4 Seattle may be home to expensive coffee and software moguls, but it too has embraced the multicultural sound of Latin jazz fused with Cuban timba and more, as evidenced by the debut of Costa Rican vocalist Carlos Cascante. Produced, recorded and arranged by pianist Julio Jáuregui, Recuerdos is a surprisingly diverse and upbeat collection of jazz-inspired Cuban rhythms, with Cascante providing solid lead vocals along with a host of special guests including trumpeter Ray Vega, bassist Joe Santiago, trombonist Doug Beavers, saxophonist Ted Dortch and conguero Paoli Mejías. Rounding out the ensemble are Dean Schmidt on bass, Jeff Busch on drums, Frank Medina on congas and trumpeter Thomas Marriott, who is the focus of Jáuregui’s swinging tune “Tomasito.” New takes on Latin standards such as Pedro Flores’ “Obsesión” and Antonio Fernández’s “Al Vaivén de mi Carreta” are injected with more modern harmony while the solid rhythm section keeps everything danceable, especially Santiago’s rock-solid tumbaos. Vega sprinkles bop-latino magic on the Cascante-Jáuregui tune “El Negro Tiene Tumbao,” which flirts with a timba-like montuno and some funky bass-playing by Dean Schmidt. With Jáuregui at the helm, Cascante’s Recuerdos is a very enjoyable ride in the company of fine musicians. true 312 2007-06-07T14:05:44-04:00 17617 108 200612 true 0 113 2006-12-01T00:00:00-05:00

Seattle may be home to expensive coffee and software moguls, but it too has embraced the multicultural sound of Latin jazz fused with Cuban timba and more, as evidenced by the debut of Costa Rican vocalist Carlos Cascante. Produced, recorded and arranged by pianist Julio Jáuregui, Recuerdos is a surprisingly diverse and upbeat collection of jazz-inspired Cuban rhythms, with Cascante providing solid lead vocals along with a host of special guests including trumpeter Ray Vega, bassist Joe Santiago, trombonist Doug Beavers, saxophonist Ted Dortch and conguero Paoli Mejías. Rounding out the ensemble are Dean Schmidt on bass, Jeff Busch on drums, Frank Medina on congas and trumpeter Thomas Marriott, who is the focus of Jáuregui’s swinging tune “Tomasito.” New takes on Latin standards such as Pedro Flores’ “Obsesión” and Antonio Fernández’s “Al Vaivén de mi Carreta” are injected with more modern harmony while the solid rhythm section keeps everything danceable, especially Santiago’s rock-solid tumbaos. Vega sprinkles bop-latino magic on the Cascante-Jáuregui tune “El Negro Tiene Tumbao,” which flirts with a timba-like montuno and some funky bass-playing by Dean Schmidt. With Jáuregui at the helm, Cascante’s Recuerdos is a very enjoyable ride in the company of fine musicians.

2009-03-02T00:25:59-05:00

4 Trombonist and composer Rick Davies may not have the name recognition associated with the major East Coast Latin trombone players, as his primary contributions in the field of Afro-Cuban music surround his scholarly research and publications on Cuban trumpet techniques. Nevertheless, his association with a number of Vermont and New York-based groups has kept him busy, not to mention his duties as assistant professor at Plattsburgh State University. Siempre Salsa is his latest recording in addition to his work with Bronx-based Salsa Picante, and features a variety of configurations—from sextet to big band—as well as two cuts with the Salsa Picante band. While this recording demonstrates a slightly pedestrian approach to jazz-players-gone-Latin, his love and enthusiasm for the art form are important to furthering academia’s advocacy of nuestra música. The opening instrumental track “Cena Para Seis” begins the album with a spirited Latin-jazz feel, but the subsequent vocal and big-band tunes end up sounding mismatched. This effort plays somewhat like a recital of a collegiate big band, and the smaller ensemble vocal tunes feature coros so drenched in reverb and delay they might as well have been used in Jamaican dub sessions. Those missteps aside, Davies’ academic and literary contributions are certainly worthy of our support and admiration. true 312 2007-06-07T14:05:44-04:00 17618 108 200612 true 0 113 2006-12-01T00:00:00-05:00

