Dred Scott, Cali Mambo Review

Dancing with Dred Scott's Cali Mambo Latin Jazz Rhythms

Dred-Scott-feature-the-jazz-word

Dred Scott, Cali Mambo Review

Dancing with Dred Scott’s Cali Mambo Latin Jazz Rhythms

By Nolan DeBuke

Dred-Scott-Cali-the-jazz-word-cdIn Cali Mambo, the ever-creative Dred Scott returns to Latin jazz by exploring its vibrant rhythmic landscape. Scott crafts an album of nine songs with his ensemble—Tom Beckham on vibraphone, Matt Pavolka on bass, and Moses Patrou on percussion—that provides an outstanding listening experience based on straight-ahead Latin jazz. Cali Mambo resonates with listeners, taking them through historical Latin rhythms and heartfelt improvisations in equal measure. Let’s dive into the album’s offerings.

The album’s opener, George Shearing’s classic “Cali Mambo,” is an invigorating choice that opens the album with the ensemble’s contagious rhythm and joyful interaction. Here, Scott’s piano and Beckham’s vibraphone build the performance, crafting a lush, layered rendition that’s brimming with joy. Scott’s playful syncopation and elegant piano playing and Beckham’s nimble vibraphone lines are a celebration of Shearing’s legacy. This performance grounds listeners in the quintessential sounds of Latin jazz while giving a taste of the album’s soulful direction in which Scott and company perform each selection.

The ensemble’s rendition of “Star Eyes” breathes with Latin jazz life, wrapping it in a vibrant performance of class and melodic clarity. Scott’s Latin-infused solo highlights his strong sense of time and adaptability to interacting with Pavolka’s and Patrou’s interactions. Beckham’s vibraphone glows with a joyous brightness during his solo, keeping the melody dancing within his improvised lines. The ensemble does an excellent job building an enjoyable Latin-flavored version of this well-known standard.

The familiar intervals of “Poinciana” take on a new form in Scott’s arrangement. In this rendition, Scott respectfully nods to Ahmad Jamal’s famous version while adding a twist with subtle rhythmic variations and melodic explorations that will keep listeners engaged with its explorations of Latin rhythms. Patrou provides a layered foundation that accentuates Scott’s lyrical piano lines and the shits in rhythmic feels. This piece underscores the ensemble’s dedication to honoring jazz standards while fearlessly reinterpreting them through a Latin jazz lens.

The influence of Cuban music shines through in “La Engañadora,” a lively tune by Enrique Jorrin that transports listeners straight to the heart of Havana. Scott and his band present a version true to its charanga roots, with Pavolka’s bass lines and Patrou’s percussion evoking the spirit of Cuban dance. Beckham’s vibraphone brings a shimmering elegance to the melody, complementing Scott’s vibrant chords and counter melodies. The ensemble echoes the rich musical dialogues found on Havana’s street corners with their festive performance.

Slowing the pace, “Danza Cubana” offers a new feel as Scott’s piano and Pavolka’s bowing assume a central role, guiding listeners through a sensual melody. Scott’s piano solo is built logically as he develops his ideas with a keen sense of phrasing, clarity of rhythm, and melodic/harmonic relationship. This piece showcases Scott’s versatility, as he switches feels to present different aspects of Cuban music throughout the album.

A joyful explosion of rhythm and melody, “Guachi Guaro” (Cal Tjader’s famed “Soul Sauce”) injects a burst of Afro-Cuban jazz energy into the album’s flow. Scott’s piano is as playful as it is precise, matching Tjader’s melodic spirit while giving it a unique flair. Beckham’s vibraphone work shines, capturing the piece’s rhythmic intensity and infectious groove. This track is a testament to the ensemble’s cohesion, with each player contributing a dynamic pulse that keeps the momentum thriving in this outstanding Cha-Cha-based selection.

“You and the Night and the Music” provides a charming counterpoint to the album’s Latin themes. Scott’s piano opens with a touch of Baroque influence, nodding subtly to J.S. Bach before diving into a lively Latin rhythm. Scott’s and Beckham’s improvisations dance through the harmonic changes with effortless precision, demonstrating their ability to infuse even the most well-known standards with fresh energy and contagious rhythmic flow.

A heartfelt dedication to Scott’s daughter, “Lulu” is perhaps the album’s most personal and gentle piece. Scott’s tender melody is memorable as the rhythm and harmonic figure align with the album’s theme and its many textures. Pavolka’s bass provides warmth, Patrou’s percussion is grounding, and Beckham’s vibraphone offers playful lightness. Nestled within an album filled with well-known arrangements, this track reminds us of the personal stories that fuel artistic expression.

Ending with a bang, “Manteca” honors Dizzy Gillespie’s Afro-Cuban masterpiece with flair. Patrou’s percussion intensifies this iconic piece, while Beckham’s vibraphone and Scott’s piano channel the genre’s Afro-Cuban roots. Pavolka’s bass weaves in and out of the groove with syncopated Afro-Cuban patterns, creating an infectious momentum that culminates in an exhilarating close. The ensemble’s rendition of this classic celebrates Latin jazz’s profound impact on the world of music and its power to move us physically and emotionally.

Cali Mambo is a musical journey that blends respect for history with personal expression. Each track speaks to Dred Scott’s dedication to honoring Latin jazz while infusing it with his unique vision. The interplay between Scott, Beckham, Pavolka, and Patrou is seamless, each musician amplifying the others’ strengths in a dance of melody and rhythm. In Cali Mambo, Scott’s love for Latin jazz is palpable, evoking a powerful listening experience that inspires joy as this album is a vibrant celebration of Latin jazz.

 

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