Grupo los Santos contact: Pete Smith 16 Pomander Walk, #1, New York, New York 10025 (212) 316-3429 www.grupolossantos.com

Grupo los Santos is a quartet of American musicians who, through a mixture of jazz with Afro-

Cuban and Brazilian styles, are creating a new soul in the music of New York. Formed in 1998 to explore the blending of these traditions, Los Santos have performed in Cuba and throughout the U.S., worked and recorded with some of the greats of Cuban music, and have developed a strong following in the New York/Tri-state area.

Their first CD, Noches en El Taller (Nights at the Workshop), released in 2000, features a range of

Afro-Cuban and Brazilian styles, including Cuban son, rumba-son, bolero, samba and bossa nova as well as batá pieces for drumset. Henri Salgâo of Músico Pro magazine described the work as “A tasty fusion of genres...that shows their deep admiration of Cuban music (particularly the percussive richness of the batás) and Brazilian music.” Keith Ganz wrote “Relaxed, authentic Latin grooves underpin an open-ended, intimate jazz quartet setting to create a truly unique and satisfying kind of jazz.”

Their second CD, Lo Que Somos Lo Que Sea (What We Are What Will Be) (2007), which had its

coming out party at NYC’s Jazz Standard in January 2008, continues the tradition with high energy originals in guaguancó, funk, and descarga, as well as further explorations in samba, choro and rumba. David Miller of All About Jazz writes, “The group plays so fluidly together that each instrument is merely a layer adding to the overall sound…the result is greater than the sum of its parts”. Lee Prosser of JazzReview.com writes, “The entire group is at top peak performance, and their sound is flawless. Each song will be a favorite with different listeners.”

Grupo los Santos have worked extensively with Cuban composer/trombonist Juan Pablo Torres:

They were featured in his concert of Cuban All-Stars at New York City’s Town Hall in 1999, and appeared individually on his 2001 recording Together Again, featuring Chucho Valdez, Arturo Sandoval, Steve Turre, Giovanni Hidalgo and a host of other Latin Jazz luminaries. With Rumba tap dance pioneer Max Pollak, Los Santos have collaborated with members of the famed los Muñequitos de Matanzas, combining jazz tap and Cuban rumba. In November, 2001, Pollak and Los Santos were able to bring their mezcla (“mixture”) back to its roots: playing a series of concerts in Havana, Cuba. The highlights included a show at the jazz club La Zorra y el Cuervo, and a collaboration with the 11 piece rumba group Clave y Guaguancó, as part of Havana’s Cuba Tambor festival.

On film, Grupo los Santos have been featured in Cómo Se Forma una Rumba/How to Create a

Rumba by Iván Acosta (which was shown in Lincoln Center as part of Latin Beat 2001!), and in Latido Latino, a documentary about Latin music in New York City, broadcast nationally in Spain.

Grupo los Santos is: Dave Ambrosio, acoustic bass; William Bausch, drumset; Paul Carlon, tenor saxophone; Pete Smith, guitar.

Grupo los Santos - New York City Venues Played

Town Hall

Barbès

Winter Garden, W.F.C.

Cutting Room

Bubble Lounge

The Jazz Standard

Tavern on the Green

C-Note

El Taller

Nascimento

Knitting Factory

92nd Street Y

Russian Tea Room

Rose

Screening Room

General Venues Played

Club/Theater Location Date(s) El Taller Latinoamericano New York, NY weekly, 1998-2000 Hard Grove Cafe (w/ J.P. Torres) Jersey City, NJ weekly, 1999-2000 Town Hall (Torres & Super Son Cubano) New York, NY February 27, 1999

Rich Forum (w/ Torres) Stamford, CT February 28, 1999 Park Theater (w/ Torres) Union City, NJ April 1, 2000 Stone Pony (club grand re-opening) Asbury Park, NJ May 26, 2000 CD Release – El Taller New York, NY August 31, 2000 Cinco de Mayo Festival Denver, CO May 2001 1515 Market Denver, CO May 3, 2001 Rutland Jazz Festival Rutland, VT June 29, 2001 Centerra Grill Lebanon, NH June 30, 2001 Teatro Bertol Brecht (Cuba Tambor) Havana, Cuba November 16, 2001 Cabaret Las Vegas Havana, Cuba November 18, 2001 La Zorra y el Cuervo Havana, Cuba November 19, 2001 First Church (“Sunday Afternoons Live”) Old Greenwich, CT February 3, 2002 Bar Harbor Jazz Festival (as Headliner) Bar Harbor, ME August 20, 2005 Deer Head Inn Delaware Water Gap, PA Various dates, 2005-06 Barbès Park Slope, Brooklyn, NY Various dates 2006-08 Rose Williamsburg, Brooklyn October 10, 2007 Winter’s Eve at Lincoln Center New York, NY November 26, 2007 The Jazz Standard (CD release) New York, NY January 7, 2008

