The Revisiting series features albums from the past that played a significant role in Latin Jazz history. The purpose of this series is to introduce new Latin Jazz listeners to important albums and look back at these albums in historical perspective. Each entry will jump to a different point in Latin Jazz history--this week well visit 1985.
Respect doesnt come easily in the musical community. An artist must display an exceptional musical ability. They might stand out as an improviser, an arranger, a technician, or a composer; the skill may vary, but the requirement remains the same - excellence. A one-time act of incredible musicianship may inspire awe, but it doesnt amount to respect. A musician needs to repeatedly perform with a high degree of artistry to earn a musical communitys respect. Once they garner respect within that given community, they face the reality that their reputation falls upon deaf ears outside that community. The true ability of earning a widespread respect requires a musician to walk across several musical worlds and master them all. Once this massive feat is accomplished the musician needs to maintain that respect on multiple fronts. Not many musicians receive long lasting and deep respect in one genre, more or less several different styles - so when a musician breeds this much respect, they are historically significant.
Jorge Dalto was born on July 7, 1948, in Jorge Perez, Argentina, where he studied music until he relocated to the United States in 1969. He found work quickly, building his reputation and eventually recording on Carmen McRaes 1971 album Ms. Magic. His increased profile led him to New York in 1973, where he soon became a part of saxophonist Gato Barbieris band. He appeared on Dizzy Gillespies 1975 collaboration with the Machito Orchestra Afro-Cuban Jazz Moods and he won a Grammy Award in 1976 for his work as pianist and arranger on This Masquerade from George Bensons hit album Breezin. The fusion crowd made good use of his skills - he appeared extensively with Benson, as well as with Grover Washington, Jr. on the 1979 album Skylarkin and Spyro Gyra on the 1983 album City Kids. He traveled with Tito Puente, Carlos Patato Valdes, and Alfredo de la Re as the Latin Percussion Jazz Ensemble, recording the album Live At The Montreaux Jazz Festival. He became a member of Tito Puentes band in the early 1980s and recorded the albums On Broadway and El Rey. In addition, percussionist Jerry Gonzalez hired Dalto to play on The River Is Deep and saxophonist Paquito DRivera used him for Taste of Paquito. In the midst of Daltos busy schedule, he formed his own group - the Interamerican Band - and then began performing and recording.
Respect doesnt come easily in the musical community. An artist must display an exceptional musical ability. They might stand out as an improviser, an arranger, a technician, or a composer; the skill may vary, but the requirement remains the same - excellence. A one-time act of incredible musicianship may inspire awe, but it doesnt amount to respect. A musician needs to repeatedly perform with a high degree of artistry to earn a musical communitys respect. Once they garner respect within that given community, they face the reality that their reputation falls upon deaf ears outside that community. The true ability of earning a widespread respect requires a musician to walk across several musical worlds and master them all. Once this massive feat is accomplished the musician needs to maintain that respect on multiple fronts. Not many musicians receive long lasting and deep respect in one genre, more or less several different styles - so when a musician breeds this much respect, they are historically significant.
Jorge Dalto was born on July 7, 1948, in Jorge Perez, Argentina, where he studied music until he relocated to the United States in 1969. He found work quickly, building his reputation and eventually recording on Carmen McRaes 1971 album Ms. Magic. His increased profile led him to New York in 1973, where he soon became a part of saxophonist Gato Barbieris band. He appeared on Dizzy Gillespies 1975 collaboration with the Machito Orchestra Afro-Cuban Jazz Moods and he won a Grammy Award in 1976 for his work as pianist and arranger on This Masquerade from George Bensons hit album Breezin. The fusion crowd made good use of his skills - he appeared extensively with Benson, as well as with Grover Washington, Jr. on the 1979 album Skylarkin and Spyro Gyra on the 1983 album City Kids. He traveled with Tito Puente, Carlos Patato Valdes, and Alfredo de la Re as the Latin Percussion Jazz Ensemble, recording the album Live At The Montreaux Jazz Festival. He became a member of Tito Puentes band in the early 1980s and recorded the albums On Broadway and El Rey. In addition, percussionist Jerry Gonzalez hired Dalto to play on The River Is Deep and saxophonist Paquito DRivera used him for Taste of Paquito. In the midst of Daltos busy schedule, he formed his own group - the Interamerican Band - and then began performing and recording.
