosity, and the charged rhythmic romanticism of the performances of 8 originals and three covers.

Nomar's composition "Let's Go Camping" opens in a fiery matter with plenty of percussive fireworks before segueing into a more lyrical mood. Bassist Allen provides an anchor for the dialogue between pianist and drummer with the energy building back up as José develops his solo over a memorable riff. José's "Air" showcases his graceful and fluid touch while his son provides heat with the groove and the accents he gives. On the atmospheric opening of "Puerto Del Sol," Allen's arco bass meshes with José's plucking of his piano strings before the pianist's lyrical romanticism comes to the fore.

There is a strong Spanish tinge to José's solo that opens "Maria Cervantes." A middle segment in this recording is launched by ardent drumming from Nomar. A closing solo piano one follows this segment. With all of the outstanding originals, there is also an excellent interpretation of Bud Powell's "Tempus Fugit." It is taken at a slower tempo than Powell's original. Bassist Allen is showcased here along with Jose's imaginative inventive soloing and Nomar's vigorous Latin rhythmic groove.

"Monica's Drum's" is a solo feature for Nomar, capping of this brilliant and compelling piano trio recording.

I received my review copy from a publicist. This review originally appeared in the January-February 2020 Jazz & Blues Report (Issue 388). Here is Negroni's Trio performing Tempus Fugit."

Samuel Torres Alegria

Samuel Torres
Alegria
Blue Congo Music

The latest album by Torres, the Columbian percussionist/composer/bandleader. About this CD, his fifth, Torres says "Alegria, which means "happiness" or "joy," presents eight original compositions that captivate and inspire." He elaborates, "in these somewhat dark and divisive times we need light and joy, and we need to share these things with each other to combat hate. On this project he has assembled a band of Michael Rodriguez & Alex Norris (trumpet & flugelhorn); Marshall Gilkes (trombone); Will Vinson (alto & soprano saxophones); Joel Frahm (tenor & soprano saxophones); Ivan Renta (baritone saxophone, bass clarinet & flute); Luis Perdomo (piano & Fender Rhodes); Ruben Rodriguez (electric bass), and Pablo Bencid (drums). Torres himself plays (congas, bongos, kalimba, log drum, cajon, maracas llanera, djembes, talking drum, güiro, timbal, tambourine, clave, shekere, shakers & EFX.

Torres not only has quite an ensemble assembled, but his compositions inspired the superlative performances. Among the eight stirring performances are "Salsa, Jazz y Choke," which certain will get pulses elevated. Salsa Choke is a Pacific Columbian urban music style that incorporates a Cuban pilon groove. There are excellent solos from trombonist Gilkes, pianist Perdomo, and Torres on congas, along with the punchy, spirited ensemble playing. Then there is "Barretto Power," A boogaloo dedicated to Torres' hero Ray Barretto with ear-catching solos from Ivan Renta on the baritone sax and drummer Bencid. "Little Grasshopper" is a feature for Torres on the Kalimba. It has a simple melody over a 6/8 rhythmic pattern with more fine ensemble playing. In addition to Torres on kalimba, the selection features Renta's lyrical flute. The title track is a spirited Cumbia which Torres also states has "elements of South American indigenous music." There are ebullient solos by pianist Perdomo and alto saxophonist Will Vinson here.

The other performances on "Alegria" are similarly full of high energy as well as scintillating solos and ensemble playing. Samuel Torres and his ensemble have put forth some top-notch Latin Jazz.

I received a review copy from a publicist. Here is Samuel Torres recently performing "Barretto Power" at Dizzy's in NYC.

Poncho Sanchez Trane's Delight

Poncho Sanchez
Trane's Delight
Concord Picante

With his first recording in seven years, Latin Jazz Legend Poncho Sanchez celebrates the life and music of John Coltrane. Included are several reimaginings of Coltrane classics, some new songs composed in his honor and several other Latin jazz pieces. Sanchez stated, "I've always loved John Coltrane ever since I was a kid and first learned about jazz. I've recorded tributes to a lot of my heroes in life — Mongo Santamaria, Tiro Puente, Cal Tjader — so I thought it was definitely time to do a tribute to the great John Coltrane."

