Julian Gerstin Sextet's The Old City

Which city is the "Old City"? If you're hung up on the answer to this question while listening to the Julian Gerstin Sextet's new album, you might be missing the point. That's the first thing I did. I looked at the cover, I checked the liner notes, and I came up empty. The simple truth is that "the Old City" is a state of mind, an "imaginary locale." Percussionist Julian Gerstin wanted the title to reflect a certain state of mind, a distant place where the pace is slower and the history is richer. He's borrowed primarily from Afro-Cuban genres of jazz to create a sound that is both relaxed and filled with exciting rhythms.

Gerstin's sextet also includes clarinet player Anna Patton, horn player Don Anderson, pianist Eugene Uman, bassist Wes Brown and drummer Ben James, and he enlists many guest stars such as violinist Lissa Schneckenburger and guitarist Keith Murphy to broaden the scope of these originals. This sounds like a busy ensemble, heavy on horn and polyrhythms, and you wouldn't be far off with that assessment. But the surprising things about The Old City is the air and the space around all these musicians. Gerstin's arrangements are clean and straightforward, as uncluttered as an empty bus station. This allows the melodies to leap forward and reveal their worldly influences--not only Cuba but Columbia and the Balkans and even Iran.

These exotic tinges are usually introduced by Gerstin himself. He uses percussion instruments from all over the world to play Cuban music, adding another layer of intrigue. That's partially due to the focus on Afro-Cuban traditions, since Gerstin has studies in places such as Ghana, Nigeria and South Africa. He's successful at this blending of influences because he knows them so well, and he knows where they intersect. He also a sanguine drummer, light with his touch, so while you marvel at the speed of his fingers on drum heads, you're leaning forward into the music instead of backwards.

This is a fantastic set, full of the requisite amount of energy needed for Latin and Caribbean jazz. But you'll walk away from The Old City thinking about Gerstin's light touch on percussion. It dances along nearly every second like a charismatic actor who's in every scene of a movie. It's unusual that he's not the lead character but someone working hard in the background to inspire everyone else on stage. His arms must get tired. That said, you never get tired of his presence, and you'll miss him when the record is over and he stops playing.

Flavio Lira's Coffee Gold Sugar Cane

With a title like Coffee Gold Sugar Cane, I keep thinking that bassist Flavio Lira has forgotten to include something about Cuban cigars. That's just me, of course, since he's included everything else in his new album--most notably a fusion of Brazilian, Colombian and Cuban jazz styles which are wrapped up in a sleek, modern veneer. Lira has been living and playing in New York City and Boston for many years, but his Brazilian roots are obvious in this album and it's clear that he's paying tribute to all of the wonderful music that has influenced him throughout his life.

As a bassist, it's interesting to see how Lira propels his arrangements into such an exciting overall sound. I've heard similar albums that are led by drummers or horn players, and it's remarkably clear who's leading the band. Lira is a fantastic bassist, quick and always searching for the most musical note, but his arrangements include such a diverse cast of performers that you suddenly realize it's not all about him. Just look at the diverse instrumentation in this mix of originals and standards: pandeiro, caxixi, cajon, kanjira, tantan, repique de mao, surdo, cavaco and bambo leguero jump right in with all types of electronic keyboards, horns, woodwinds and vibes. You'd expect a lot of percussion with this type of jazz, but it's obvious Lira wants to introduce you to all these exotic sounds and love them as much as he does.

If it seems like this album might be a little busy, it's not. Everyone isn't playing at the same time, after all. Lira is judicious in the way he populates each arrangement, and that results in a very warm yet focused sound. Yes, that also means he's able to freely explore all these genres and bring a multitude of different flavors to the table. He succeeds because he's so in tune with the folk traditions of each type of jazz, even if he's placing them in contemporary contexts.