Trombonist and composer Rick Davies may not have the name recognition associated with the major East Coast Latin trombone players, as his primary contributions in the field of Afro-Cuban music surround his scholarly research and publications on Cuban trumpet techniques. Nevertheless, his association with a number of Vermont and New York-based groups has kept him busy, not to mention his duties as assistant professor at Plattsburgh State University. Siempre Salsa is his latest recording in addition to his work with Bronx-based Salsa Picante, and features a variety of configurations—from sextet to big band—as well as two cuts with the Salsa Picante band. While this recording demonstrates a slightly pedestrian approach to jazz-players-gone-Latin, his love and enthusiasm for the art form are important to furthering academia’s advocacy of nuestra música. The opening instrumental track “Cena Para Seis” begins the album with a spirited Latin-jazz feel, but the subsequent vocal and big-band tunes end up sounding mismatched. This effort plays somewhat like a recital of a collegiate big band, and the smaller ensemble vocal tunes feature coros so drenched in reverb and delay they might as well have been used in Jamaican dub sessions. Those missteps aside, Davies’ academic and literary contributions are certainly worthy of our support and admiration.

2009-03-02T00:25:59-05:00

4 This posthumous release of Cuban veteran sonero Ibrahim Ferrer traces nearly three decades of his work with an array of Cuban artists between 1960 and 1988, including the orchestras of Pacho Alonso, Chepín-Chovén and others. Much in contrast to the more traditional sounds of the internationally celebrated Buena Vista Social Club, these songs, previously unreleased outside of Cuba, demonstrate some of the transitional periods in post-revolutionary Cuban music. It is a sound you can grow to love, especially with such a fabulous selection of classics as well as obscure tunes. Ferrer’s voice is a refreshing mix of father-figure gentility and coy sonero, and listening to him across these decades past has a remarkable time-capsule effect. There are tender moments, such as the tribute to revolutionary devotion in the Guantanamera-esque “A Los Cien Años,” and the melancholy bolero “Perdonarte,” which features Ferrer in a lush duet. But the majority of these tracks feature the sounds of Cuba’s rock-tinged son as well as the newer pilón rhythm, wrapped in danceable, postmodern fun. Toda Una Vida also includes some hilarious lyrics, such as “Pero Que Suegro,” a warning to all wayward in-laws in the world, and the markedly anti-imperialist “Súper Ratón.” Highlights such as “Ay, Candela,” “De Camino a la Vereda” and “No Te Precipites” showcase Ferrer in an entirely new light, and will surely delight old and new fans of a sound not often heard off the island of Cuba. true 312 2007-06-07T14:05:44-04:00 17619 108 200612 true 0 113 2006-12-01T00:00:00-05:00

This posthumous release of Cuban veteran sonero Ibrahim Ferrer traces nearly three decades of his work with an array of Cuban artists between 1960 and 1988, including the orchestras of Pacho Alonso, Chepín-Chovén and others. Much in contrast to the more traditional sounds of the internationally celebrated Buena Vista Social Club, these songs, previously unreleased outside of Cuba, demonstrate some of the transitional periods in post-revolutionary Cuban music. It is a sound you can grow to love, especially with such a fabulous selection of classics as well as obscure tunes. Ferrer’s voice is a refreshing mix of father-figure gentility and coy sonero, and listening to him across these decades past has a remarkable time-capsule effect. There are tender moments, such as the tribute to revolutionary devotion in the Guantanamera-esque “A Los Cien Años,” and the melancholy bolero “Perdonarte,” which features Ferrer in a lush duet. But the majority of these tracks feature the sounds of Cuba’s rock-tinged son as well as the newer pilón rhythm, wrapped in danceable, postmodern fun. Toda Una Vida also includes some hilarious lyrics, such as “Pero Que Suegro,” a warning to all wayward in-laws in the world, and the markedly anti-imperialist “Súper Ratón.” Highlights such as “Ay, Candela,” “De Camino a la Vereda” and “No Te Precipites” showcase Ferrer in an entirely new light, and will surely delight old and new fans of a sound not often heard off the island of Cuba.