This CD is his 20th album for Concord Picante for which he has recorded for 30 years (His relationship with Concord itself extends 37 years and now includes 27 albums). This album features the conguero's longtime band of trombonist and musical director Francisco Torres, trumpet and flugelhorn master Ron Blake, saxophonist Robert Hardt, pianist Andy Langham, bassists Rene Camacho and Ross Schodek, and percussionists Joey DeLeon and Giancarlo Anderson. It is a fabulous band whether the very original reworking of Coltrane's "Giant Steps," or the closing performance of Bobby Manrique's hot salsa, "Toro Termino," with an exquisite vocal from Norell Thompson of Los Angeles' salsa scene and some brilliant sizzling trumpet from Blake.

As to the aforementioned "Giant Steps," one has to admire how this quartet piece is orchestrated for Sanchez's larger ensemble with its harmonious setting. The melodic theme implicit in this composition becomes visible in a performance that does not focus on Trane's still startling 'sheets of sound' virtuosity." Made into a rumba, it opens with Langham's a scintillating piano solo over the heated percussion, Hardt takes a tenor solo that showcases his command of the tenor sax with attractive rhythmic accents before Sanchez, and the percussionists take the spotlight supported by a vamp laid down by Langham. There is a marvelous rendering of "Duke Ellington's "The Feeling of Jazz" with a lovely arrangement and piano Langham before Torres takes the first solo with his gritty, tailgate tone followed by Camacho's robust bass solo.

Other Coltrane compositions include "Liberia" from "Coltrane's Sound" and the track to the classic "Blue Train." This latter number is taken as a relaxed cha-cha-chá with solos Torres and Hardt on soprano saxophone before Langham vamps a bass motif for the percussionists. Sanchez and Torres contributed two originals, including the high-spirited title track with Blake's fiery trumpet. A bolero, "Si Te Decen," slows the groove down with Sanchez delivering a heartfelt vocal on a revival of Joe Cuba's 1966 recording.

This album is a welcome return to the recording world by Poncho Sanchez. "Trane's Delight" is a superb musical tribute as well as a fabulous Latin Jazz recording by one of our living masters.

I received my review copy from Concord Records. This review originally appeared in the September-October 2019 Jazz & Blues Report (Issue 386). Here is a performance by Poncho Sanchez of "The Feeling of Jazz."

Little Johnny Rivero Music In Me

Little Johnny Rivero

Music In Me
Truth Revolution Recordings

Veteran Latin percussionist Little Johnny Rivera has his second effort as a leader titled, “Music in Me.” Rivero has performed on nearly 100 recordings with La Sonora Ponceña, Eddie Palmieri, Bebo Valdés, Charlie Palmieri, Dr. Lonnie Smith, Paquito D' Rivera, Brian Lynch, and Conrad Herwig among others. Growing up he was exposed to a wide range of music "including Tito Puente, Machito, Art Blakey & The Jazz Messengers, Tony Bennett, all of which my father had in his record collection. Also, there were always rumba jams. Inside of me is a Latin Jazz Rumba."

On "Music in Me" he has assembled a band featuring trumpeter Brian Lynch, alto saxophonist Louis Fouché, pianist Zaccai Curtis and bass player Luques Curtis. Special guests on this program of nine compositions include trombonist Conrad Herwig, trumpeter Jonathan Powell, violinist Alfredo de la Fé, percussionists Anthony Carrillo and Luisito Quintero, vocalists Manny Mieles and Edwin Ramos and Giovanni Almonte (spoken word).

