SUENOS LATIN JAZZ - AZUL OSCURO (2006)

Instrumental Latin-Jazz

Steven Hashimoto, leader/bassist

Mike Levin, saxophones

Bob Long, keyboards

Joe Sonnefeldt, steel drums

Neal Alger, guitar

Alejo Poveda, percussion

Joe Rendón, percussion

Heath Chappell, drums

with guests

Dan Hesler, saxophone;

Leandro Lopez-Varady, piano

Mark Smith, steel drums and percussion

Barry Winograd, baritone saxophone

Steve Thomas, trumpet

Kathy Kelly, vibraphone

Diane Delin, violin

Michael Kent Smith, acoustic guitar

April Grilly, vocals

Aaron Mandalke, vocals

many thanks to KATE SMITH PROMOTIONS

more tracks can be heard on Vinilemania's Radio Channels

review by Chip Boaz - Courtesy The Latin Jazz Corner

Interpretation exists as both a necessity and a dangerous path for the Latin Jazz artist. Creativity and personalization are important tenants of jazz; artists cannot repeatedly perform songs the same way. A musician’s choice about the performance of a piece provides interesting insight into their personality and background. Here an artist makes their statement by interpreting musical elements - their phrasing of the melody, alterations to the original harmony, and the rhythmic feel. When an artist interprets stylistic elements, they run the risk of diluting the historical foundations of the music. Altering fundamental Latin rhythmic structures or diluting rich jazz harmonies with pop chord changes displays a blatant disregard for music’s lineage. At this point the musician chooses ego over tradition, sacrificing the music’s integrity. Sueños Latin Jazz pushes the boundaries between creative interpretation and stylistic degradation on Azul Oscuro, resulting in a unique yet somewhat uneven release.

Creative Choices Clouded By Stylistic Obscurity
The group presents several covers that receive drastic reimaginings. A solid montuno introduces a clave driven version of The Beatles’ “Eleanor Rigby.” Saxophonist Michael Levin’s raspy tone and bluesy phrasing compliments the familiar melody, leading into a strong solo. The son montuno feel transforms into a rock fusion feel as Bob Long’s synthesizer solo reveals a Chick Corea influence. Levin overdubs both flute and clarinet on “Enamorado,” lending an elegant sensibility to the rhythmic melody. The rhythm section finds a balance between a New Orleans second line groove and a Cuban songo behind the melody, referencing both styles, but never quite settling into one. Levin creates a strong thematic statement over a salsa groove, improvising rhythmic ideas around the clave. Steel Pan player Joe Sonnefeldt develops an extended solo, utilizing strong melodic ideas to build back into the melody. The standard bass line roots Ray Barretto’s “Acid” in tradition, but the fusion drumbeat conjures a Weather Report influenced texture. Levin attacks the song with a bold presence, and he sound finds himself in the midst of a collective improvisation with saxophonists Dan Hesler and Barry Winograd as well as trumpet player Steve Thomas. Free blowing soon gives way to a solo from steel pan player Mark Smith, who employs polyrhythmic playing to build tension. Drummer Heath Chappell remains completely immersed in a rock beat, ending the song in a solo exchange with conguero Joe Rendón. The choice of material reflects some creative artistry, yet the stylistic obscurity on these tracks builds a distance to the original compositions.

An Emphasis On Pop Aesthetics
Some of the material looses an edge through the emphasis of pop aesthetics. Long’s sustained Fender Rhodes establishes a subdued approach to a samba rhythm on “Just Like Julie.” Levin’s soprano sax harmonizes with Sonnefeldt and Neal Alger’s guitar on a pop melody, giving the song a smooth feel. Long’s presents an interesting solo, but the instrument’s tone coupled with the rhythm section’s lack of interaction hampers a serious development. Levin furiously tears through the changes, displaying both virtuosity and creativity. The rhythm section eventually breaks down to solo percussion, but the band brings a monotone feel to samba which sounds like an overdubbed pop track. The rhythm section introduces a bolero over a smooth vamp on “Hiroshi,” fueled by Hesler and vibraphonist Kathy Kelly on a sparse, bluesy melody. As Hesler improvises with an easily identifiable approach, Chappell reverts to a funk groove moving the song into smooth jazz territory. Bassist Steven Hashimoto creates a melodic statement, relying heavily upon his fretless instrument’s rich tone. The band assertively bases “Linda Linda” in Latin fusion, prioritizing the backbeat over the clave. The melody’s rhythmic basis still refers to a Latin structure, but it soon gives way to a distorted rock solo from Alger. The band lowers the dynamic for Long’s exciting solo, based more on jazz phrasing. The texture thins to just bass and congas, setting the stage for Sonnefeldt’s engaging improvisation. “Goya” references flamenco music with acoustic guitar, clapping, and a Middle Eastern scale. Most of the song features a repetitive chord structure and basic strumming patterns, blending into a watered down version of Spanish culture. Throughout these songs, the music’s Latin and jazz elements get lost in a sea of fusion, rock, and pop.

Creative Originals Within Stylistic Boundaries
The band remains within stylistic boundaries on several tracks with creative originals. Hashimoto opens “Azul Oscuro” with a short rubato solo, leading into a solid son montuno groove. Levin plays a rhythmic melody on flute, until Sonnefeldt guides the bridge through an up-tempo samba. Sonnefeldt continues into an improvisation filled with rhythmic invention and flights of quick notes. Long starts his solo with sparse phrases building into an intensive presentation of notes over the song’s samba section. Hashimoto’s vamp and Long’s montuno set the stage for “Guajira Mi Mujer,” establishing a solid foundation for Levin’s flute. The band breaks from the original feel into a standard montuno, laying the groundwork for Sonnefeldt’s inspired solo. The band moves into a minor mode for Levin’s soprano sax solo, which climaxes into a flurry of notes. The major montuno returns for a controlled solo from Chappell that utilizes a variety of traditional licks. Hashimoto and Long play a repetitive line over Chappell’s songo that forms the foundation of “Varrio Grande Vista (Low-Rider Theme).” Levin moves from an assertive melody into an inventive solo with lines that weave between the funky rhythm section line. Long plays a subdued solo, leading into a timbale solo from percussionist Alejo Povedo, full of phrases that strongly compliment the songo feel. These three songs bring out the band’s ability to creatively present their voices and display their knowledge of their stylistic foundations.

Attention, Refocus, and Potential
Sueños Latin Jazz’s choice to interpret a variety of Latin rhythmic structures and harmonic approaches ultimately defeats their creative efforts on Azul Oscuro. The band members reflect a studied approach to many Cuban and Brazilian genres, yet they often stray from the music’s established performance practices. The frequent transitions into funk and rock rhythms break the structural coherence of Latin music, and at many points, any reference to Latin rhythms completely escape. Despite the strong presence of improvisation throughout the album, the reliance upon basic harmonic progressions lessens the music’s jazz influence. At many points, the combination of overwhelming rock rhythms and chord progressions from popular music leans the band more towards fusion and smooth jazz than Latin Jazz. Still, the band presents a variety of interesting arranging ideas and compositionally, Hashimoto displays range and taste. With a greater attention to stylistic integrity and a refocusing of their interpretive basis, Sueños Latin Jazz holds the potential to create strong and interesting work in the future.

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THE LATIN JAZZ CORNER by Chip Boaz

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