MARK WEINSTEIN and his COSA NUEVA ORCHESTRA - CUBAN ROOTS (1977)

Mark Weinstein Leader and trombone
Arnie Lawrence Alto sax
Mario Rivera Baritone sax
Chick Correa Piano
Bobby Valentin Bass
Kako Cuban drums
Tommy Lopez Cuban drums
Papiro Cuban drums
Papaito Cuban drums

On 'The Orisha Suite':

Mark Weinstein Flute and marimba
Eddie Martinez Keyboards
Steve Palitz Guitar
Julito Collazo Bata and chekere
Steve Berrios Bata and chekere
Flaquito Bata and chekere
Olympia Alfara Lead vocals and chorus
Unknown French horn and cello

CUBAN ROOTS

Malanga (rumba Columbia)
Michelle (rumba abierta)
Ochosi-Om-Mi  (afro)
Chango (Nanigo)
Ochun (Rumba Illeca)
Just Another Guajira (Guajra)
El Desengaño De Los Roncos (guaguanco)
El Barracon (comparsa)

THE ORISHA SUITE

Sensualidad

Ochun

Recuerdos De Amor

Yemaya

Dando Luz

Recuerdo de Amor-reprise

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review by Chip Boaz - Courtesy The Latin Jazz Corner

Looking over the course of a career, the changes that occur for a musician, both artistically and socially can be staggering. Within the course of a lifetime, musicians move from beginners into a level of technical proficiency, and for some, virtuosity. Individuals may work as sidemen, collaborators, musical directors, or bandleaders; and the extent of each role determines their musical direction. Artists may dabble in a variety of genres or stay firmly focused upon one direction, giving them a sense of authority in the field. Fame and fortune may grace a musician quickly, only to loose its grip after a short joy ride. Musicians often leave the performance life indefinitely, shaping their lives around other priorities. Each of these experiences makes an artist unique, giving them a unique perspective and an individual musical approach.

Mark Weinstein’s musical life began deep in the heart of New York City, finding a definite home among the city’s musical heartbeats: jazz and Latin music. He studied trombone in grade school, then added bass as a double when he began working professionally in his teens. He made a quick transition into New York’s Latin music scene, working as a trombonist with pianist Larry Harlow. From there, he stood alongside legendary salsa trombonist Barry Rodgers, forming the core of Eddie Palmieri’s first version of La Perfecta. Weinstein became a popular arranger in the 1960s, applying jazz harmonies and orchestration techniques to music for Harlow, Palmieri, Charlie Palmieri, the Alegre All-Stars, and more. Weinstein’s dual understanding of jazz and Latin music earned him extensive work with Cal Tjader, Herbie Mann, Tito Puente, Joe Henderson, Lionel Hampton, and more. By the late 1960s, Weinstein had established himself as a distinct stylist, gained large amounts of performance and arranging experience, and he was ready to make a recording as a leader.

Weinstein’s first album as a leader, the 1967 recording Cuban Roots, brought together his interest in Cuban folkloric music and a searching free improvisatory approach. A rumba guaguanco sizzles beneath Weinstein’s bold trombone melody on “Malanga.” He provides an intensely syncopated solo, leading into a screaming alto sax solo from Arnie Lawrence. A group of drummers, lead by percussionist Julio Collazo, perform a Santeria rhythm on “Chango,” laying the foundation for more rhythmic improvisation from Weinstein. A comparsa rhythm plays beneath Weinstein’s solo trombone on “El Barracon” until rest of the band brings a harmonic ground into the song. The percussionists play a bata rhythm on congas underneath a bluesy melody on “Ochun,” a true mix of traditions. Strong saxophone lines separate Weinstein’s brash phrases until pianist Chick Corea builds modern harmonic tension into a distinctive statement. A funky piano montuno and bluesy melody create the album’s most accessible piece with “Just Another Guajira.” Corea demonstrates the thematic invention that would become his forte and then Weinstein makes a rhythmic statement. The album includes a number of forward thinking pieces, blending tradition and innovation into a modern mix.

Perhaps Cuban Roots was too far ahead of its time, for the general public mostly ignored it, sending Weinstein onto another part of his career. Discouraged by a lack of airplay and an acceptance by his peers, Weinstein moved out of music and returned to school. He earned a PhD in Philosophy, dedicating himself to an academic career. Throughout the 1970s and 1980s, Weinstein worked as a college professor, keeping music on the sidelines. He migrated from trombone to flute, and spent hours practicing. The late 1990s brought Weinstein’s return to recording, this time as a flautist, with the 1997 album Seasoning, the 1998 release Jazz World Trios, and the 2000 recording Three Deuces. As his career began to focus upon music again, the Latin Jazz community’s renewed interest in Cuban Roots brought two projects together: Cuban Roots Revisited, a new recording of the classic material with modern players, and Algo Más, a free jazz interpretation of the music. Weinstein explored Brazilian music on the 2006 album O Nosso Amor and finally returned to a more traditional Latin Jazz approach with 2007’s Con Alma. After many years and many turns, Weinstein’s career still seems vibrant and his music still reflects the innovative spirit found on Cuban Roots.

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THE LATIN JAZZ CORNER by Chip Boaz

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