Brooks Geiken
Any aficionado of Brazilian music and jazz will find plenty to be delighted by in these three discs.
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A trio of Latin-themed jazz albums that range from the best of the year to an uneven debut effort.
Read MoreFilm/Album Review: “Omar Sosa’s 88 Well-Tuned Drums” — A Superb Documentary About a Brilliant Artist
Part of what makes pianist Omar Sosa such a fascinating (and successful) musician is how his complex music constantly dances back and forth, between charming the mind and charging up the body.
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This is my kind of music, a tight latin jazz outfit that embraces great horn charts and explosive percussion.
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Throughout this superb live album, percussionist Gustavo Cortiñas allows his fellow band members an enormous amount of space, and that is welcome because of their high level of musicianship.
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A death is routinely at the center of Claudia Piñeiro’s fiction, but the corpse sparks provocative questions about the way things are, not just an investigation into finding the murderer.
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Big band leader Arturo O’Farrill points out that “Santiago Brooklyn Santiago” makes a forceful argument that the embargo between Cuba and the United States should be done away with.
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Dead Men Cast No Shadows is an enormously entertaining novel about responses to perfidy in high places by one of the most prominent writers in the Spanish-speaking world.
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System 6 is an adventurous contemporary ensemble whose music will appeal to lovers of the free jazz movement of the ’60s.
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Until this album, I had no idea that the Grateful Dead and salsa could blend together with such force and fun.
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