Grupo los Santos – Reviews "The 'blessed' fusion of Grupo Los Santos consists of acoustic bass, electric guitar, a hint of rock energy, with drumset guided by the sound of batá drums and a sax played in the best style of bossa nova and samba." - Emma Hunt, EL DIARIO/LA PRENSA (Nueva York), August 2, 2002

“. . . [T]he only faith to which these four American musicians appear to devote themselves is the impassioned and serious investigation of traditional Cubann and Brazilian rhythms, in order to incorporate them into their own jazz-based compositions. These interpretive experiments have succeeded in creating a mix at times explosive and sizzling, like the Brazilian coastline or Afrocaribbean flavor. . . others exude melodies that produce that certain languid sensation which beckons us to more intimate places." – Diana Vargas, VIDAHOY (NY), March 15, 2002

“The group plays so fluidly together that each instrument is merely a layer adding to the overall sound…the result is greater than the sum of its parts”. – David Miller, ALL ABOUT JAZZ

“A tasty fusion of genres...that shows their deep admiration of Cuban music (particularly the percussive richness of the batás) and Brazilian music, with sporadic and appropriate jazz embellishments...Tunes with the feeling of Son, Rumba, and Bossa Nova, interpreted correctly but with an unobtrusive and minimalist approach.” – Henri Salgâo, Músico Pro magazine

“The entire group is at top peak performance, and their sound is flawless. Each song will be a favorite with different listeners.” – Lee Prosser, JazzReview.com “[A] labor of love by a group of New York City musicians with the desire to produce some creative music...[T]heir group efforts really show in the different styles represented ranging from jazz, Cuban, Brazilian , and other styles of music. A commendable performance.” – Victor Rendón, Latin Percussionist magazine “[T]he band is not into using many exotic native instruments in creating their Latin scene. They develop their sound primarily from conventional tools and are able to take an authentic musical stance with them...Los Santos is a cooperative effort, and each of these young musicians plays a strong hand in making the group work.” – Frank Rubolino, Cadence magazine “Relaxed, authentic Latin grooves underpin an open-ended, intimate jazz quartet setting to create a truly unique and satisfying kind of jazz...I find this mix of inspired, personal improvs, laid back latin grooves and a warm, empathic group sound irresistible. You can tell this is a band that loves making music together.” – Keith Ganz, CD Baby Website

GRUPO LOS SANTOS - LO QUE SOMOS LO QUE SEA

Deep Tone

Obfuscation isn’t an issue when it comes to the catchy music of Grupo los Santos. From the bright hues of theirdebut disc’s packaging to the resplendency of its rhythms and rapport, the four-piece Afro-Cuban influencedensemble speaks and interacts in bold primary colors. Along with that collective directness comes anunexpected absence of bombast or obviousness, two traits prone to marring others that operate out of theblended idiom that is Latin jazz. Rather than take the path of least resistance and target audience hips andfeet, the band opts to work out of a less predictable bag. The flavor of the dance floor is still palpable, butshaded with a challenging succession of metric and harmonic complexities that keep the players and potentiallisteners from slipping into autopilot.

Saxophonist Paul Carlon shows a marked Joe Henderson influence with a dry rounded tone and a dartingphraseology that easily negotiates the switchback changes and staircased rhythms that propel the tunes.There’s also a bit of Wayne Shorter’s wry humor in the manner with which he shapes a line. He and drummerWilliam “Beaver” Bausch share composer credits, tooling a variety of Latin song forms from the familiar (son,rumba and samba) to the less so (yambu, choro and bulerias) to their designs. Guitarist Pete Smith alternatesbetween electric and nine-string acoustic and shows a strong affinity with Carlon for baton-passing in thefrontline. His nimble work on the latter axe also opens up an entire side pocket of chordal possibilities. Hestrolls along the precipice of classical preciousness, leaving behind a gilded trail of notes. Bassist DavidAmbrose has the least glamorous role, laying the anchor much of the time with a steady touch. His vibrant 11thinning solo on “Pedrito La Vaca” reveals a welcome interlude for scrutiny.

Highlighting that aforementioned humor, “Boogie Down Broder” is a tune where the famously facetious directive“More cowbell!” feels distinctly apropos. Elsewhere, a guest appearance by dancer Max Pollak provides twoconvincing case studies in rhumba-calibrated tap accompaniment. Notes hint at regular stands at the Brooklynwatering hole Barbes. Based on the sounds captured here it’s a gig locals should strongly consider penciling inon the calendar.