What really makes Coffee Gold Sugar Cane stand out from other Latin and Caribbean jazz albums is the supreme sense of love that seems to flow through the tracks. These jazz genres are usually happy affairs, full of joy and a vivacious sense of celebration. You can imagine everyone smiling as they play. But Lira is doing something beyond that--he's sharing the ideas and memories that make him happy, and he's gathered his best friends, people who are a big part of his life outside the studios and stages, and he's suddenly turned to you and invited you to join. If you decide to bring some Cuban cigars along for the others, that's up to you.

Ken Wiley's Cuerno Exotica

Lush and tropical.

Everyone wants lush and tropical, right? Music that is lush and tropical is not only romantic, it's romantic in the sense that it takes you somewhere beautiful, a place where you can relax and be yourself and enjoy every moment. Jazz that is heavy in both Latin and Caribbean influences usually accomplishes those feelings and connections with ease. People who are fortunate to travel to such idyllic locations earn a splendid imprint on their psyches, a supreme feeling of contentment that this type of music instantly summons. Ken Wiley's new album, Cuerno Exotica, is such a vessel for that kind of happiness with its dense, modern structure and superb musical performances. It's a magical balm for your stressful existence in every conceivable way.

Wiley fronts this magnificent music with an unusual instrument--the French horn. (He also plays piano.) Despite the fact that one of my exes plays the instrument, I've always associated this brass instrument with a more civil tone, a reserved countenance that reminds me more of the English countryside than anything else. In this context, however, Wiley's horn is winsome and attractive. It reminds me of such words as "tradewinds," of traveling to places that can only be approached with a catamaran. Coupled with Mark Leggett's gorgeous acoustic guitar and Dan Higgins' wistful flute and piccolo, Wiley re-imagines a dream, a vacation from odd angles and jagged edges. He's smart enough to embrace plenty of percussion to solidify those Latin places and emotions, but there's no denying that he's created an innovative way to present his idea of world music in a way that's incredibly sure and hypnotic.

Cuerno Exotica starts off with a casual and seductive rendering of Ravel's Bolero. It's immediately identifiable, of course, but it's so languid in its method that you might wonder why it hasn't been offered in this way before. If you're convinced that this piece is an expression of love and lovemaking, you'll connect the dots rather quickly. But if you're like me, an avid lover of Ravel, you'll be equally compelled by the structure of the piece and how it was so revolutionary at the time of its debut. Wiley's version, however, does ooze with the visions of a forbidden tryst on a seductive beach, one where the participants are mesmerized equally by each other's eyes and the distant horizon where adventure awaits.

From Bolero we are treated to more exacting arrangements of those lush and tropical themes--McCoy Tyner's fabulous "Sama Layuca" and Cal Tjader's "Black Orchid" are far more logical in their interpretations. What elevates this music from being a mere "Bali Hai" travelogue is that denseness I described, how the music flows easily while offering an almost infinite range of details. The rhythm section is subdued and yet vital, producing a momentum that expands upon the obvious vision of Ravel. This album rewards deep listening, but it's also magical in its role as the soundtrack for the vacation of a lifetime, spent on a veranda with a soft sound of waves crashing on the sand.

Marco Pignataro's Almas Antiguas

Another day, another jazz masterpiece from Zoho Records.

This one, from tenor and soprano saxophone player Marco Pignataro, focuses on one thing--melody. We're not just talking about pretty songs here, but rather an overall sound that is incredibly engaging and gorgeous and will make you sit up in your listening chair and say "Wow, this is truly beautiful jazz." Pignataro is based in Boston, but Almas Antiguas ("old souls") chronicles his Puerto Rican and Italian heritage to create a lush romantic sound that leans heavily on both Mediterranean and Latin rhythms. It's not easy to conjure up these influences with "just" a saxophone, but his playing is sensitive to these folk traditions and winds up being more than convincing.