2009-03-02T00:25:59-05:00

4 Cuba has an amazing impact on jazz players. Once the island’s rhythm sinks its teeth into an unsuspecting soul, he or she is immediately transformed. Such is the case with bassist-composer Harvie S, whose sojourn to the forbidden island prompted a mid-career change from straightahead to Latin jazz. In Funky Cha, his fourth release as a leader, “S” showcases the intimate setting of quartet with added percussion (on several tracks), although drummer William “Beaver” Bausch is fully able to maintain the Latin grooves on his own. While the recording is a bit dry, it comes across with the energy of a club performance. The opener, Monk’s “Rhythm-A-Ning,” features a tasty solo by pianist Daniel Kelly, although his montuno-playing throughout might benefit from an injection of “Cuba juice.” Kelly’s compositional effort is noteworthy on the fourth track, “Earquake,” which features a probing bass solo by the leader along with nice harmonic twists and turns. “S” is the bassist’s guaguancó-jazz original with a sensitive melodic interpretation by Jay Collins on soprano, and the title track features a conga-less cha-cha with a groovy tenor solo. The haunting rendition of Cole Porter’s “What Is This Thing Called Love” is by far the standout track (and also the least “Latin”), with a lovely dialog between guest trumpeter Philip Dizack and Collins on tenor. Overall, Funky Cha serves up tasty, acoustic Latin jazz. true 312 2007-06-07T14:05:44-04:00 17620 108 200612 true 0 113 2006-12-01T00:00:00-05:00

Cuba has an amazing impact on jazz players. Once the island’s rhythm sinks its teeth into an unsuspecting soul, he or she is immediately transformed. Such is the case with bassist-composer Harvie S, whose sojourn to the forbidden island prompted a mid-career change from straightahead to Latin jazz. In Funky Cha, his fourth release as a leader, “S” showcases the intimate setting of quartet with added percussion (on several tracks), although drummer William “Beaver” Bausch is fully able to maintain the Latin grooves on his own. While the recording is a bit dry, it comes across with the energy of a club performance. The opener, Monk’s “Rhythm-A-Ning,” features a tasty solo by pianist Daniel Kelly, although his montuno-playing throughout might benefit from an injection of “Cuba juice.” Kelly’s compositional effort is noteworthy on the fourth track, “Earquake,” which features a probing bass solo by the leader along with nice harmonic twists and turns. “S” is the bassist’s guaguancó-jazz original with a sensitive melodic interpretation by Jay Collins on soprano, and the title track features a conga-less cha-cha with a groovy tenor solo. The haunting rendition of Cole Porter’s “What Is This Thing Called Love” is by far the standout track (and also the least “Latin”), with a lovely dialog between guest trumpeter Philip Dizack and Collins on tenor. Overall, Funky Cha serves up tasty, acoustic Latin jazz.

2009-03-02T00:25:59-05:00

4 Former Cubanismo pianist and musical director Nachito Herrera returns with a follow-up live recording at Minneapolis’ Dakota Jazz Club in a Latin quartet setting, tearing through originals and revamped standards. Despite some unfortunate technical issues with the recording—including an increasingly out-of-tune piano and poorly recorded percussion that sounds thin and muffled—Herrera’s powerful leadership keeps the audience’s attention during the fury of pounding montunos and cascading lines. Joining Herrera once again are bassist Terry Burns, percussionist Shai Hayo and drummer Gordy Knudtson, with Herrera’s daughter Mirdalys contributing vocals on one of the tracks. All in all, this is an engaging performance often overshadowed by the inferior mix and aforementioned issues, leading Herrera to perhaps compensate for inadequate sound onstage by surging through tempos and making the band play catch-up. Live recording is a tricky business, and with musicians so often at the mercy of the sound crew, attempting such adventurous speeds doesn’t bode well. Highlights include Burns’ tender and melodic bass work on “Tulipán” as well as Herrera’s probing intro on “Afro 6/8” which floats between McCoy-esque runs and neoclassical chords. It’s too bad he didn’t get to play them on a decent piano. true 312 2007-06-07T14:05:44-04:00 17621 108 200612 true 0 113 2006-12-01T00:00:00-05:00

Former Cubanismo pianist and musical director Nachito Herrera returns with a follow-up live recording at Minneapolis’ Dakota Jazz Club in a Latin quartet setting, tearing through originals and revamped standards. Despite some unfortunate technical issues with the recording—including an increasingly out-of-tune piano and poorly recorded percussion that sounds thin and muffled—Herrera’s powerful leadership keeps the audience’s attention during the fury of pounding montunos and cascading lines. Joining Herrera once again are bassist Terry Burns, percussionist Shai Hayo and drummer Gordy Knudtson, with Herrera’s daughter Mirdalys contributing vocals on one of the tracks. All in all, this is an engaging performance often overshadowed by the inferior mix and aforementioned issues, leading Herrera to perhaps compensate for inadequate sound onstage by surging through tempos and making the band play catch-up. Live recording is a tricky business, and with musicians so often at the mercy of the sound crew, attempting such adventurous speeds doesn’t bode well. Highlights include Burns’ tender and melodic bass work on “Tulipán” as well as Herrera’s probing intro on “Afro 6/8” which floats between McCoy-esque runs and neoclassical chords. It’s too bad he didn’t get to play them on a decent piano.

