Nelson Brill, Boston Concert Reviews

This vital connection between Caribbean and African musical heritages continued when I had the lucky opportunity, on February 23rd, to visit the venerable New York City music venue, The Jazz Standard, (located at 116 East 27th Street; to catch a dazzling concert by the Spanish Harlem Orchestra, (“SHO”) [ ], a band that delivers their own incendiary mix of cha-cha-cha, mambo and salsa brilliance.

From their first fiery notes, the SHO proved to be a tight, dynamic band that wasted no time in igniting their propulsive songs drenched in their Puerto Rican heritage. The sound at the Jazz Standard was up to the task as most instruments on the crowded stage were heard clarion and true, with exception of piano and bass, which were a bit harder to hear individually in the heated big band action.

The SHO focused their Jazz Standard performance on numbers taken from their new action-packed recording, Anniversary [ArtistShare], which has just won a Grammy award.

The recording captures the SHO with great energy and upfront crackling presence. While delivering the heat, dance and punch of this swanking band, its sound is on the lean and sometimes thin side (especially on brass crescendos) and does not offer much in the way of layering or depth to its soundstage, so things are a bit congested. But what the recording offers in spades is the stellar musicianship of the band and a feel for their dancing interplay, as well as the jovial spirit of the band’s three fronting vocalists: Marco Bermudez, Carlos Cascante and Jeremy Bosch.

At the SHO’s Jazz Standard concert, their three charming vocalists hit the ground running, with the band carousing behind them in soaring strides. Bermudez’s voice is gliding and smooth and it sumptuously drove his suave song, “Echa Pa’Lante”, accompanied by brazen choruses from trumpeters Manuel Ruiz and Hector Colon and driving wooden strikes from Jorge Gonzalez’ resonant guiro. Bosch possesses a lighter, more carefree voice, telling his tales with a spoken quality. On his “Soy El Tambor,” his vocals were complemented by George Delgado’s lilting conga and Luisito Quintero’s punctual timbales.

Gon Bopps

Quintero was a whirling dervish on his timbales all night. He hit explosive wooden cracks by frenetically playing all surfaces of his drums, including hitting the sides of his timbales with his drumsticks sending crackling wooden blasts to the back walls of the Jazz Standard.

On another ballad, Bosch took up his flute and played a dazzling duet with flutist (and baritone saxophonist) Mitch Frohman, layering their spirited high runs and leaping octaves in a shimmer of light colors (that had the crowd roaring their approval).


On “Cancion Para Ti,” Frohman’s flute was complimented with lilting chords and touches from Oscar Hernandez’s piano. Hernandez was always at the ready to lend a dancing frolic or the twinkle of a mambo beat. His solo piano ranged far and wide on “Como Te Quise” joined by vocalist Carlos Cascante, whose ardent vocals were steeped in metallic glow from Doug Beavers’ and Noah Bless’ trombones. The SHO built to a final crescendo of brass calls and vocal harmonies, (with cries of “Viva Puerto Rico!” echoing through the capacity crowd). Their final songs swayed on salsa flow, with cowbell and timbales firing on all cylinders to propel intoxicating grooves and dance steps into the night.

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