The opening selection, "Mr. LP," dedicated to Marty Cohen the founder of Latin Percussion, establishes the tenor of the recording with its Afro-Cuban danceable grooves. Anthony Carrillo's percussion added here with pianist Curtis laying down his sound along with Herwig's robust contribution followed by a percussion interlude before Herwig and Lynch add some brass fireworks. Pianist Curtis and Rivera composed the title track, a hot jazz rumba with some terrific trumpet from Lynch, one of today's most brilliant trumpeters whether playing Latin jazz as here or hard bop (like when he was with the late Phil Woods). Fouché also solos with authority here. Zaccai Curtis' "Let's Do It Again" is built on a nice hard bop line but transformed into a smoking Afro-Cuban groove with Afonso at the fore. Andy Guzman contributed what Rivera describes as a Latin jazz mambo, "Little Giants," with Jonathan Powell playing the hot trumpet and guest Anthony Carrillo smoking on the bongos.

The cha-cha-cha "Palmieri, Much Respect" was composed by pianist Curtis and dedicated to the great Eddie Palmieri with the leader on timbales and Curtis wonderful with his spicy melodic invention. A celebration of Africa, the home of all drumming is Brian Lynch's "African, My Land" with a recitation of a poem by Giovanni Almonte and strong saxophone from Fouché. and Rivera and Manny Mieles chanting over the percussion near the end. After the explosive, percussive "Bombazúl," there is the funky "Afro Rykan Thoughts," with its jamming feel and blazing playing from Lynch and Fouché, along with Curtis' memorable piano.

"Alambique," named after a beach in Isla Verde, Puerto Rico, sports a timbales solo by Luisito Quintero and a violin solo from Alfredo de la Fe (both stellar), and is the final performance on a terrific Latin Jazz recording full of excellent ensemble work, intriguing arrangements and hot, driving dance grooves. Little Johnny Rivera has put out a recording with some very big sounds.

I received my review copy from a publicist. This review originally appeared in the November-December 2016 Jazz & Blues Report (Issue 369) to which I have made minor corrections. Here is a video of Little Johnny Rivero in performance.

Ted Piltzecker Brindica

Ted Piltzecker
Brindica
Zoho Music

Originally a trumpet major at the Eastman School of Music and a member of the Jazz Ensemble under Chuck Mangione's direction, Ted Piltzecker started practicing vibes at the time and even wrote some vibes numbers while with the band. He became a full-time vibes player after a tour with The George Shearing Quartet. "Brindica" is his fifth album and first for Zoho Music, and the title reflects cultural influences from Brazil, India, and Africa but he also had stops in Bali, Cuba, Puerto Rico, New Orleans, and Harlem and have woven these diverse musical landscapes into the tapestry of this album.

Recorded in Argentina with a core group of drummer and co-producer Fernando Martinez, pianist Miguel Marengo, bassist Mauricio Dawid and alto saxophonist Carlos Michelini, "Brindica" also features guest appearances by trumpeter Jon Faddis, baritone sax player Gary Smulyan, tenor saxophonist Ralph Lalama, trombonist Matt Hall and steel pan/snare drummer John Wooton. Other guests include classical clarinetist Ayako Oshima and classical flutist Tara Helen O'Connor, and Cuban percussionist Jansel Torres on bata and conga.

Some of the musical influences are heard on the opening Afro-Cuban flavored, "Great Idea! Who Pays?" with Wooten's steel pans adding to the jubilant feel while Michelini adds some taut sax trading fours with the leader's shimmering playing on this joyful performance. Wooten switches to snare drum to help provide the Crescent City grooves of the infectious "Uncle Peck," with Faddis, Smulyan and Lalama weaving in and out of the leader's solo with Faddis blasting off with his solo. Pianist Marengo provides a compelling riff as well as an intricate solo on the Latin-flavored "Feliz Paseo" with another notable solo from Michelini and more infectious player by the leader and this splendid rhythm section.