2009-03-02T00:25:59-05:00

4 This is the Hochstein School of Music faculty’s showcase concert and the players want to highlight their take on Latin and jazz standards, and it’s a fairly decent live recording (although the piano solos need to come up in the mix), but living up to the name “Mambo Kings” is a bit daunting to even the most seasoned Latin players. Pianist and arranger Richard Delaney’s charming intro on the Cuban standard “Tres Lindas Cubanas” provides a hint of Cuba’s neoclassical solo piano genre, only to be diminished by the group’s uneven performance of the piece. Among the more interesting arrangements are Delaney’s version of Rafael Hernández’s “El Cumbanchero,” which includes a modal reharmonization and a soulful tenor solo by John Viavattine Sr. Rounding out the group is bassist John Viavattine Jr., drummer-percussionist Freddy Colón and conguero David Antonetti, as well as a bonus track featuring the late bassist Bob Stata. The most energetic of the selections is a version of Michel Camilo’s “Caribe,” with a lively drum/timbales solo by Colón; even the cover of the Beatles’ “Day Tripper” comes off with a groovy twist as a cha-cha. While this album may not play much outside of Rochester, N.Y., it is nevertheless a pleasant offering. My only question is, Did they secure the rights to the band name? true 312 2007-06-07T14:05:44-04:00 17622 108 200612 true 0 113 2006-12-01T00:00:00-05:00

This is the Hochstein School of Music faculty’s showcase concert and the players want to highlight their take on Latin and jazz standards, and it’s a fairly decent live recording (although the piano solos need to come up in the mix), but living up to the name “Mambo Kings” is a bit daunting to even the most seasoned Latin players. Pianist and arranger Richard Delaney’s charming intro on the Cuban standard “Tres Lindas Cubanas” provides a hint of Cuba’s neoclassical solo piano genre, only to be diminished by the group’s uneven performance of the piece. Among the more interesting arrangements are Delaney’s version of Rafael Hernández’s “El Cumbanchero,” which includes a modal reharmonization and a soulful tenor solo by John Viavattine Sr. Rounding out the group is bassist John Viavattine Jr., drummer-percussionist Freddy Colón and conguero David Antonetti, as well as a bonus track featuring the late bassist Bob Stata. The most energetic of the selections is a version of Michel Camilo’s “Caribe,” with a lively drum/timbales solo by Colón; even the cover of the Beatles’ “Day Tripper” comes off with a groovy twist as a cha-cha. While this album may not play much outside of Rochester, N.Y., it is nevertheless a pleasant offering. My only question is, Did they secure the rights to the band name?

2009-03-02T00:25:59-05:00

4 Looking at the CD cover laden with neon and, yes, pink flamingos, one might plan a trip back in time to the ’80s. With Miami, percussionist Gumbi Ortiz (pronounced “Goombi”) surrounds himself with all of the players from the era of strap-on keyboards and gives us smooth jazz with a pseudo-Latin flair. While some folks may prefer their jazz with a bit more substance, this debut from the Al Di Meola percussionist gives us just enough conga-drumming to constitute more than background music played by some of our favorites: Jeff Lorber, Dave Weckl, Eric Marienthal, Brandon Fields and a host of other greats. I would have hoped for a bit more “content” than the sideman role attributed to most fusion percussionists, but, alas, the congas are relegated to their role as “toys” while Dave Weckl’s expert drumming outshines everything. The most attention-grabbing tracks feature Ortiz and Weckl in an impromptu, jamlike setting; however, the main focus of this offering maintains its place in the “safe” zone of synth-driven noodling. Granted, some folks really enjoy fusion, but Miami offers little in the way of definitive Afro-Latin grooves. It is well recorded, though, and will please time-travelers everywhere. true 312 2007-06-07T14:05:44-04:00 17623 108 200612 true 0 113 2006-12-01T00:00:00-05:00

