Review: Wayne Wallace Latin Jazz Quintet, Intercambio

By Don Macica

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The landscape of Latin jazz is, of course, an ever evolving one. The current crop of jazz artists that are the acknowledged as among the best, such as Miguel Zenón, David Sánchez and Danilo Pérez, shy away from labeling their music, preferring instead to cite their Latin American heritage as a means of informing a highly individual approach to the art of jazz, capturing the soul of what it means to be Panamanian or Puerto Rican rather than building their compositions around standard, recognizable forms. Even in Chicago, the Dominican violinist James Sanders, who has led a very good Latin jazz ensemble for nearly 15 years, prefers these days to integrate Afro-Caribbean essence into a totally improvisational approach, forsaking charts for an open ended conversation.

It’s refreshing, therefore, that the San Francisco based trombonist Wayne Wallace so warmly embraces the term, putting it right there in the name of his ensemble. And maybe that’s because he’s African-American, not Latino, and thus free to explore a sound and style without the added significance of it being his heritage. However, saying that Wallace plays Latin jazz is not to say he is being conservative. Quite the contrary.

Wallace is no newcomer. He was a founding member and co-musical director of John Santos’ Machete Ensemble, and before that he worked with Conjunto Cespedes, a Bay Area folkloric ensemble, and before that he played with Pete Escovedo. In addition to being a player in the Bay Area Latin scene, he’s also a bit of a proponent and documentarian. His created the record label that he records for, and it recently released two terrific Salsa de la Bahia compilations featuring the cream of the local scene, with a companion film in the works.

For Wallace, Latin jazz is still a music of discovery, one in which he can be both a teacher and disciple. His approach is anchored in that jazz process in which one listens, learns and creates anew. His new recording, Intercambio (Patois Records), is founded on the idea of cultural exchange. In this context, jazz has as much to give to Caribbean folkloric music as the other way around. While firmly committed to the idea and forms of Latin jazz, Wallace still remains an explorer. There are several moments on the album that coax a smile out of the listener by doing the unexpected.

Four of Intercambio’s ten tracks are Wallace originals, and the balance is drawn from jazz masters like Dizzy Gillespie, Miles Davis, John Coltrane and fellow trombonist J.J. Johnson. By and large the album smolders, the Latin rhythms underpinning arrangements that feature Wallace’s beautiful and buttery tone. Three tracks are reminiscent of Kind of Blue-era Miles, with Wallace’s trombone gliding over the shifting rhythms.

Rhythmically, the albums ports of call go beyond San Juan and Havana to also include Rio de Janeiro, New Orleans and Trinidad. There are a couple of burners, led off by the first track, the Wallace original Casa del Sol, which is dedicated to Eddie Palmieri. On this song, the quintet is expanded to 7 pieces to include violin and flute, referencing Palmieri’s legendary La Perfecta ensemble. Another Wallace original, Guarachando, kicks into high gear with a comparsa carnival rhythm, throws in steel drums for good measure, then brings back the flute and violin to trade fours in its mid-section before they all come together, only to be followed by a hot solo from Wallace himself.

 

The two remaining Wallace originals are quite nice as well. Como Vai alternates cha-cha-cha and samba rhythms in a way that brings to mind a pair of Stevie Wonder classics, You’ve Got It Bad Girl and Don’t You Worry ‘Bout a Thing. Finally, Timbázo is built for grooving, funky trombones in conversation with the rhythm section, colored once again by Trinidadian steel drums, which return yet a third time on Dizzy Gillespie’s Woody n’ You along with a pronounced bomba feel.

John Coltrane’s Equinox is the standout among the covers, building off of Trane’s exploration of African roots with batá drums and güiro. The Hoagy Carmichael standard Heart and Soul is given a smooth salsa treatment that would satisfy any dancer while leaving room for some nice soloing and ensemble playing, especially when Wallace overdubs his trombone into a 4-piece section a la Manny Oquendo y Conjunto Libre.

Mile Davis provides the thematic centerpiece of the album with Solar, reimagined into En el Solar de Miles by Wallace, tying together Miles’ interest in African culture to the Cuban solares, Cuban fraternal organizations formed during slavery to maintain African cultural practices. Another Davis composition, Circle, closes the album, a moody number enhanced by a string quartet and featuring some of Wallace’s lovliest playing.

As noted earlier, Wayne Wallace is no conservative, despite working in a genre that’s been around for nearly 75 years. Intercambio gently but firmly moves Latin jazz forward. That’s no easy thing, but it is an essential one to a good jazz musician. In doing so, Wallace demonstrates that there is much still to be found inside of Latin jazz.

Wayne Wallace Latin Jazz Quintet, Intercambio.
Patois Records, available July 7

About the author: Don Macica is the founder of Home Base Arts Marketing Services and a contributing writer to several online publications, including Agúzate and Arte y Vida Chicago. He is the author of Border Radio, a blog about music, migration and cultural exchange.

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