The title track is a thoroughly-composed composition where Piltzecker blends rhythmic elements of Brazilian and African music. It showcases clarinetist Ayako Oshima and flutist Tara Halen O’Conner. The breezy "Look At It Like This" that was inspired by a trek through the Himalayas and the melody reflects the beautiful little pentatonic tunes sung by his guide Hari. Another selection of note is Taylor Burgess' hauntingly beautiful vocal interpreting Langston Hughes’ iconic poem "What Happens to a Dream Deferred?" with Piltzecker providing an elegant vibes solo.

With fresh, varied compositions, and wonderful performances, Ted Piltzecker has provided listeners with this marvelous recording.

I received my review copy from a publicist. This review appeared in the March-April 2019 Jazz & Blues Report (Issue 383), although I have may have made minor changes. Here is Ted Piltzecker playing Duke Ellington's In a Sentimental Mood.

Flavio Lira Coffee Gold Sugar Cane

Flavio Lira
Coffee Gold Sugar Cane
Interrobang Records

A bass guitarist as well as a composer, the Brazilian born Lira describes this recording as "my love letter to all of Latin America: a rhythmic fusion of samba, baião, regional folklore, tumbao, clave, partido alto, jazz influence from the north, classical fugue, and more. The strength of Latin America is in its incomparable diversity. In this project, I have brought together 38 artists from 15 different countries."

Starting with the lively original "5to9," with Edmar Colon's sax spotlighted, that opens this, this recording is full of rhythmic and musical vitality. Then there is the Spanish language rendition of "All the Things You Are," captivatingly sung by Nella Rojas with sterling piano from Anibal Cruz and some intricate bass from the leader. Lira contributes a funky bottom to the irresistible rhythms of "Solo No Frio," while Howard Levy's harmonica dances on "Cumbamba," over the percolating percussion. Valentine Komissarouk wordlessly sings on the breezy "Pra Frente," with Lira soloing on his bass guitar and Ryan Fedak taking one on vibraphone.

There is a playful rendition of Luis Otavio Almeida's "Laurinha no Frevo," with its sunny rhythms as well as featuring the flute of Anggie Obin on flute and soprano sax of Livio Almeida, followed by the driving groove of "A Rã," by João Donato and Caetano Veloso with sparkling vibes from Fedak and synthesizer from Thiago Vitório. A dreamy rendition of Jobim and de Moraes' "Favela (O Morro Não Tem Vez)" follows with more pulsating vibes, as well as another strong electric bass solo by the leader, and piano from Alexei Tsiganv and drums from Graciliano Zambonin on drums. The wordless singing of Komissarouk along with the melodious clarinet of Juan Ruiz and the cello of Catherine Bent add to the charms of Lira's reflective "Still in Movement," while the bass flute of Fernando Brandão adds to the breezy tropical flavor of "Flopida at Night," which also has a deft piano solo by Tsiganov. Vocalists Ronaldo Andrade and Keisel Jimenez and the electric piano of Anibal Cruz are present on the animated samba Vai Lá, Vai Lá,"

The closing "Bass Fugue" displays Lira's guitarist approach to the bass guitar along with Fernando Brandão's flute, and Kevin Scollins's guitar. One can not overemphasize the percussionists present here (Kan Yanabe - pandeiro, tamborim, shaker, and Julio Santos - tantan, repique de mão) and elsewhere in adding rhythmic and other accents to this splendid, and memorable, celebration of Latin and Brazilian jazz.

I received a download from a publicist to review. This review appeared in the November-December 2018 Jazz & Blues Report (Issue 381). Here is a clip of Flavio Lira.

Spanish Harlem Orchestra Anniversary

Spanish Harlem Orchestra
15 Anniversary
Artistshare

The title of the latest recording from the celebrated Latin jazz and salsa band is that it celebrates the Spanish Harlem Orchestra's 15th year. After decades of session work, composing, arranging and producing, bandleader Oscar Hernández was approached by producer Aaron Levinson in 2000 about the idea of assembling and recording a Latin jazz orchestra. The result was "Un Gran Dia en el Barrio," the 2002 debut recording which received a Grammy nomination for Best Salsa Album and a Latin Billboard Award for Salsa Album and led to Hernández and SHO touring and wowing audiences. They have won two Grammy Awards in the years since and continue to dazzle audiences.

