For those unaware, Latin jazz is more than just a genre — it’s a rich cultural dialogue, a celebration of rhythm, and a constant evolution of tradition.

Few musicians understand this balance better than pianist, composer, and educator Andy Nevala. With El Rumbón (The Party), Nevala presents a powerful statement on the vitality of Afro-Cuban jazz, an album that blends reverence for the masters with a bold, contemporary vision.

For Nevala, Latin jazz has never been just an academic pursuit. It’s a passion deeply rooted in years of study, performance, and personal connection to the music’s traditions.

From his early days as a jazz pianist to his immersion in the complexities of Afro-Cuban rhythms, Nevala has dedicated himself to understanding and preserving this art form. “I try to be the bridge between old and new,” he explains. “I want to make sure people understand where this music comes from while also pushing it forward.”

1. Isn’t She Lovely [5:05]
2. Lamento Cubano [4:47]
3. El Rumbón (The Party) [7:27]
4. Butterfly [7:04]
6. Bemsha Swing [5:03]
7. Fragile Sting [4:58]
8. A Night In Tunisia [5:53]
9. Garota De Ipanema [4:59]
10. Countdown [4:27]
11. Los Bueyes [Traditional] [5:33]

With Nevala and his ensemble taking listeners on a journey through the vibrant landscapes of Afro-Cuban jazz, blending traditional grooves with fresh arrangements and inspired improvisation, he opens his new recording on the _____________ of the now Afro-Cuban 6/8 grooved Stevie Wonder’s Isn’t She Lovely and then we get the ____________ of Cuba’s golden era of sound Lamento Cubano (Eliseo Grenet), the __________________ of the title track El Rumbón (The Party) (itself inspired by Chucho Valdés’ version from 1998), the ___________ of Herbie Hancock’s Butterfly and they are backed by the ___________ of Bemsha Swing (Thelonious Monk).

Recorded at Jacksonville State University and 800 East Studios in Atlanta, along next (and now infused with a bossa nova and partido alto vibe) is the _____________ of the tender Fragile (Sting) and the ____________ of the now 7/4 songo Dizzy Gillespie classic A Night in Tunisia, and they are in turn followed by the ____________ of Antonio Carlos Jobim’s bossa nova-hued Garota de Ipanema (The Girl from Ipanema), the new set rounding out on the __________ of a breezy 5/4 arrangement of John Coltrane’s Countdown, coming to an all too soon close on the ________ of the now-arranged in a guaguancó 2-3 caballo groove traditional folk piece (although itself inspired by Gonzalo Rubalcaba’s 2007 outing) Los Bueyes (The Oxen).

Musicians: Andy Nevala - piano
Andy Eulau - bass
Frankie Quiñones - percussion
Emrah Kotan - drums, additional percussion (2, 8)
Neff Irizarry - guitar (2, 6, 8)
Carlos Averhoff Jr. - tenor saxophone (5)
Ireland Faughn - percussion (6)

www.andynevalamusic.com

Andy Nevala @ Facebook