1. Nardy Castellini: Identity (Big Bang/Nuba Records)
Who can forget Jesus Alemañy’s debut "Cubanismo" album. It was a powerhouse work that introduced many young Cuban jazz players to the world. One was saxophonist Leonardo "Nardy" Castellini whose experience includes stints with Pucho Lopez, Afrocuba, Klimax, Xiomara Laugart and others. Now he steps up to the plate as a leader with a debut effort titled "Identity." On Big Bang Records out of Granada, Spain, the 35 year-old presents a provocative Afro-Cuban hardbop blending traditional rumba and santeria with cutting edge improvisational skill. The opening track - "Un domingo en el solar" - immediately establishes that callejon rumba feeling with a percussive cascade that includes special guest Tata Guines on cajon quinto. Castellini wails soulfully on tenor sax with an invigorating Lester Young -type tone that explores modal structures and not afraid to walk around the outer parameters of the chordal neighborhood. Ably supported by pianists Cesar Correa and Omar Sosa on piano, they bring harmonic and montuno sugar to sweeten Nardy’s strong black coffee. Guesting on several selections is talented L.A. alto saxophonist Sherman Irby who stirs up a nice combination. Nardy has a voice that articulates the Blues as much as it does Luccumi. It’s that balance that gives his music character and "Identity." www.nardycastellini.com.

2. Tito Allen/Rafaelito Cortijo: Tributo Al Maestro (Croman Caribe Music)
When percussionist/bandleader Rafael Cortijo passed away in 1982 the bomba y plena died. Smothered by salsa romantica, it wouldn’t be until neo-revivalists like Plena Libre that it would get a pop profile again. It was Cortijo who took the communal spirit of these African-based boricua beats from the campo to the dancehalls. Last year his son Rafaelito and NYC sonero Tito Allen honored him with "Tributo Al Maestro," a dance happy homage that delivers 10 all-time Cortijo classics. In swinging brass arrangements conducted by musical director William Cepeda, the infectious bomba y plena beats bounce happily on tunes introduced almost 50 years ago: "Maquino Landera," "Perico," "Perfume De Rosas," "El Negro Bembon" and others. The opener "Cortijo Bailable" is a greatest hits medley that gets a nice treatment from Allen, an unsung sonero from the Fania Golden Age. But if you’re going to do tunes sung by Ismael Rivera, one of the greatest Afro-Caribbean singers ever, you better bring something to the table. And Tito definitely does with warm articulate delivery, snappy inspiraciones and great timing. But the creme-de-le-creme of this tribute are the two concluding tracks of Cortijo recorded live in 1957. The first - "Devuelveme Mis Besos" - is a bolero sung by Mario Cora. The second, and last track, is a cooking "Pare Cochero" that nails you with its sinuous coros and groove. Chosen as one of the top albums of 2002 by the Fundacion Nacional Para La Cultura Popular in Puerto Rico, this album is a reminder of Cortijo’s legacy and his timeless cultural contribution.

3. Omar Sosa: Ayaguna (Ota Records)
Last year Omar Sosa presented his "Sentir" band at the Yerba Buena Center for the Arts in San Francisco with Venezuelan percussionist Gustavo Ovalles as one of his guests. There you saw the special communication the two had performing and improvising together. Now on this live duo concert at the Motion Blue in Yokohama, Japan, Sosa and Ovalles (and the sound technician) present a splendid groove-oriented outing straight-off-the-board. With a wild reverb sound that fattens the sparse texture, Sosa shines doing both old and new pieces on a sparkling Yamaha grand piano. Ovalles adds bata drums, congas, bongo, guiro and folkloric instruments like culo’e puya and quitiplas to compliment and sometimes push Omar in different directions. "Dias de Iyawo" and "Eleggua in the Road" draw heavily from the Afro-Cuban orishas for inspiration. "Africa Madre Viva" and "Toridanzon" are favorites for the complex interplay the two conjure. The textural electronica adds to the sonic experience and shows that with Sosa there’s never a dull moment.

Chuy Varela is a freelance journalist in the San Francisco Bay Area and music director at KCSM Jazz 91 FM in San Mateo, CA

Copyright © 2002 by salsasf.com and Chuy Varela All rights reserved. No reproduction without written permission.

