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.

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."

Mid-Atlantic Jazz Festival Bring the Real Jazz to DC area

Paul Carr and Randy Brecker at 2011 Mid-Atlantic Jazz Festival

It is about 5 weekends from the 3rd Annual Mid-Atlantic Jazz Festival. The Mid-Atlantic Jazz Festival revives the legacy of the East Coast Jazz Festival that ran for 15 years starting in 1992. The ECJF originated in honor of Elmore “Fish” Middleton, a Washington, DC jazz radio programmer, whose commitment to promoting jazz music and supporting emerging jazz artists became the guiding principle behind the festival. The driving force of the ECJF was the late Ronnie Wells, a Washington DC jazz icon. After her passing, so did the ECJF.

Bassist Michael Bowie

Mid-Atlantic Jazz Festival takes place at the Rockville, Maryland Hilton Hotel over the President’s Day Weekend. Under the auspices of Washington DC area saxophonist and educator, Paul Carr, the Festival has a focus on not simply bringing some of the best local and national jazz performers to the area, but to help nurture and support Jazz Education. Besides such notable performers like Roy Haynes, Terrell Stafford, Carmen Bradford and Nicholas Payton, the festival spotlights local artists like vocalist Sandra Johnson, guitarist Mark Mosely, and bassist Michael Bowie. There are master classes for aspiring jazz musicians, a jazz for mall boppers class, jam sessions, band competition for high school bands and more. There are also artist interviews, and much more.

The Festival opens on Friday night February 17 with highlights on the main stage being Winard Harper and the great vocalist Carmen Bradford backed by the Mid-Atlantic Jazz Orchestra conducted by Paul Carr. Saturday afternoon a highlight will be the Jazz Ain’t Dead Jazz Troupe featuring Maurice Chestnut. Saturday evening features the acclaimed Baltimore vibraphonist (and much more) Warren Wolf and the legendary Roy Haynes and the Fountain of Youth band with the terrific Jaleel Shaw on saxophone. Sunday afternoon has a focus on gospel with a play, “The Mahalia Jackson Story’ featuring vocalist Lavenia Nesmith. Sunday evening includes a Trumpet Summit featuring Brain Lynch, Nicholas Payton and Terrell Stafford and the evening concludes with Festival director Paul Carr’s Quintet with Terrell Stafford, Joey Calderazzo, Michael Bowie and Lewis Nash.

Nicholas Payton will be part of the Trumpet Summit.
He is seen here at the 2009 New Orleans Jazz & Heritage Festival

As can be seen, this year's Mid-Atlantic Jazz Festival will present another full weekend of great music. I had a blast at last year's Festival and look forward to more of the same. I hope to see some of you there. For more information check out the website, http://www.midatlanticjazzfestival.org/. Here is a preview of the Festival.

Marvelous Spanish language Nat King Cole Tribute

It says so much about highly Cuban singer Issac Delgado is regarded, that his new CD, “LOVE,” (Calle 54 Records), is the first tribute to Nat King Cole, that Cole’s brother Freddie Cole participated in. The album is centered around the three albums Cole recorded that were recorded for Spanish speaking audiences and includes several other Cole recordings that Delgado sings here in Spanish (some of the songs on this Cole recorded in Portuguese or English). Backing him is a rhythm section of pianist John di Martino; bassist Charles Flores; drummer Dafnis Prieto and percussionist Pedro Martinez. Also present are trumpeter Brian Lynch, trombonist Conrad Herwig and saxophonist-clarinetist Ken Peplowski who contribute to various of the twelve songs. Freddie Cole adds his English vocals to two of the performances. As Will Friedwald observes in the liner book, Cole sang Spanish and Portuguese phonetically when he recorded the three albums for Latin audiences, and recorded these albums in Havana, Rio de Janeiro and Mexico City. This was a point that endeared Cole to these audiences, and even though Delgado was not even born when Cole’s albums were released, “he grew with them.”


I have not heard the original Nat King Cole recordings nor speak Spanish, but to listen to Issac Delgado sing is a joy through his intimate, sensual and romantic delivery which is matched by the marvelous musicians backing him. The rhythm section is sublime and adding the warm trumpet and flugelhorn of Lynch on the opening “Perfidia,” is magical. Peplowski’s clarinet helps set the tone on “Quizas, Quizas, Quizas/ Perhaps, Perhaps, Perhaps,” one of the two duets with Freddie Cole who comes in after Peplowski’s solo and whose vocal provides an intriguing contrast to that by Delgado. “Tiernamente” is better known as “Tenderly,” and breaks from guitarist Romero Lubambo and pianist Martino help embellish the warm sensuality of Delgado’s baritone. The mood switches from the light latinized rendition of “Tiernamente ,” to the hot Cuban salsafied (to use Friedwald’s decription) of “Ay Cosita Linda,” with Martino’s brilliant arrangement and a fiery Lynch solo.” Then there is the bossa nova flavor of “Suas Maos” with some lovely trombone from Herwig, while on “A Su Mirar Me Acostumbré,” the lovely Spanish rendition of “I’ve Grown Accustomed to Her Face,” only the rhythm section provides the sublime accompaniment. Freddie Cole opens “Green Eyes/ Aquellos Ojos Verdes,” with Peplowski providing some alluring tenor sax before Delagdo enters almost with as a whisper before again drawing the listener in with the sensualness he provides. The title track was one of Nat King Cole’s last hit records and opening with a bass vamp features spirited playing from Lynch that takes this performance to new heights.


In the liner booklet, Will Friedwald makes the claim that Delgado brought the “same combination of remarkable chops, musicianship and overwhelming, loving warmth that Cole himself brought to the songs of Cuba, Mexico, Brazil and elsewhere … .” The music on “LOVE,” substantiates the claim. The combination of Delgado’s vocals and the exquisite accompaniments result in this being one of the year’s most enchanting recordings.

Review copy of CD provided by publicity firm for the recording label. Review has been published in September 2009 Jazz & Blues Report (Issue 329) at jazz-blues.com.