Looking at the CD cover laden with neon and, yes, pink flamingos, one might plan a trip back in time to the ’80s. With Miami, percussionist Gumbi Ortiz (pronounced “Goombi”) surrounds himself with all of the players from the era of strap-on keyboards and gives us smooth jazz with a pseudo-Latin flair. While some folks may prefer their jazz with a bit more substance, this debut from the Al Di Meola percussionist gives us just enough conga-drumming to constitute more than background music played by some of our favorites: Jeff Lorber, Dave Weckl, Eric Marienthal, Brandon Fields and a host of other greats. I would have hoped for a bit more “content” than the sideman role attributed to most fusion percussionists, but, alas, the congas are relegated to their role as “toys” while Dave Weckl’s expert drumming outshines everything. The most attention-grabbing tracks feature Ortiz and Weckl in an impromptu, jamlike setting; however, the main focus of this offering maintains its place in the “safe” zone of synth-driven noodling. Granted, some folks really enjoy fusion, but Miami offers little in the way of definitive Afro-Latin grooves. It is well recorded, though, and will please time-travelers everywhere.

2009-03-02T00:25:59-05:00

4 This is salsa at its best. After a 16-year tenure with Puerto Rican salsa institution La Sonora Ponceña, percussionist “Little” Johnny Rivero showcases his compositional talents on this hip-shaking outing that’s sure to please salsa dura (tough salsa) enthusiasts around the globe. With exquisite arrangements by Andrés Hernández and former-Batacumbele pianist Eric Figueroa, Little Johnny opens with this homage to his drum, his mentors and his former bandmates in the sizzling opener “Pequeño Johnny.” What follows is even more fire and excitement as the next five tracks unfold before the calming and funky “Mi Yambú,” which showcases the brilliant Giovanni Hidalgo on quinto and cajón as well as tres maestro Nelson González. Other guest appearances include violin virtuoso Alfredo De La Fe, who shines on “Le Traigo La Última,” and pianist (and Sonora Ponceña director) Papo Lucca on “Mr. LP,” the one instrumental track on the album (penned by Eric Figueroa). Rivero’s solid conga playing and tasty breaks and solos pepper this album, but the focus is the dance-generating grooves. This swings like classic salsa and plays all the way through as if you were there (NYC or Ponce, take your pick), bringing back the joy of well-played, well-produced, feel-good music. true 312 2007-06-07T14:05:44-04:00 17624 108 200612 true 0 113 2006-12-01T00:00:00-05:00

This is salsa at its best. After a 16-year tenure with Puerto Rican salsa institution La Sonora Ponceña, percussionist “Little” Johnny Rivero showcases his compositional talents on this hip-shaking outing that’s sure to please salsa dura (tough salsa) enthusiasts around the globe. With exquisite arrangements by Andrés Hernández and former-Batacumbele pianist Eric Figueroa, Little Johnny opens with this homage to his drum, his mentors and his former bandmates in the sizzling opener “Pequeño Johnny.” What follows is even more fire and excitement as the next five tracks unfold before the calming and funky “Mi Yambú,” which showcases the brilliant Giovanni Hidalgo on quinto and cajón as well as tres maestro Nelson González. Other guest appearances include violin virtuoso Alfredo De La Fe, who shines on “Le Traigo La Última,” and pianist (and Sonora Ponceña director) Papo Lucca on “Mr. LP,” the one instrumental track on the album (penned by Eric Figueroa). Rivero’s solid conga playing and tasty breaks and solos pepper this album, but the focus is the dance-generating grooves. This swings like classic salsa and plays all the way through as if you were there (NYC or Ponce, take your pick), bringing back the joy of well-played, well-produced, feel-good music.

2009-03-02T00:25:59-05:00

4 Miami-based timba band Tiempo Libre is one of very few contemporary Cuban groups in the U.S. to emphasize what many feel to be the more aggressive side of Cuban music. The intensity of timba is certainly not for everyone; this new-millennium form of “salsa-on-steroids” represents perhaps the least subtle of the island’s dance-infused genres, perplexing fans of the more traditional (and nostalgic) repertoire with its time-bending breaks and in-your-face tumbaos and montunos. Thanks to the youth and effervescence of this powerhouse group, however, the new face of Miami has embraced timba well beyond Cuban borders. Lo Que Esperabas follows Tiempo Libre’s Grammy-nominated Arroz con Mango with unbridled energy perfectly suited to the needs of dancers. Under the direction of keyboardist Jorge Gómez, this new effort of mostly original songs showcases this tight-knit band and its absolute devotion to making fans move. While the majority of the uptempo grooves fill virtually every nook and cranny of the sonic space, highlights on the album such as “Arrebata’o” and the album-closer “Ella Tiene” allow for a slightly more relaxed and funky atmosphere, and the band’s new twist on the classic tune “A Bayamo en Coche” is sure to please fans of the sounds of decades past. Tiempo Libre clearly relishes their role as ambassadors of Cuba’s most uninhibited of dance forms, giving fans of timba everywhere what they’ve been waiting for. true 312 2007-06-07T14:05:44-04:00 17625 108 200612 true 0 113 2006-12-01T00:00:00-05:00

