Some of the most interesting musicians are the ones that influence their peers but escape notice of the larger listening audiences around the world. These musicians catch the ears of similar artists due to some outstanding aspect of their creative output - musicians are generally exposed to a large body of work throughout their careers, they are not easily impressed. They need something extraordinary to hold their attention and keep them talking; once they find it word of mouth spreads like wildfire among their peers. The public needs a greater push to find music, and they generally lean towards easily consumable material. The jazz listening community will often stay open to more challenging repertoire, but they have access to so much music today that hard to find recordings may miss their attention. Its a double-edged sword that sometimes keeps a musician from excessive popularity, but cements their connection to interesting and innovative music.
During the 1970s & 1980s, pianist Emiliano Salvador sat among the jazz elite in Havana, yet he missed the fame afforded his peers such as Chucho Valdes, Paquito D'Rivera, and Arturo Sandoval. Born in the small fishing town of Puerto Padre, Salvador moved to Havana in the 1960s to study at the Escuela Nacional de Artes. His musicality grew quickly and he soon caught the attention of several important Cuban musicians. This led to jobs working with Leo Brouwer near the end of the decade and then a tenure as arranger and pianist with the influential vocalist Pablo Milans. By the late seventies, he had developed a unique approach to Latin Jazz, driving him to form his own group and record several albums. He joined the leaders of the Cuban jazz scene such as Valds, D'Rivera, and Sandoval, as the new voice of a generation, forging a powerfully Cuban jazz aesthetic. Much of the world missed this revolution due to the Cuban embargo, but the worlds jazz musicians followed his progress and often joined him on stage. As his presence began to assert itself across the world scene, Salvador died in Havana in 1992.
Recent reissues from Bele Bele Jazz Club offer Latin Jazz fans an opportunity to investigate Emiliano Salvadors work from two very different perspectives. Puerto Padre delivers a collection of Salvadors original recordings, featuring mostly original compositions and two arrangements. Latin Jazz fans that have wisely followed Salvador in the past will recognize these tracks from his original albums, while listeners new to his work will enjoy a sampling of his best work. Arranger Juan Manuel Ceruto continues the outstanding series of tributes that he started on Gracias Formell with Puerto Padre: Tributo a Emiliano Salvador . His arrangements place Salvadors work in a decidedly modern Cuban context and he includes some important contemporary voices on the Cuban jazz scene. Together, the albums serve as a look at Salvadors work both through its original context and the eyes of a contemporary musician that felt his influence - in both cases, they are necessary listens for Latin Jazz fans unfamiliar with Salvadors work.
During the 1970s & 1980s, pianist Emiliano Salvador sat among the jazz elite in Havana, yet he missed the fame afforded his peers such as Chucho Valdes, Paquito D'Rivera, and Arturo Sandoval. Born in the small fishing town of Puerto Padre, Salvador moved to Havana in the 1960s to study at the Escuela Nacional de Artes. His musicality grew quickly and he soon caught the attention of several important Cuban musicians. This led to jobs working with Leo Brouwer near the end of the decade and then a tenure as arranger and pianist with the influential vocalist Pablo Milans. By the late seventies, he had developed a unique approach to Latin Jazz, driving him to form his own group and record several albums. He joined the leaders of the Cuban jazz scene such as Valds, D'Rivera, and Sandoval, as the new voice of a generation, forging a powerfully Cuban jazz aesthetic. Much of the world missed this revolution due to the Cuban embargo, but the worlds jazz musicians followed his progress and often joined him on stage. As his presence began to assert itself across the world scene, Salvador died in Havana in 1992.
Recent reissues from Bele Bele Jazz Club offer Latin Jazz fans an opportunity to investigate Emiliano Salvadors work from two very different perspectives. Puerto Padre delivers a collection of Salvadors original recordings, featuring mostly original compositions and two arrangements. Latin Jazz fans that have wisely followed Salvador in the past will recognize these tracks from his original albums, while listeners new to his work will enjoy a sampling of his best work. Arranger Juan Manuel Ceruto continues the outstanding series of tributes that he started on Gracias Formell with Puerto Padre: Tributo a Emiliano Salvador . His arrangements place Salvadors work in a decidedly modern Cuban context and he includes some important contemporary voices on the Cuban jazz scene. Together, the albums serve as a look at Salvadors work both through its original context and the eyes of a contemporary musician that felt his influence - in both cases, they are necessary listens for Latin Jazz fans unfamiliar with Salvadors work.
