JOHN ULLOA Y SU MISION - RUM & SMOKE (2007)
This recording was done in the tradition of West Coast Latin Jazz, and it features percussionist John Ulloa, Ruben Estrada, Cougar Estrada, and Nate Birkey
John Ulloa: Bandleader, congas, percussion
Cougar Estrada: Producer, drumset
Malcolm Ian Peters: Bass
Edmund Velasco: Saxophones and flute
Brian "El Bacalao" Andres: Drumset, percussion
Michael P. Lazarus: Bass
Coto Pincheira: Keyboards
Wes Montgomery: Saxophones and flute
Liza Jimenez: Vocals
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review by Chip Boaz - Courtesy The Latin Jazz Corner
West Coast Latin Jazz grew into a unique musical lineage through a variety of factors. Lacking a large first generation Caribbean community, true Latin music knowledge stemmed from transplanted East Coast musical mentors. Community radio and record collectors became important sources of information, which musicians studied intently. As groups developed, the lack of large dance halls combined with the established jazz combo format led to the formation of small Latin Jazz groups. The popularity of the music grew from the dance appeal, bringing a younger crowd into the mix. All these factors led to the development of a consistent and danceable rhythm section punch filtered through traditional jazz harmonies and studied improvisation - a sound proudly displayed by John Ulloa y Su Misión on their album Rum & Smoke.
In fine West Coast fashion, Ulloa and his band present a variety of Latin Jazz standards. Freddie Hubbard’s “Little Sunflower” begins with free improvisation, moving into a mid-tempo Salsa rhythm. The group captures an understated and mysterious mood with a thin texture, while pianist Ruben Estrada intertwines chordal ideas. Trumpet player Nate Birkey builds an extended statement from a melodic standpoint, while saxophonist Edmund Velasco creates rhythmic tension immediately. Mongo Santamaria’s Cha Cha Cha “Sofrito” rides between improvisations and the traditional coro sung by vocalist Liza Jimenez. Pianist Coto Pincheira plays with virtuosic flights and rhythmic diversity, paving the way for a fiery solo from saxophonist Wes Montgomery. Ulloa and drummer Brian Andres trade percussion ideas, leading back into the traditional break and melody. Estrada drives “Moliendo Cafe,” first with a sensitive reading of the bridge, then with a powerful montuno on the solo cycle. Velasco brings the band into a frenzy with an impassioned solo before Ulloa closes the solo cycle with an exciting conga solo. Velasco and Birkey split the 6/8 melody on Santamaria’s “Afro Blue,” delivering a straight-ahead reading. Both musicians make strong statements, before Ulloa’s polyrhythmic exploration on congas. The familiar songs and traditional arrangements reflect a strong West Coast mindset, which should appeal to a wide audience.
Unique arrangements and original compositions bring a sense of individuality to the album. Velasco’s robust bari sax sound opens “Moanin’” and then quickly intertwines with Birkey’s subtle melody. The two musicians reflect these same emotional approaches during their improvisations, Birkey with a thoughtful statement and Velasco with an intense burst of fire. A traditional three-chord montuno drives “Descarga Rum & Smoke,” providing the foundation for a fun and energetic jam session. The rhythm section maintains an infectious dance groove for Birkey and Velasco, until a minor montuno turns up the heat for Ulloa’s album highlight conga solo. As Velasco and Birkey began to trade lines, the band works into chaos, ending the song on a passionate note. Birkey’s muted trumpet and Velasco’s flute set the tone for the insightful and personal mood on the Danzon “Angelique.” Estrada plays with a delicate sensitivity until the band transitions to Cha Cha Cha where Birkey and Velasco trade improvisational ideas. The rhythm section sets up a funky groove to start “Paz,” moving into a straight-ahead Salsa feel for Birkey and Velasco to play a calm melody. After Birkey expertly weaves through a series of jazz chord changes, Ulloa display a different side of his musicianship, playing strong solo statements on bongó. The musical decisions never step too far outside West Coast ideals, but they place a unique stamp upon the group’s sound.
Ulloa presents a bold West Coast Latin Jazz voice on Rum & Smoke, reflecting a respect for the tradition established by his predecessors. The trademarks for a classic piece of West Coast Latin Jazz are all here - straight ahead jazz standards, powerful rhythm section playing, and well studied improvisations. Ulloa obviously dedicated extensive time to study of the West Coast masters, and as a result, his band plays with a deep knowledge of their history and a love for the tradition. At the same time, musicians carefully considered their own voice, acknowledging the need for individuality. While the band clearly acknowledges the debt of Cal Tjader, Mongo Santamaria, and Poncho Sanchez, they make their own mark, creating a new chapter in West Coast Latin Jazz history.
in collaboration with
THE LATIN JAZZ CORNER by Chip Boaz