1. Nardy Castellini: Identity (Big Bang/Nuba Records)
Who can forget Jesus Alemañy’s debut "Cubanismo" album. It was a powerhouse work that introduced many young Cuban jazz players to the world. One was saxophonist Leonardo "Nardy" Castellini whose experience includes stints with Pucho Lopez, Afrocuba, Klimax, Xiomara Laugart and others. Now he steps up to the plate as a leader with a debut effort titled "Identity." On Big Bang Records out of Granada, Spain, the 35 year-old presents a provocative Afro-Cuban hardbop blending traditional rumba and santeria with cutting edge improvisational skill. The opening track - "Un domingo en el solar" - immediately establishes that callejon rumba feeling with a percussive cascade that includes special guest Tata Guines on cajon quinto. Castellini wails soulfully on tenor sax with an invigorating Lester Young -type tone that explores modal structures and not afraid to walk around the outer parameters of the chordal neighborhood. Ably supported by pianists Cesar Correa and Omar Sosa on piano, they bring harmonic and montuno sugar to sweeten Nardy’s strong black coffee. Guesting on several selections is talented L.A. alto saxophonist Sherman Irby who stirs up a nice combination. Nardy has a voice that articulates the Blues as much as it does Luccumi. It’s that balance that gives his music character and "Identity." www.nardycastellini.com.

2. Tito Allen/Rafaelito Cortijo: Tributo Al Maestro (Croman Caribe Music)
When percussionist/bandleader Rafael Cortijo passed away in 1982 the bomba y plena died. Smothered by salsa romantica, it wouldn’t be until neo-revivalists like Plena Libre that it would get a pop profile again. It was Cortijo who took the communal spirit of these African-based boricua beats from the campo to the dancehalls. Last year his son Rafaelito and NYC sonero Tito Allen honored him with "Tributo Al Maestro," a dance happy homage that delivers 10 all-time Cortijo classics. In swinging brass arrangements conducted by musical director William Cepeda, the infectious bomba y plena beats bounce happily on tunes introduced almost 50 years ago: "Maquino Landera," "Perico," "Perfume De Rosas," "El Negro Bembon" and others. The opener "Cortijo Bailable" is a greatest hits medley that gets a nice treatment from Allen, an unsung sonero from the Fania Golden Age. But if you’re going to do tunes sung by Ismael Rivera, one of the greatest Afro-Caribbean singers ever, you better bring something to the table. And Tito definitely does with warm articulate delivery, snappy inspiraciones and great timing. But the creme-de-le-creme of this tribute are the two concluding tracks of Cortijo recorded live in 1957. The first - "Devuelveme Mis Besos" - is a bolero sung by Mario Cora. The second, and last track, is a cooking "Pare Cochero" that nails you with its sinuous coros and groove. Chosen as one of the top albums of 2002 by the Fundacion Nacional Para La Cultura Popular in Puerto Rico, this album is a reminder of Cortijo’s legacy and his timeless cultural contribution.

3. Omar Sosa: Ayaguna (Ota Records)
Last year Omar Sosa presented his "Sentir" band at the Yerba Buena Center for the Arts in San Francisco with Venezuelan percussionist Gustavo Ovalles as one of his guests. There you saw the special communication the two had performing and improvising together. Now on this live duo concert at the Motion Blue in Yokohama, Japan, Sosa and Ovalles (and the sound technician) present a splendid groove-oriented outing straight-off-the-board. With a wild reverb sound that fattens the sparse texture, Sosa shines doing both old and new pieces on a sparkling Yamaha grand piano. Ovalles adds bata drums, congas, bongo, guiro and folkloric instruments like culo’e puya and quitiplas to compliment and sometimes push Omar in different directions. "Dias de Iyawo" and "Eleggua in the Road" draw heavily from the Afro-Cuban orishas for inspiration. "Africa Madre Viva" and "Toridanzon" are favorites for the complex interplay the two conjure. The textural electronica adds to the sonic experience and shows that with Sosa there’s never a dull moment.

Chuy Varela is a freelance journalist in the San Francisco Bay Area and music director at KCSM Jazz 91 FM in San Mateo, CA

Copyright © 2002 by salsasf.com and Chuy Varela All rights reserved. No reproduction without written permission.