On the opener, Teo Ciavarella and Flavio Piscopo's "Panarea," his evocative playing inserts a Middle Eastern sensibility that is both exotic and devoted to jazz traditions--just think, once again, of "Caravan" and how that classic opens up a whole new world to lovers of jazz. Can he accomplish all this with just a saxophone? Well, he has plenty of help with an adventurous quintet that includes drummer Adam Cruz, pianist Alan Pasqua, bassist Eddie Gomez and tenor saxophonist George Garzone. Cruz, in particular, is kinetic and almost impossibly dynamic and acts as Pignataro's right-hand man through this mix of original compositions and standards such as "Alfonsina Y El Mar" and "Samba Em Preludio." Much of Zoho's current catalog digs deep into Brazilian jazz, but Almas Antiguas broadens those horizons considerably by adding both European and African touches.

"This CD is about roots from the Mediterranean, and how jazz can become this lens that absorbs all these different colors," Pignataro explains, "through which you can create a new sound and bring out your cultural identity." I've heard many of these jazz albums in the last couple of years, and usually that means you need a working knowledge of those cultural idiosyncracies to understand what is being put where, and why. Pignataro encapsulates this complex approach in something so breathtakingly lush that you can coast along without thinking. You're completely under his spell even as he shifts gears and plunges into a quieter and more dramatic sound, such as when Gomez pulls out his bow and works in harmony with the others, creating a seductive new layer to the voices here.

It's important to point out the wonderful chemistry in this quintet, the way they can closely follow Pignataro's personal visions for each song and make them come alive with meaning. Each member is regarded as a virtuoso, but this is the first time they've playing together as a unit. As usual, I have to throw in a mention of the sound quality here--Zoho always does a remarkable job of making everything sound lifelike, spontaneous and natural. Almas Antiguas becomes a first-among-equals in the Zoho catalog--it's a great starting point for anyone who wants to investigate this thrilling indie label and discover how they're keeping jazz from all over the world in front of deserving audiences.

Tribu's El Matador

Tribu's El Matador is about as pure of a celebration of Latin jazz you can get, a tribute to performers such as Mongo Santamaria, Cal Tjader and Machito who brought these dense polyrhythms to the world over the last few decades. Led by pianist Steve McQuarry, who has played with everyone from Dizzy Gillespie and Louie Bellson to Laurie Anderson, Tribu is a collection of some of the scene's contemporary greats, playing this lovely tropical splendor with equal measures of experience and love. If you're hosting a party with a Caribbean theme, this album should be playing loudly from its beginning to the wee hours.

That's sort of it in a nutshell, but El Matador isn't design to forge new directions as much as show how this music should be performed properly. It's light and infectious and skillful and sometimes that's all you need. That's part of the spectrum of contemporary jazz these days, where you have preservation of old traditions at one end and breaking down and discarding of those same ideas at the other. McQuarry set out to deliver the best, so he enlisted David Casini on vibes and percussion, the great Ruben Salcido on sax and flute, Marcus Lopez on bass and Mario Solomon and Jesus Gonzalez on more percussion. McQuarry does mix it up on keyboards with tasteful tangents on Hammond B-3, electric piano and even a synthesizer, but you'll walk away remembering his rich time on the ivories.

There's an incredible balance to the music here, however, with different musicians capturing your attention at various times. I'm not talking so much about improvisation, because that's a bit obvious in the realm of jazz, but there's so many different ways to lock on to this music and enjoy the ride. I've hinted at the fact that I'm a huge fan of the vibraphone, and the main reason is because of the soft decay and presence of those struck notes. Dave Casini's been playing vibes for over 40 years, so he understands how those unusual timbres can color the entire spectrum of sound. He's a supporting player much of the way, adding shimmer and echo where needed, but I can't help but obsess over the mood he contributes. The same could be said about the complex percussion--it never stops driving this mix of classics and originals. If you love discovering new details in your music every time you hear it, you can simply bathe in the sound of all the drums, timbales and other percussion and let all the different sounds sweep over you.

Tribu is focused on "bringing Latin Jazz traditions...into the 21st century." While McQuarry occasionally inserts some of that modernism into the mix, he does so in a quiet way that never distracts from the juicy, exuberant whole. El Matador isn't truly innovative, nor does it need to be--it's perfect and precise in its approach as a sure thing.