~ Derek Taylor

Posted by derek on January 11, 2008 11:40 AM

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Review Courtesy AllAboutJazz.com

Breaking In: Grupo Los Santos at Jazz Standard, NYC

Grupo Los Santos |

By David Miller

Grupo Los Santos Jazz Standard New York, New York January 7, 2008

Jazz musicians are, in general these days, academics. Formal jazz education ismore popular than ever. Some would argue that this training has“mainstreamed” the music as most jazzers are learning the same things inschool. Perhaps such detractors need to focus more on the breadth anddiversity that has been brought under the jazz umbrella in recent years. Butthat is an argument for another time. What the increase in jazz education hasspawned, inarguably, is the inability of many artists (or, more pointedly, theunwillingness) to simply “let it all fly,” to throw learning out the window andembrace the now.

It is for this reason that seeing and hearing Grupo Los Santos at the JazzStandard was so refreshing. Admittedly, this is a group of young academics.You could see it in the crowd (which included parents and student friends),and you couldn’t help but take notice when drummer William “Beaver”Bausch gave a lesson on the beats of a rumba. But the raw energy with whichthe band played was anything but sterile or ”academic.”

Grupo Los Santos, which is composed of Paul Carlon (saxophone), Pete Smith (guitar), David Ambrosio (bass), Max Pollak (percussion andrumbatap), and Bausch, plays predominantly Latin music, including rumba, son, and bossa nova. The musicians come from varying backgrounds, butthey obviously have a deep connection.

From the get-go, they were smiling and loudly approving of each other’splaying. The first tune was pretty laid back, with Bausch beaming as firstCarlon and then Smith took solo turns. Suggesting a combination of John

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Scofield and Kurt Rosenwinkel, Smith wears his emotions on his sleeve, andyou can see the twists and turns of the music as his facial expressions change.He also has a habit of scatting along with the notes that he plays which, aswith Rosenwinkel, only adds to the dramatic effect of his guitar playing.

The group invited Pollak to the stage for the second tune, and the energy inthe room immediately intensified. A rhythm Pollak has dubbed “Rumbatap”is essentially his using his entire body as an instrument. Tap dancing is but onepart of the equation: chest, arms, knees, and hands all play an integral role.Not only did the percussionist supply added power to the rhythm section, buthis solo space provided some of the most spellbinding moments of theevening. Even while soloing over Bausch’s and Smith’s accompaniment, hemaintained a mean groove. And as he soloed, the whole band visibly focusedin as one. In sports, it’s known as being “in the zone.” Smith was wide-eyedwhile comping to the groove, while Bausch’s big smile and Ambrosio’scomplete concentration betrayed their emotions.

Bassist Ambrosio throughout the night was simply the rock of the group. In this band Bausch is often adding color and not simply keeping time, and sothe timekeeping responsibilities fall heavily on Ambrosio. For his efforts hewas rewarded with some extended solo space on the third tune, and took full advantage of the opportunity.

Grupo Los Santos possesses many of the qualities that define some of the best ensembles, including unspoken communication and plain unadulterated fun.While each musician may not as yet be at the very top level of musicianship,the whole in this case is certainly greater than the sum of its parts. This is still ayoung band; as the musicians mature, the group will almost certainly develop into a force to be reckoned with. In the meantime, it offers a refreshing takeon what music should really be all about.

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February 2008 • Issue 301PAGE FOURTEEN

GRUPO LOS SANTOSLo Que Somos Lo Que Sea

DEEP TONE RECORDSOn their second CD, this New York City-based band

formed in 1998 delivers a session of 10 original composi-tions, performed by tenor saxophonist Paul Carlon, gui-tarist Pete Smith, bassist Dave Ambrosio and drummerWilliam “Beaver” Bausch. Rumbatap pioneer Max Pollackjoins the band on two tunes. Translated, the title means“What We Are What Will Be.”

Playing an array of Latin roots music, melded to jazz,funk, and more, this novel quartet serves up a satisfyingmix of tunes, with each musician getting his moment inthe spotlight. Solos are superb; teamwork is solid and nomusician tries to outdo the others. Their equitable groupeffect, without all the expected instrumentation of Latinbands, is a softening of approach but not energy, tempoor creativity. The music, written by Bausch (six tunes) andCarlon (four tunes) is intricate, lively, well-arranged andmelodious. Each tune is a small ear-candy masterpiecediffering from all that comes before and after it. Carlonhas a nice tone and a silky style and blends harmoniouslywith Smith on many of the tunes. Bausch, a true artist ondrums and percussion, is the driving force on each tune.Ambrosio provides excellent support and proves himselfin solos.

