[TR24][OF] Brian Lynch (feat. Sean Jones, Dave Douglas, Michael Rodriguez, Etienne Charles, Diego Urcola, Josh Evans, Philip Dizack, Bryan Davis et al.) - Madera Latino: A Latin Jazz Perspective (Interpretation) on the Music of Woody Shaw - 2016 (Pos

Brian Lynch: trumpet;
Sean Jones: trumpet (#3, 6-7);
Dave Douglas: trumpet (#1, 5, 9);
Michael Rodriguez: trumpet (#2, 4, 8, 10);
Etienne Charles: trumpet (#1, 9, 11);
Diego Urcola: trumpet (#1, 11);
Josh Evans: trumpet (#4, 8, 10);
Philip Dizack: trumpet (#3, 6);
Bryan Davis: trumpet (#11);
Zaccai Curtis: piano;
Luques Curtis: bass;
Obed Calvaire: drums (#2-3, 5-8, 10);
Pedrito Martinez: timbales (#1, 5, 9, 11), congas (#3, 6-7);
Little Johnny Rivero: congas (#1-2, 4-5, 8-11), percussion (#11);
Anthony Carrilo: bongo, campaña (#1, 5, 9, 11)

https://brianlynch.bandcamp.com/album/madera-latino-a-latin-jazz-interpretation-o...ic-of-woody-shaw
The music of the late, great Woody Shaw (1944-1989) - an innovative and highly individual musical lexicon, expressed through both his matchless virtuosity on trumpet and his equally distinguished compositions - set a standard of excellence and modernity that has not been surpassed in the 53 years since he first came onto the jazz scene. For trumpet players, he still stands as the alpha and omega of the progressive sensibility in African-American classic music.
Shaw’s expansive vision as a composer and artist encompassed the breadth of Afro-diasporic musical expression, as evidenced by the frequent use of Afro-Caribbean and Afro-Brazilian rhythms in his work, alongside of his explorations of modernist harmony and his constant engagement with the core values of the jazz sensibility; that is to say, telling a story and swinging!
Madera Latino is an exploration of this giant’s music as viewed through the lens of authentic Afro-Caribbean rhythm and framed by my loving treatment of his compositions in Latin Jazz style. It is also a heartfelt tribute to the genius of Woody by an all star lineup of today’s top trumpeters: myself, Sean Jones, Dave Douglas, Diego Urcola, Michael Rodriguez, Etienne Charles, Josh Evans, and Philip Dizack. In combinations from duo to quartet, we explore Shaw classics along with two original pieces - one an extended suite - written in homage to the profound influence Woody has had on me as a player and composer.
The band for Madera Latino fulfills the promise of the album’s concept with élan, precision, and joyous creativity. Percussionists Pedrito Martinez and Little Johnny Rivero, along with bassist Luques Curtis, were integral to the success of my 2006 CD Simpático, a Grammy@ Award winner in the Latin Jazz category. Add drummer Obed Calvaire, percussionist Anthony Carrillo, and pianist Zaccai Curtis, and a mighty rhythm team emerges to spur and challenge the trumpeters to their utmost efforts in praise of Shaw.
The combination of Woody’s music and the Afro-Caribbean clave concept was always a natural to me. I'm very happy, after many years of thinking about this idea, to finally be able to actualize this tribute to my musical hero, Woody Shaw, in the distinguished company of these amazing trumpeters and my musical family.
Brian Lynch Aug. 2016
For years, many of us in the extended “Woody Shaw community” have anticipated a time when my father’s music would finally be commemorated in a manner that did justice to the level of ardor, dedication, and sacrifice that Woody invested into his beloved art form, jazz, and on behalf of the advancement of his instrument. Few trumpet players or bandleaders have remained as outwardly vocal and steadfast in that particular sentiment as my friend Brian Lynch.
An alumnus of both the Art Blakey and Horace Silver schools of life and music, Brian has maintained a level of integrity and respect for the original architects of this music by way of his homage towards the great trumpet players who preceded him. Woody Shaw, being one of the last major innovators and conceptualists to impact the evolution of modern trumpet playing, is perhaps the most fitting and contemporarily relevant subjects for the commemoration of the great ‘bop trumpet tradition that both Woody Shaw and Brian Lynch are part of.
I am very proud of what Brian has done with this project, and particularly of the depth of sincerity and the meticulousness with which he has treated the re-interpretation of Woody Shaw’s original works within the Afro-Latino idiom. As it turns out, my father’s ventures into the world of jazz began with a life-changing gig with none other than the late, great Puerto Rican percussionist and latin jazz band leader Willie Bobo. From then onward, Woody Shaw passionately admired and explored latin music, frequently sitting-in with Salsa bands in and around New York, and, as Brian mentions, regularly incorporating Afro-Latino elements into his own playing and original compositions.
My respect and gratitude go out to the musicians on this recording for keeping the spirit of this music - and of one of its last great innovators - alive and strong in the 21st century.
Beyond All Limits.
Woody Louis Armstrong Shaw, III