Album Review
Layla Angulo may be the only female Latin jazz saxophonist (save Jane Bunnett) in contemporary music, and her sizzling sexy persona is easily translated into the music. But don't be swayed by the alluring photos and image — her music is all substance, drive, and vision, and there's no hint of smooth non-jazz or creamed corn on this live session from the Triple Door in Seattle, WA. Angulo leads a large horn and vocal coro-based big band through some spirited, exciting, and intricate music that clearly took up much rehearsal time and forethought before putting it on-stage for an audience. From start to finish, this band plays with no reservations in terms of dexterity, singular purpose, and a thrill a minute, if not every second. They are hot off the bat on "La Noche del Tambor," a voice-activated rhumba with the horns jumping out of the speakers. Most complex is the chart of "Luna Rosa," a bright and inventive baritone sax-driven tune that has a high degree of difficulty. Another great composition, "Desesperos" proffers many tricky changes from montuno to descarga with multi-layered call and response via the saxes and brass. The most disarming and impressive track is "A Golpe de Cajon," starting with a hot percussion intro, a 6/8 foundation, gear shifts in tempo, stops and starts for brief solos, and a very engaging attitude that anyone can enjoy. Angulo solos minimally, and though visually she is clearly a pleasant distraction, the music is channeled through, not around her. She is very much a bandmember, not the sole focal point, and does reflect influences of some of the great saxophonists in the music such as Mauricio Smith, Mario Rivera, and Chombo Silva. An outstanding and highly recommended album, it is one that the masters like Arsenio Rodriguez, Tito Puente, and Eddie Palmieri would be very proud of and pleased with. ~ Michael G. Nastos, All Music Guide