This is one of those discs that urges you to seek outthe band to catch a live performance. Hopefully, theseyoung musicians will do some touring in the near futureto gain wider notice, because this is the kind of innovativemusic that makes you want to stick around for a secondor third set Nancy Ann Lee

HOLLY COLEHolly Cole

KOCH RECORDSCanadian vocalist Holly Cole serves up a seductive

set of 11 tunes in settings from a piano-voice duet to a10-musician ensemble.

Cole assembled a group of mostly New York-basedinstrumentalists including Marty Erlich (alto sax), LennyPickett ( tenor sax), Scott Robinson (bass sax), John Allred(trombone), Robert DeBellis (bass clarinet, baritone sax),Vincent Chancey and Mark Taylor (French horn), MattMunisteri (guitar), Gil Goldstein (piano), Greg Cohen(bass) and Steven Wolf (drums). Aaron Davis (piano),David Piltch (bass) and Kevin Breit (guitar) also contrib-ute. Most arrangements are by Gil Goldstein, with addi-tional arranging by Cole.

Highlights include a subtle, velvety rendition of theGimbel/Legrand tune, “I Will Wait For You,” a sultry takeon the Haren/Bjorn “Alley Cat Song” with nonet backing,and a racing version of Cole Porter’s “It’s Alright With Me”with the nonet and Goldstein on accordion.

Cole, born and raised in the Maritimes, grew up amidstmusic. Her parents are classical musicians, her brother isa composer/jazz artist, her uncle was a Broadway per-former and her grandfather played country/western mu-sic on the accordion. Cole has received numerous awardsin Canada for her recordings.

Cole’s recognizable voice is the attraction butGoldstein’s arranging is superb and this disc that Koch iscalling a “classic noir valentine,” is truly a listening treat—smoky, mysterious and reminiscent of the 1940s.

Nancy Ann Lee

THE BLIND BOYS OF ALABAMADown In New Orleans

TIME-LIFEThis new release by The Blind Boys of Alabama has

the legendary gospel singers in the Crescent City wherethey are backed by a terrific trio of David Torkanowskyon piano, Roland Guerin on bass and Shannon Powell ondrums along with guest appearances by the Hot 8 BrassBand, Allen Toussaint and The Preservation Hall JazzBand.

Mixing in gospel classics like Free at Last, You Got toMove, and I’ll Fly Away with secular positive messagesongs like the late Earl King’s Make a Better World, thegroup continues to move the heart with the sheer convic-tion with awe-inspiring vocals of Clarence Fountain,Jimmy Carter and the others.

Certainly even if their voices have some raspiness fromage, it is not rust and in delivering How I Got Over, thevocals send chills through the listener. The PreservationHall Jazz Band can be heard backing them on Across theBridge, Uncloudy Day and Down By the Riverside, onwhich Allen Toussaint adds some gospel funk piano.

Toussaint also is heard on the fine If I Could Help Some-body, while the Hot 8 enliven Make a Better World as wellas the exhilarating rendition of I’ll Fly Away, that closesthis CD that is another marvelous addition to the BlindBoys extensive discography. Ron Weinstock

ANDREW BROWNBig Brown’s Blues

BLACK MAGIC RECORDSThere have been so many examples of blues artists

who produced a small number of recordings whose re-cordings were highly prized by those who heard them butnever reach the more general acclaim that their musicdeserves. It’s been over twenty years since singer-guitar-ist Andrew Brown passed away after recording some ex-cellent 45s, several tracks for Alligator’s Living ChicagoBlues series and two superb albums for Dutch Labels thatI do not believe have been issued on CD. The Dutch BlackMagic label has made almost all of Brown’s recordingsavailable (the issued Alligator tracks excluded) on a won-derful limited edition reissue titled Big Brown Blues.

Packed in a book sized package, the contents of thetwo discs include his issued 45s for the U.S.A, 4 Brothersand Brave labels and a pair of unissued titles from Brave;two unissued songs from the sessions used for the LivingChicago Blues selections; the contents of his Black Magicand Double Trouble CDs and three demos recorded atAndrew’s basement. The booklet contains a bio from BillDahl and producer Dick Shurman’s recollections of An-drew and his music. As Shurman observes, “Musically,Andrew was accomplished, powerful, soulful and versa-tile.”

Influences on Brown include B.B. King, Lowell Fulsonand T-Bone Walker, but in listening to these his music

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