Certainly, this latest recording will wow listeners with contributions from all the members of this exciting band (with Randy Brecker a guest on one selection). Unquestionably, the opening "Esa Nena" by vocalist Marco Bermúdez and conga player George Delgado gets this very hot recording off. There is plenty of heat, although at a more relaxed tempo on "Yo Te Prometo," with a volcanic trumpet break and crisp solo while the latin percussion trio of Delgado, Luisito Quintero on timbales and Jorge González provide the hot rhythmic percolation with the vocalists of Bermúdez, Carlos Cascante and Jeremy Bosch do their spirited singing while Mitch Frohman's baritone along with Gerardo 'Jerry' Madera's bass helps anchor the performance along while Hernández is superb whether as part of the rhythm section or his imaginative soloing.

Other tracks to note highlight include a couple from Hernández, "Goza El Ritmo" and "Somos Uno," with the latter features some brilliant Randy Brecker trumpet, as well as a lyrical solo from the leader. One could easily discuss all of the other performances as the Spanish Harlem Orchestra dazzles throughout with their vibrant music that will thrill dancers and listeners on a terrific recording.

I received my copy from Artistshare as a participant. This review appeared in the September-October 2018 Jazz & Blues Report (Issue 380) although I have made minor stylistic edits. Here they perform "Somos Uno" live.

Fran Vielma and His Venezuelan Jazz Collective Tendencias

Fran Vielma and His Venezuelan Jazz Collective
Tendencias
Papelon Records

Vielma, is a Venezuelan composer, arranger, educator and a multi-percussionist specializing in Venezuelan rhythms and drums. Vielma also leads the ‘Venezuelan Jazz Orchestra,’ and is a producer/teacher of a biannual jazz seminar at The Andes University in his home country. On this recording he is joined by his Venezuelan Jazz Collective that features some of the most important Venezuelan and Latin American players of NY jazz scene like Luis Perdomo, Michael Rodriguez, Miguel Zenon, and Pablo Bencid.

Fran Vielma says about his music, "As a percussionist, I am drawn to the rhythmic elements of Venezuelan and Caribbean music that are full of African heritage. The nuance and variety of classical and world music styles, as well as the freedom of jazz, have constantly nurtured my performance, making me think as a real-time orchestrator, improviser, and an active seeker of sonic textures. These elements allow me to accompany and interact with other players, and to highlight passages or sections that a piece of music entails."

This opens with the invigorating "Monk En Aragua," one gets impressed by the clean, spicy horn lines as well as the thunderous percussion. There is a terrific bass solo from Roberto Koch as well as superb piano (Either from Luis Perdomo or Cesar Orozco) followed by Miguel Zenon's alto sax and then a percussion solo from Vielma. "Cereal De Bobures" may be a bit mellower as the horns are heard over the Rhodes piano with Michael Rodriguez's trumpet featured on a relaxed, tuneful solo that floats over the rhythm before a vocal chorus takes this performance out. The title track has a brisk tempo as well as featuring Angel Subero's wooly trombone set against a cleaver horn arrangement before a percussion solo set against a repeated piano riff. Jeremy Bosch's vocal is at the center of "Pasaje Del Olvido," while Koch's bass solo opens and sets the table for "Hubbardengue," with its airy Rhodes piano and Rodriguez's melodic trumpet.

The percussive heavy, "A Modo Patanemeño," places the spotlight on pianist Orozco, while the closing "Miel De Cayena," is a duet between Vielma and pianist Perdomo with interesting shifts in tempos and dynamics in this engaging musical conversation. It concludes a superb recording with an excellent band, superior compositions and superb soloing.