Miami-based timba band Tiempo Libre is one of very few contemporary Cuban groups in the U.S. to emphasize what many feel to be the more aggressive side of Cuban music. The intensity of timba is certainly not for everyone; this new-millennium form of “salsa-on-steroids” represents perhaps the least subtle of the island’s dance-infused genres, perplexing fans of the more traditional (and nostalgic) repertoire with its time-bending breaks and in-your-face tumbaos and montunos. Thanks to the youth and effervescence of this powerhouse group, however, the new face of Miami has embraced timba well beyond Cuban borders. Lo Que Esperabas follows Tiempo Libre’s Grammy-nominated Arroz con Mango with unbridled energy perfectly suited to the needs of dancers. Under the direction of keyboardist Jorge Gómez, this new effort of mostly original songs showcases this tight-knit band and its absolute devotion to making fans move. While the majority of the uptempo grooves fill virtually every nook and cranny of the sonic space, highlights on the album such as “Arrebata’o” and the album-closer “Ella Tiene” allow for a slightly more relaxed and funky atmosphere, and the band’s new twist on the classic tune “A Bayamo en Coche” is sure to please fans of the sounds of decades past. Tiempo Libre clearly relishes their role as ambassadors of Cuba’s most uninhibited of dance forms, giving fans of timba everywhere what they’ve been waiting for.

2009-03-02T00:25:59-05:00

4 Colombian-born percussionist Samuel Torres makes his debut as a leader with a pastiche of textures and captivating compositions, accompanied by some top-notch Latin-jazz artists including the ever-funky John Benítez on bass, supreme pianist/composer Hector Martignón and drummer Ernesto Simpson. Torres links several of the tracks with brief conga interludes and provides thoughtful and interesting moods for his excellent cast, including the lyrical vocal scatting of Julia Dollison. There is a richness and diversity to Skin Tones in everything from the chosen musical genres to the occasional use of odd meter. The opener “Crazy Montuno” creates a funk-infused atmosphere and offers Martignon freedom and space to explore, followed by a very melodic conga solo by Torres, who must have at least six precisely tuned drums in his arsenal. The dialog between sax man Mike Campagna and trumpeter Mike Rodríguez continues through the song’s faded ending, leaving you wanting more. “Saying Goodbye” features a wonderfully jagged and sophisticated melody between vocalist Dollison and Rodriguez on trumpet, then calms the mood for a probing trumpet solo over a 7/4 groove punctuated by the rhythm section. Other highlights include “The Key”—a fabulously rich piece with hints of Afro-Colombian and Puerto Rican folklore, and the powerful and harmonically dense “Express to Queens.” Skin Tones is at once intelligent, sophisticated and explosive. true 312 2007-06-07T14:05:44-04:00 17626 108 200612 true 0 113 2006-12-01T00:00:00-05:00

Colombian-born percussionist Samuel Torres makes his debut as a leader with a pastiche of textures and captivating compositions, accompanied by some top-notch Latin-jazz artists including the ever-funky John Benítez on bass, supreme pianist/composer Hector Martignón and drummer Ernesto Simpson. Torres links several of the tracks with brief conga interludes and provides thoughtful and interesting moods for his excellent cast, including the lyrical vocal scatting of Julia Dollison. There is a richness and diversity to Skin Tones in everything from the chosen musical genres to the occasional use of odd meter. The opener “Crazy Montuno” creates a funk-infused atmosphere and offers Martignon freedom and space to explore, followed by a very melodic conga solo by Torres, who must have at least six precisely tuned drums in his arsenal. The dialog between sax man Mike Campagna and trumpeter Mike Rodríguez continues through the song’s faded ending, leaving you wanting more. “Saying Goodbye” features a wonderfully jagged and sophisticated melody between vocalist Dollison and Rodriguez on trumpet, then calms the mood for a probing trumpet solo over a 7/4 groove punctuated by the rhythm section. Other highlights include “The Key”—a fabulously rich piece with hints of Afro-Colombian and Puerto Rican folklore, and the powerful and harmonically dense “Express to Queens.” Skin Tones is at once intelligent, sophisticated and explosive.

2009-03-02T00:25:59-05:00