Ray Obiedo Latin Jazz Project Vol 1

Dena DeRose continues to dazzle in the simplest ways—she's a gifted and accomplished pianist, vocalist, composer and arranger but there's not a speck of self-importance or pretension as she joyously makes her way through new and old tunes. Her voice has the timbre and range of an Anita O'Day but there's a fresh, clear-headed quality here that speaks of self-confidence. Bassist Martin Wind and drummer Matt Wilson play in the trio of pianist Bill Mays, and bring that same level of sterling artistry to this date.

Out of all the expressive instruments, the guitar's range and mobility seems to make it the one most suited for a performer with a big ego. But Ray Obiedo's success as a worldbeat pop-fusion guitarist may be due to the way he shuns that idea. He's never been one to dominate his own compositions, and this allows for the fascinating textures and exotic timbres his vision reaches. His latest gem never strays far from the expansive strokes of melodicism he's best known for, and yet what sticks with you long after the disc changer turns off are the atmospheric travelogues he produces so efficiently.

Ray Obiedo's excellent debut release was followed by five more over the next 10 years, after which he seemingly disappeared from the music scene. While the decline in jazz recording artist contracts is largely to blame, I had always thought that such a dynamic talent would continue recording and releasing music own his own, but unfortunately you can't even find a website for him. In addition to his writing and producing talents, Ray Obiedo plays both guitars and keyboards on every track; and if that wasn't enough, he also does the horn arrangements!

When Dave Samuels first formed the Caribbean Jazz Project with, at that time, Paquito D'Rivera and Andy Narell, it was an extension of his own studies in Latin jazz that had been part of his music - both solo and with Spyro Gyra – since the mid-'70s. After two albums with the first team, the Project was set aside for other gigs. During this time, Samuels kindled musical friendships with flutist Dave Valentin and guitarist Steve Khan, and Samuels got excited about the possibility of playing off of a traditional Latin instrument – flute and the guitar, which wasn't.

Finally Blue Note issues a Latin collection from its Italian (Italiana SPA) and Brazilian (EMI-Odeon) vaults that reveals the true diversity of its catalog and exploits some of the serious sensuous grooves that DJs have been spinning for over a decade. This is the first of three volumes, all of which feature the rarest most representative tracks from the various trends in jazz that grew out of Brazilian pop in the '60s, '70s, and even '80s. For starters, there's the mean brass swagger of Luis Amuda Perez on "Upa Neguinho," which was written by Edu Lobo. Besides being a popular dance tune (you can hear that in the opening measures), it is a masterpiece of Brazilian big band arrangement. Also featured is the stellar "Noa Noa," a trademark of Sergio Mendez. This is a tough bossa nova trio jam, with arpeggiated piano figures cutting right through the rhythms in the tune. In addition, Mandrake Som's "Beriambu" was the first to utilize in a swinging pop jazz context the use of the one string percussion instrument – there's also a very soul-jazzy sax solo in the break. This set's full of warm, frighteningly good examples of bossa, samba, and even the MPB and Joven Guarda rhythms as they inform folk and jazz melodies and modal figures.

In the tradition of Vol. 1, Jazz on the Latin Side Allstars, Vol. 2 is a pleasure-packed tour de force of the finest Latin musicians the West Coast has to offer. With more than a few opportunities to hear these legends, giants, and young lions solo and strut their stuff, it's little wonder that these projects were such a breakout success. Because of the visionary nature of the group's leader, José Rizo, Latin music lovers everywhere have a chance to hear some of their favorite players in a fresh context. So often when these "all-star" groups are formed, they are bound by playing material so conventional that the performances end up stale. There's a fine line between "tried and true" and "worn thin." Luckily, Rizo realizes that, and there's plenty of bebop and timba mixed in with the cha cha and mambo…