I received as a download from a publicist. This review appeared in the May-June 2018 Jazz & Nlues Report (issue 378). Here is a video of "Monk En Aragu."

Dafnis Prieto Big Band Back to the Sunset

Dafnis Prieto Big Band
Back to the Sunset
Dafnison Music

Cuban-born drummer, composer, bandleader, and 2011 MacArthur “Genius” Fellow, Dafnis Prieto leads the Dafnis Prieto Big Band’s (DPBB) for their debut album. This was recorded after the DPBB debuted for three nights at the Jazz Standard. Immediately after this engagement, the DPBB recorded in Brooklyn August 28-29, 2017, joined by special guests Henry Threadgill, Steve Coleman, and Brian Lynch. The 17-piece DPBB showcases some of the world’s best Latin jazz musicians, many of whom have previously played Prieto’s music in his other bands.

The ensemble features three horn sections (saxophones, trumpets, and trombones) and a rhythm section of piano, bass, congas, and Prieto on drums. The personnel are: Trumpet and Flugelhorn - Mike Rodríguez, Nathan Eklund, Alex Sipiagin, and Josh Deutsch; Reeds - Román Filiú, Alto Sax, Soprano Sax, Flute, Clarinet, Michael Thomas, Alto Sax, Soprano Sax, Flute, Piccolo, Peter Apfelbaum, Tenor Sax, Soprano Sax, Melodica, Joel Frahm, Tenor Sax, Soprano Sax, and Chris Cheek, Bari Sax; Trombones- Tim Albright, Alan Ferber, Jacob Garchik, and Jeff Nelson; Manuel Valera, Piano; Ricky Rodríguez, Acoustic & Electric Bass; Roberto Quintero, Congas, Bongos, Percussion; and Prieto, Drums & Music Director

This is Prieto’s seventh recording as a leader, and is a deeply personal, handcrafted statement, as well as an acknowledgment of the musical figures that shaped his development. For it, he composed and arranged nine works, showcasing his compositional talents while honoring his musical heroes and mentors including Eddie Palmieri, Chico O'Farrill, Bebo Valdés, Jane Bunnett, and Michel Camilo (in addition to Threadgill, Coleman, and Lynch, among others). Prieto collaborated with GRAMMY and Latin GRAMMY-winning producer Eric Oberstein, heralded for his work producing large ensemble recordings, on this.

All the performances are dedicated to influences and masters. The disc opens with the volcanic Afro-Cuban "Una Vez Más" which is (dedicated to Tito Puente, Eddie Palmieri and Brian Lynch), with Lynch contributing the searing trumpet. Cheek's' unaccompanied baritone sax opens "Out Of The Bone" (dedicated to Steve Coleman & Michel Camilo) which has unusual twists and voicing while Coleman is featured with his alto sax on "Song For Chico" (dedicated to Chico O’Farrill, Arturo O’Farrill & Mario Bauzá), with the musical fires smoldering behind him (pianist Valera is outstanding in driving the rhythm).

The variety of influences can be seen on "Back to the Sunset" (dedicated to Henry Threadgill and Andrew Hill), which features Threadgill's acerbic, angular alto sax set against Pietro's orchestration and a languid tempo. The lengthiest performance is, "Danzonish Potpourri" (dedicated to Bebo Valdés, Art Blakey & Jane Bunnett), with the Big band easily navigating tempo shifts. A spirited soprano sax solo set against the stormy orchestration stands out as does Apfelbaum's melodica that closes this out.The closing "The Triumphant Journey," (dedicated to Dizzy Gillespie & Chano Pozo), has a memorable melodic line along with a number of excellent solos.

The other performances are of a comparable level with this Big Band delivering first-rate performances of the varied and challenging compositions that are heard on this exceptional Latin Big Band recording.

I received a download to review from a publicist. This review originally appeared in the May-June 2018 Jazz & Blues Report (Issue 378). Here is the opening track, "Una Vez Más."