Neff Irizarry, Cambio Review

Latin Jazz Guitar Bridges and Cadence: Neff Irizarry’s Cambio

By Ferell Aubre

Neff Irizarry’s Cambio (Change) is an album that flows in Latin jazz performance and rhythmic, harmonic, and textural explorations. Irizarry, a seasoned guitarist and scholar of Puerto Rican heritage now based in Finland, builds this album as a culmination of decades-long artistry, scholarship, and cultural dialogue. Produced by Jimmy Haslip, Cambio (Change) is far more than a typical Latin jazz guitar record; it’s a meditation on rhythm, memory, and musical transformation.

Irizarry’s lineage, musical and cultural, is deeply embedded in this record. With academic grounding from Berklee, mentorship links to Gary Burton via Ed Saindon, and decades of performance alongside legends like Lonnie Liston Smith and Eddie Henderson, Irizarry brings a rare blend of sophistication and sabor. His playing carries Jim Hall’s lyrical approach, Pat Metheny’s global lyricism, and Steve Khan’s rhythmic daring, all voiced through a clean, singing tone rich in Puerto Rican feeling and Finnish clarity.

By forgoing piano entirely, Irizarry crafts a space of openness with the vibraphone, helmed here by Danish virtuoso Martin Fabricius. Together with Haslip’s robust bass lines and Ricardo Padilla’s expressive percussion, the quartet delivers an 11-track suite that explores bomba, son, bolero, mambo, plena, and samba with elegance, fire, and clarity.

“Adelante (Come Forward)” bursts forth in Afro-Puerto Rican bomba, a groove that melds jazz and Latin flavore with such authority. The guitar-vibes melody is fluid and organic, inviting listeners into a kinetic dialogue where guitar and percussion dance in syncopated conversation. Irizarry’s solo floats with modal grace while Padilla’s barril drum pulses with ancestral weight.

“Cuatro Minutos” steps into Cuban son montuno with swagger. The ensemble is impeccably locked into the clave. Haslip’s tumbao-based basslines and Irizarry’s chordal colors bring out the pastel tones of the vibes. Irizarry’s improvisation leans into bluesy jazz twists inside his clave-aligned phrasing, showing how Afro-Caribbean forms can support expressive modern jazz storytelling.

“Cabo Rojo” is grounded in 6/8 bembé, offering modal space for the ensemble to soar. Irizarry stretches time without ever losing the groove, his fluid lines accented with chordal accents. Fabricius’ subtle accents on vibes punctuate the groove from Haslip and Padilla. This is Afro-Caribbean jazz at its finest.

“Cargado” loads the rhythmic palette with a mambo-to-plena pivot, a brilliant arrangement move. This tune would feel at home on a classic Tjader or Tito Puente album, yet Irizarry makes it feel fresh with a dynamic snaking melody. The forward motion of the feel allows for fiery soloing over by Irizarry. His single lines and use of octaves are effective in communicating the musical spirit of the music.

“The Rain Song” is a creative transformation of the Led Zeppelin classic into a dreamy bolero. Irizarry renders the melody with tender harmonic shading, and the band’s restraint pays off: it’s excellent example of the multi-genre influences found on the album. The decision to reimagine this rock ballad as a “Virginia-Rican” bolero is a testament to Irizarry’s arranging genius. The folk jazz influence can also be heard in this performance.

“El Swing de la Finca” explodes with Cuban Cha Cha Cha swing. Fabricius and Irizarry trade lines like old friends on a veranda, and Padilla builds the groove with an infectious pulse. The solos are jubilant and technically impressive. The interaction between the ensemble is excellent. Haslip’s solo is fun and melodic.

“Hija Mía” is a tender bolero-cha, its Afro-Cuban undercurrent yielding emotional gravity. The dynamic control and melodic phrasing of the melody make this a powerful expression. Padilla’s percussion builds with Irizarry’s lines during his solo. Each focused on the clave and the push and pull of each phrase.

“Lluvia” follows and showcases Irizarry’s compositional side, echoing the mood of contemporary jazz, but through his Afro-Caribbean lens. The form unfolds gently, like rain easing from drizzle to downpour and back again. Fabricius’ lyrical solo has beautiful voicings and melodic builds.

“San Miguel de Los Acordes” elevates the flow of the album with a rich six-four feel. Here, the rhythmic interactions between the instruments are rich. Irizarry and Fabricius are creative in interpreting the tune’s harmonic message with spiritual care. It’s a blend of Latin qualities and Scandinavian light.

“Vitamina R” pushes the album forward with a burst of Latin jazz adrenaline. Haslip’s bass is a marvel, and Irizarry plays with dazzling articulation. Padilla takes a percussive spotlight, his cleaver rhythms dancing around the song’s patterns.

“Todo lo que Fuiste” closes the record in samba, bridging Afro-Caribbean and Brazilian styles. Its flowing melody and breezy rhythm give the album a celebratory farewell aura. The interaction between the vibes and guitar in the melody shows the unique color these two instruments can achieve together. Irizarry’s guitar solo is dynamic with legato lines and building chordal figures.

Cambio (Change) is aptly named as it marks a shift in Irizarry’s discography to the contemporary Latin jazz conversation. By spotlighting the guitar-vibes pairing with such clarity, Irizarry reopens a lineage that is too often overshadowed by piano-led quartets. The production is clean, spacious, and intimate, letting each gesture breathe. Haslip’s contributions, both as bassist and producer, lend depth and cohesion.

Cambio (Change) is a goldmine: each track combines jazz shadings with the clave feel, rhythmic layering, and stylistic fluency across Latin idioms. Irizarry’s decades of pedagogy shine through; this is music composed with intent and clarity, not just for the ear but for the mind. From bomba to samba, bolero to montuno, Irizarry leads us across the Latin jazz landscape with authority and grace.  Cambio (Change) is a glowing addition to the Latin jazz guitar canon.