Musicians often see past society’s labels and look into the possibilities unusual 0collaborations might hold. Instead of walls between two unlikely genres, musicians find an incredible journey that brings musical paths together. While some people get bogged down in the logistics of a meeting, musicians just find the time to get together and play. If music truly contains any type of magic, it may be the ability to bring together such diverse musicians as trombonist Roswell Rudd and Cuatro player Yomo Toro.

Seeing Parallels Instead of Difference
Sometimes differences exist on the exterior, while our inner voices contain a wealth of similarities. Best known for his avant-garde recordings with Archie Shepp and Steve Lacy, Roswell Rudd has worked actively as an ethnologist for many years. He assisted famed ethnomusicologist Alan Lomax in cataloging world music, coming into contact with a variety of musical cultures. He recorded albums with musicians from Mali and Mongolia resulting in an exciting world-jazz fusion. Yomo Toro’s roots lie in Puerto Rico’s traditional music. He became an essential member of the Fania All-Stars and recorded everything from straight-up salsa to rock inspired boogaloo. His ability to place a traditional instrument in new settings earned him the nickname “the Puerto Rican Jimi Hendrix.” These two musicians saw their shared similarities, admired each other’s work, and eventually found the chance to collaborate on El Espiritu Jibaro.

Unique Contexts and Inspired Performances
The album places both artists in several diverse settings, bringing out their individual voices in new ways. “Pouchie and the Bird” flies through a basic melody on a Cumbia feel, leaving lots of room for improvisation. Toro takes his solo across the neck, mixing tradition with dissonance, while Rudd leans towards his free roots with unique note choices. The mood changes drastically with “Preludio”, a slow march that features Rudd on an expressive melody. Toro changes the texture by playing arpeggiated chords with support from a bowed bass and violins. The band recreates the Rudd composition “Bamako” as a Merengue with vocals paying tribute to the song’s roots on Rudd’s 1965 album MALIcool. Excitement builds as Rudd slides through a variety of expressive articulations with his muted trombone and Toro bends notes to match him. John DiMartino opens “Loved by Love” with a church organ that quickly moves into semi-operatic vocals. Toro trills his way through a guitaristic solo contrasted by Rudd’s short wah-wah filled statement at the end of the piece. The musical settings at first seem odd sitting next to each other, yet in the overall context, they logically build the integrity of Rudd and Toro’s collaboration.

The album’s exploratory nature inspires outstanding performances from Rudd and Toro, as well as their musical cohorts. Bandoneon player Raúl Jaurena brings a traditional taste of Argentina to the heartfelt “Tango for Chris,” while violinists Alicia Svigal and Ilmar Gavillan lean towards the music’s European roots. Toro emphasizes emotional content through alternating solo statements with the bandoneon and violin, while Rudd growls through a rhythmically intense section. Tresero David Oquendo and the rhythm section bring an uplifting descarga feel to the beginning of “Tres, Cuatro,” then the piece shifts key centers for additional solos by Rudd and Toro. Drummer Bobby Sanabria ends the song with a spirited and virtuosic solo over yet another modulation. Toro thoughtfully plays the sensitive melody for the danzon “Mayor G” until the pieces gives way to an all-out Son jam session. Flautist Jay Collins, conguero Wilson “Chembo” Corniel, trombonist Chris Washburne, Oquendo, and Sanabria all drive the music forward through an exciting array of solos. Rudd and Toro’s collaboration brings out the best in all these musicians, creating personal statements and intriguing performances.

Stronger as a Unit
El Espiritu Jibaro’s unique sound results directly from the musical challenges invented by Rudd and Toro’s collaboration. Rudd dives head first into Latin music, bringing his established improvisational prowess into Caribbean and South American rhythmic structures. Toro stretches beyond the Latin music world, bouncing the established tradition off Rudd’s creativity and seeing what comes back. Their combined artistic risks result in new, interesting, and in some respects, challenging music. Rudd and Toro fearlessly stretch their musicality and confirm that together they hold strength in their differences and creativity in their meeting.