South American Suite

Album Review

Much has been written about the fact that small groups have been dominating jazz since the late '40s, when big bands (which were huge in the '30s and early to mid-'40s) became the exception instead of the rule. But jazz doesn't always have to be about the trio/quartet/quintet majority or the occasional big band; there is also the medium-sized group — medium-sized as in the octets, nonets, and ten-piece units that are too large to be small groups but too small to be big bands. Although medium-sized bands don't have as much manpower as big bands, they can involve a lot of skillful ensemble work — which is what Felipe Salles offers on South American Suite. This 2006 recording finds the Brazilian bandleader/arranger/composer/reedman leading a cohesive post-bop octet that incorporates South American influences but is subtle rather than overt about it. "Unborn Choro," "Somewhat Frevo," "Xote Manco," and "Three Views," for example, are Brazilian-influenced, while "Crayon" is a dusky, moody piece that acknowledges Argentinean tango (sort of "Harlem Nocturne" meets Astor Piazzolla, if you will). But Salles doesn't beat listeners over the head with Brazilian or Argentinean elements; again, South American elements are used sparingly rather than liberally on South American Suite. Bandleader/arranger influences ranging from Gil Evans to Duke Ellington to Charles Mingus make their presence felt, and Salles is heard on several different instruments (including the tenor, soprano, and baritone saxes as well as clarinet, bass clarinet, flute, and alto flute). In fact, Salles the soloist never takes a backseat to Salles the bandleader/arranger/composer/producer on this memorable CD.